Program for the 2011 GPSC Student Showcase.

Program for the 2012 GPSC Student Showcase.

Program for the 2013 GPSC Student Showcase.

Program for the 2014 GPSC Student Showcase.

No description available.

The city of Ottawa, Ontario is neither an independent municipality nor solely Canada’s national capital. Ottawa instead sustains a hybrid state of being where the characteristics and cultural assets specific to the city’s two roles intertwine to generate its unique identity as a “national and local,” or “hybrid,” artistic showcase. As the identity of a place evolves from the practices and individual identities of all those involved with the environment, Ottawa’s self-stated “hybrid showcase” identity can be investigated through a study of the professional English-language theatre organizations operating within city limits. Ergo, this thesis introduces a methodology for conducting data-driven assessments of theatre organizations’ local, national, or hybrid artistic showcase identities, known as the Local-National Hybrid Showcase (LNHS) Scorecard. Using fifteen indicators, the LNHS Scorecard assesses the 2018 artistic programming and programming-adjacent operations of seven Ottawa-based theatre organizations. The results of said assessments illustrate the qualitative value of each organization’s showcase hybridity and identify any perceived preferences towards local or national stakeholders therein. Findings generated by applying the LNHS Scorecard methodology to the selected case studies suggest that as of December 31st, 2018, seven of Ottawa’s professional English-language theatre organizations embraced hybrid (local and national) showcase identities. Moreover, the final scores indicate that six of the seven organizations exhibit a weak to moderate preference for activities impacting Ottawa-based stakeholders. Defining Ottawa’s artistic showcase identity according to the combined practices and resulting showcase identities of the individual Ottawa-based theatre organizations upon which the greater artistic showcase depends, the LNHS Scorecard encourages new conversations about the cultural identity of Canada’s capital.

A sociedade contemporânea é marcada pelo consumo, pelas estratégias mercadológicas que, muitas vezes, são efêmeras e só tentam satisfazer uma pequena parte da nossa constante procura pela completude. A publicidade está inserida nesse contexto ao expressar os valores vigentes na sociedade e também em mediar as possibilidades de inserção dos consumidores nos mais diversos nichos e estratos sociais. As marcas procuram expressar valores, identidades e imagens dos produtos/serviços por meio de ações e manifestações. Tais ações e manifestações podem vir de diversas maneiras, ou seja, em anúncios de mídia impressa, ou na forma de audiovisual; ações de merchandising como as vitrines, as gôndolas, dentre outras e que têm como intuito a geração de vínculos positivos, de associações prazerosas e levar o potencial consumidor ao ato e usufruto do bem ou serviço. O presente trabalho resulta de uma pesquisa entre as marcas de luxo em comparação das marcas mainstream, um aprofundamento intersígnico procurando identificar os efeitos de sentido de cada, suas semelhanças e distinções. O trabalho tem como objetivo compreender a circulação intersígnica das marcas de luxo e das marcas mainstream no contexto do varejo de moda. Os resultados que aqui compartilharemos é proveniente de uma pesquisa que conta com o intercruzamento dos campos da comunicação com o a antropologia visual. A comunicação, mas precisamente, a publicitária, entrará como sua retórica de consumo por meio dos signos que se relacionam para uma produção de sentido eficaz. Já a antropologia visual ficará por conta da pesquisa fotoetnográfica que nos auxiliará no mapeamento e narrativa do consumo de luxo e do mainstream. Como método de análise nos apoiaremos na Semiótica desenvolvida por Charles Sanders Peirce. O registro fotoetnográfico foi realizado nas cidades de: São Paulo, Fortaleza, Brasília e Florianópolis e buscamos fotografar as vitrines das marcas e luxo e das marcas mainstream que nos possibilitem um estudo sobre a circulação intersígnica entre as mais variadas vitrines. Este trabalho não terá como pretensão a análise de recepção por parte dos consumidores, ficaremos restritos só aos possíveis efeitos de sentido que as marcas se utilizam para ampliar seu escopo imagético e identitário. / ephemeral and only try to satisfy a small part of our constant search for completeness. Publicity is inserted in this context when expressing the values in force in society and also in mediating the possibilities of insertion of the consumers in the most diverse niches and social strata. Trademarks seek to express values, identities and images of products / services through actions and manifestations. Such actions and manifestations may come in a variety of ways, that is, in print media advertisements, or in the form of audiovisuals; Merchandising actions such as shop windows, gondolas, among others and whose purpose is to generate positive bonds, pleasant associations and lead the potential consumer to the act and usufruct of the good or service. The present work results from a research between the luxury brands in comparison of the mainstream brands, a deepening intersígnico looking for to identify the effects of sense of each, its similarities and distinctions. The work aims to understand the intersection of luxury brands and mainstream brands in the context of fashion retail. The results we share here come from a research that relies on the cross-linking of the fields of communication with visual anthropology. Communication, but precisely the advertising, will enter as its rhetoric of consumption through the signs that relate to a production of effective meaning. The visual anthropology will be based on the photoetnographic research that will help us in the mapping and narrative of the consumption of luxury and the mainstream. As a method of analysis we will rely on the Semiotics developed by Charles Sanders Peirce. Photoetnographic registration was carried out in the cities of: São Paulo, Fortaleza, Brasília and Florianópolis, and we sought to photograph the showcases of the brands and luxury and of the mainstream brands that allow us to study the intersection circulation among the most varied shop windows. This work will not have as a pretension the analysis of reception by consumers, we will be restricted only to the possible effects of meaning that the brands are used to expand their image and identity scope.

