Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2008Bitstream added on 2014-06-13T20:09:40Z : No. of bitstreams: 1 kobayashi_at_me_ia.pdf: 14767955 bytes, checksum: acfbf52c7c9ede58c727fbf11456a00f (MD5) / Universidade Estadual Paulista (UNESP) / A pesquisa que apresento, sob forma de Trabalho Equivalente, investiga os procedimentos artísticos envolvidos na produção de um portfólio, a partir a partir do estudo de alguns conjuntos de trabalhos plásticos produzidos ou orientados por mim. A primeira etapa do processo consistiu em analisar os dez anos iniciais de minha produção artística, partindo das primeiras composições, realizadas em 1996, e chegando ate as pinturas mais recentes executadas durante o primeiro ano de mestrado em 2006. Organizei os trabalhos mais significativos, cronologicamente, em quatro portfolios que traduzem os interesses, as necessidades e as expectativas de períodos específicos. O segundo momento da pesquisa foi dedicado ao relado de algumas das minhas experiências no ensino de arte, ocorridas nos anos de 2006 e 2007, através das quais tive a oportunidade de orientar a produção de uma série de visualidades. Como produto final dessa sistematização propus a elaboração de um novo portfólio que sintetiza o meu percurso como artista visual e como professora na área de Artes. As imagens presentes neste relatório circunstanciado não desempenham função ilustrativa; elas constituem o verdadeiro substrato desta reflexão comunicada, essencialmente, através da linguagem visual. / The research that I present, in a form of Equivalent Work, investigates the artistic procedures envolved in the production of a portfolio from the study of some plastic art work set produced of orientated by me. The first stage of the process consisted in analyse the first ten years of my artistic production starting from ghe first composition, realizead in 1996 and finishid until the most recent paitings executed durint the first year of the Visual Art Masters, in 2006. I organized the most significant works chronologically, in four portfolios that express the intersts, needs and expectationsa of specific periods. The second stage was dedicated the report of some art teaching experiences of mine, occured in the years of 2006 and 2007, through them I had the opportunity to orientate the production of visualitics. As the result of this system I propused an elaboration of a new portfolio that systhetizes my trajectory as a visual and as a teacher in the art area. The present imges in the written repor don't represent illustrative function; they compose the real abstracat of this communicated reflection essentiallly through the visual language.

Orientador: Pelódidas Cypriano de Oliveira / Banca: Maria Silvia Barros de Held / Banca: Issao Minami / Resumo: A pesquisa que apresento, sob forma de Trabalho Equivalente, investiga os procedimentos artísticos envolvidos na produção de um portfólio, a partir a partir do estudo de alguns conjuntos de trabalhos plásticos produzidos ou orientados por mim. A primeira etapa do processo consistiu em analisar os dez anos iniciais de minha produção artística, partindo das primeiras composições, realizadas em 1996, e chegando ate as pinturas mais recentes executadas durante o primeiro ano de mestrado em 2006. Organizei os trabalhos mais significativos, cronologicamente, em quatro portfolios que traduzem os interesses, as necessidades e as expectativas de períodos específicos. O segundo momento da pesquisa foi dedicado ao relado de algumas das minhas experiências no ensino de arte, ocorridas nos anos de 2006 e 2007, através das quais tive a oportunidade de orientar a produção de uma série de visualidades. Como produto final dessa sistematização propus a elaboração de um novo portfólio que sintetiza o meu percurso como artista visual e como professora na área de Artes. As imagens presentes neste relatório circunstanciado não desempenham função ilustrativa; elas constituem o verdadeiro substrato desta reflexão comunicada, essencialmente, através da linguagem visual. / Abstract: The research that I present, in a form of Equivalent Work, investigates the artistic procedures envolved in the production of a portfolio from the study of some plastic art work set produced of orientated by me. The first stage of the process consisted in analyse the first ten years of my artistic production starting from ghe first composition, realizead in 1996 and finishid until the most recent paitings executed durint the first year of the Visual Art Masters, in 2006. I organized the most significant works chronologically, in four portfolios that express the intersts, needs and expectationsa of specific periods. The second stage was dedicated the report of some art teaching experiences of mine, occured in the years of 2006 and 2007, through them I had the opportunity to orientate the production of visualitics. As the result of this system I propused an elaboration of a new portfolio that systhetizes my trajectory as a visual and as a teacher in the art area. The present imges in the written repor don't represent illustrative function; they compose the real abstracat of this communicated reflection essentiallly through the visual language. / Mestre

Artistic training from the point of view of a student is considered to be a solid process in which impacts of different educational institutions interflow. The research material and report on the educational process participants', teachers' of art block attitude toward artistic activity allows to define and evaluate organizing forms and methods of artistic training and a positive attitude on artistic activity stimulation opportunities.

