Auras is a series of illustrations of Carlos Fuentes’s novella, Aura, a horror love story about memory, obsession, desire, corporeality and immortality. Defying narrative conventions, the story is told through second person. You are the protagonist, Felipe Montero, and are employed by a 109-year old widow to edit her husband's memoirs. Inside the pitchblack house, you fall in love with her beautiful and bizarre green-eyed niece, Aura. The gradual discovery of the true relationship between the young woman and her aunt propel the story to its extraordinary conclusion. The story seems to take place within the confines of the widow’s mind. The plot mimics the obsessive, hypnotic quality of nostalgia and memory. Much of my illustrative content and artistic process reflects a personal obsessive nostalgia I have for my grandmother and her life. It is her image, young and old, coupled with the complex and repetitive processes of printmaking, both traditional and current, that inform my illustration and personal interpretation of Aura. My thesis research conculs a series of artistic processes and theories behind image-making that relish the synthesis of new and old. I look at early horror illustration by Harry Clarke and Francesco Goya, and analyze images and practices in early digital graphic design and April Greiman, reappropriated inkjet and woodblock prints (Anselm Kiefer), and my own lasercut woodblock prints.

Paul Auster¡¦s The Invention of Solitude is not merely an autobiography, but an attempt to render such a genre to challenge writing itself by trying to write what is of no possibility to be written. In addition, Auster further adds elements of photography in The Invention of Solitude, which on the one hand enhance the genre itself (as an autobiography with photos attached as solid evidences to the written words), and on the other hand, by doing so, the author as a matter of fact deconstructs everything he has been trying to construct. By adding photographs and descriptions of the photographs very consciously, he actually, beyond the ostensible purpose of trying to lend credibility to the autobiographical work, tries to challenge the solidity of such work. Lots of researches have been done on Paul Auster, for whom has already recognized world-widely as an important contemporary American writer, most of them focus on his renowned New York Trilogy (1987),The Music of Chance (1990), or The Brooklyn Follys (2005), while little researches have been done to The Invention of Solitude¡V¡Voften referred to as a memoir of Auster. The book is structured with ¡§Portrait of an Invisible Man¡¨ and ¡§The Book of Memory;¡¨ the former is written right after the sudden death of the author¡¦s father Samuel Auster and the latter is Auster¡¦s own account on matters that later have become his re-occurrent themes throughout his works. I study the utilization of involving photographs in fictional autobiography by looking at the two photographs Paul Auster has reproduced in The Invention of Solitude. Namely, how photography and fiction put together to ¡§renew¡¨ each other (Louvel 31). In chapter one I discuss autobiography and photography, the intertextuality between photographs and texts, and the selection of the two photographs in The Invention of Solitude (including different arrangements of the two photographs in various editions). In chapter two, I mainly focus on Walter Benjamin and Roland Barthes¡¦ reading on photographs; I aim to conclude that each of them talks about one particular essence of photography respectively only with different terms¡V¡Vas aura and punctum¡V¡Vthe endeavor is to illustrate and attest to a certain and unique quality of human that can never be portrayed any how and by any means. Auster¡¦s usage of putting together the words and the photos is also a means to pursuit the same untraceable human quality; he testifies the unseen by presenting something to be seen. The Invention of Solitude requires reader to treat it with the way of reading photographs and pictures; a pictorial reading of words is of necessity in tackling the work, just as in Liliane Louvel¡¦s words, to treat ¡§the image as a means to study fiction through the lens of what I call the ¡¥pictorial third¡¦¡¨ (31). In chapter three, I delve into the anxiety and hunger for portrayal, linking which to the act of writing that functions as a healing process for the writer. I then concentrate on the text, demonstrating how this text itself can possibly be decoded with ways analyzing a picture. In its form and way of writing, the composition of The Invention of Solitude is just like the early procedure of long exposure in taking photographs, the distance and aura have both remained through the writing and the given photographs. In addition, the text is far more than simply combination of words, each word has been rendered as if an element of photography; that is, words can be read with multiple layers of meanings that are all linked with photographs. And I would explore this point through the reading of ¡§room¡¨ in the book. Besides, I¡¦ve involved Susan Sontag, Henri Van Lier, John Berger, Edward W. Said and Thierry de Duve in the three chapters, serving to converse with my argument. Chapter four includes the film Smoke as the subject, the film not only contains photographs as a heavy ingredient and one of the major themes; what¡¦s more, the sequence of weighting smoke also best serves as the footnote, penetrating Benjamin, Barthes and Auster.