L'étude intitulée Salvador Dali et la photographie: portraits du surréalisme (1927-/942) montre comment l'image photographique se situe chez l'artiste au carrefour entre théorie et pratique, entre création et vie quotidienne. Elle propose de réévaluer la place du médium dans l'élaboration et la pratique de la théorie surréaliste en décrivant comment ce projet de libération de l'homme est utilisé pour exacerber l'individualisme. Dans un premier temps, Dali utilise l'image photographique comme une instance médiatrice qui lui permet de contrôler ses pulsions et de définir précisément les objets. Elle alimente ensuite son activité paranoïaque-critique et favorise son exploitation du concept de comestibilité. Elle assure enfin la réification de l'artiste et la diffusion de son image théâtralisée dans la presse. Les photographies, au service de la construction de l'identité comme de l'art de Dali, acquièrent ainsi une valeur, concrète ou métaphorique, de portraits. / The entitled study Salvador Dali and the photography : portraits of surrealism (1927-1942) show how, for this artist, the photographic image is placed at the crossroads of theory and practice, of creation and everyday life. It offers a reassessment of the role of the medium in the elaboration and in the practice of the surrealist theory by describing how the project of man’s liberation is used to intensify individualism. Dali starts by using the photographic image as a mediatory authority which allows him to control its drives and to define objects with accuracy. Then, it feeds his paranoiac-critical activity and serves his use of the edibility concept. Finally, it ensures the artists reification and his theatrical images spread in the press. The photographs, put to work for the construction of Dali’s identity and art, thus acquire a portrait value, concrete or metaphoric.

The thesis deals with the design and realization of device for controlling the light source remotely over the internet. The work uses two standards for wireless transmission of small data IQRF and for control DALI light sources. The purpose is to combine both standards and create a device that will be able to wirelessly control the light source.

From 1927 through 1939, Salvador Dalí went through an arduous artistic pursuit to visualize his perspective on reality. Dalí’s inter-connected visual and verbal process lasted for over a decade, during which he went from confronting reality to accepting that the world is an irrational paradox. This study asserts that his investigation took him from the fragmented images of cinema to the metamorphic shapes of the ‘soft and hard’ and ultimately to a series of multiple images, which envisioned his paranoid-critical method. In his 1930 article “The Rotting Donkey,” Dalí wrote, “I believe that the moment is near when, through a process of thought of a paranoiac and active character, it will be possible to systematize confusion and contribute to the total discrediting of the world of reality.” By 1930, Dalí knew he wanted to completely “discredit” the world and he saw Albert Einstein’s space-time and Sigmund Freud’s discovery of the unconscious as proof for the existence of a new dimension of experience. In 1933, Dalí found further evidence for his viewpoint in Jacques Lacan’s writings on paranoia. While Dalí wrote of and incorporated Einstein’s, Freud’s and Lacan’s ideas into his art, he came to his own conclusions on reality, which he gave form to in his artworks. To illuminate Dalí’s creative process this thesis will examine Dalí’s infamous film Un chien andalou (1929), his iconic painting The Persistence of Memory (1931), and his under-appreciated masterpiece The Endless Enigma (1938), as he visually expressed his changes in thought most clearly and convincingly in these three works.

