Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-08-03T12:56:24Z No. of bitstreams: 2 Dissertação - Monique de Jesus Vieira Coelho dos Santos - 2017.pdf: 6731517 bytes, checksum: 8590c5ed850b8ac7d472d9a4002809cc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-08-07T15:31:02Z (GMT) No. of bitstreams: 2 Dissertação - Monique de Jesus Vieira Coelho dos Santos - 2017.pdf: 6731517 bytes, checksum: 8590c5ed850b8ac7d472d9a4002809cc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-07T15:31:02Z (GMT). No. of bitstreams: 2 Dissertação - Monique de Jesus Vieira Coelho dos Santos - 2017.pdf: 6731517 bytes, checksum: 8590c5ed850b8ac7d472d9a4002809cc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main aim of this research was to comprehend the process of collective artistic creation developed by Grupo EmpreZa. In order to achieve this purpose, the experience of this Dissertation author as an active member in the group, the systematic observation of the Group meetings and its artistic workshops, performances, audiovisual and photographic productions were taken into consideration as sources for the analyzes. In the first part of the Dissertation, the focus remained on the relationship between the individual and society. Some discussions on authorship were addressed, mainly how the conception of authorship has changed throughout History and how this affects Art, in general, and the artistic collectives, in particular, especially in contemporary times. The second part, in its turn, presents a study of the creative process of the Grupo EmpreZa itself. From this author perceptions and experiences and the other sources already mentioned, this section tries to understand how the collective Grupo EmpreZa has operated and developed its artistic creation. Since the group consists of several individuals, many of them with an individual artistic career, it was also important to analyze how can the individual interfere with the collective creation process and the vice-versa, how can the collective interfere with the individual creative process, but also if the individualities disappear or rather are in fact attenuated in a collective creation process. / Esta pesquisa tem por objeto analisar o processo de criação artística realizado em coletividade, tendo como base o processo de criação do Grupo EmpreZa. As reflexões foram desenvolvidas a partir da minha vivência enquanto membro ativo no grupo, por meio da observação de reuniões, laboratórios artísticos e do desenvolvimento dos trabalhos. Na primeira parte do estudo, procuro refletir, em um aspecto geral, sobre as relações do indivíduo e sociedade. Aborda-se discussões acerca da autoria, refletindo sobre suas mudanças ao longo da história para entender como ela funciona na arte e como tem se diluído em alguns coletivos artísticos na contemporaneidade. Em seguida, há um estudo aprofundado do processo de criação do Grupo EmpreZa. Nele, exponho, a partir das minhas percepções e vivências, como o coletivo tem operado e desenvolvido a sua criação artística. Sendo o grupo constituído por vários indivíduos, muitos deles com carreira artística individual, procura-se refletir sobre o impacto das diferentes individualidades em um processo de criação coletivo e ainda se as individualidades se diluem ou se fortificam em um processo de criação realizado em coletividade.

