[pt] Capas de disco: modos de ler busca chaves de leitura para compreender a relação entre a música e a cultura visual no século XX e início do XXI. Ao deslocar o objeto de uma discoteca, seu espaço tradicional de fruição musical, e trazê-lo para o campo dos estudos culturais, uma infinidade de leituras se apresenta. As capas são uma forma de arte muito particular, analisá-las é fundamental para entender as diversas formas em que seus mecanismos operam. A música é, por sua vez, um instrumento importantíssimo para entender a cultura visual de forma mais ampla. Este trabalho se vale de ferramentas do campo da história da arte e de outros dispositivos analíticos interdisciplinares para explorar as imagens e sua potência. O argumento central da tese defende a ideia de que as capas contribuem para a construção de um sentido musical, enriquecendo o processo estético do fruidor. Os anos 1950 foram essenciais para firmar a capa como elemento primordial para o disco. Foi também a partir dos anos 1950 que artistas plásticos e fotógrafos penetraram no mercado das gravadoras, vendendo seus talentos e experimentando concepções visuais inovadoras em capas. Ou seja: a criatividade de alguns capistas abriu novos caminhos e permitiu explorar novas concepções para as artes de LP. Procura-se, assim, mostrar que as capas foram locus privilegiado e fértil de expressão para diversos fotógrafos e artistas plásticos consagrados se expressarem em escala industrial. Esta tese busca entender a capa para além da simples ilustração e compreendê-la não só como invólucro ou objeto de design, mas principalmente como objeto artístico, tão importante quanto o conteúdo. Estão em foco neste trabalho principalmente dois aspectos que se complementam. Por um lado, analisa-se a capa de disco como campo de experimentação artística, ou seja, um suporte de trabalho para inúmeros artistas plásticos e fotógrafos. Por outro, que não deixa de complementar esse mesmo campo, reflete-se sobre a capa como suporte para o retrato do sujeito, no sentido restrito de portrait, que subentende tecer laços com o gênero pictórico secular. / [en] Album covers: ways of reading them aims to search for keys to interpret the relation between music and visual culture in the XXth century and the beginning of the XXIst. By displacing the object from a discotheque, its usual space of musical fruition, and bringing it to the cultural studies field, an infinity of possibilities come up. Covers are a very particular art form, analyzing them is central to understand the different forms in which their mechanisms operate. Music on the other hand, is a very important instrument to apprehend visual culture in a broader way. This work uses tools from the art history field and other interdisciplinary analytic devices to explore images and their strength. The central argument of this thesis asserts that album covers contribute to the construction of a musical meaning by enriching the esthetic process of the listener. The 1950s were essential to establish the album cover as primary element for the record. It was also in the 50s that visual artists and photographers penetrated the record company markets selling their talents and experimenting innovative visual layouts. In other words: the creativity of some cover artists opened new paths and enabled new conceptions for the album cover artwork. This work seeks to show that album covers were a notorious and fertile place of expression for photographers and visual artists to express themselves in a large scale. This thesis aims to understand the album cover beyond a simple illustration, and to grasp it not just as a packaging or design piece, but mainly as an artistic object, as important as the content itself. This work focuses on two aspects that complement themselves. On one hand, we analyze the record cover as a field of artistic experimentation, that is, a support for many visual artists and photographers to work on. On the other hand, that complements this same field, a reflection is made on the cover as a support for the portrait of the subject, in the restrict sense of the portrait, that aims to establish ties with the secular pictorial genre.

Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva Gouveia / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:52:01Z (GMT). No. of bitstreams: 1 Rezende_AndreNovaesde_D.pdf: 133268389 bytes, checksum: e0ce46145e8906cad7a46c671ea5c52e (MD5) Previous issue date: 2012 / Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos / Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed / Doutorado / Artes Visuais / Doutor em Artes

The diploma thesis The Photo Album and Syntagm in the Web 2.0 Environment deals with problems of digital photographic collections shared in the web 2.0 environment. The thesis tries to express the basic principles of online photo albums referring to their characteristics, social function, method of arrangement and classification of individual photos. The aim is to verify the assumption that the photo album in the web 2.0 environment loses its narrative function and becomes a set of photos as modular fragments, whose sequence is made to be easily rearrangeable. The thesis is outlined in an interdisciplinary method, in examining of web photo albums it combines knowledge from studies of new media, sociology, philosophy and semiotics. The diploma thesis verifies validity of new medial theories of Lev Manovich in the environment of web digital photo albums and continues in his analyses of behaviour of users of the Instagram social network. As a part of the thesis there is also the own quantitative research, which with its form approximates to the sociological study of Pierre Bourdieu in 60s of the 20th century, devoted to social use of photography. On the basis of the above mentioned theoretical knowledge and his own research we determine what changes of organization and social function of photo albums...