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-02-26T18:05:13Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de PAULO MARCONDES FERREIRA SOARES 2003.pdf: 2152621 bytes, checksum: 477bf4ca82ce935800f96c20c1b83097 (MD5) / Made available in DSpace on 2016-02-26T18:05:13Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de PAULO MARCONDES FERREIRA SOARES 2003.pdf: 2152621 bytes, checksum: 477bf4ca82ce935800f96c20c1b83097 (MD5) Previous issue date: 2003-02-28 / O presente trabalho procura discutir a pertinência do uso, para o estudo da arte contemporânea, de dois conceitos centrais de Walter Benjamin: o de aura artística e o de alegoria. O caminho percorrido aqui é o da aplicação desses conceitos na investigação da experiência estética de Hélio Oiticica, um dos principais inventores do experimento artístico no Brasil dos anos 1960. O tema em questão volta-se para a tentativa de investigação da tensão existente na formulação de um projeto de arte nacional a partir do interior mesmo dos conflitos e contradições presentes no âmbito das manifestações da arte contemporânea entre nós. Com efeito, nossa proposta de trabalho visa identificar em Hélio Oiticica o princípio de uma experiência estética que se apresenta como um projeto artístico dos anos 1960, orientado para a intervenção no ambiente cultural e sócio-político daquele cotidiano da sociedade brasileira. Isto no sentido de organização das “vivências” rumo a uma total destruição do que Benjamin (1980) chamou de “aura” artística. No sentido atribuído por Benjamin, da aura como relacionada à idéia de símbolo enquanto concepção universalizante e restauradora de obra de arte como valor de culto, no sentido consagrado pela história da arte e pelos românticos, em contraposição ao alegórico que, segundo pensa, expressa um nível distinto de “articulação entre a arte e a história, que não se adequa aos interesses das classes dominantes”. É no âmbito dessa configuração do alegórico que se vai procurar abordar, neste estudo, a obra de Hélio Oiticica. Trata-se de um trabalho que não pode ser apreendido exclusivamente em termos plásticos, mas, sobretudo, em termos de um processo que se manifesta a nível estético-político-ético. Ou seja, naquilo a que se considera como existindo sem divisões de teoria/prática. Em outras palavras, sua obra se expressa a partir do aguçamento das contradições fundamentais próprias ao universo cultural em cujo contexto se encontrava imerso. A esse projeto Oiticica denominava de antiarte, que é a compreensão e razão de ser do artista, que não se caracteriza aqui como criador para a contemplação, mas sim como um motivador para a criação – que só se completa no envolvimento ativo do “espectador” como “participador” no processo. A antiarte seria, assim, uma atividade criadora latente, motivada pelo artista, orientada para uma forma de necessidade coletiva. Por outro lado, não se tratava de atribuir ao espectador a função de criador, mas de possibilitar-lhe algum nível de “participação” em que “ache” o que realizar de modo criativo – onde mesmo o “nãoachar” se traduz como um tipo significativo de participação. É esse projeto o que leva Oiticica a uma definição de arte ambiental como reunião do indivisível de “todas as modalidades em posse do artista ao criar”: tanto aquelas familiares, quanto as resultantes da inventividade do artista ou a participação do espectador. / Having in mind the study of contemporary art, the present work tries to discuss the relevance of the use of Walter Benjamin´s two central concepts: the artistic zephyr and allegory. The method used here it is the application of these concepts in the investigation of Hélio Oiticica´s aesthetic experience, being himself one of the principal inventors of the artistic experiment in Brazil in the 1960`s. The subject studied here is an attempt to investigate the tension that exists in the formulation of a national art project from the heart of the conflicts and contradictions present in the context of the demonstrations of contemporary art in our country. Actually, our proposal of work aims to identify in Hélio Oiticica´s work the beginning of an aesthetic experience that presents itself as an artistic project of the 1960s, orientated for the intervention in the cultural and socio-political environment of Brazilian society daily life of that time. All this in the sense of organization of the "vivências" (experiences of life) that would lead to a total destruction of what Benjamin (1980) called artistic "zephyr". In the meaning attributed by Benjamin zephyr is related to the idea of symbol as a universalizing conception and restorer of the work of art as a worship, in the sense consecrated by the history of art and by the romantic ones, in opposition to allegory that, according to him, expresses a distinct level of “articulation between art and history, which is not adapted to the interests of the dominant classes”. It is in this context of allegory that it will be attempted to approach, in this study, Hélio Oiticica´s work. This work cannot be exclusively taken in plastic terms, but rather in terms of a process that shows an aesthetic ethical-political level. It means that of what one thinks as existing without theory / practice divisions. In other words, his work expresses itself from the emphasis of the basic contradictions proper to the cultural universe of the context it was immersed. Oiticica called this project anti-art, which is the meaning and the reason for living to the artist, who is not characterized here as a creator of something for contemplation, but as a motivator for the creation – that is only completed in the active involvement of the "spectator" as “ participant “ in the process. The anti-art would be this way a creative latent activity motivated by the artist, orientated for a form of collective necessity. On the other side, it does not the case of attributing to a spectator the creative function, but of making it possible a certain level of "participation" in which he/she "finds" what to carry out in creative way – where even the “ not finding ” is accepted as a significant type of participation. It is this project that leads Oiticica to a definition of environmental art as the meeting of the indivisible one of “all the kinds of possession of the artist while creating”: both those familiar as the ones resultant from the inventiveness of the artist as well as the participation of the spectator.