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

Made available in DSpace on 2015-05-14T13:16:29Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 603199 bytes, checksum: 72bc18a107c523c089a076f9cde495fd (MD5) Previous issue date: 2006-02-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Schizophrenia, one of the main forms of psychotic upheaval, can be folloied of damage in the representation and visuo-spatial perception. The aim of the work was to investigate alterations in the visual perception in patients with of schizophrenia, using some pictures of surrealista painter Salvador Dalí. Sixty adults participated in the experiments, thirty without neuropsiquiátrica pathology (Control Group -GC) and thirty with schizophrenia in remissive phase (Experimental Group - GE). The participants of the GC and GE presented equivalents degree of escolaridade (M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivelly) and etárias bands ((M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivelly). All volunteers had good visual acuity. Twenty and four pictures of Salvador painter from there photographed in 20 dimension x 30 cm, based on categories previously established had been used. The photographs of the pictures had been presented the volunteers successively, after to another one without limit of time for comment. After the presentation of each photograph, the participant indicated the figure that more was distinguished. After that, each engraving was measured in centimeter and used to calculate the visual angle for the mathematical function tang alpha-1. The data had been collected in the Centers of Atenção Psicossocial (CAPS) of the cities of João Pessoa - PB and Recife - PE. The results had shown significant difference between the two groups (F 1, 58 = 550, 62, p<0,001). That is, the majority of the participants of GE preferred figures with average size bigger (between 10-15°) of that the GC that preferred figures with lesser average size (4-5°). In the generality, the figures indicated for GE had been in average 3 times bigger than the indicated ones for the GC. These data had indicated that the schizophrenia carriers had from there presented alteration in the visual perception of pictures of Salvador and that the same ones can be used to mark and to study this pathology. / A esquizofrenia, uma das principais formas de transtorno psicótico, pode ser acompanhada de prejuízo na representação e percepção visuo-espacial. O presente trabalho teve por objetivo investigar alterações na percepção visual de portadores de esquizofrenia, utilizando como marcador fotografias de alguns quadros do pintor surrealista Salvador Dalí. Participaram deste estudo 60 adultos, 30 isentos de patologia neuropsiquiátrica (Grupo controle - GC) e 30 portadores de esquizofrenia medicados e em fase remissiva (Grupo Experimental - GE). Os participantes do GC e do GE apresentavam grau de escolaridade(M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivamente) e faixas etárias semelhantes (M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivamente). Todos voluntários apresentaram acuidade visual normal ou corrigida. Foram utilizados vinte e quatro quadros do pintor Salvador Dalí fotografados na dimensão 20 x 30 cm, baseados em categorias previamente estabelecidas. As fotografias dos quadros foram apresentadas aos voluntários sucessivamente, uma após a outra, sem limite de tempo para observação. Após a apresentação de cada fotografia, o participante indicou a gravura que mais se destacou. Em seguida, cada uma delas foi medida em centímetro e utilizada para calcular o ângulo visual pela função matemática tang alfa-1. Os dados foram coletados nos Centros de Atenção Psicossocial (CAPS) das cidades de João Pessoa - PB e Recife - PE. Os resultados mostraram diferença significativa entre os dois grupos (F 1, 58= 550, 62, p<0,001). Isto é, a maioria dos participantes do GE preferiu figuras com tamanho médio maior (entre 10-15°) do que o GC que preferiu figuras com tamanho médio menor (4-5°). No geral, as figuras indicadas pelo GE foram em média 3 vezes maiores que as indicadas pelo GC. Estes dados indicaram que os portadores de esquizofrenia apresentaram alteração na percepção visual de quadros de Salvador Dalí e que os mesmos podem ser utilizados para marcar e estudar esta patologia.

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T18:47:44Z (GMT). No. of bitstreams: 1 Capelatto_IgorAlexandre_M.pdf: 13117483 bytes, checksum: 27c5760a98c2ce9d73dcea14709b2146 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa tem como objetivo dissertar sobre o Surrealismo e sua influência na sétima arte, ao que chamamos de Cinema Surrealista. Levantando questões como as influências deste cinema surrealista no panorama da sétima arte, tanto em questões conceituais, estéticas, como no processo tecnológico aplicado ao processo fílmico. Para tal análise utilizamos conceitos semióticos como base para o estudo dos três filmes propostos como ilustração e do processo criativo do filme Wonderland - resultado prático desta dissertação. Os filmes propostos são Spellbound (HITCHCOCK, 1945 - a "sequência do sonho" criada por Salvador Dalí), Alice (SVANKMAJER, 1988) e Titus (TAYMOR, 1999), escolhidos após uma triagem, para elucidarem a presença dos elementos surrealistas ao longo da história do Cinema e sua persistência na criação cinematográfica contemporânea / Abstract: This study has his focus on the study of Surrealism and its influence on the seventh art, which we named Surrealist Cinema. Raising influences such as this surrealist cinema in the panorama of the seventh art in conceptual, aesthetic questions, as in the technological process applied to the film. For this analysis we used semiotic Concepts as the basis for the study of the three films offered as an illustration and of the creative process of the film Wonderland - practical result of this dissertation. The movies proposed are Spellbound (HITCHCOCK, 1945 - the "dream sequence" created by Salvador Dalí), Alice (SVANKMAJER, 1988) and Titus (TAYMOR, 1999), chosen after a screening, to elucidate the presence of surrealistic elements throughout the history of cinema and its persistence in contemporary filmmaking / Mestrado / Multimeios / Mestre em Multimeios

