Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. [54]-55. Document électronique également accessible en format PDF. CaQCU

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2005. / Bibliogr.: f. [72]-73. Document électronique également accessible en format PDF. CaQCU

Frank Malina (1912-1981) doit d’abord être reconnu comme un des artisans majeurs de la conquête spatiale. Entre 1934 et 1947, en Californie, aidé par un groupe de passionnés, il supervisa plusieurs programmes consacrés à la propulsion des fusées. En 1945, sa carrière est couronnée par le lancement de la WAC Corporal, une fusée-sonde qui atteignit l’altitude de 72 km. En 1944, il co-fonda avec Théodore Von Karman le Jet Propulsion Laboratory, un laboratoire aujourd’hui rattaché à la NASA. Après un passage de six ans à L’UNESCO, il débuta en 1953 une carrière d’artiste. Ses premières œuvres rassemblent des matériaux très divers comme la corde, le grillage ou le fil de fer qu’il manipule pour traduire un monde structuré, laissant transparaître un dynamisme sous-jacent. Très rapidement, il orienta ses recherches vers l’expression du mouvement réel à l’aide la lumière électrique. En 1956, il inventa le système lumidyne, un tableau cinétique fermé par un écran sur lequel une composition colorée est animée de mouvements lents produits par un électro-mécanisme dissimulé dans le tableau. Les motifs abstraits et figuratifs font souvent références au monde des sciences et à l’astronomie. Placé dans un état de relaxation provoqué par le jeu des lumières, le spectateur est ainsi incité à méditer sur les sujets proposés par les œuvres. S’inscrivant dans la tradition de la musique des couleurs, l’œuvre de Malina nous invite non seulement à considérer le mariage entre l’art, la technologie et la science, à s’interroger sur la place de l’homme dans la nature à l’ère de la conquête spatiale, mais aussi à stimuler les régions cérébrales de l’activité créatrice. / Frank Malina (1912-1981) has first to be considering as a pioneer in the conquest of space. Under his leadership, he supervised several research programs on rocket propulsion between 1934 and 1947, in California. His research led Malina to the launching in 1945 of the sounding-rocket WAC Corporal to a height of 240,000 feet. With Theodore Von Karman, he founded the Jet Propulsion Laboratory, now a NASA’s leading facility for planetary exploration. In 1953 he resigned from UNESCO to be full time an artist. He started working with string, wire mesh and wire to suggest the structures of the world and the underlying dynamism. He quickly leaned his research toward the expression of real movement using electric light. In 1956, he created the Lumidyne system, a kind of kinetic painting closed by a screen on which the composition moved slowly. Most of the abstract and figurative patterns refer to the world of sciences and astronomy. Malina’s kinetic paintings lead the spectators to relaxation and meditation on the subject of the paintings. In the tradition of color music, his artwork tries to marry art, science and technology. It’s not only an invitation to musing on the position of mankind in the cosmos at the space age, but also to stimulate the creative areas of brain activity.

