Orientador: Inaicyra Falcão dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:12:10Z (GMT). No. of bitstreams: 1 Cortes_GustavoPereira_D.pdf: 6197809 bytes, checksum: 672d69dd0dfdcb1f08cdb581ab2c2a6e (MD5) Previous issue date: 2013 / Resumo: Esta tese de doutorado apresenta uma proposta metodológica para a compreensão e análise de processos de criação em danças brasileiras. Tal trabalho utiliza três pilares fundamentais para a realização do estudo: A Vivência Ancestral, a Dramaturgia e as Matrizes Tradicionais de manifestações da cultura brasileira, para a construção de uma metodologia intitulada Tradução da Tradição. Os estudos são norteados pela análise e compreensão dos trabalhos com as danças brasileiras mediante à experiência do Grupo Sarandeiros, de Belo Horizonte. Ao proceder como um pesquisador-artista, assume-se um engajamento com a produção de um conhecimento que une prática e teoria. Desta maneira, uma pesquisa acadêmica, sob o domínio das artes, deve sempre trazer algo novo, que permita um novo olhar sobre uma prática artística / Abstract: This thesis presents a methodology for understanding and analyzing creative processes in Brazilian dances. This work uses three fundamental pillars for the study: The Ancestral Experience the Dramaturgy and Traditional Matrices manifestations of Brazilian culture, to build a methodology entitled Translation of Tradition. The studies are guided by the analysis and understanding of the work with Brazilian dances through the experience of Sarandeiros group, of Belo Horizonte. To proceed as a researcher-artist, assumes up an engagement with the production of knowledge that unites theory and practice. In this manner, academic research, under the domain of the arts, should always bring something new, which allows a new look at an artistic practice / Doutorado / Artes da Cena / Doutor em Artes da Cena

This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural, theoretical, and artistic discourses of Matta-Clark’s late-1960s and early-1970s moment. In histories of this period (spurred, in part, by the attention paid to Matta-Clark’s peer, Robert Smithson), energy has often been aligned with entropy: a negative movement that leads to an ultimate stasis. In contrast, Matta-Clark marshaled energy as a creative force: a motor of the "metamorphic" processes that his works both enacted and pursued. By focusing on these four years, my study opens new perspectives on both Matta-Clark’s project and the artistic and discursive formation, Postminimalism, from which it is inextricable. In doing so, I defamiliarize art history’s current conception of Postminimalism, “requestioning” (to adopt Matta-Clark’s neologism) its central term, process, through his creative energetics.

Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis considers the creative process involved in the composition and performance of new music for the horn. It sets out to describe the challenges and opportunities for composers and performers in this process and the value of collaboration between the two parties. There is a limited body of chamber music that includes the horn in South Africa, possibly because composers are not sufficiently acquainted with the complexities of this instrument and are hesitant to embark on a journey into the ‘unknown’. With few South African horn players devoting themselves to the performance of chamber music and particularly new music, little engagement has taken place between horn players and composers in the pursuit of new, idiomatic works for this instrument. This precipitated the researcher’s investigation into the composer-performer collaborative process, resulting in three commissions for chamber music including horn by South African composers Antoni Schonken, Keith Moss and Allan Stephenson. The collaborative process was central to these commissions in order to promote the concept of idiomatic horn writing. This research comprised three case studies, each documenting the creative process surrounding each commissioned work from inception of the work through the compositional process and rehearsals leading up to a performance. In order to generate a detailed report on each case study, data were collected throughout by means of reflective journaling and audio recordings, supplemented by interviews with participant composers and performers. The research revealed numerous technical intricacies composers need to be familiar with when writing for horn, and which may not be addressed in orchestration texts or other literature. Horn players may also be confronted with unconventional writing with new musical and technical challenges. Collaboration was shown to be of immense value in guiding the composer towards appropriate and effective writing for the horn, with the expertise of the performer being a source of knowledge for the composer. One of the main benefits that accrued to the performer through the collaborative process with the composer was the acquisition of valuable interpretative insights into the work to be performed. / AFRIKAANSE OPSOMMING: Hierdie tesis stel ondersoek in na die kreatiewe proses rakende die samestelling en uitvoering van nuwe horingmusiek. Daar word gesoek na ‘n beskrywing van die uitdagings en geleenthede waarmee komponiste en kunstenaars in so ‘n proses te make het en die waarde van samewerking tussen bogenoemde twee partye. In Suid-Afrika is daar ‘n beperkte hoeveelheid kamermusiek waarby die horing ingesluit word. Die rede wat hiervoor aangevoer kan word, is dat komponiste waarskynlik nie oor genoegsame kennis beskik rakende die fynere tegniese aspekte van horingspel nie. Hul is gevolglik huiwerig om met die onbekende te eksperimenteer. Aangesien weinig Suid-Afrikaanse horingspelers belangstel in die uitvoering van kamer- en veral nuwe musiek, bestaan daar min betrekkinge tussen horingspelers en komponiste in die soeke na nuwe, eiesoortige werke vir hierdie instrument. Bogenoemde het die navorser aangespoor tot ‘n ondersoek na ‘n komponis-kunstenaars medewerkingsproses. Die eindproduk was drie kamermusiek-opdragwerke (horing ingesluit) deur die volgende Suid-Afrikaanse komponiste: Antoni Schonken, Keith Moss en Allan Stephenson. Die medewerkingsproses was van kardinale belang tydens die skep van hierdie opdragwerke met die oog op die bevordering van eiesoortige horingkomposisies. Die navorsing het uit drie gevallestudies bestaan: die eerste studie het die kreatiewe proses van elke opdragwerk gedokumenteer vanaf die eerste pogings regdeur die komposisieproses en vooraf-repetisies tot die uitvoering van die werk. Data is deurgaans deur middel van reflektiewe joernaalinskrywings en oudio-opnames versamel ten einde’n gedetailleerde verslag van elke gevallestudie daar te stel. Bogenoemde is aangevul deur onderhoude met die betrokke komponiste en kunstenaars. Die navorsing het verskeie tegniese ingewikkeldhede uitgewys waarvan komponiste bewus moet wees wanneer daar vir die horing gekomponeer word. Hierdie fynere aspekte word dikwels nie in orkestrasietekste of ander literatuur behandel en bespreek nie. Horingspelers kan ook gekonfonteer word met onkonvensionele komposisies met nuwe musikale en tegniese uitdagings. Die samewerkingsproses tussen komponiste en kunstenaars was uiters waardevol; aangesien dit die komponis gehelp het om toepaslike en sinvolle werke vir die horing te komponeer met behulp van die kunstenaar se kundigheid en kennis. Deur die loop van die samewerkingsproses kon die kunstenaar veral baat by die waardevolle wenke van die komponis rakende van die uivoering van die betrokke werk.

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises. / AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.

The purposes of this study were as follows: 1. To measure selected junior high school students' creativity in art. 2. To determine the relationship between the following factors and the degree and kind of creativeness in art demonstrated by the subjects involved: ethnic group, sex, social class, community size, previous art training, cultural interest in the home and community.