El término teatralidad es una de las palabras más utilizadas dentro del mundo espectáculo. Sin embargo, existe cierta confusión o ambigüedad a la hora de separar la utilización de este recurso dentro de distintas ramas artísticas. Así pues, si no es bien generalizado, es desatendido por el común artista musical; como consecuencia se ha desestimado el impacto que se puede ocasionar en el espectador, a partir de la mera corporalidad de los participantes de una puesta en escena. Por estos motivos, se ha contenido dentro del presente documento el uso y la transformación de este recurso dentro de la segunda mitad del siglo XX, de manera que se ha investigado la adopción de esta técnica por múltiples artistas a lo largo de las décadas; con el fin de poder esclarecer términos afines y dar a conocer uno de los avances artísticos musicales más elaborados dentro de nuestra coetaneidad. La teatralidad en la música es el resultado de una visión literaria dentro de la misma, por la cual se expanden los modos de composición, producción y ejecución. Así pues, esta viene a ser la introducción de nuevas formas en la lírica y en la narrativa. Se plasman personajes ficticios en la búsqueda de representar dramáticamente un nuevo espectáculo musical; el sonido, el material visual del escenario y la performance de sus componentes físicos son ahora herramientas en pos de consolidar un nuevo conjunto visual y sonoro, compartido entre artista y espectador. / The term theatricality is one of the most used words in show business. However, there is some confusion or ambiguity when it comes to separating the use of this resource within different artistic branches. Thus, if it is not well generalized, it is neglected by the common musical artist; as a consequence, the impact that can be caused on the viewer, from the mere corporality of the participants of a staging, has been dismissed. For these reasons, the use and transformation of this resource within the second half of the twentieth century has been contained in this document, so that the adoption of this technique by multiple artists over the decades has been investigated; in order to clarify related terms and publicize one of the most elaborate musical artistic advances within our contemporary age. Theatricality in music is the result of a literary vision, through which the modes of composition, production and execution are expanded. Thus, this comes to be the introduction of new forms in the lyric and in the narrative. Fictional characters are depicted in the quest to dramatically represent a new musical show; the sound, the visual material of the stage and the performance of its physical components are now tools in order to consolidate a new visual and sound set, shared between artist and spectator. / Trabajo de investigación

Denna uppsats behandlade material i form av fotografier och fotoalbum från tidsperioden 1850 – tidig 1900-talet. Tre fotoalbum valdes ut och jämförelsestudier utfördes på handplockade fotografier.Frågeställningar som utöver skulle besvaras var följande: • Hur har fotografen vald att avbilda personer och kan man utgöra mönster eller skillnader i avbildningen mellan kvinnor/män? • Ger fotografierna några konkreta ledtrådar för att kunna tidsbestämma dessa?• Kan man se en tydlig hierarki i hur fotografierna är placerade i fotoalbum tre? I undersökningen kom fram att fotografen hade flera olika rekvisita till hjälp, för det mesta stolar, böcker och olika bakgrunder när personer fotograferades. Undersökningen gav dock inget svar på om kunderna kunde välja mellan olika rekvisita eller om fotografen valde ut dessa. Vidare hände det väldigt sällan att fotografen dirigerade kundens blick direkt in i kameran, i de flesta fotografier syns kundens blick vara riktad mot vänster om kamerans lens, även överkroppen är bortvänd från kameran. I vissa fotografier syntes männen fortfarande iklädda sina ytterkläder medan kvinnorna avbildades utan ytterkläder på. Ett förförande som var traditionellt förankrad i visitkortsfotografier under denna period.Tidsbestämningen av fotografierna gjordes dels med hjälp av fotografregistret där fotografernas verksamhetstid är nedskriven och med hjälp av en manual från Skelleftebygden. Ett släktträd upprättades som hjälpmedel till frågeställningen om möjliga hierarkier fanns i fotoalbum nummer 3.Uppsatsens diskussionsdel belyste också hur fotoalbum 3 som hade mest metadata knuten till sig troligen användes av ägaren. Det visade sig att det fanns ett slags hierarki i placeringen av fotografierna i albumet som undersöktes med hänsyn till en engelsk publikation av James Granger och iakttagelser av den svenska forskaren Anna Dahlgren. En tydlig ordning där första bilden är av ägarens föräldrar följd av fotografier föreställande ägarens farmor och mormor. Efter detta presenterades först faderns sida och sedan moderns sida. Albumet avslutades med en serie av fotografier av ett så kallad ”gubbkräk” som fick trots sin höga ställning inom militären placeringen längs bak i albumet där i annan forskning brottslingar eller personer med missväxt placerades. Utöver detta verkade fotoalbum nummer 3 ha används i sammanhang med privata sammankomster såsom släktmiddagar. Förhoppningen med upptäckten att det kan finnas en hierarki i dessa fotoalbum är att flera arkivinstitutioner ändrar sitt arbetssätt i hur man tar emot och förvarar fotoalbum i framtiden.

