O sistema dos Viewpoints é o ponto de partida para uma investigação teórico-prática que transita por entre a bibliografia desenvolvida por Anne Bogart e a experiência prática em sala de ensaio. O objetivo principal é apontar algumas pistas para o trabalho do ator a partir de três recortes: o mapeamento inicial do sistema, a descrição das práticas realizadas em sala de ensaio e, ainda, a exploração do conceito de escuta-ação enquanto estratégia metodológica para a criação atoral. Os Viewpoints são compreendidos como um dispositivo a ser difundido, e a metodologia procurou friccionar o procedimento em questão com alguns dos temas presentes na cena contemporânea, como a performatividade e o desempenho espetacular. A análise do papel determinante da escuta-ação, na hipótese original da pesquisa, afirma ser a dramaturgia do ator o espaço da experiência, uma atividade permanentemente provisória, propositadamente lacunar e, em suma, ensaística, vista aqui a partir da perspectiva de Jorge Bondía. / The Viewpoints System is the starting point for a theoretical-practical investigation that includes the bibliography developed by Anne Bogart and the practical experience in rehearsals. The main objective of this study is to indicate some signs to the actor\'s work through three approaches: the initial mapping of the system, the description of practices applied in rehearsals, and the exploration of the listeningaction (escuta-ação) concept as a methodological strategy for acting creation. The Viewpoints are understood as a device yet to be disseminated, and the methodology has sought to relate this procedure with some subjects present in the contemporary scene, such as performativity and perfomative performance. The analysis of listenact\'s determinant role, according to the original hypothesis of this research, sustains that the dramaturgy of the actor is the experiencing space, a permanent provisional activity, purposely empty, and essentially essayistic, viewed here from Jorge Bondía\'s perspective.