Esta pesquisa propõe uma reflexão sobre a produção da imagem fotográfica e seus desdobramentos num processo artístico. Busca investigar a presença de procedimentos adotados por artistas que pretendem ampliar o conceito de imagem fixa, propondo alterações formais e conceituais com uso de materiais diversos. O texto apresenta análises sobre obras de artistas contemporâneos em relação com os procedimentos adotados no meu processo artístico. Desta maneira, instaura-se um campo de interação entre vários modos do fazer artístico. Durante a construção desta tese, foram identificados núcleos de análises que norteiam a organização do pensamento sobre minha conduta criadora, constituindo assim, categorias de ações e reflexões sobre imagens transitórias e as dinâmicas interativas entre o real e o imaginário nos procedimentos fotográficos. As operações poéticas, aqui apresentadas, envolvem experiências com uso de imagens fotográficas que retornam ao tipo de material ou situação que lhe deu origem, assim como o uso de materiais que se associam de maneira metafórica ou metonímica. Tais escolhas, por consequência, promovem alterações nas qualidades visuais das imagens produzidas, fator importante para discutir o “valor” da imagem no cotidiano e seu estado transitório. Assim, os desvios produzidos nos registros fotográficos foram fundamentais para ampliar o conceito da fotografia documental e da fotografia artística, discutido aqui, a partir de uma articulação prática e reflexiva das “marcas do visível”. / This research aims at a reflection about the production of the photographic image and its unfoldings in an artistic process. It tries to investigate the presence of procedures applied by artists who intend to enlarge the concept of steady image, proposing formal and conceptual changes with various materials. The text presents some analyses about works of contemporary artists in relation with the procedures applied in my artistic process. Hence, it is established a field of interaction among various kinds of art making. During the writing of this thesis, it was possible to identify nucleuses of analyses that guide the thought organization about creating conduct, constituting this way, categories of actions and reflections about transitory images and the interactive dynamics between what is real and what is imaginary in photographic procedures. The poetic operations, here presented, involve experiences with use of photographic images that return to the type of material or situation from which it originated, as well as the use of materials that are associated in a metaphoric way. Such choices, as a consequence, generate changes in the visual qualities of the images produced, an important factor to discuss the “value” of the image on a regular basis and its transitory state. Therefore, the deviations produced in the photographic registers were fundamental to enlarge the concept of the documental photography, discussed here, beginning from a practical and reflexive articulation of the “marks of visible”.

O presente memorial apresenta uma reflexão teórica sobre a utilização da imagem como ponto de partida da organização estrutural e formal do processo composicional. A primeira parte apresenta as referências musicais e as motivações estéticas com as quais dialogo e que impactaram minha composição. A segunda parte consiste em um referente teórico, o qual se centra na análise da importância da imagem nos processos criativos, citando autores como Salles (2011) e Ostrower (2013); por outra parte, sintetiza casos de compositores cujos processos criativos foram mediados pela imagem e empregaram possibilidades de utilização da imagem como orientadora ao longo do percurso criativo. Finalmente, apresento as composições: Fantasia Bolerosa (2012), Quya-Killa (2012), Um Olhar no passado (2013), objeto principal de reflexão e análise, sob os conceitos de repetição e reiteração, Ferraz (1998). O resultado deste trabalho demonstra que a utilização da imagem é uma ferramenta que pode complementar a metodologia composicional na criação de peças como as que integram este memorial de composição. / The memorial gift provides a theoretical reflection on the use of the image as a starting point in the structural organization and the formal compositional process. The first part presents the musical references and aesthetic motivations with which dialogue and that somehow influenced my composition. The second part consists of a theoretical framework which focuses on analyzing the importance of image in creative processes, citing authors such as Salles (2011) and Ostrower (2013), for other instances synthesizes part of composers, whose processes were mediated by creative image and who employed possibilities of using image as a guideline along the creative path. Finally I present the compositions: Fantasia Bolerosa (2012), Quya- Killa (2012), Um Olhar no passado (2013), the main object of reflection and analysis. The result of this study shows that the use of the image is a tool that can complement the compositional methodology in creating pieces as that integrate this memorial composition.

Esta pesquisa analisa caminhos por meio dos estudos visuais visando à reflexão sobre o ensino da moda vinculada à percepção cultural por meio da análise de imagens. O objetivo consiste em investigar possibilidades para pensar o ensino e aprendizagem do processo criativo de moda. Para isso, buscou-se interpretar como as imagens são concebidas, investigando suas relações com a cultura na qual estão inseridas. Para tanto, a pesquisa observa as diferentes interpretações acerca da criatividade para fundamentar sua reflexão no tocante ao processo criador em moda com o intuito de potencializar sua práxis para o ensino e o fomento à criatividade dos alunos. O projeto também contemplou uma pesquisa in loco, na França, a fim de observar como o processo criador é trabalhado no país e a relação da cultura com as estratégias de ensino, isso para fundamentar um estudo comparativo do fomento à criação em cursos de moda no Brasil e na França. Além disso, apresenta-se o desenvolvimento de uma coleção autoral para demonstrar como a leitura de imagem pode contribuir com o estímulo da criatividade em Moda. / This research analyzes ways through visual studies aiming to reflect on the fashion school linked to cultural awareness through image analysis. The aim consists to investigate possibilities to think the teaching and learning of creative fashion process. For this, we sought to interpret as images are designed, investigating its relationship with the culture in which they are inserted. Therefore, the research looks at different interpretations of creativity to support its reflection regarding the creative process in fashion in order to enhance their práxis for teaching and fostering the creativity of students. The project also included an in loco survey, in France, in order to observe how the creative process is working in the country and the relationship of culture with the teaching strategies, so to support a comparative study of fostering the creation of fashion courses in Brazil and France. In addition, it presents the development of an authorial collection to demonstrate how image reading can contribute to stimulating creativity in fashion.