Orientador: Miriam Viviana Garate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T05:48:13Z (GMT). No. of bitstreams: 1 Cardoso_CamilaChaves_M.pdf: 1293948 bytes, checksum: a6914bc8f526dfd0babefe7b6d978426 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação objetiva analisar as imagens duplas e a voz narrativa em segunda pessoa do singular de Aura de Carlos Fuentes. Busca-se explicitar o modo como essa estratégia narrativa, ao ¿invocar¿ à instância de leitura, termina por provocar no leitor os mesmos efeitos presentes nas personagens: a duplicação. Contudo, primeiramente, apresenta-se o autor e a obra em questão, bem como os demais textos com os quais dialoga; posteriormente, faz-se um exame da constituição do tema do duplo nas personagens, e, por fim, relaciona-se esse tópico com a figura do leitor. Propõe-se, para ¿fechar¿ essa leitura, um paralelo entre a narração em segunda pessoa e o narrador em primeira pessoa, mais freqüente na literatura fantástica dos séculos XVIII e XIX / Abstract: This dissertation aims at analyzing the double images and the narrative voice in the second-person singular in the work Aura, by Carlos Fuentes. The main objective is to elicit how this narrative strategy, which appeals to the instance of reading, eventually provokes in the readers the same effects observed in the characters: that of duplication. To achieve this aim, the work firstly presents the author and the work cited, as well as other texts with which it establishes a dialogue. After that a study is made of the constitution of the theme of duplication in the characters and, finally, this topic is related to the reader. So as to ¿close¿ this reading, a parallel is established between the narrative voice in the second person and the narrative voice in the first-person, which is more common in fantastic literature written during the 18th and 19th centuries / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

Jag fick en fråga om hur relationen mellan mina olika målningar ser ut. För mig är det viktiga inte hur målningarna relaterar till varandra, utan hur de relaterar till oss som betraktare. Kan vi se dem som någon slags speglar? Eller tillstånd? Befinner vi oss där med dem? Eller står vi på utsidan och tittar in? Är vi närvarande på samma sätt? I denna essä vill jag närma mig mitt måleri genom att diskutera några olika aspekter som alla relaterar till mötet mellan betraktare och verk: blicken och dess maktrelationer, tidsrymder, målningens integritet och närvaro: hur verket sträcker sig utåt och inåt, de rum som skapas. Jag vill reflektera och ställa frågor, vilka jag, kanske, kan svara på genom måleriet.

Amongst its innumerable effects on society, the proliferation of digital media has transformed the institution of art, with new forms and channels of digital content delivery allowing unprecedented levels of reproducibility. This reproducibility has allowed artworks and artifacts to be copied, shared, and experienced in a multitude of new ways, often far beyond the original artist’s intentions or expectations.  Contemporary technologies such as advanced 3D object rendering, photogrammetry and Virtual Reality have established a new era of reproduction beyond simplistic image replication. This new era has not only revolutionised the artwork itself, but also the relationship between the viewers of art and the original piece, or the aura. The power of reproduction through digital media has even allowed the complete simulation of traditional spaces for art themselves, as seen in the growth of entirely digital museums and digital art galleries.  As an ever-increasing number of museums are joining the trend of digitising and releasing objects in their collections online, and with existing literature mainly focused on 2D image-based reproduction, but not the affordances brought by photogrammetry and 3D replication technology, this study will explore how the new possibilities inherent to these technologies challenge prior research on digital aura within art galleries.  By contributing to the body of Walter Benjamin scholarship, and building from previous research by Ding (2017), this thesis is centred around exploring a case study of a group of Swedish museums who have begun digitising artifacts in their collection through photogrammetry and freely releasing them to the public online.

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The importance of the aura, the metaphysical element that gives art, artifacts, and other objects of cultural heritage their authenticity, has been heavily contemplated ever since the publication of Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction." This thesis strives to add to this conversation and expand upon it by delving into the emergence of additive manufacturing, or what is more commonly known as 3D printing, and its relation to museums and other institutions that comprise the public humanities. This technology challenges the auratic properties of an exhibit by first digitizing it onto a computer by scanning it and then uploading this data to a 3D printer, which then proceeds to replicate the scanned exhibit down to incredibly fine details. For museums the possibility that 3D printed replicas, increasingly able to be indistinguishable from the original and capable of being produced in great numbers at ease, replacing their auratic exhibits is a very real possibility to consider. This thesis argues that some museums are responding by despatializing their exhibitions in order to uphold their auratic exhibits, while others are offsetting the potential loss by turning their exhibitions into tactile, multisensory experiences. Either option, which are not mutually exclusive, transforms the traditional museum. This thesis ultimately concludes that it's possible to reconcile the auratic exhibit with the 3D printed replica should these institutions properly adapt. Doing so will allow them to continue fulfilling their mission statements to preserve and promote the auratic exhibits well into the future. / Master of Arts

Ce mémoire en recherche création débute par un récit poétique rédigé par fragments et intitulé Ma mère est une porte. Ce texte met en abyme les ruines afin de démontrer leur lien de contiguïté avec l’absence, l’empreinte, la mémoire et la mort. D’ailleurs, leur aspect ruiniforme rappelle le fragment, ce qui permet d’appuyer l’esthétique formelle de l’œuvre. La deuxième partie intitulée Approche génétique : un monument à la mémoire des disparus emportés par le temps de l’écriture, propose une réflexion sur l’imaginaire des ruines en lien avec les archives littéraires et la mémoire. Divisé en trois sections, cet essai pose un regard inquiet sur l’avenir de l’objet d’étude de la critique génétique, soit le manuscrit moderne. Depuis l’avènement de l’informatique et du traitement de texte, que conserverons-nous de la mémoire scripturale et du processus d’écriture de l’écrivain de demain? / This M.A. Thesis combining research and creative writing is divided in two parts: a poetic narrative and an essay. Ma mère est une porte is structured in fragments and contains the mise en abyme of ruins in order to demonstrate that they closely relate to the ideas of absence, genetic footprint, memory and death. Ruins suggest fragments, thus the narrative’s esthetical form. The second part, Approche génétique : un monument à la mémoire des disparus emportés par le temps de l’écriture, is an essay reflecting on the metaphorical link between manuscript, ruins, archives and memory. Divided in three sections, it posits that new technology will cause modern manuscripts to disappear and the methodology behind genesis of text’s to evolve. Moreover, this will change how creative writing’s memory is preserved, hence affecting our cultural heritage.

[O]uvrir fermer / les portes, la première partie de ce mémoire, est un projet de poésie, divisé en cinq sections, qui allie le vers libre et la prose. Le sujet poétique essaie d'animer et de ranimer son "récit", son "histoire", entre autres par le rappel fragmentaire d'événements ou de lieux, la redite de paroles déjà échangées et, par l'adresse et l'apostrophe rétroactives. Derrière une énonciation piétinante, une tendance à la répétition, derrière une rythmique à la fois fuyante et brisée se trouve un questionnement: que dire et comment le dire? Que nommer et comment le nommer? Si le ton du projet est lyrique et intimiste, il veut aussi chercher à se positionner face aux variations existantes du lyrisme. La seconde partie, Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, est un essai qui s'intéresse aux rapports auratiques et mémoriels (G. Didi-Huberman) entre l'écriture et les objets d'art (six sculptures de la série Island de Martha Townsend) qui accompagnent le recueil Le saut de l'ange de la poète québécoise Denise Desautels. / [O]uvrir fermer / les portes, the first part of this M.A. Thesis is a poetic project, divided in five sections, that combine free verse and poetic prose. The poetic subject tries to animate and reanimate fragments of her "story" by recalling memories of events or places, by repeating past conversations or by retroactively addressing thoughts. Behind a repetitive voice and behind a rythm that is at once fast or broken, we can find a reflexion: what and how can we say? What and how can we name? While the project's tone is lyrical and intimist, ouvrir fermer / les portes tries to take position facing the multiple variations of lyrism. The second part, the essay Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, studies "auratic" and memorial (G. Didi-Huberman) connections between writing and the works of art (six sculptures of Island from artist Martha Townsend) that accompany the collection Le saut de l'ange by Quebec poet Denise Desautels.