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:08:49Z (GMT). No. of bitstreams: 1 Ficagna_AlexandreRemuzzi_D.pdf: 38467832 bytes, checksum: 6f3c2941f6e40b7de0a08533fd45c056 (MD5) Previous issue date: 2014 / Resumo: Esta tese tem por objeto de estudo a composição assistida por imagens visuais na música instrumental. Nela abordamos o processo composicional em que a visualidade da partitura é um importante espaço de manipulação. Por partitura entendemos aqui a superfície de registro tradicionalmente tomada como espaço de manipulação de imagens sonoras. Para este estudo tomamos por referência a noção de percepção intermodal para pensar a relação de imagens sonoras com imagens visuais e táteis como ferramenta para a composição musical. Nosso ponto de partida é o trabalho dos compositores Iannis Xenakis e Salvatore Sciarrino, compreendidos lado ao trabalho dos artistas visuais Paul Klee e Wassily Kandinsky. De Klee e Kandinsky, destacamos o trabalho com a temporalidade dos elementos visuais através da realização de 'leituras pictóricas' de elementos e conceitos musicais; de Sciarrino, a presença da visualidade na composição musical, fator por ele atribuído à influência da notação musical; e de Xenakis, a elaboração de um sistema visual a partir da equivalência entre elementos visuais e sonoros, manipulando imagens visuais como se fossem imagens sonoras. Neste processo o trabalho de outros compositores também serviu como referência. A pesquisa sobre o processo criativo de compositores que mencionam imagens visuais em seus relatos composicionais revela duas abordagens: a manipulação de imagens visuais através de imagens sonoras, observada quando a influência da visualidade não implica a manipulação direta de imagens visuais, mas sim uma 'leitura musical' de tais imagens; a manipulação de imagens sonoras através de imagens visuais, abordagem relacionada ao trabalho de Sciarrino e Xenakis. Além dos compositores relacionados à segunda abordagem há os autores que propõem visualizações para modelos sonoros, como Lachenmann, Thoressen e Blackburn: a análise de suas proposições fornece subsídios à elaboração de visualizações próprias, bem como sugere a criação não só a partir da visualidade, mas com a visualidade. A tese está apresentada em dois momentos, um compreendendo o estudo conceitual da relação entre imagens visuais e composição musical, e outro, de cunho prático, em que procurou-se uma aplicação do pensamento composicional a partir de imagens. No que diz respeito ao segundo momento, apresentamos nesta tese as composições Estudo (quarteto de clarinetes), Escondido num ponto (flauta, sax alto, cello e piano) e Enrascada (clarinete, fagote e piano). A partir delas destacamos a influência recíproca dos espaços de manipulação (visualizações através de desenhos e escrita na partitura), aqui chamada de intermodulação, processo constatado durante a composição de Estudo (em que o esboço visual foi alterado na etapa da escrita) e explorado na composição de Escondido num ponto (com desenho e escrita se influenciando passo a passo). A composição de Enrascada traz reflexões sobre as particularidades de cada espaço de manipulação em relação ao trabalho com determinadas imagens sonoras. Conclui-se que a questão da influência recíproca entre imagens visuais e sonoras (e seus espaços de manipulação) permite trazer ao ato da composição a potência de domínios táteis e visuais, sem que isto implique em transposições meramente descritivas, mas sim na proliferação de possibilidades / Abstract: The objective of this research is to study the musical composition aided by visual images in instrumental music. The visuality of musical score is seen as a relevant manipulation space. By musical score we mean the recording surface commonly used as a manipulation space for sonic images. A relevant notion for this study is intermodal perception, which allows us to think the relation between sonic images and visual and haptic images as a tool for musical composition. Important composers for this study are Iannis Xenakis and Salvatore Sciarrino, as well the visual artists Paul Klee and Wassily Kandinsky. From Klee and Kandinsky we highlight the work with temporal aspects of visual elements by means of 'pictorial reading' of musical concepts and elements; from Sciarrino, the presence of visuality in musical composition due to the use of musical notation in western music tradition; and from Xenakis, the elaboration of a visual system through the equivalence between visual and sonic images, a system in which visual images are worked as sonic ones. Works from other composers became important during the research process. We highlight two approaches in the composition process of composers who mention visual images in their compositional texts and interviews: the visual images manipulation through sonic images, in cases in which there is no direct visual image manipulation, but a 'musical reading' of them; the sonic images manipulation through visual images, an approach related to Sciarrino's and Xenakis' works. Besides the composers related to the second approach there are authors such as Lachenmann, Thoressen and Blackburn, who propose visualizations for sonic models: the analysis of their proposals allows us to think about custom visualizations. This thesis can be seen as having two main parts: one with the conceptual study of the relation between visual images and musical composition, and the other, an applied study of the compositional thinking aided by visual images. In this last part we present the compositions Estudo (clarinet quartet), Escondido num ponto (flute, alto sax, cello and piano) and Enrascada (clarinet, bassoon and piano). From them we highlight the reciprocal influence of the manipulation spaces (visualizations through drawings and musical writing), called intermodulation, a process noticed during the writing of Estudo (in which the visual sketch was altered in the musical writing stage) and explored on the composition of Escondido num ponto (with drawing and writing influencing each other step by step). The composition of Enrascada brings about reflections on the particularities of each manipulation space in relation to the work with certain sonic images. This research concludes that the issue of the reciprocal influence between visual and sonic images (and their manipulation spaces) makes it possible to bring to the act of composition the potency of the haptic and visual domains, without this meaning merely descriptive transpositions but actually a proliferation of possibilities / Doutorado / Processos Criativos / Doutor em Música

(in English) The thesis explores decision making in creative artistic process in adults. The aim of this study is to determine what and how the adults reflect during an art activity and its aftermath, as well as what other phenomena occur in the creative process. The theoretical part is divided into four parts. The first section deals with decision making - the terminology and the three theories of intuitive decision making. The second part presents basic knowledge about creativity. The third part deals with the creative process and its models. The fourth one describes two methods used in the research. The empirical part consists of qualitative and quantitative research. The qualitative research was conducted using a semi-structured interview with 14 adults, who drew on stimulus matrix - scribbling, which was created for this purpose. The objective of the qualitative research was to map the decision making in the given activity. The purpose of the quantitative research was to compare the used scribbling method with the Torrance Figural Test of Creative Thinking. The results of both surveys are described in detail and discussed with the available literature. The conclusion of the thesis offers recommendations on the use of the collected data and possible further research on this topic. Klíčová slova...

<p>Previous research has identified creativity goals and process goals as two contextual interventions for enhancing creativity in the workplace. Whereas creativity goals direct attention and effort toward outcomes that are both novel and useful, process goals direct attention and effort toward the creative process – behaviors and cognitions intended to enhance creative outcomes. The current research draws from past research and theory on goals and intrinsic motivation to explain how creativity goals and process goals influence creative performance, and perhaps more importantly, <i>why</i>. Specifically, I suggest that creativity goals have a direct, positive relationship with creative performance; however, process goals have an indirect, positive relationship with creative performance through creative process engagement. Additionally, specificity has the ability to focus attention on relevant processes and outcomes within the creativity criterion space. While specific creativity goals are predicted to direct attention toward desirable solutions without thwarting needs for autonomy, specific (i.e., structured) process goals may thwart autonomy perceptions, resulting in lower levels of intrinsic motivation, and ultimately creative performance. The hypotheses proposed were examined in a sample of 560 undergraduate students utilizing a 3 (creativity goals: specific, general, and no goal) x 3 (process goals: structured, semi-structured, and no goals) between-subjects experimental design. Results revealed creativity goals, particularly specific creativity goals, have a direct positive influence on creative performance. Process goals have an indirect positive relationship on creative performance through creative process engagement. Moreover, process goals have a negative impact on perceptions of autonomy, which in turn negatively impacts creative performance by reducing intrinsic motivation. The specific creativity goal had the strongest effects and appears to be an effective way to enhance both creative process engagement and creative performance. Taken together, these findings suggest that goals are a tenable means of enhancing creative performance; however, care should be taken to reduce adverse consequences for autonomy perceptions. </p>

Prominent definitions and theories of 'Creativity' provide core data for themes that frame the Creative Process Assessment Matrix (CPAM). Its framework is based on Wallas' stages of the creative process and the P theory (Person, thinking Process, Press/Persuasion and Product). The CPAM's structure and content was derived from current, reliable and valid research. Issues relating to assessment procedures, as well as psychological factors (blockers and stimulators) gave rise to the Creative Assessment Test Questionnaire (CATQ#4), containing questions that document creative assessment prerequisites. Recognized creativity tests (Word-Association, Instances and TCT-DP) were evaluated to determine whether they successfully address and test for relevant creative process criteria. Results indicated that all three tests only addressed a minority of CPAM's 60-point criteria. CPAM offers understanding of the environmental impact and influence on creativity, and renders it measurable. Finally, the CPAM measures the setting, sensory stimulation and what postulates the initial spark of creativity. / Psychology of Education / M. Ed. (Psychology of Education)

Prominent definitions and theories of 'Creativity' provide core data for themes that frame the Creative Process Assessment Matrix (CPAM). Its framework is based on Wallas' stages of the creative process and the P theory (Person, thinking Process, Press/Persuasion and Product). The CPAM's structure and content was derived from current, reliable and valid research. Issues relating to assessment procedures, as well as psychological factors (blockers and stimulators) gave rise to the Creative Assessment Test Questionnaire (CATQ#4), containing questions that document creative assessment prerequisites. Recognized creativity tests (Word-Association, Instances and TCT-DP) were evaluated to determine whether they successfully address and test for relevant creative process criteria. Results indicated that all three tests only addressed a minority of CPAM's 60-point criteria. CPAM offers understanding of the environmental impact and influence on creativity, and renders it measurable. Finally, the CPAM measures the setting, sensory stimulation and what postulates the initial spark of creativity. / Psychology of Education / M. Ed. (Psychology of Education)