Em Paraíso perdido, de John Milton, Pandemonium é a capital do inferno, local onde todos os demônios se encontram em conselho para discutir seus planos. É também significado de confusão, caos e balbúrdia. Tal metáfora pode ser utilizada para descrever o processo criativo do designer gráfico, cuja mente funciona como um caldeirão fervilhante de informações interligadas em uma rede complexa. Ao contrário do que se imagina, as ideias não surgem de uma inspiração divina ou um pensamento ordenado e previsível. Nascem da prática repetitiva, do esforço e da experimentação, constituídos a partir do repertório particular de cada designer. O objetivo desta tese foi compreender o processo criativo em design gráfico no qual o acaso e a experimentação estão inseridos. A tese foi construída a partir de uma pesquisa prática e teórica e consiste de reflexões a partir da bibliografia sobre design e processos de criação, de entrevistas realizadas com designers gráficos e de experimentos que apresentam, na prática, o processo de criação em design, que é único para cada um, pois envolve inúmeros aspectos que determinarão o resultado final, e somente um envolvimento profundo faz com que oportunamente elementos não premeditados colaborem nesse processo. Por isso, Pandemonium foi montado como um caderno de experimentos e vivências que pode ser lido por inteiro ou folheado livremente. É uma pesquisa que leva em consideração as referências pessoais e os relatos do aprendizado teórico e prático de um estudante, designer e professor. Baseou-se nas oito fases do processo criativo descritos por Robert Keith Sawyer, que pesquisa a criatividade há mais de vinte anos. Essas fases constituem a estrutura da tese e visam a propiciar clareza e entendimento de todo o processo de criação, que não ocorre de maneira linear, e, portanto, as oito fases não acontecem necessariamente na ordem apresentada nesta tese. O processo criativo constitui-se conforme o projeto se desenvolve, havendo sempre desvios, erros, improvisações e surpresas que ajudam a construí-lo. / In John Milton\'s Paradise Lost, Pandemonium is the capital of hell, the place where demons have a board meeting in order to discuss their plans. It also means confusion, chaos, and commotion. Such a metaphor can be used to describe the creative process of a graphic designer, whose mind functions as an overflown cauldron filled with interconnected information in a complex network. Contrary to popular belief, ideas are not a result of divine inspiration or orderly and predictable thinking. They come to life due to repetitive practice, effort and experimentation, which are characteristics of the designer´s own repertoire. The purpose of this dissertation was to understand chance and experimentation inserted in the creative process of graphic design. This dissertation was based on the lines of a practical and theoretical research and consists of reflections from the bibliography on processes of design and creation, interviews with graphic designers and experiments that present, in practice, the design creation process, which is unique for each person, since it involves many aspects that will determine the final result. Thus, only deep involvement might eventually prove that unpremeditated elements collaborate in this process. Therefore, Pandemonium was organized as a notebook of experiments and experiences that can be read in full or leafed through freely. It is a research that takes the personal references and the reports of the theoretical and practical learning of a student, designer and professor into account. It was based on the eight stages of the creative process described by Robert Keith Sawyer, who has studied creativity for more than twenty years. These stages form the structure of the dissertation and aim to provide clarity and understanding of the whole creative process, which does not occur in a linear way; therefore, the eight stages do not necessarily happen in the order presented in this work. Creative process is formed along with project development as there are always deviations, mistakes, improvisations and surprises which promote its shape

