This graduate report is a description of my artistic development through the graduate program at the University of Texas at Austin. It records my development and growth as an artist in relationship to the concepts, materials, and processes I have been investigating and exploring in the past three years. The graduate report focuses on three important concerns to which I’ve been dedicated. First, materials are imperative to my work. I physically collect and use my father’s ordinary objects and transform them with raw materials, such as clay, flour, honey, chocolate, beeswax, and petroleum jelly. The decision of choosing raw materials is based on my personal and cultural experiences. I am particularly interested in exploiting raw materials because I believe these raw materials can trigger a particular memory, place, or relationship that I want to preserve and remember. Second, my process of making involves ritualistic aspects with repetitive acts. I believe that everyday practices are a way of reconstructing relationships and remembering home. I am interested in embracing emotional attributes that may be simple activities: spraying a piece daily to keep it wet or sewing a personal object until it is impossible to sew. Finally, through the relationship among the objects, repeated actions, and an anticipation that evokes magical power and charged energy, I methodically transform objects. I do this to celebrate emotions and to preserve not only these personal objects but also my memories of home. / text

Orientador: Esdras Rodrigues Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T08:00:47Z (GMT). No. of bitstreams: 1 Santos_LuisOtavio_D.pdf: 1566867 bytes, checksum: d0bf2b9092ba4f51e7eaf93e12e12ceb (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa teve por finalidade estabelecer uma discussão sobre o ensino das práticas interpretativas da música histórica nas escolas de música profissionalizantes atuais. Para tal contextualização, foi realizado um panorama da pedagogia musical em determinadas épocas específicas. Para o propósito do trabalho, foram enfocados a antiga tradição de ensino dos artesãos - relação mestre e aprendiz - e o sistema institucionalizado de ensino de música, como continuação do modelo estabelecido pelo Conservatoire de Paris. O estudo propõe uma leitura contextualizada dos documentos didáticos disponíveis desses dois universos pedagógicos, tendo como exemplo os tratados e métodos de violino. O movimento de resgate da música antiga, ocorrido durante o século XX, é analisado aqui dentro do contexto pedagógico: a sua inserção no sistema educacional de música. A partir desse enfoque, o estudo chama a atenção para o paradoxo do pensamento artesanal dos procedimentos didáticos do ancien régime dentro do contexto metodizado da formação musical da era Conservatoire. Através de um panorama do atual ensino da música antiga oficializada nas escolas, desde suas origens, com especial enfoque no testemunho do pioneiro do movimento Sigiswald Kuijken, o estudo coloca em evidência o paradoxo da didática histórica não linear e artesanal dentro do sistema metodizado moderno como uma possível diretriz pedagógica oficial para o futuro do ensino musical - uma era mais consciente do seu papel de sucessora do canonicismo artístico e pedagógico dos ideais oitocentistas / Abstract: This research intended to provoke a discussion about the teaching of early music practice as part of the system of today's advanced music schools. For that, a panorama of music pedagogy in different epochs was made. As part of the context of the present study, the ancient teaching tradition of the artisans - the master and apprentice relationship - and the contemporary institutionalized system of music teaching, an heritage of the Paris Conservatory model, were put together facing its differences and antagonisms. The study suggests a way of reading the historical pedagogical documents related to violin teaching through the perspective of the two pedagogical universes. The rediscovery of the early music practice, in the XXth century, was analyzed in its pedagogical consequences: the inclusion of period-instrument teaching as part of the music educational system. In this vision, there is an especial look in the paradox of the artisanal thought - as part of the didactics of the ancien régime - inside the methodized form of modern teaching. Through a panorama of the present situation of early music instruction in the advanced schools, from its origins, and with the particular testimony of the pioneer Sigiswald Kuijken, the research puts in evidence the paradox of the historical didactic of the artisans inside the modern methodized system as a possible direction for the future of music teaching - a new era, more conscious of its role as a successor of the canonic ideals of the Romantic times / Doutorado / Praticas Interpretativas / Doutor em Música