La réalisation de ce projet a été rendue possible grâce à une bourse d’études supérieures du Canada du Conseil de recherche en sciences humaines (CRSH). / Dans ce mémoire, nous proposons une étude de la réception des albums publiés en Colombie ou par des auteurs et illustrateurs colombiens dans la période allant de 2000 à 2013. À partir de la définition de l'album qui va s'exposer, nous comprenons qu'il s'agit d'un objet culturel qui est conçu et fabriqué, qui soutient et est impliqué dans le récit et qui est partagé pendant la lecture. En ce sens, nous allons considérer non seulement les dynamiques qui le définissent, mais nous allons aussi le lier à une conception de l'enfant, de la lecture et du livre auxquels ce type d'expression artistique semble répondre. C'est à dire, à une vision esthétique du livre pour les enfants, à la lecture comme une fin en elle-même et à l'enfant lecteur comme un récepteur actif. Pour ce faire, nous allons nous servir de la notion de communautés interprétatives proposée par Stanley Fish pour inclure dans l'analyse le contexte de la médiation esthétique de lecture en Colombie comme le cadre définissant les stratégies interprétatives qui dirigent la construction du sens dans les expériences de lecture de notre corpus. / In this thesis we propose a study of reception of picturebooks published in Colombia or by Colombian authors and illustrators during the period from 2000 to 2013. From the definition of the picturebook that we will expose, we understand picturebooks as a cultural object that is designed and manufactured, which supports and is involved in the story and that is shared while reading. In this sense, we will not only consider its dynamic narratives but it will also be linked to the concept of the child, to the act of reading and the book to which this kind of artistic expression seems to respond; that is, an aesthetic vision of the children's book, the act of reading as a goal itself and the reader child as an active receptor. To do this, we will use the notion of interpretive communities proposed by Stanley Fish in order to include in the analysis the context of aesthetic reading mediation in Colombia as the framework defining the interpretive strategies that direct the construction of meaning in the experiences of reading of our corpus. / En esta tesina nos proponemos hacer un estudio de recepción de los libros-álbum publicados en Colombia o por autores e ilustradores colombianos en el periodo de 2000 a 2013. A partir de la definición del libro-álbum que expondremos, entendemos que estamos abordando un objeto cultural que se diseña y se fabrica, que soporta y se involucra en la narración y que se comparte al ser leído. En este sentido, no solo tendremos en cuenta las dinámicas narrativas que lo definen sino que lo ligaremos con una concepción del niño, de la lectura y del libro a la que este tipo de expresión artística parece responder; a saber, a una visión estética del libro infantil, de la lectura como fin en sí misma y del niño lector como receptor activo. Para ello, nos valdremos de la noción de comunidades interpretativas propuesta por Stanley Fish en miras a incluir en el análisis el contexto de la mediación estética de lectura en Colombia como el marco que define las estrategias interpretativas que dirigen la construcción de sentido durante las experiencias de lectura de nuestro corpus.

Zwei Beispiele dafür, wie das Klavierstück Erinnerung Robert Schumanns im Musikunterricht allgemeinbildender Schule vorkommt, werden zur Darstellung gebracht und in einer musikdidaktischen und verstehenstheoretischen Kontextualisierung mit den Bezugspunkten Gegenstand und Subjekt als komplementär-gegensätzliche Ausgangspunkte diskutiert. Im Interesse einer Lösung der als problematisch angesehenen ›Das-Eine-oder-das-Andere‹-Dichotomie wird ein Ausblick auf eine anders angelegte, eine dezidiert konstruktivistische inspirierte Perspektive hinzugefügt. / Two examples will be examined of how the keyboard piece Erinnerung by Robert Schumann appears in the music lessons in a general education school. They will also be discussed in the context of music didactics and conceptualization-theory with object and subject as both complementary and contrasting reference points. With the goal of resolving the problematic “one or the other” dichotomy, emphasis will be placed on differently designed, constructivism-inspired perspective.

No description available.