Orientador: Lauro José Siqueira Baldini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T13:07:55Z (GMT). No. of bitstreams: 1 Rodrigues_EduardoAlves_D.pdf: 4865308 bytes, checksum: 7c4acbacd889a5243861958bd385016f (MD5) Previous issue date: 2014 / Resumo: Neste trabalho, analisamos o funcionamento discursivo que significa o processo de conformação da espacialidade na/pela materialidade simbólica do longa-metragem brasileiro Cinema, aspirinas e urubus (GOMES, 2005). Mobilizamos o quadro teórico-metodológico da Análise de Discurso (PÊCHEUX, ORLANDI, LAGAZZI etc.), dialogando com outros campos do conhecimento (LACAN, DIDI-HUBERMAN, XAVIER, COMPARATO, ZIZEK etc.), para compreender como esse processo está relacionado, pela materialidade histórica do gesto de interpretação responsável pela montagem do longa, a processos de subjetivação, produzindo efeitos como recortes e redivisões da espacialidade, da subjetividade e do social, sobretudo da espacialidade e do social brasileiros. Metodologicamente, forjamos um dispositivo de leitura discursiva operado sobre recortes constituídos a partir deste e de outros materiais, visando à restituição de certas condições de leitura e da materialidade híbrida específica do longa-metragem, reportando-o a algo de sua exterioridade constitutiva, identificando modos de atualização da memória discursiva, portanto, funcionamentos que direcionam mas que também fazem divergir a significação da relação entre espacialidade, sujeito e o social. A análise nos permitiu concluir que os efeitos de sentido produzidos pelas discursividades em funcionamento no longa-metragem constroem forte evidência da polarização da espacialidade cenográfica remetida, sobretudo, à espacialidade brasileira (sertão nordestino miserável inóspito x sudeste civilizado exemplar). Contudo, este funcionamento ideológico não estanca a equivocidade constitutiva do simbólico na relação com o real da história, a contradição. Dessa maneira, o longa-metragem se constitui enquanto narratividade que opera, ao mesmo tempo, certa abertura da significação da espacialidade ali conformada e, em decorrência, de relações do sujeito com o real, afetando assim o processo de historicização da realidade social, sobretudo brasileira, para o(s) sujeito(s) ali representado(s). Palavras-chave: Análise de Discurso; espacialidade; sujeito; efeito de sentido; Cinema, aspirinas e urubus / Abstract: In this work we analyzed the discursive functioning that signifies the conformation process of spatiality upon/by the symbolic materiality of the Brazilian movie Cinema, aspirinas e urubus (GOMES, 2005). Therefore, we mobilized the theoretical-methodological framework of Discourse Analysis (PÊCHEUX, ORLANDI, LAGAZZI etc.) establishing dialogues with other fields of knowledge (LACAN, DIDI-HUBERMAN, XAVIER, COMPARATO, ZIZEK etc.) in order to examine the historical materiality of the interpretation gesture that is responsible for the movie setting upon which such conformation process is related to subjectivity processes. This way we aimed to comprehend the production of effects, such as cuts and (re)divisions of spatiality, subjectivity and society, mainly regarding their Brazilian configuration. As a methodological procedure, we have put up a discursive reading device that was used upon analytical fragments obtained from either the movie or other materials. This way we aimed at situating specific reading conditions as well as the specific features of the hybrid materiality of the movie, reporting it to its constitutive exteriority, identifying forms of discursive memory updates, therefore, functionings that not only direct but also make the signification of the relation amongst spatiality, subject and society diverge. Our analysis allowed us assert that the meaning effects produced by discursive functionings within the movie build up strong evidences of the scenario spatiality polarization, which is mainly refered to Brazilian spatiality (miserable inhospitable northeastern backwoods x modern civilized southeast). However, this ideological functioning does not stanch the constitutive equivocalness of the symbolic concerning its relation with the real of history, that is contradiction. This way, the movie consists of a specific narrativity that operates certain openness regarding both the signification of the spatiality within the movie and the relations between the subject and the real, affecting the historicization process of social reality (mainly Brazilian) for the subjects that are specifically represented in it. Keywords: Discourse Analysis; spatiality; subject; meaning effect; Cinema, aspirins and vultures / Doutorado / Linguistica / Doutor em Linguística

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 95-96 . Document électronique également accessible en format PDF. CaQCU

This thesis aims to map the life and artistic directions of Ludek Pesek, one of the founders of Space art (Cosmic realism). For us, Pesek is an unknown artist, because he lived and worked in Switzerland for over thirty years. Ludek Pesek (*1919, Czechoslovakia, 1999, Switzerland) was a significant painter, illustrator, writer and photographer. He graduated the Academy of Fine Arts in Prague and he was a member of the Association of Czech artists, from where he was expelled in 1971 along with other artists who after the Soviet intervention in 1968 remained outside the territory of Czechoslovakia. Firstly I am going to analyze paintings from the collections of South Bohemian Gallery and also from other galleries in the Czech Republic mainly Triptycha, Mars and others. Pesek's surreal compositions will then going to follow. In conclusion Im going to create the overall stylistic characterization of Pesek art, using the analysis of Czech art and his creations in exile. At the same time I will laid down the basis that will lead to the creation of a complete biography in the future, that which will cover all stages of Pesek's career.

