Orientador: João Francisco Duarte Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:36:18Z (GMT). No. of bitstreams: 1 Vernalha_MariaInesRuas_M.pdf: 6781594 bytes, checksum: 35c0982d874461882a56eb3c5cabae3e (MD5) Previous issue date: 2005 / Resumo: Este trabalho trata do ensino/aprendizagem em arte através de uma prática pedagógica que engloba os campos da criação (produção), percepção (análise) e conhecimento (contextualização conceitual-histórico-cultural da produção artística da humanidade). Para tanto, enfatiza o período que compreende o final do século XIX e início do século XX, no qual as formas de espaço apresentadas pelos artistas traduzem estados psicológicos, emocionais, sociais e intelectuais. Na interatividade com a obra de arte, recorre ao método comparativo baseado no sistema Image Watching, de Robert William Ott e na proposta de leitura crítica da obra de arte, de Edmund Burke Feldman. A dissertação apresenta, também, relatos de experiências desenvolvidas com alunos do Ensino Fundamental e Médio. O objetivo da pesquisa é utilizar nas aulas o espaço da/na arte para mostrar diversas possibilidades de relacionamentos na construção de uma composição auxiliando no desenvolvimento da imaginação criadora e da percepção, e propor uma dinâmica que estimule os alunos a realizarem expressões com poética e conteúdo imaginativos particulares / Abstract: This dissertation deals with the teaching & learning process in arts by means of a pedagogical practice that includes the areas of creation (production), perception (analysis) and knowledge (conceptual, historical and cultural context of human artistic production). Thus for, it emphasizes the period at the end of the XIX century and the beginning of XX century, in which the forms of space presented by the artists express psychological, emotional, social and intellectual modes. Working on an interactive approach with the artistic production, the author used both a comparative method based on Robert William Ott's "Image Watching" system and Edmund Burke Feldman's "Art Piece Critic Appreciation" proposal. The dissertation also blends reports from case experiences developed with elementary and high school students. The objective of this research is to utilize the space in art, to show, in education several possibilities of relationships in building a composition, assisting in the development of creative imagination and perception, and also to propose a work dynamics that stimulates students to express themselves with specific poetic and imaginative contents / Mestrado / Mestre em Artes

In this piece, I have looked to use art in an attempt to explore a known phenomenon of the visual system: in this case, chromatic adaptation. The name delta in this sense has two meanings. The first is that of the mathematical symbol Δ used to represent change. This refers to not only the changing light in the art piece but the hopeful change in the viewer as they walk away questioning what it is they saw and what they see. The second refers to the landmass that occurs when a flowing body of water meets a still one, such as a river into an ocean. Through this process it has become evident that the knowledge gained is not as important as the questions asked; I now stand on the last bit of dry land before wading into the endless ocean of questions. The focus of this work has been on experience, perception, and presence. It has become clear that, while a viewer may not see change, they do feel that change. The question then becomes how do we become more attuned and adept at recognizing these feelings, what are the implications of doing so, and why does that even matter.

This exegesis forms part of an ongoing enquiry on the concept of time. Artist, Barnett Newman sought the ‘physical sensation of time’ in his painting. My research questions, through a program of creative work, whether a moment in time can be represented in a two dimensional art work; or if we only experience the sensation of time passing, as we are viewing it. A key issue within this creative practice-based approach, is to examine if empty visible space within an artwork ‘ignites’ a sense of time; if a visualisation of empty space can capture an event, an awareness of the immediacy of a moment experienced in the studio. / Master of Arts (Honours) in Fine Art

Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1995. / Includes bibliography.

Thesis (Ph.D.)--Flinders University, Dept. of Drama. / Typescript bound. Includes bibliographical references: (pp. 195-207) Also available online.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1987. / Document électronique également accessible en format PDF. CaQCU

Mémoire (M. A.)--Université du Québec à Chicoutimi, 1989. / Programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Résumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996. / Le titre de la cassette varie. CaQCU Document électronique également accessible en format PDF. CaQCU