Les moyens numériques ont transformé les pratiques en architecture notamment en facilitant la continuité des flux d’information entre la conception et la fabrication. À travers ce mémoire, nous explorons les contributions possibles de ces moyens dans un contexte de pénurie d’artisans et de perte de savoir-faire artisanaux en architecture. Nous nous sommes appuyés sur les modèles de la tectonique informée pour la conception à base des matériaux, documentés par R. Oxman (2014), qui regroupent un ensemble d’approches et d’outils numériques, afin d’étudier, dans un premier temps, les apports et limites de ces derniers à partir de plusieurs cas expérimentaux; c’est-à-dire expérimental. Ainsi, nous avons pu identifier certains savoir-faire artisanaux dont le déclin est possiblement compensable par les moyens numériques. Dans un deuxième temps, nous avons décelé les contributions des moyens numériques dans un projet à partir de l’analyse des exemples de la construction de la Sagrada Familia et la restauration du parlement canadien à Ottawa. Les principaux résultats de notre recherche sont : • Nous avons distingué que la modélisation paramétrique est plus adaptée au processus de conception tandis que la modélisation à base de relevés est plus appropriée pour la production des répliques. • Les outils numériques de fabrication permettent d’employer plusieurs types de matériaux. Elles assurent une rapidité et une précision dans la réalisation des artéfacts. Cependant, l’intervention des artisans demeure incontournable dans la majorité des cas. Les moyens numériques ont un grand potentiel pour compenser la perte des savoir-faire artisanaux et pour développer de nouveaux processus créatifs. Toutefois, à ce jour, ils se limitent au rôle d’assistants et devraient être perfectionnés. / Digital tools have transformed the architectural practices due to the information flow continuity between design and manufacturing. Through this these, we explore their possible contributions in the context of artisans’ shortage and craft skills’ losses in architecture. We relied on informed tectonic models of materials based design, documented by R. Oxman (2014), which combines a variety of digital approaches and tools to study their contributions and limits based on multiple case studies. Thus, we identified some craft skills whose decline is possibly compensated by digital tools. Then, we analyzed the digital tools’ contributions in a project based on the Sagrada Familia and Canadian parliament examples. The main results of our research are: • Digital in architecture is based on digital models. The parametric approach is more suited to design process while models based on lasergrammetry and photogrammetry surveys are more appropriate for replica production. • Digital manufacturing tools allow the use of several materials types. Similarly, they provide speed and accuracy. However, the artisans’ participation remains unavoidable in most cases. Digital media have great potential to overcome the craft skills’ loss and even exploit them in new creative processes. However, to date, they are limited to the role of assistants and should be perfected.

Denna kandidatuppsats inom ämnet kulturvård, behandlar Glasriket, ett område i sydöstra Småland där det funnits en koncentration av glasbruk, glashyttor och glasverkstäder sedan 1800-talet. Studiens syfte är att ge en bild av glashantverksutövares uppfattning av sitt hantverk och yrke, idag och i ett framtidsperspektiv. I uppsatsen redogörs för Glasrikets historiska utveckling samt en inventering av de glasbruk, glashyttor och glasverkstäder som funnits i Glasriket mellan 1742–2023. I uppsatsen presenteras en intervjustudie som genomförts med sex glashantverkare, som är verksamma i Glasriket. / This bachelors thesis in Cultural Studies, is about The Kingdom of Crystal, a part of the southeast of Sweden, called Småland, where a large amount of glass factories has been established since the 19th century. The purpose of the study is to describe glass-craftsmen and women and their perspective in regard to their profession, today and of the future. A summary of the historical development of The Kingdom of Crystal is included in the thesis, as well as an inventory of the glass factories and other glass- related businesses in The Kingdom of Crystal between 1742–2023. The thesis includes an interview study with six different glass-craftsmen and women, active in The Kingdom of Crystal.

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.

The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.