In John Fowles's last two novels, he alters his authorial project of discovering freedom for an individual from a social system to how a social system can be changed from within. Using Julia Kristeva's theory of abjection and her interpretation of the semiotic versus symbolic processes of signification, readers can determine how an imbalance in the human signifying process has become corrupted by power. Through Fowles's heroines and semiotic irruptions of the symbolic order in both Mantissa and A Maggot, Fowles reveals weaknesses in the symbolic, and consequently, moments where transformation of a patriarchal, symbolic system can be recognized. These moments of strain on the symbolic are significant because they cause a disruption of the rules and borders that define a social system like patriarchy. By calling attention to these moments, the categorical imperatives that have been imposed on women and perpetuated for the purpose of maintaining power relations can thus be subverted. In Mantissa and A Maggot, Fowles accomplishes a breaking of the boundaries, both within and of the text, by providing a literary space where readers can glimpse the power of the semiotic, the corruption of social conditioning, and gain a new perspective of their own symbolic/social system in the real world. / by Jenifer A. Skolnick. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This dissertation examines the Arthur & Mata Jaffe Center for the Book Arts (JCBA) at Florida Atlantic University, focusing on creativity. Sixteen artists whose artwork is collected by the center were chosen to provide an overview of the creative process of book artists: Susan Allix, Julie Chen, Béatrice Coron, Johanna Drucker, Timothy Ely, Karen Hanmer, Linda K. Johnson, Marie Marcano, Bea Nettles, Matthew Reinhart, Robert Sabuda, Susan Joy Share, Keith Smith, Beth Thielen, Carol Todaro, and Marshall Weber. The artists and the JCBA were selected for this study not only because these artists‘ books provide a unique opportunity to explore the creative processes of their makers, since many points of creative decision must be made, but also because artist‘s books by definition are often conceived, written, designed, printed, and bound by an individual artist. The list contains several artists who have been important to the historical development of the artist‘s book or pop-up publishing fields. Their influence ranges in scope from the historical to the international, national, and local, especially in terms of the JCBA. This dissertation should be useful to creativity researchers and students of the book arts because it is the first study to use qualitative research and creativity studies as a lens to investigate the artifacts and creative processes of artists in the book arts genre, as well as the first to use the case study approach to examine a book arts center and its educational practices with the focus of creativity research. With these goals in mind, concept maps were first created to document the artists‘ internal and external processes of creation, while master composite maps were compiled to facilitate a meta-analysis of their experienced creativity. The JCBA was then profiled, and its educational programs, practices, and policies were documented in order to describe and demonstrate how it encourages the creativity of book artists, as well as how its creativity-enhancing practices are established and traced into associated organizations. A model of how the organization does this is proposed and discussed with the intention of enhancing this effect at the JCBA and in other book arts organizations. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This study looks at artists’ careers as paths defined by their relative position in a dynamic professional network where innovation and creativity are highly regarded. Today, the theoretical and empirical study of networks has demonstrated that in some professions the individuals’ position in the network can facilitate or constrain their success. In studies about diffusion of information, for instance, some authors have found that individuals connected to a greater variety of sources are more creative and perform better. I explored this idea by looking at a network of visual artists and art institutions in Miami, and found a positive correlation between position and success, though, not explained by variety exclusively. In the network, artistic success is a function of connecting both across artistic categories and a hierarchical system; therefore, in an art world, creativity and innovation are mediated by key members, who distribute information and resources through affiliation, prominence and brokerage. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T14:24:18Z No. of bitstreams: 1 Maria Eunice Azambuja de Araujo.pdf: 6449369 bytes, checksum: a426bb29d916a27f79671e27d7f4898c (MD5) / Made available in DSpace on 2018-08-08T14:24:18Z (GMT). No. of bitstreams: 1 Maria Eunice Azambuja de Araujo.pdf: 6449369 bytes, checksum: a426bb29d916a27f79671e27d7f4898c (MD5) Previous issue date: 2018-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research is the result of studies of the creative processes of the contemporary process art works by Elida Tessler and Beth Moysés, which modify over time, tending towards the unfinished and coinciding with the life of the artist. Art works that are constituted by the participation of people in its process, with the proposition of actions and the activation of experiences, whose sensorial aesthetic is completed by the action of the spectator, requiring a more active reception. The research was carried out through the observation of a diversity of documents of creative processes so to formulate hypothesis about the main knots of the creation networks studied. For this purpose, the theory of creation processes conceived by Cecília Almeida Salles was used as an instrument for the critique of the processes and as an itinerary for the study and understanding of the art works. The aim of the research is to analyze the communicational aspects of practices that exceed the relation artist spectator and integrate people in their processes, creating a collaboration structure. The objective is to understand the artistic-creative procedures that unleash processes of singularization, collectivization and acting in networks / A presente pesquisa é resultado dos estudos dos processos criativos das obras processuais contemporâneas de Elida Tessler e Beth Moysés, as quais modificam-se ao longo do tempo, tendendo ao inacabamento e a coincidir com a vida do artista. Obras que constituem-se da participação de pessoas em seu processo, tendo uma proposição de ações e ativação de experiências, cuja estética sensorial se completa pela ação do outro, requerendo uma recepção cada vez mais ativa. A pesquisa é desenvolvida a partir da observação de uma diversidade de documentos dos processos de criação, para assim formular hipóteses sobre os principais nós das redes de criação estudadas. Para isso, foi utilizada a teoria de processos de criação concebida por Cecília Almeida Salles, como instrumento para a crítica dos processos e roteiro para o estudo e entendimento das obras. A pesquisa se propõe a analisar os aspectos comunicacionais em práticas que extrapolam a relação artista x espectador e integram pessoas em seus processos, criando uma estrutura de colaboração. O objetivo é compreender os procedimentos artístico-criativos que desencadeiam processos de singularização, de coletivização e de atuação em redes

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T14:24:38Z No. of bitstreams: 1 Marcos Vinícius Lima de Almeida.pdf: 1307709 bytes, checksum: 04495baffe61ad76bf405f45955e7e9f (MD5) / Made available in DSpace on 2018-08-08T14:24:38Z (GMT). No. of bitstreams: 1 Marcos Vinícius Lima de Almeida.pdf: 1307709 bytes, checksum: 04495baffe61ad76bf405f45955e7e9f (MD5) Previous issue date: 2018-06-21 / Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP / Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal / Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal