Made available in DSpace on 2014-07-29T16:27:53Z (GMT). No. of bitstreams: 1 ANA_PAULA_VILELA_SOARES parte 1.pdf: 5649276 bytes, checksum: 92ea6161456159e6d8b5c4eee4550bf5 (MD5) Previous issue date: 2011-05-10 / Esta dissertação investiga narrativas visuais no gênero do design de moda, que contemplam a roupa enquanto matéria ou substância capaz de sustentar a história. A pesquisa é contornada por narrativas de moda concebidas na contemporaneidade, seus componentes visuais proeminentes e os ritmos que se configuram no arranjo da plasticidade da roupa bem como suas manifestações de sentidos. Ronaldo Fraga, designer de moda contemporâneo, é destacado como exemplo nesta dissertação por se tratar de um designer narrativo comprometido com o ato de contar pequenas histórias às avessas, as quais se distinguem pela falta de linearidade. As narrativas concebidas por Ronaldo Fraga e que tangenciam a nossa investigação perpassam pela literatura, imagens de caderno de esboços, roupas e desfiles, além das mãos anônimas de costureiras, rendeiras e bordadeiras que desvelam o processo de criação do designer. As obras literárias, "O turista aprendiz", de Mario de Andrade, e "Grande Sertão Veredas", de Guimarães Rosa, assim como dois personagens retirados do último romance citado, Riobaldo e Diadorim, inspiraram as narrativas de moda das estações verão 2011 e verão 2007, eleitas como o foco de investigação deste trabalho.

A presente pesquisa visa disponibilizar a organização de um processo criativo teóricoprático situado na interação da experimentação dos princípios atorais desenvolvidos pelo ator russo Michael Chekhov e na apropriação das teorias e estética simbolistas propostas por Maurice Maeterlinck, adotando como base principal o conceito de \"trágico cotidiano\". Propõe-se uma análise-associação, enquanto proposição criativa, para a elaboração de cena teatral configurada a partir da individualidade criativa do ator e da procura de uma teoria como provocação dramatúrgica por meio de um processo com fins artístico-pedagógicos. Essa possibilidade busca ser, na arte da atuação, uma ferramenta de aprofundamento na qual o ator é quem descobre e desenvolve sua própria linguagem cênica, resultando, finalmente, numa experiência prática de criação cênica autoral do ator, que abre um possível caminho de reflexão em torno da formação e do trabalho do ator como artista criador. / This research aims to provide the organization of a theorical-practical creative process, based on the interaction of the experiment of the actor\'s principles developed by the Russian actor Michael Chekhov, and on the appropriation of the symbolist theories and esthetic proposed by Maurice Maeterlinck, adopting as main base the concept of \"tragic daily life\". It is proposed an association analysis, as a creative approach to making theater scene set from of the actor\'s creative individuality and finding a theory as dramaturgical provocation through a process with artistic-pedagogical goals. This possibility intends to be a tool for deepening the art of acting in which the actor is who discovers and develops his/her own scenic language, resulting, in the end, in a practical experience of authorial scenic creation of the actor, which opens a possible way of thinking on the training and work of the actor as creative artist.

O processo de criação fundamenta esta pesquisa. A vivência entre a paisagem da Praia da Daniela em Florianópolis, Santa Catarina, e o ateliê com a gravura em metal, suas especificidades e possibilidades gráficas, levaram à elaboração deste livro de artista. O que procuro são aproximações entre o estuário vivo e em constante movimento transformador da paisagem da Praia da Daniela com o meu estuário fictício, que segue na busca de um contínuo formar, desafiando o metal, provocando reações e transformações que acontecem em sua materialidade. / This is a practice-based research in which the creative process is at it\'s core. The construction of this artist\'s book is a fruit of the lived experience between two places: the landscape at the Daniela Beach, in Florianopolis, Santa Catarina, Brazil, and the printmaking studio, considering the specificities and graphic possibilities of the Etching technique. What I seek is to interweave the living and transforming estuary in constant movement of the landscape at Daniela Beach, and my own fictitious estuary, which continuously seeks to give form, defying the nature of the metal, provoking reactions and transformations that happen in its materiality.

