The practice of displaying young children’s visual artwork in early childhood classrooms poses a number of questions about the child and his or her work. Following Giorgi’s approach to phenomenological research, this thesis focused on children’s lived experiences of art display. 13 children between the ages of 4 and 6 years attending an independent school outside metropolitan Detroit, Michigan (USA) disclosed their experiences of seeing their artwork on display. Dr Boone’s study revealed that, despite clear evidence of children’s strong views, decisions about the display of artwork continue to rest with adults.

A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

Submitted by EDISON EUGENIO DE MORAES JUNIOR null (edi_eug@hotmail.com) on 2016-08-26T02:45:56Z No. of bitstreams: 1 Dissertação - Edison Eugênio.pdf: 4592905 bytes, checksum: 2415f5226c5275b8c5b27ed038c9512d (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-29T19:16:51Z (GMT) No. of bitstreams: 1 eugenio_e_me_ia.pdf: 4592905 bytes, checksum: 2415f5226c5275b8c5b27ed038c9512d (MD5) / Made available in DSpace on 2016-08-29T19:16:51Z (GMT). No. of bitstreams: 1 eugenio_e_me_ia.pdf: 4592905 bytes, checksum: 2415f5226c5275b8c5b27ed038c9512d (MD5) Previous issue date: 2016-06-28 / A pesquisa aqui proposta apresenta uma reflexão teórico-crítica acerca da relação entre o espectador e a obra de arte. Situando-se na continuidade dos estudos anteriores, investe-se na experiência pessoal do autor em diálogo com os pensamentos de Marcel Duchamp e Luigi Pareyson. Partindo do pressuposto de que qualquer pessoa que se disponha a ler um trabalho artístico possa vir a ser uma coautora da obra, o estudo se desenvolve por meio de problematizações dos processos de criação no fazer artístico e dos processos de leitura e interpretação da obra de arte em sua recepção,buscando possíveis confluências que possam vir a iluminar a questão do espectador como um coautor do trabalho artístico e, nessa medida, como um espectador-artista. / The research proposed here presents a theorical and critical thinking about the relationship between the viewer and the artwork. Standing in the continuity of the previous studies, is invested in the personal experience of the author in dialogue with the thoughts of Marcel Duchamp and Luigi Pareyson. Through the assumption that anyone who is willing to read a work of art can become a work co-author, the study develops through problematizations of creative processes in art making and reading processes and interpretation of the work of art in its reception, seeking possible confluences that may illuminate the issue of the viewer as a co-author of the artwork, and this case, as a spectator-artist.

A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

A análise reflectiva sobre o universo das expressões humanas perpassa as questões culturais, étnicas e sociológicas que envolvem gênero, raça e classe. O trabalho artístico de Arthur Bispo do Rosario intriga e mobiliza questões para além dessas. A análise interpretativa da obra deve abranger, ainda, os aspectos estético-plásticos e psicológicos, que incidem fortemente no imaginário do artista. Abordar a pesquisa sob o ponto de vista da Moda, como trabalho em si, e seu sentido mais profundo, de atividade e expressão humanas e, ao mesmo tempo, articular conceitos de arte ressignificados e imbricados sob o prisma de um interno em uma instituição psiquiátrica, alienado do mundo, é a linha condutora deste trabalho. A presente pesquisa objetiva traçar um esboço que circunscreva essas questões, tomando como base uma bibliografia que abrange as artes, a sociologia, a filosofia e a moda. / The reflective analysis about the universe of human expression permeates cultural, ethnic, and sociological issues, involving gender, race and class. Arthur Bispo do Rosario artwork intrigues and mobilizes these questions beyond. The interpretative analysis of the work should cover the aesthetic-plastic, and psychological aspects, which focus heavily on the imagination of the artist. Aproaching the research from the point of view of fashion, as the work itself, and its deepest meaning, and expression of human activity, and, at the same time, articulating the concepts of art reframed and imbricated from the point of view of an inmate in a psychiatric institution, alienated from the world, is the initial step of this work. This research aims to trace an outline circumscribing these issues based on a bibliography covering the arts, sociology, philosophy and fashion.

The aim of this thesis is to analyze the impacts of the falsification of paintings on the art market and on individuals. Another aim of the thesis is to identify the risk factors of buying art works on the Czech market. The partial aim is to bring to readers a comprehensive view of the issue of the falsification of paintings on the domestic art market. The theoretical part is based on the literature that has not been published so far and maps the basic mechanisms of falsification of paintings. The practical part is based on interviews with experts, criminologists and collectors who have a personal experience of buying a forger. Based on the results of the interviews, the issues of falsification of painting works are answered, the most frequently falsified Czech artists are identified and the risk factors that lead to the purchase of counterfeit. Three artists demonstrate an analysis of expertise and forensic technique in determining the authenticity of the art work.