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / Over time the conventional design process has minimally evolved from Hideo Sasaki’s staged-design process, one of the original models of landscape architectural design process (Murphy 2005, 50; Sasaki 1950, 35). Different types of conventional design process, as it is called in this study, incorporate more stages, devoting more time to each; however, the stages are still completed in an exact order due to the focus on problem solving. The lack of encouragement for personal creative thinking through an individual creative process within the conventional design processes used today is apparent in both the profession and the education of landscape architects today. Because a creative process does not simply solve problems but encourages creative thinking throughout design, the profession would see greater generation of new ideas if landscape architects began to embrace a more creative process, as identified by Graham Wallas in the 1920s (Lawson 2006, 149-150; Herrman 1995; Goswami and Goswami 1999, 43-44). Interviews with highly creative, or avant-garde, landscape architects, such as Thomas Balsley, Claude Cormier, Mikyoung Kim and Peter Walker, and assumedly creative artists helped to provide answers to primary research questions: How does the design process of avant-garde landscape architects compare to the assumedly creative process used by artists? And how can the conventional landscape architectural design process be reframed to incorporate more creative thinking in landscape architectural practice and landscape architectural education? Using a grounded theory approach, in-depth, open-ended interviews were completed with eight subjects. Initial coding themes were based upon broad categories from literature review. Substantial coding and analysis of interviews to find the creative and conventional design processes and characteristics of creativity for each subject resulted in emergent themes and sub-themes from the interviews. Analysis matrices were developed to document commonalities and discrepancies between initial themes from literature review and emergent themes from interviews. Conclusions on findings from initial and emergent themes include:highly creative landscape architects employ non-linear, creative processes throughout design, confidence in personal creativity is imperative to creative thinking, and landscape architectural programs should allow students flexibility and creative license for developing personal design processes.

Prediking is 'n dialoog. Dit dompel die preek in 'n direkte krisis. Wat kan die prediker doen om hierdie dialoog te bevorder? Die deelnemers in die erediens word kortliks bespreek. God spreek met die prediker deur die teks. Die prediker moet hierdie teks aan die hoorder in die erediens oordra. Om die oorspronklike teks te verstaan het daar drie hoofstrome in die tradisionele hermeneuse ontstaan: Krities-histories, Tekskrities en Hoorders hermeneutiek. Die probleem is egter nie opgelos nie. Hoe kan die prediker die boodskap effektief aan die hoorder oordra? Daar word voorgestel dat die kreatiewe proses gebruik word in die voorbereiding van die preek. Die breinkaart kan gebruik word om die teks en hoorder van die teks, beter te verstaan. Hulpmiddelle moet gebruik word om die teks aan die hoorder oor te dra. Hier word die gebruik van literatuur en drama bestudeer. / Preaching is a dialogue. This states the current problem of preaching. How can the preacher improve this dialogue in the sermon? The participants in the sermon are shortly discussed: The preacher listens to the text. God speaks through the text. The preacher must communicate this text to the listener in the sermon. Three major streams have evolved in the tradisional hermeneutics: Critical-historical, Textual and Listeners hermeneutics. There is however, still a problem. How does the preacher present this message effectivly to the listener? It is suggested that the creative process must be considered in preparing a sermon. The mind map can be used to understand the text and listener of the text better. More aids can be used to reach the listener effectivly. In this thesis the use of literature and drama in the preparing and delivering of the sermon will be studied. / Practical Theology / M.Th. (Practical theology)

No description available.

This essay describes a single case self-study of a music composer in order to track the compositional process in real time. In the study the subject and the researcher are the same person. The study builds on previous empirical studies that have used methodological approaches such as analysis of computer-based digital data collection, verbal protocol and video observations. It deals with issues of the compositional process related to for example time consumption, number of artistic decisions, the different roles and skills of a music composer, and methods of research in the musical composition process. During three shifts the researcher worked as a music composer dealing with the issue of converting an audio sketch of a composition into a representative finished audio product. The aim of the study was to highlight a specific phase the composititional process. The results can be divided into artistic and a scientific perspective. An artistic result is a developed and improved musical composition. Examples of scientific results is making visible and discussing artistic strategies in the context of musical composition. The study discusses different artistic roles that the composer uses during composing, each role with different skills and conditions, and how this role-playing significantly may influence the artistic result.