A presente pesquisa pretende examinar a imagem digital decorrente da aproximação das artes visuais com as tecnologias CAD/CAM e os sistemas biológicos de criação. Essa imagem de base computacional e de característica emergente encontra na fabricação digital a oportunidade de se materializar tendo em vista a compatibilidade tanto no sentido da concretização da complexidade da forma quanto da possibilidade de sua singularização seriada. Mais especificamente, pretende-se abordar como os processos e as técnicas de produção digital, ao viabilizarem a geração e materialização da imagem complexa, têm interferido no modus operandi do artista visual, ampliando as formas de operar e representar no campo das Artes ao servirem como instrumento para o desenvolvimento e a representação de novas poéticas. Por meio da referência teórica, da leitura de obras e dos trabalhos práticos experimentais, pretende-se explorar de que forma o artista se apropria dos meios de produção digitais e dos processos generativos de criação, explorando-os como uma linguagem inovadora, que por sua vez amplia e potencializa, a níveis antes insuspeitáveis, as formas de expressão e execução de sua obra. Intenta-se avaliar de que maneira o processo de caráter numérico pode interferir no processo criativo e poético do artista visual de modo a promover novas possibilidades expressivas e, dessa forma, explorar potenciais até então pouco usuais no campo das artes. A tese usa como principais fundamentações teóricas para lançar as bases para o entendimento da relação cada vez mais estreita entre arte e tecnologia as discussões de Taylor (2014), Machado (1997b), Couchot (2003), Lévy (1996), Laurentiz (1991), Moles (1990) e Plaza & Tavares (1998), que investigam a introdução do numérico no campo artístico. Já as discussões de Manovich (2010), Galanter (2010), Couchot (2010), Johnson (2001), Whitelaw (2006) e McCormack (2014) abordam teorias a respeito da complexidade da imagem e esclarecem processos e modelos de sistemas naturais passíveis de emergência. Para apresentar a tecnologia de fabricação digital e seu potencial criativo, a tese se apoia nos autores Kolarevic (2001), Mitchel & McCullough (1995), McCullough (1996), Todd & Latham (1992) e Ganis (2004). Reflexões a respeito da convergência entre os conceitos de emergência e de fabricação baseiam-se nas discussões de Labaco (2013), Whitelaw (2006; 2015) e Moura (2013). / This research aims at examining the digital image that originates from the proximity of the visual arts with CAD/CAM technologies and the biological systems of creation. Such computer-based image, that is emergent, can be materialized in the digital fabrication owing to the compatibility both in the sense of making the complexity of the form concrete and of enabling its serial singling. More specifically, we intend to approach how the digital manufacturing processes and techniques have interfered with the visual artist´s modus operandi as they enable the generation and the materialization of the complex image, thus enlarging the ways to operate and represent in the arts field because they work as instruments to develop and represent new poetics. By means of theoretical reference, work reading and experimental practical works, we intend to explore how the artist takes over the means of digital production and the generative processes of creating and he/she explores them as an innovative language, which, in turn, amplifies and potentiates the forms of expression and accomplishment of his/her work to levels unimaginable before. We intend to evaluate how the numerical character process can interfere with the visual artist´s creative and poetic process to promote new expressive possibilities, thus exploring the potential which has been unusual in the arts field so far. The main theoretical support to launch the bases to understand the ever closer relation of art to technology was derived from the discussions by Taylor (2014), Machado (1997b), Couchot (2003), Lévy (1996), Laurentiz (1991), Moles (1990) and Plaza & Tavares (1998). Those researchers investigate the introduction of the numerical in the artistic field. The discussions by Manovich (2010), Galanter (2010), Couchot (2010), Johnson (2001), Whitelaw (2006) and McCormack (2014) bring information of theories related to the complexity of the image, since in those discussions the processes and models of natural systems that are liable to emergence are elucidated. To present the digital manufacturing technology and its creative potential, the theoretical support was derived from Kolarevic (2001), Mitchel & McCullough (1995), McCullough (1996), Todd & Latham (1992) and Ganis (2004). The concepts about the convergence of the concepts of emergence and manufacturing reflect the discussions by Labaco (2013), Whitelaw (2006; 2015) and Moura (2013).