Quand Gaëtan Picon écrit en 1970 « toute œuvre est à la fois image, représentation, et présence d’une existence » dans Admirable tremblement du temps, il a probablement trouvé une définition convaincante de l’œuvre. Critique, philosophe, enseignant, Directeur général des Arts et des Lettres, penseur en dehors des écoles, il a toute sa vie été proche de la littérature et de la peinture. Par ses articles, ses essais, ses romans, par sa pratique de l’écriture et des œuvres, de l’écriture de l’œuvre, avec son esprit et ses sens, il a fait l’expérience de cette œuvre qu’il a aimée, cherchant son être et les propriétés de son événement. Car l’œuvre demande à celui qui la rencontre d’interroger sa forme, sa signification et son effet. Dans sa réception et son interprétation, dans ce que nous faisons d’elle, l’œuvre appelle l’écriture et interpelle la vie, l’être et la culture que le sujet, en retour, convoque. En quoi se trouve-t-elle alors liée à la conscience, au langage que nous maîtrisons et au monde que nous percevons ? En quoi est-elle issue de l’art, de l’existence et de l’histoire que l’artiste perçoit et existe et qu’elle représente ? Comment, plus simplement, existe-t-elle à la fois pour nous et en dehors de nous ? Ces questions étudiées par Gaëtan Picon supposent nécessairement d’envisager plusieurs perspectives. À partir de la lecture du sujet et de l’écrit, il faut interroger ensemble le langage, la représentation, le monde et la création. Dans l’ensemble de ses écrits, Gaëtan Picon a consciencieusement apporté une forme de réponse à l’expérience de l’œuvre à laquelle cette thèse s’engage à donner une lecture et une visibilité. / When Gaetan Picon wrote in 1970 « Every piece of art is simultaneously a picture, a depiction, and the presence of an existence » in Admirable tremblement du temps, he offered a convincing definition of the nature of a work of art. Critic of art and literature, philosopher, teacher, Director-General of Arts and Letters, and above all an independent thinker, he devoted his life to Art and Literature. Through his articles, essays and novels, his personal experience of writing and artwork, and his writings on art that were infused with his own particular sensibility, he created a new experience out of the beloved artwork, seeking to understand and explain it through personal identification. He considered that each artwork asks the observer to question its form and meaning, and the effect achieved. A work of art requires to be written about, and is a challenge to life, existence and culture in the way it is received and interpreted, in what we make of it. And in return the observer also seeks life, existence and culture. In what way is art related to conscience, to the language that we use, and to the world as we perceive it ? In what way are conscience, history and existence products of art ? In short, how can it exist for us and yet outside of us at the same time ? The questions that Gaetan Picon studied impose necessarily an exploration using multiples perspectives. We must examine at the same time language, performance, the world and creation from attentive reading of his writings. In all of them Gaetan Picon carefully brought new ideas to the experience of art. This present doctoral thesis will offer an interpretation and an acknowledgment of this experience.

The Diploma thesis deals with process art research. Theoretical part is primary focused on theory of Process art, its predecessors, origins and development; resulting in contemporary art, effect of Gallery space and Art market, and controversial positions of Process art. Further it deals with theory of the creation process, artwork's existence and by the process of artifact reception. Pedagogical part is focused on the theoretic base of process in arts education, Proposal and documentation of pedagogic project, based on theoretical work. Practical part - Own project - deals with practical resulting of theoretical part into own project and its defense.

The thesis deals with the concept of fear in space. Through a/r/tographic research, the author examines the concept and changes in its perception during the process of creating an artistic and pedagogical work. In the first part, the author documents theoretical and methodological framework of the research, designs the research proposal and defines terms related to it. In the second part, the author presents her own way of grasping the concept in the space and introduces the concepts that related with this topic. She researches the concept through the reflection of her own work, both artistic and then pedagogical. As part of her artistic work, the author acquaints the reader with the origin of the artwork and follow-up reflection, from which comes the creation of visual task. In the third part, she analyses the primary documents using three-phase coding and then creates concept maps from the obtained codes, which are used to visualize the display of research results. Interprets the data obtained from the research. In the fourth part, the author summarizes the results of research, answers research questions and evaluates the achievement of the research goal. From the results of the analysis of available documents and by comparing conceptual maps, she finds out whether the understanding of the...