For most of its history art has been mimetic in nature; not surprisingly, mimetic theories of art held sway for a long time. By the middle of the twentieth century art had departed so radically from the mimetic traditions that philosophers were forced to shift their focus away from functional theories (which typically drew on the formal features of artworks) to procedural ones (which are concerned with the imperceptible, relational properties external to the work of art). This breakthrough would eventually culminate in the Institutional Theory of Art, a perspective that provides the most exhaustive classificatory definition of art available, and which (despite the objections of its critics) remains the most persuasive theory of art on offer. The same logic that makes the Institutional Theory of Art a satisfying classificatory theory can be applied, in a similar manner, to questions about the source of the terms by which we evaluate works of art. In other words: the Institutional Theory is capable of serving not only as a powerful classificatory theory, but also as a highly effective evaluative theory of art. Moreover, if the Institutional Theory can be shown to provide a satisfying account of artistic value, it may also be equipped to deal with the related problems of subjectivism (i.e., that artistic judgments are a matter of personal taste) and cultural relativism (i.e., that artistic judgments are culturally specific). Presently, no theory of art can explain away these difficulties; accordingly, an institutional account of artistic value might offer – as does the Institutional Theory of Art itself – an explanatory framework capable of dealing with seemingly intractable problems of subjectivism and relativism in artistic judgment. / Graduate / 0422 / michaelabhainn@shaw.ca

For most of its history art has been mimetic in nature; not surprisingly, mimetic theories of art held sway for a long time. By the middle of the twentieth century art had departed so radically from the mimetic traditions that philosophers were forced to shift their focus away from functional theories (which typically drew on the formal features of artworks) to procedural ones (which are concerned with the imperceptible, relational properties external to the work of art). This breakthrough would eventually culminate in the Institutional Theory of Art, a perspective that provides the most exhaustive classificatory definition of art available, and which (despite the objections of its critics) remains the most persuasive theory of art on offer. The same logic that makes the Institutional Theory of Art a satisfying classificatory theory can be applied, in a similar manner, to questions about the source of the terms by which we evaluate works of art. In other words: the Institutional Theory is capable of serving not only as a powerful classificatory theory, but also as a highly effective evaluative theory of art. Moreover, if the Institutional Theory can be shown to provide a satisfying account of artistic value, it may also be equipped to deal with the related problems of subjectivism (i.e., that artistic judgments are a matter of personal taste) and cultural relativism (i.e., that artistic judgments are culturally specific). Presently, no theory of art can explain away these difficulties; accordingly, an institutional account of artistic value might offer – as does the Institutional Theory of Art itself – an explanatory framework capable of dealing with seemingly intractable problems of subjectivism and relativism in artistic judgment. / Graduate / 0422 / michaelabhainn@shaw.ca

Thesis (Ph. D.)--University of Melbourne, School of Fine Arts, Classics & Archaeology, and Cinema Studies, 1998. / Typescript (photocopy). Includes bibliographical references (leaves 389-436).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 40).

This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.

Réfléchir les images pour réfléchir le monde. Entre unité, éclats et nuances, Kumonekotabi est un travail de recherche fonctionnant à la fois sur des images et des écritures qui sont comme autant d’espaces où une figure photographique entretient une relation à la fois simple et pourtant liée avec le Japon. Construites sur des modalités comme le plié, l’encadré, le sériel, les images construisent une logique bricolée mais également performative qui expose le corps capté dans sa relation avec le Japon, ses rêves et ses ancrages. Le travail d’écriture est une analyse de ces mêmes images, mettant en évidence les histoires mais aussi les forces et les intertextes qui habitent leurs territoires.Ainsi, à la fois théoricienne, poète et plasticienne, Kumonekotabi est une thèse éventail, entremêlant expériences visuelles et écrites avec la culture japonaise. C’est une ouverture et une fermeture, une interface de créativité, un espace entre lenteur et vitesse, la maturation et la fulgurance. Un phénomène qui avec ces emmêlements nous donne finalement les outils pour comprendre la pertinence de cet archipel éphémère créé par les images et leur simultanéité.En cela, Kumonekotabi est un travail qui envisage avec des images et leurs interprétations une certaine idée de la limite et de l’écart, du contact et de la distance. Un travail d’ambiance pris dans ce dialogue entre l’art de la relation, la relation comme œuvre d’art pour aboutir à cette idée que réfléchir les images permet de comprendre une certaine partie de notre monde et vice-versa. / Think about the pictures to think about the world. Between unity, slivers and nuances, Kumonekotabi is a research work balanced between visual shapes and articulated theory, both working like spaces where the idea of a photographic figure is having a simple and yet established relationship with Japan.Based on visual specificities like folds, frames, series, the pictures are building an homemade logic but also a performative one that display the captured body in its relationship with Japan, its dreams and anchors. The writing part then is an analysis of those very pictures, putting together the stories but also the strenghts and the interexts living in their territories.Thus, at the same time theoritical, poetic and artistic, Kumonekotabi is a dissertation to be considered like a fan, intertwining visual and literary experiences with the Japanese culture. It’s an opening, a creative interface, a space between slowness and speed, maturation and outbreaks. A phenomenon that, with its intricacy, gives us tools to understand the relevance of this archipelago created by the pictures and their simultaneity.In short, Kumonekotabi is a dissertation to contemplate with pictures and their interpretations a certain idea of limits and contrasts, contacts and distances. An atmospheric work placed in this dialog between the art of relation, relationship as a work of art in order to get to this idea that thinking about pictures allows to understand a certain part of our world, and vice-versa.

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