Made available in DSpace on 2016-03-15T19:42:27Z (GMT). No. of bitstreams: 1 Carolina Schuskel Miranda.pdf: 3526987 bytes, checksum: f790a877935a8d85b8bca1817bad1d34 (MD5) Previous issue date: 2012-08-21 / This work discusses the relationship between the design of advertising communication and the principles of Ontopsychology and OntoArt, from the creative process of an advertising agency based in these criteria. The relevance of the work stems from the importance role that the advertising professionals exerts, mainly in the choose process of images used at the advertising, because the images bring values and significances that influences emotions, thoughts and human behaviours. Working based on the concepts of OntoArt and Ontopsychology, the advertising professional can perform a more responsible role in the market, exercising his role (direct or indirect) of social educator and promoting a culture based on humanistic values, such as living, ability, dignity, sociality, among others. In its first stage, the methodology of qualitative approach studied the experience of a communication design agency that works with the principles of OntoArt and Ontopsychology. The creative process was studied, in particular of a work, the graphic design project of the magazine Performance Líder. A field survey was developed to assess the perception of the target in relation to the expression of such principles in the communication design of the magazine. It was observed that participants identified the principles of Ontopsychology and OntoArt on design and on the contents of the magazine, highlighting that other professionals in the market can also use these criteria. / Este trabalho discute a relação entre o design de comunicação publicitária e os princípios da Ontopsicologia e da OntoArte, a partir do processo criativo de uma agência publicitária fundamentado nestes critérios. A relevância do trabalho decorre da importância que o profissional da publicidade exerce, principalmente na escolha das imagens utilizadas, visto que são portadoras de valores e significados que influenciam emoções, pensamentos e comportamentos dos indivíduos. Ao trabalhar em base aos conceitos da OntoArte e a da Ontopsicologia, o profissional de publicidade pode realizar uma atuação mais responsável no mercado, exercendo seu papel (direto ou indireto) de educador social e promovendo uma cultura baseada em valores humanistas, tais como viver, capacidade, dignidade, sociabilidade, entre outros. Em sua primeira etapa, a metodologia de abordagem qualitativa estudou a experiência de uma agência de design de comunicação que atua com os princípios da Ontopsicologia e da OntoArte. Estudou-se o processo criativo, em especial de um trabalho realizado, o projeto gráfico e de design da revista Performance Líder. Realizou-se uma pesquisa de campo para avaliar a percepção do público-alvo em relação à expressão de tais princípios no design de comunicação da revista. Observou-se que os participantes identificaram os princípios da Ontopsicologia e da OntoArte no design e no conteúdo da revista, evidenciando que estes critérios podem ser utilizados também por outros profissionais no mercado.

Made available in DSpace on 2016-04-26T18:17:29Z (GMT). No. of bitstreams: 1 Paula Salazar.pdf: 2485534 bytes, checksum: 4c7def2c2a64aa646e11052c64ba15a7 (MD5) Previous issue date: 2008-10-16 / The aim of this research is to analyze some aspects of Luiz Fernando Carvalho s television drama, chiefly those, like aesthetic quality, that differentiate these works from the others TV dramas, serials and soap operas, specifically in the context of a commercial media and its remarkable aversion to the refined characteristics that prevail in the director s proposal. Intending to reveal this differential, we offer a general view of Carvalho s creative process by delineating the influences of other art and media in the works of this director, who is also a meticulous filmmaker. We also present a historical survey of the development of the brazilian television drama as a contextualization to the analysis itself. We selected some representative scenes from the following works by Carvalho: Os Maias (2001), Hoje é Dia de Maria (seasons 1 and 2 2005) and, at last, A Pedra do Reino (2007), to achieve a detailed analysis. Our study emphasizes the convergence between popular and classical literature and arts in the Carvalho s works by pointing out how notable is the presence of dance, film, theatre and visual arts, as well as, folk culture and myths throughout his work, and how his general proposal falls upon a hybridism, in the name of the creation, the imagination, the revelation of new talents and of a poetic audiovisual within the Brazilian broadcasting. We also point out and discuss the educative potential of his images and sounds / O objetivo do presente trabalho é examinar a obra televisiva de Luiz Fernando Carvalho, dando ênfase ao diferencial de qualidade estética deste diretor de minisséries, num meio de comunicação geralmente avesso aos requintes que caracterizam sua proposta. Apresentamos um panorama do processo criativo do artista, que é também um cineasta refinado, mapeando as influências que recebeu do campo das artes e que seu trabalho repercute.Fazemos também um histórico da teledramaturgia brasileira, antes de passar a uma análise em detalhe de um pequeno conjunto de cenas recortadas de Os Maias (2001), Hoje é dia de Maria (Jornadas 1 e 2 - 2005) e A Pedra do Reino (2007). Nossa análise salienta a convergência da literatura popular, clássica e artes na obra de Carvalho, mostrando a forte presença que têm aí a dança, o cinema, o teatro,artes plásticas de par com o folclore e os mitos. Mostramos como a proposta do diretor incide nesse hibridismo, em nome da criação, do imaginário, da revelação de novos talentos e de um audiovisual poético dentro da televisão aberta brasileira. Assinalamos e discutimos também o potencial educativo de suas imagens e sons