A sociedade contemporânea é marcada pelo consumo, pelas estratégias mercadológicas que, muitas vezes, são efêmeras e só tentam satisfazer uma pequena parte da nossa constante procura pela completude. A publicidade está inserida nesse contexto ao expressar os valores vigentes na sociedade e também em mediar as possibilidades de inserção dos consumidores nos mais diversos nichos e estratos sociais. As marcas procuram expressar valores, identidades e imagens dos produtos/serviços por meio de ações e manifestações. Tais ações e manifestações podem vir de diversas maneiras, ou seja, em anúncios de mídia impressa, ou na forma de audiovisual; ações de merchandising como as vitrines, as gôndolas, dentre outras e que têm como intuito a geração de vínculos positivos, de associações prazerosas e levar o potencial consumidor ao ato e usufruto do bem ou serviço. O presente trabalho resulta de uma pesquisa entre as marcas de luxo em comparação das marcas mainstream, um aprofundamento intersígnico procurando identificar os efeitos de sentido de cada, suas semelhanças e distinções. O trabalho tem como objetivo compreender a circulação intersígnica das marcas de luxo e das marcas mainstream no contexto do varejo de moda. Os resultados que aqui compartilharemos é proveniente de uma pesquisa que conta com o intercruzamento dos campos da comunicação com o a antropologia visual. A comunicação, mas precisamente, a publicitária, entrará como sua retórica de consumo por meio dos signos que se relacionam para uma produção de sentido eficaz. Já a antropologia visual ficará por conta da pesquisa fotoetnográfica que nos auxiliará no mapeamento e narrativa do consumo de luxo e do mainstream. Como método de análise nos apoiaremos na Semiótica desenvolvida por Charles Sanders Peirce. O registro fotoetnográfico foi realizado nas cidades de: São Paulo, Fortaleza, Brasília e Florianópolis e buscamos fotografar as vitrines das marcas e luxo e das marcas mainstream que nos possibilitem um estudo sobre a circulação intersígnica entre as mais variadas vitrines. Este trabalho não terá como pretensão a análise de recepção por parte dos consumidores, ficaremos restritos só aos possíveis efeitos de sentido que as marcas se utilizam para ampliar seu escopo imagético e identitário. / ephemeral and only try to satisfy a small part of our constant search for completeness. Publicity is inserted in this context when expressing the values in force in society and also in mediating the possibilities of insertion of the consumers in the most diverse niches and social strata. Trademarks seek to express values, identities and images of products / services through actions and manifestations. Such actions and manifestations may come in a variety of ways, that is, in print media advertisements, or in the form of audiovisuals; Merchandising actions such as shop windows, gondolas, among others and whose purpose is to generate positive bonds, pleasant associations and lead the potential consumer to the act and usufruct of the good or service. The present work results from a research between the luxury brands in comparison of the mainstream brands, a deepening intersígnico looking for to identify the effects of sense of each, its similarities and distinctions. The work aims to understand the intersection of luxury brands and mainstream brands in the context of fashion retail. The results we share here come from a research that relies on the cross-linking of the fields of communication with visual anthropology. Communication, but precisely the advertising, will enter as its rhetoric of consumption through the signs that relate to a production of effective meaning. The visual anthropology will be based on the photoetnographic research that will help us in the mapping and narrative of the consumption of luxury and the mainstream. As a method of analysis we will rely on the Semiotics developed by Charles Sanders Peirce. Photoetnographic registration was carried out in the cities of: São Paulo, Fortaleza, Brasília and Florianópolis, and we sought to photograph the showcases of the brands and luxury and of the mainstream brands that allow us to study the intersection circulation among the most varied shop windows. This work will not have as a pretension the analysis of reception by consumers, we will be restricted only to the possible effects of meaning that the brands are used to expand their image and identity scope.

