Este ensaio objetiva refletir sobre minha série fotográfica Chiaroscuro, na qual trabalho constrastes entre luz e sombra e as consequentes representações de vazio e memória. Para tanto, elejo os teóricos da antropologia da imagem Jacques Rancière, Georges Didi-Huberman, Victor Stoichita e Hans Belting como meus interlocutores. Uma vez que um dos propósitos deste trabalho abrange observar possíveis inter-relações entre a série e alguns artistas contemporâneos, estabeleço reflexões acerca da produção fotográfica de Candida Höfer, Abelardo Morell e Hiroshi Sugimoto. O percurso em Chiaroscuro, bem como o estudo de elementos de composição da imagem, como o referente, o duplo, a luz e o tempo, auxiliaram-me a uma melhor compreensão do papel da fotografia em minha produção artística. Além disso, a representação da memória a partir do vazio, presente nas imagens da série, atesta a importância de se pensar a linguagem fotográfica em paralelo à pintura, à cultura, à mitologia e a outras linguagens que configuram a arte contemporânea. / This essay aims to reflect on my photographic series Chiaroscuro, in which I deal with contrasts between light and shadow and the consequent representation of emptiness and memory. For this purpose I elect the scholars from anthropology of the image Jacques Rancière, Georges Didi-Huberman, Victor Stoichita and Hans Belting as my interlocutors. As one of the purposes of this work covers to observe possible interrelations between my series and some contemporary artists, I establish reflections about the photography of Candida Höfer, Abelardo Morell and Hiroshi Sugimoto. The course in Chiaroscuro, and the study of elements of image composition, such as the referent, the double, the light and time, helped me to improve my understanding of photography role in my artistic production. In addition, the representation of memory out of emptiness, in this series of images shows the importance of thinking about the photographic language in parallel to painting, culture, mythology and other languages that shape contemporary art.

Este ensaio objetiva refletir sobre minha série fotográfica Chiaroscuro, na qual trabalho constrastes entre luz e sombra e as consequentes representações de vazio e memória. Para tanto, elejo os teóricos da antropologia da imagem Jacques Rancière, Georges Didi-Huberman, Victor Stoichita e Hans Belting como meus interlocutores. Uma vez que um dos propósitos deste trabalho abrange observar possíveis inter-relações entre a série e alguns artistas contemporâneos, estabeleço reflexões acerca da produção fotográfica de Candida Höfer, Abelardo Morell e Hiroshi Sugimoto. O percurso em Chiaroscuro, bem como o estudo de elementos de composição da imagem, como o referente, o duplo, a luz e o tempo, auxiliaram-me a uma melhor compreensão do papel da fotografia em minha produção artística. Além disso, a representação da memória a partir do vazio, presente nas imagens da série, atesta a importância de se pensar a linguagem fotográfica em paralelo à pintura, à cultura, à mitologia e a outras linguagens que configuram a arte contemporânea. / This essay aims to reflect on my photographic series Chiaroscuro, in which I deal with contrasts between light and shadow and the consequent representation of emptiness and memory. For this purpose I elect the scholars from anthropology of the image Jacques Rancière, Georges Didi-Huberman, Victor Stoichita and Hans Belting as my interlocutors. As one of the purposes of this work covers to observe possible interrelations between my series and some contemporary artists, I establish reflections about the photography of Candida Höfer, Abelardo Morell and Hiroshi Sugimoto. The course in Chiaroscuro, and the study of elements of image composition, such as the referent, the double, the light and time, helped me to improve my understanding of photography role in my artistic production. In addition, the representation of memory out of emptiness, in this series of images shows the importance of thinking about the photographic language in parallel to painting, culture, mythology and other languages that shape contemporary art.

O cinema e em decorrência disso a direção de fotografia, operam, em síntese, desenvolvendo imagens produzidas e projetadas em sequência, construídas a partir de desenvolvimentos conceituais e técnicos, particulares desse estilo de expressão artística. Essa dissertação se propõe a demonstrar como funcionam esses processos de desenvolvimentos conceituais e técnicos, através da análise de um dos elementos fundamentais na construção de uma imagem, a relação entre os signos gráficos claro e escuro, chiaroscuro. A direção de fotografia, área do cinema responsável pela cinematografia, fundamenta seu desenvolvimento criativo e artístico através da manipulação de todos elementos presentes na imagem. Esses elementos são essenciais para a compreensão e a relação estética do espectador com o filme. A manipulação desses elementos, entretanto, não é um recurso original da realização cinematográfica, é uma interpretação, por parte da cinematografia, de métodos e propostas estéticas que localizam suas gêneses nas artes visuais. Para analisar especificamente o fenômeno estético resultante da manipulação entre claro e escuro, esse estudo se ergue a partir do período do Renascimento e avança até o período Barroco, na Europa. Como objeto específico de estudo cinematográfico, para endossar o desenvolvimento realizado, destaca-se um exemplo de aplicação da cinematografia brasileira. Por meio do exercício de análise fílmica da obra Cabra Marcado Para Morrer, de Eduardo Coutinho, 1984, essa dissertação revelará a importância do elemento chiaroscuro na relação estética decorrente da conexão entre o filme e seus espectadores. / The cinema, and side by side with it, the cinematography, work up, in synthesis, images produced and projected in movement, which are, usually, made from conceptual and technical developments, particular from this type of artistic expression. This dissertation proposes to demonstrate how this process of conceptual and technical developments works, using the analysis of one fundamental element inside the creation of an image, the relation between light and shadow, chiaroscuro. Direction of photography, the area in cinema responsible for the cinematography, builds all the creative and artistic developments using image significations. These image significations, also called visual poetry, are essential to the comprehension and aesthetic relation between the spectator and the film. This work proposes to develop a way to construct this visual poetry, with the support of some of the most important cinema theory. The visual poetry, however, is not a resource originated in cinema. They are interpretations, from the cinematography, of resources and aesthetics propositions that begun mostly in visual arts. To specifically analyze the aesthetic phenomenon of visual poetry, which results from the manipulation of light and shadow, this dissertation uses the renaissance period. Based on important scholars from art history and theory, this work presents a brief study about the development of the manipulation through light and shadow, chiaroscuro, as a possible resource in the creation process of an image. As a study object, a demonstration will be elaborated of the use of this resource in the Brazilian Cinema Novo period, through the exercise of film analysis of the film Twenty Years Later, in order to demonstrate the importance of this element in the aesthetics created from the relation of the film and his spectators.

Vowel equalization is a technique that can be used by singers to achieve a more balanced vocal tone. The technique balances corresponding front and back vowels, which share approximate tongue heights, and also balances high and low vowels in a more neutral or centralized lingual posture. Formants are resonance peaks that define each specific vowel. This study measured shifts in the first and second formants (F1 and F2) of the vowels /e, i, ɑ, o, u/ following training in vowel equalization. Prior to the training, the vowel formants were measured in amateur 15 college-aged singers. They sang the first two stanzas of “Somewhere Over the Rainbow” and then sustained each vowel for approximately 2 seconds. Following a 15-minute instruction in the vowel equalization technique, the singers repeated the exercises and the formants were re-measured. Shifts in F1 and F2 represent changes in lingual placement within the oral cavity. Vowel equalization pulls the lingual posture of a particular vowel to a more neutral or central position. While singing, a neutral placement is perceived as a pleasing balance between bright and dark tones. This study showed that following training the singers' formant values changed in a manner reflective of a more central tongue posture. These findings support the suggestion that the vowel equalization technique does indeed alter the articulation of sung vowels, shifting the formants to produce the desired chiaroscuro or balance between bright and dark sounds.

<p>I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.</p>

Thesis (MA(Fine Arts))--University of Pretoria, 2006. / Includes bibliographical references. Available on the Internet via the World Wide Web.

I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.

Personal preference to darkmospheres , light corners &amp; generally high contrasted views and spaces, as well as a curiosity of investigating other opinions &amp; responses, were the driving force for conducting this survey. Regarding my subjective perception and since, after all,  the matter of taste and subjectivity is quite strong in this kind of investigations, I’ve always found solace in environments that were staged with different segments of light and darkness; whenever I was in a room, I would immediately turn off the general lighting and turn on different and multiple other light sources, trying to combine atmospheres and, of course, keep some intact dark corners. And that was always a matter of arguing between myself and most of my acquaintances. Also, as an art lover, the absolute drawing technique of contrast, chiaroscuro, is also my favorite one. These characteristics of sharp shadows-strong contrasts and the theatrical, spotlight effect, can dramatically provoke feelings, but of which kind? What  is  the general perception and emotional response to high  contrasted environments &amp; views? My belief, despite my personal taste, is that the effect of high contrast lighting environments is mainly associated with feelings that have a negative aesthetic tone, and thus, this significant design value is not used as much; Based on these assumptions, the purpose of this research is to investigate whether perceptions of contrasts in the lighting design of space are related to subjective preference ratings deriving from negative or uneasy feelings. A mixed approach of qualitative and quantitative findings, combining background research along with a survey was held, and, in general, it demonstrates a distinct correlation between levels of contrast as stimuli and feelings aroused. Although contrast does play a significant role in arousing strong feelings, by increasing and stimulating our perception, albeit we are probably negatively attracted to it. Given images of high contrasted –in terms of lighting quality- environments were associated mostly with feelings of anxiety and tension by the participants of the survey; thus, a  balance between coherence and valence factors and complexity/arousal feelings is a prerequisite, in order to positively approve a new environment. Contrast as a design value, is characterized by contrasting feelings and, that is its most powerful value;  it's an influential design tool and the essential force within the articulation of both style and communication. It, therefore, deserves a wider use and appreciation.

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Le « clair-obscur », tirant son origine du terme italien « chiaroscuro », est considéré comme l’un des plus importants éléments dans l’art et la littérature. En examinant dans les tableaux la lumière et les ombres, deux composants opposés, les peintres ainsi que les critiques d’art du XVIIe et du XVIIIe siècles font preuve d’un grand enthousiasme de dévoiler leurs secrets. L’instauration de l’Académie, le grand débat sur le colorisme et la naissance de la critique d’art en France sont des occasions particulières pour approfondir leurs études du clair-obscur.Parmi les critiques d’art du XVIIIe siècle, c’est Diderot qui souligne les effets du clair-obscur dans ses Salons. Par rapport à d’autres salonniers contemporains, seul Diderot philosophe-écrivain expose ses propres idées esthétiques concernant le clair-obscur et transmet ses effets poétiques aux lecteurs, en suscitant de fortes « émotions ». Cette originalité littéraire des Salons contribue donc à l’évolution de la critique d’art des siècles suivants. / The « clair-obscur », from the Italian term « chiaroscuro », is considered one of the most important elements in art and literature. By examining the two opposing components of light and shadow in paintings, the painters and art critics in the seventeenth and eighteenth centuries show great enthusiasm about revealing their secrets. The establishment of “Academy”, the great discussion on coloration and the birth of art criticism in France are special opportunities for further study of chiaroscuro.Among the art critics of the eighteenth century, it is Diderot who emphasizes the effects of chiaroscuro in his Salons. Compared with other contemporary « salonniers », only Diderot as a philosopher and writer, exposes his own aesthetic ideas regarding chiaroscuro and passes on the poetic effects of this to his readers, arousing strong « emotions ». This literary originality of the Salons contributes thus to the development of art criticism in the following centuries.