Cette thèse envisage les effets occasionnés par la créativité collective contextualisée, plus particulièrement à l’échelle des groupes restreints, à partir d’une approche communicationnelle par les « constructions médiatrices ». Elle poursuit trois grands objectifs. Premièrement, elle s’inscrit dans une volonté d’éclaircissement de la notion de créativité de groupe en tant que phénomène (tel qu’abordé par Woodman, Sawyer et Griffin, 1993) et propose d’en faire la distinction par rapport à la méthode employée par le groupe de créativité (Demory, 1986; Aznar, 2011). Deuxièmement, elle cherche à clarifier les formes d’échanges et d’interactions au cours du processus de création-communication. Troisièmement, elle interroge les effets de ce phénomène collectif complexe de manière à mieux comprendre les conditions de déploiement de la créativité contextualisée.En prenant pour objet d’étude l’expérience vécue d’acteurs en situation par le biais d’un dispositif pédagogique, nous avons convié une communauté d’apprenants à vivre une expérience de création collective immersive et originale qui, par sa nature engageante et déroutante, était susceptible de heurter les habitudes et le cadre traditionnel d’apprentissage. Nous avons émis l’hypothèse que la tension créative entraine la réorganisation constante de l’activité des groupes en influençant les « constructions médiatrices » puis, que la nature de ce contexte cristallise la cohésion et l’engagement des groupes impliqués. Par une analyse de l’activité-créativité (la créactivité) de groupe, et plus particulièrement par l’observation des actions conjointes, des rapports d’interactions et de l’implication des membres, cette étude postule que la créativité collective contextualisée participe à l’émergence de formes d’interactions. Puis, que le recours aux moyens médiateurs (aux artefacts, à la division du travail et aux règles d’interactions) s’effectue dans un mouvement constant de réorganisation de l’activité par dépassements successifs des contradictions, par la formation de noeuds de médiations. Les constructions médiatrices sont ainsi le reflet du processus de transformation du sens des interactions sociales au cours de l’activité. / This thesis considers the effects caused by contextualized collective creativity, especially in small groups, based on a communicational approach by “mediational constructs". It has three main objectives. First, it wishes to clarify the concept of group creativity as a phenomenon (as discussed by Woodman, Sawyer and Griffin, 1993) and to propose its distinction from the method used by creativity groups (Demory, 1986; Aznar, 2011). Secondly, it seeks to clarify the forms of exchange and interactions during the communicative-creative process. Third, it investigates the effects of this complex collective phenomenon for a better understanding of contextualized creativity conditions and deployment.Using a pedagogical framework, we have invited a community of learners to experiment an immersive and original collective creation experience which was likely to upset habits and the traditional framework of learning by its engaging and confusing nature. We hypothesized that creative tension leads to the constant reorganization of group activity by influencing " mediational constructs " and that the nature of this context crystallizes the group cohesion and commitment. Through an analysis of group activity-creativity (creactivity), and more specifically by observing joint actions, interactions relationships and the involvement of members, this study postulates that contextualized collective creativity participates in the emergence of forms of interactions. Then, that the use of meditational means (artefacts, division of labor and rules of interactions) takes place in a constant movement of activity reorganization by overcoming contradictions by successive formation of “mediation nodes”. Thus, the mediational constructs represent a reflection of the transformation process of the social interactions meaning during the activity.

Art directing i en digital kommunikationsbyrå och att arbeta heltid eller deltid som konstnär är två yrken som har en sak gemensamt. I egenskap av professionella roller har de en nyckeluppgift de måste uppfylla – att vara kreativa. I denna uppsats fokuserar vi på den kreativa processen vid generering av idéer i områden av digital media och konst för att se om det finns tydliga skillnader eller likheter i hur kreativt arbete för sig inom båda områden. För att jämföra den kreativa processen mellan de två parterna har vi gjort flertalet intervjuer och observationer med yrkesverksamma konstnärer och art directors. Genom att undersöka områdena kreativitet, design och konst har vi distingerat ett antal olika steg som är teoretiskt möjliga att applicera på både design och konst. Genom att ställa samma frågor till samtliga informanter och genom att kategorisera de händelser som dokumenteras vid observationerna hoppas vi på att kunna dra slutsatser om likheter och olikheter inom de kreativa processerna i konst och designarbete. Vi hoppas även att våra resultat kan tillämpas på senare studier samt av designers och konstnärer som vill lära sig av varandras arbete. / Art directing in a digital communication agency and working as a full or part-time artist is two occupations that have one thing in common. Both professional roles has one key assignment that they need to fulfill – to be creative. In this paper we will focus on the creative process when generating ideas in the areas of digital media and arts to see if there are any significant differences or similarities between how the creative work is done in both areas. To compare the creative process between the two parts we have done several interviews and observations with working creators within the areas. By exploring the concepts of creativity, design and art we have distinguished several steps which theoretically could be applied to both design work and arts. By asking the same questions to all informants and by categorizing the events documented in the observations we hopeto be able to come up with conclusions about what differences there are between the processes in artand design work. We also hope that our results can be adapted in later studies and by designers andartists who want to learn something from each other's work.