An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all / Master of Arts (Hons) Visual Arts

The study focuses on the types of cultural practice that are, in the main, generated by the young people themselves (hereafter referred to as youth generated cultures) who fall within the age group of 14-20 yrs of age. The research was undertaken in the Western Sydney region, which is the largest expanding population in Australia, and is regularly defined as a socio-economically disadvantaged region, therefore, an important factor within this study is the issue of class determinants. The paper explores the youth generated cultural practice of graffiti, skateboarding, street machining, and street dancing. These creative practices challenge traditional notions of culture and the arts, however the young people also employ strategies of an aesthetic nature in their creative process. Youth generated cultures are actively engaged in criticism through the use of instrumentalist aesthetics such as Monroe Beardsley describes. The thesis proposes that youth generated cultures have, in a united and structured manner, provided for themselves a framework of economic and pedagogical support that has afforded them a place within the cultural mainstream without the recognition or approval of mainstream cultural establishments. It is argued that these particular youth generated cultures are not rebellious or destructive subcultures, that they are creative in nature and have been established primarily to produce and display their creative cultures. Youth agency is essential to the character of these youth generated cultures and it is this agency that is under challenge from the cultural hegemony. The young people involved in youth generated cultures demand that any account of their cultural practice must also accept the agency of youth as fundamental to their cultural status. / Master of Arts (Hons) (Art History and Theory)

This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.

Coworking is a new type of work model that has been developing rapidly during the 21th century. However, no academic research has been conducted on the subject yet. We have, therefore, decided to study the subject in order to evaluate if and how Coworking has an effect on creativity. The problem with this thesis is that creativity is a broad subject that includes several variables. This has led us to study theories within the field of: innovation, motivation, personal traits, and environment in respect to the Creative Process by Sawyer (2006). These theories have laid the foundation of our theoretical framework and are used to study our purpose and answer the research questions. This thesis is built upon data from individual case studies from semi-structured interviewees with coworkers from The Hub in Stockholm, Sweden. These interviews have then been transcribed and categorized by the Content Analysis in accordance with Hancock (1998).  The data has then been analyzed in-depth by using Eisenhardt’s Cross-Case Pattern Analysis (1989) in order to evaluate the relevance and reliability of the data. The results from our analysis are presented in unity with our method and theoretical framework, this part concludes with a reflection over our purpose and suggestions for future areas of research. The main finding from the results is that Coworking has a positive effect on creativity. But, this is mainly due to the mix of people participating in Coworking. The diverse group of coworkers creates at network of knowledge located in an open atmosphere that simplifies the creation of new ideas. We believe that this thesis has contributed to the academic society as it currently is the only academic paper within the area of Coworking.

Given the context of globalization and growing competition, we assist at a reduction of the product life cycle and at a rapid diffusion of creations and innovations. To respond to the fast changing customers’ demand and to reinforce their market position, firms shall design an effective creative process offering superior customer value and insuring their future in the long term. First of all, after an explanation of the differences between creativity and innovation, the creative process of high-tech firms in terms of actors involved, resources allocation, leadership and management of creative people will be depicted. Secondly, the creative destruction process and some of the inherent obstacles and risks of the creative process will be addressed. Thirdly, the concepts of Technology Life Cycle (TLC) and Product Life Cycle (PLC) will be developed. Within this thesis, our ideas are presented and justified through three methodologies: Literature Review, case study and interview. We mainly used the cases of Hewlett-Packard (HP) and France Telecom Orange (FTO) to backup our argumentation. We conceptualized the creative process and we highlighted the connections between the creative process and the Product Life Cycle. With the help of two other small cases study (Nintendo and Apple), we emphasized the downward trend of high-tech products’ lifecycle in the long run. Ultimately, four practical recommendations are given to leaders from high-tech industries and directions to deeper research this topic are advised.