Im Verlauf der Untersuchungen von Agrostemma githago L. var. githago, eines bekannten giftigen Vertreters der Caryophyllaceae, verwendeten wir neben Agrostemmasaponin das Saponinum album aus Gypsophila paniculata L., ebenfalls mit Gypsogenin (3b-Hydroxy-Olean-12-en-23-al-28-Säure) als Aglykon. Eine Kombination dieser Saponinderivate (3 µg/ml) mit einer Formylfunktion an Position C4 des Aglykons in Kombination mit RIPs und anderen natürlichen Toxinen zeigte eine kooperative Toxizität an ECV 304-Zellen. Ribosomen-inaktivierende Proteine (RIPs; EC Nr. 3.2.2.22) sind eine heterogene Familie von strukturell und evolutionsbedingt ähnlichen Proteinen mit einer katalytischen Domäne, die einen spezifischen Adeninrest enzymatisch von einer definierten Position der rRNA prokaryotischer und eukaryotischer Ribosomen zu entfernen vermag. Die kombinierte Verabreichung von subtoxischen Konzentrationen eines RIP-Typ 1 und des Saponins zeigte in dieser Studie einen spezifischen und zum ersten Mal größeren zytotoxischen Effekt auf Tumorzellen im Vergleich mit natürlichem Diphtheriatoxin. Es wird ein analoger, synergistischer Wirkungsmechanismus zwischen der durch Gypsophilasaponin induzierten Toxizität von Agrostin aus Agrostemma githago L. und von Saporin aus Saponaria officinalis L. bzw. dem rekombinant hergestellten his-Saporin diskutiert. Offensichtlich nutzen diese aus den Samen der Caryophyllaceae isolierten Proteine einen ähnlichen Weg, um die Zellmembran zu passieren, was auf den Abwehrmechanismus dieser Pflanzen gegen pathogene Organismen schließen lässt. / In the course of our investigation of Agrostemma githago L. var. githago, a well-known toxic member of the Caryophyllaceae family, we tested Saponinum album from Gypsophila paniculata L., both saponins with gypsogenin (3b-hydroxy-olean-12-en-23-al-28-oic acid) as aglycone. A combination of these particular saponin derivatives with a formyl function in triterpene position 4 (3 µg/ml) together with RIPs and other natural toxins revealed a co-operative toxicity against ECV 304-cells. Ribosome-inactivating proteins (RIPs; EC No. 3.2.2.22) are a heterogeneous family of structurally and evolutionary related plant proteins. They share a common functional domain capable of catalytically removing a specific adenine residue from a highly conserved, surface-exposed stem-loop structure in the large rRNA of prokaryotic and eukaryotic ribosomes. The combined administration of individually non-toxic concentrations of a RIP type 1 and a saponin presented in this study leads to a potent and for the first time greater specifically cytotoxic effect on tumor cells in comparison with natural diphtheria toxin. An analogy could be drawn between the observed induction of RIP-toxicity of Agrostin and of Saporin/ genetically engineered his-Saporin from Saponaria officinalis L. in combination with Gypsophilasaponin. Obviously these proteins, both obtained from the seeds of Caryophyllaceae species, use a similar mechanism to penetrate through the cell membrane in vitro suggesting a similar defence mechanism of these plants against pathogenic organisms.

Le territoire de l’album de jeunesse contemporain, multiforme, inventif paraît fluctuant. Partagé entre l’image et le texte, il se présente comme une forme hybride aux frontières mouvantes entre livre illustré, album de bande dessinée, roman graphique. Notre corpus volontairement restreint concerne, parmi l’album de langue française tel qu’il se développe de 1945 à nos jours, une sélection significative d’œuvres d’auteurs illustrateurs. Il nous permet d’interroger les influences qui ont façonné son visage d’aujourd’hui : statut de l’enfant dans la société, impact de la technologie, des impératifs commerciaux, des grands courants artistiques. A partir de l’analyse des rapports entre l’image et le texte, il nous conduit à questionner la place de l’album dans l’environnement iconotextuel. Est-il possible de dégager sa singularité et de nous poser la question du genre ? Après avoir repéré aux sources de l’album la rencontre mouvementée de l’image et des mots de la Renaissance au XIXe siècle, nous analysons l’émergence de l’album contemporain, sa séparation avec l’album de bande dessinée entre 1900 et 1939. Nous voyons dans le rapport très particulier qui s’installe entre le support du livre et le fonctionnement de l’iconotexte, la constitution d’un genre de l’entre-deux. / The domain of contemporary picture books for children, in their multiple forms, is inventive and without formalized borders. It is shared between image and text, and presented as a hybrid form at with movable frontiers between illustrated books, picture books, comic books, and graphic novels. Our references are deliberately restrained to concern French language picture books and their development from 1945 to today, with a significant selection of works from author-illustrators. This makes visible the influences that have shaped today’s position: the status of the child in society, impact of technology, commercial needs, and major artistic trends. The analysis of the relationship between image and text takes us to question the place of the album in the iconotextuel environment. Is it possible to separate its singularity and for us to ask questions of the genre? After tracing the sources of picture books with the meeting dynamic of images and words from the Renaissance to the XXIst century, we analyze the emergence of the contemporary picture book, and its separation from comic books between 1900 and 1939. We can see that the very particular relationship that has developed between the physical book and the functioning of the iconotext, has led to the creation of a type between the two.