Sammandrag  Syftet med detta arbete har varit att undersöka elevers uppfattning om sina möjligheter att vara skapande i skolan, vilka förutsättningar som finns för skapande verksamhet och kulturupplevelser samt hur man uppfyller det styrdokumenten säger gällande estetisk verksamhet i en landsortsskola.  Kvantitativ metod i form av enkätundersökningar har använts tillsammans med strukturerade observationer. Undersökningen har genomförts på mellanstadiet i en landsortsskola i västra Värmland och omfattats av 151 elever och åtta lärare. Det empiriska materialet visar att eleverna har störst möjlighet att vara skapande i de ämnen där observationerna pekade på god måluppfyllelse, där eleverna var delaktiga i sitt eget lärande samt då lokalerna var ändamålsenliga. Materialet visar även att man i liten omfattning erbjuder kulturupplevelser i skolan.  Arbetets forskningsavsnitt stödjer den skapande verksamhetens betydelse i skolan genom att behandla styrdokument, utveckling och lärande, skapandeprocessen samt betydelsen av upplevelser och intryck. / Abstract  The aim of this study has been to examine students' perception of their ability to be creative in school, what conditions that exist for creative activities and cultural experiences, and how to the school comply with the steering documents regarding arts in school.  Quantitative method in the form of questionnaires has been used along with structured observations. The research has taken place in a primary school in western Värmland and involved 151 pupils and eight teachers. The empirical data indicates that students have the greatest opportunity to be creative in subjects where the observations pointed towards good target achievement, where students were involved in their own learning as well as were the physical premises were appropriate. The material also indicates that the pupils are offered cultural experiences only to a very limited extent in school.  This study’s research section supports that the creative activities are highly relevant to school by discussing policy documents, development and learning research, creative process and the importance of experiences and impressions.

L’objectif de cette thèse est d’analyser les modes d’émergence de la voix chez cinq écrivains québécois ayant initié, durant les années 1940-1970, leur parcours littéraire à travers la pratique de la poésie. Cette thèse puise à même les ressources de la poétique telle qu’alimentée par les penseurs contemporains (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) et utilise certains outils d’analyse que fournissent la psychanalyse, la sociocritique, la linguistique et la philosophie. Aussi, certains documents personnels exhumés de divers fonds d’archives des cinq auteurs (lettres, journal, notes, brouillons) concourent à éclairer les modes d’émergence à l’oeuvre dans les premiers poèmes, afin de démontrer comment les écrits à venir se trouvent entièrement préfigurés dans ces textes initiaux. Il s’agit, en somme, de montrer comment ces poètes furent aux prises avec certaines problématiques communes, notamment le grand défi de fonder une parole authentique au sein d’une communauté poétique si longtemps réservée aux élites. Ayant tous amorcé un processus d’écriture à la moitié du XXe siècle, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Giguère et Anne Hébert n’en demeurent pas moins déterminés par la culture qui les a formés; leurs oeuvres respectives sont, par conséquent, fondamentalement ancrées dans une quête d’élucidation de soi et de l’autre qui ne saurait s’élaborer qu’en suivant les chemins les plus intimes, et dont je tenterai, à travers une lecture personnelle de leurs premiers textes, de rendre toute la portée. / The purpose of this thesis is to analyse the rising modes of the voice in five Quebec writer’s work; these authors have started to write between 1940 and 1970, and their artistic path led them all to express themselves, in the first place, through poetry. This thesis digs into the resources of recent poetic studies (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) and uses certain tools given by parallel academic disciplines such as psychoanalysis, sociocriticism, linguistic and philosophy. Also, certain personal documents extracted from private and public archive founds (letters, notes, drafts, journal) contribute to throw light on the emergence’s modes in action in the first poems of the chosen writers, in addition to demonstrate how the writings to come may see themselves foreshadowed in the initial work. Therefore, this thesis will try to demonstrate how these five poets battling with similar poetic issues (in particular with the great challenge that consists of creating an authentic language in a society where only elites could have access to culture and education) will initiate their creative process in Quebec province in the middle of the XXth century. Despite all their efforts to move forward, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Gguère and Anne Hébert will remain partially shaped by the popular culture that has raised them, giving birth to poems that are deeply influenced by their inner quest and could only arise through a deeply intimate journey, of which I will try to show the impressive range, using my knowledge of their first texts.