Orientador: Regina Helena Pereira Johas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T14:23:39Z (GMT). No. of bitstreams: 1 Guideroli_IlmaCarlaZarotti_M.pdf: 37001017 bytes, checksum: c43b5a3b57dfe1e23b24169201dd8910 (MD5) Previous issue date: 2010 / Resumo: A pesquisa Entre Mapas, Entre Espaços: Itinerários Abertos consiste no mapeamento de minha produção plástica no período entre o início de 2008 e o início de 2010. É formada por quatro livros de artista intitulados Lugares Imaginários I, II, III e IV e Espaços Afluentes, composto por dezoito imagens digitais divididas entre as séries Rotas Imaginárias, São Paulo, Intersecções I, Paisagens Mapeadas, UnHorizont e Paisagem Oceânica. Ambos partilham o mesmo campo de investigações, composto de três eixos norteadores que sustentam pensamento e processo criativo. O primeiro destes eixos trata de TranSituAções, conceito que abrange as diferentes maneiras de conceber espaço e lugar, apresentado a partir da reflexão de autores que discutiram este tema. O segundo eixo estrutura a proposição Espaços Empilhados, tratados a partir da definição do virtual segundo Pierre Lévy e do conceito de remix cunhado por Lev Manovich e citado, por sua vez, por autores brasileiros que destrincharam o assunto, como André Lemos e Marcus Bastos. O terceiro e último eixo aborda a questão dos mapas, sendo que a primeira parte compreende uma breve história da cartografia com seu surgimento e características específicas; e a segunda parte consiste na investigação dos mapas deturpados, ou seja, como alguns escritores, artistas e cineastas fizeram uso dos mapas convencionais, tirando deles a função utilitária de localização em relação ao lugar físico. O corpo prático reflexivo aqui apresentado pretende situar meus trabalhos dentro de questionamentos pertinentes ao nosso tempo, e inserir tal pesquisa como resultado de uma investigação que não se encerra, mas continua infinitamente / Abstract: The research Among Maps, Among Spaces: Open Itineraries consists in mapping my artistic practice from the beginning of 2008 until the beginning of 2010. It is composed of four artist's books entitled Imaginary Places I, II, III, and IV, and Affluent Spaces, composed of eighteen digital images divided in the series Imaginary Routes, São Paulo, Intersections I, Mapped Landscapes, UnHorizont, and Oceanic Landscape. Both works share the same investigations, composed of three guiding axes that support thoughts and the creative process. The first axis approaches TranSituActions, a concept that comprises different ways of conceiving space and place, presented from the reflection of authors that investigate this theme. The second axis structures the proposition Heaped Spaces, treated from the definition of virtual according to Pierre Lévy and the concept of remix, coined by Lev Manovich and cited by Brazilian authors that explained the subject, like André Lemos e Marcus Bastos. The last axis approaches the question of maps: the first part comprehends a brief history of cartography with its appearance and specific characteristics and the second one consists of investigating the corrupted maps, that is, how some writers, artists and filmmakers used conventional maps, extracting from them the utilitarian function of localization in relation to a geographic place. The practical-reflexive body presented here intends to place my works inside relevant questions to our time, and introduce such research as a result of an investigation that does not close but continues infinitely / Mestrado / Artes / Mestre em Artes

Orientador: Arlete Moyses Rodrigues / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T23:47:08Z (GMT). No. of bitstreams: 1 Cortez_GlaucoRodrigues_D.pdf: 18086948 bytes, checksum: bff3ae01e477057d777314391da9d0c8 (MD5) Previous issue date: 2005 / Resumo: Este trabalho busca compreender o espaço mediador social,ou seja, um espaço de mediação que as sociedades possuem como uma forma de resolver conflitos e estabelecer consensos. Ele permite também o fluxo de idéias e bens materiais que tomam a vida em sociedade mais organizada, além de fazer com que os assuntos importantes sejam compartilhados ou, ao menos, conhecidos por todos / Abstract: This work tries to understand the space of the social mediationas a place where the societies decide conflicts and establish collective consensus. It also allows to have a flow of ideas and products that become the life in society more organized, besides to make that important subjects are shared or known for all / Doutorado / Doutor em Ciências Sociais

L’art et la science sont des voies parallèles de connaissance du monde, même si chacun utilise ses propres moyens. Ayant des approches différentes, les deux sont en quête de l’invisible, de ce qui se trouve au-delà de la première perception de la réalité, pour aboutir à la découverte de nouveaux phénomènes dans le réel. Les collaborations actuelles entre les artistes et les scientifiques m’ont conduite à la recherche de nouvelles approches de la réalité que ces projets communs puissent apporter à l’Humanité. En découvrant le domaine Art & Science, je me suis interrogée sur des démarches et des méthodes considérées depuis longtemps comme incompatibles, qui sont en train de converger en un langage commun se créant à la frontière de l’art et la science. Notre recherche se fonde sur plusieurs témoignages, comme des artistes, ainsi des scientifiques qui ont participé à des projets communs. A travers les différentes collaborations nous avons analysées, d’une part, les points de vue communs des artistes et des scientifiques, et d’autre part, les difficultés qu’ils ont dû surmonter pour aboutir au résultat voulu. Étant un domaine assez récent, Art & Science suscite beaucoup d’interrogations. Cette thèse se focalise sur l’essence et les buts des collaborations entre les artistes et les scientifiques afin de comprendre la spécificité des projets Art & Science et voir quel impact ces projets peuvent avoir sur la société. / Art and science are parallel ways to know the world, even if each one uses its own means. Having different approaches, these two ways are in search of the invisible, of what is beyond the first perception of reality, in order to discover new real phenomena. The current collaborations between artists and scientists have led me to investigate new approaches to reality, which these collaborative projects can bring to Humanity. Discovering the Art & Science field, I asked myself if the approaches and the methods that have been considered as incompatible for a long time are now converging into a common language being created at the frontier of art and science. Our research is based on several testimonials from artists and from scientists who participated in collaborative projects. Through the various collaborations, we analysed, on one hand, the shared viewpoints of artists and scientists, and, on the other hand, the difficulties they had to overcome to achieve the desired result. Art & Science being a recent field, many questions are raised. This thesis focuses on the essence and the aims of collaborations between artists and scientists in order to understand the specificity of Art & Science projects and to see how these projects may impact society.

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