À l’intersection du design et de la muséographie, la vitrine est un objet d’étude hybride rarement abordé d’un point de vue esthétique, d’où cette thèse intitulée Esthétique de la vitrine. La vitrine est conçue, habituellement, comme décor, display et écrin. Une telle approche, en minimisant le rôle actif de la vitrine dans l’économie de la monstration, donne lieu à un esthétisme de la vitrine, dont la présente thèse souhaite se départir. Pourquoi ? Car, la transparence de la vitrine est un mythe. Bien qu’elle le soit matériellement, la vitrine est un élément interférant entre le regardeur et l’objet regardé. Elle prend part activement à la relation qui s’instaure, ou plutôt qu’elle instaure, entre l’un et l’autre. Le problème directeur de la recherche consiste à questionner ce rôle interférent, sa nature, son mécanisme et la possibilité d’une esthétique.Comment ? Par le questionnement des œuvres. Cette thèse prend pour objets d’étude les œuvres, principalement des installations et des performances – de Wall, Hirschhorn, Koh, Mayaux, Dion, Gette seront particulièrement étudiés - qui ont pour point commun de s’approprier une vitrine, soit de type commercial, soit de type muséal, pour en faire un élément à part entière de leur dispositif. Pour quelles conclusions ? L’interférence de la vitrine, par le biais de son appropriation artistique, apparaît à trois niveaux. Elle est un espace d’expositions (1er moment), un cadre de perceptions (2ème moment) et un écran de représentations (3ème moment) interférant dans le triple jeu de l’exposition, de la perception et de la représentation qu’elle met en œuvre. / At the intersection of design and museography, the showcase is an hybrid study, rarely raised in terms of aesthetic appeal, hence this thesis is titled Aesthetics of the showcase. The showcase is usually designed as a decor, a display and a case. Such a perspective, minimizing the active role of the showcase in the economy of the demonstration, gives rise to an aesthetism of the showcase, which the present thesis wants to get rid. Why ? Because the transparency of the showcase is a myth. Although it is physically, the showcase is something that interfering between the Watcher and the watched object. It participates actively into the relationship that is established, or rather that it establishes between one and the other. The problematic orientation of this study is to inquire this interfere role, its nature, its mechanism and the possibility of an aesthetic.How ? Through questioning of the art-works. My doctoral thesis, mainly, focuses on installations and works performance - Wall, Hirschhorn, Koh, Mayaux, Dion, Gette will be particularly studied - who both of them, appropriates a showcase either commercial kind or Museum kind, to make them an integral part of their device.What conclusions ? The interference of the showcase, through its artistic appropriation, appears at three levels. It is a space for exhibitions (1st time), a framework of perceptions (2nd time) and a viewing of representations (3rd time) interfering in the triple set of exposure, perception and representation that it implements.

No description available.