Made available in DSpace on 2014-06-12T23:00:24Z (GMT). No. of bitstreams: 2 arquivo6524_1.pdf: 2249661 bytes, checksum: 87be8eec23a4425975ea05e86a79102a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A percepção representa a organização e interpretação de todos os elementos advindos da nossa experiência sensorial; ela dá significado ao que é sentido. Baseados no princípio de que a percepção sensorial é alterada, na esquizofrenia, antes de qualquer alteração cognitiva (SIMAS, 2011), os estudos anteriores com os quadros de Salvador Dali oferecem indícios de que estes são particularmente adequados para medir alterações perceptivas visuais relacionadas à forma e tamanho. O objetivo do trabalho foi avaliar a percepção visual em pacientes com esquizofrenia comparando seus tamanhos preferidos nos quadros de Salvador Dali, nas pranchas de Rorschach e nos quadros de Victor Molev. Participaram do estudo 21 voluntários de ambos os sexos entre pacientes com esquizofrenia (GE) e aqueles sem diagnóstico de patologia (GC) do Hospital das Clínicas da Universidade Federal de Pernambuco. Os procedimentos envolveram a apresentação aleatória de três classes de estímulos: fotografias de 24 quadros do pintor Salvador Dali, 24 de Victor Molev e as 10 pranchas de Rorschach, em uma estante de partitura, sem limite de tempo para observação, a uma distância de 30 cm do olho do observador. Os estímulos foram apresentados sucessivamente, seguindo a mesma ordem para todos os participantes com uma instrução padronizada: Você vai ver fotografias de quadros de um pintor e, depois de olhar cada uma, você deverá indicar a primeira figura que mais lhe chamou atenção . Na seqüência, o participante registrou a primeira figura que percebeu circulando-a sobre a pasta L transparente, com um marcador permanente. Um segundo experimento com 41 estudantes (grupo de universitários, GU) foi conduzido no LabVis-UFPE com as três classes de estímulos digitalizadas e apresentadas no programa Microsoft Office PowerPoint 2003 seguindo os mesmos procedimentos. Na análise estatística, o teste não-paramétrico Kruskal-Wallis foi utilizado, não apresentando diferenças significantes entre GE e GC para qualquer dos quadros de Dali, Molev e das pranchas de Rorschach. A amostra dos estudantes, GU, foi submetida aos mesmos testes e, na comparação com o estudo conduzido no ambulatório com o GE e GC, apresentaram diferenças significantes em todas as pranchas de Rorschach; todos os quadros de Dali (exceto no quadro 5); e todos de Molev com exceção dos quadros 56 e 69. No GU, os tamanhos das figuras escolhidas foram iguais à metade daquelas no GE e GC. Esta comparação entre os estudos 1 e 2, assim como a hipótese investigada nos estudos anteriores, apontam a necessidade de novos estudos comparando as variáveis entre diferentes características dos grupos controles

This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.

Master of Science / Department of Architectural Engineering and Construction Science / Raphael A. Yunk / The DALI (Digital Addressable Lighting Interface) protocol has set forth the requirements for a digital fluorescent ballast that out performs its predecessors with respect to flexibility and functionality. The advantages of a DALI lighting control system range from advanced dimming capabilities and daylight sensing to saving money in energy and maintenance costs. A DALI lighting control system can also be beneficial to designers when trying to meet the requirements of code or recommended practices. The information in this report will help designers decide when to consider using a DALI lighting control system. This report covers topics such as the advantages of digitally addressable lighting, the equipment required to make a DALI system work, the limitations and drawbacks of DALI, cost information on installing and using a DALI system, and how DALI can help meet code and recommended practices, and concludes with a case study demonstrating how a DALI system has the potential to save money in energy costs.

The thesis is focused on bus systems and their control by GUI. Basic energy management principles and the mostly known bus systems are analysed in the first – theoretical part of the paper. The theoretical part is then focused on software tool ETS 4, which is used for activation of system installation KNX. Software tool SmartServer, which is used for communication between bus system KNX and web interface, is described at the end of the first theoretical part. Two laboratory boards assembled of KNX and DALI parts were constructed in the second – practical part. Three laboratory tasks, which are prepared so they are related to theoretical description in previous part, were submitted in next step. Aim of the first task is to introduce basics of the board and PriOn interface. The second task is focused on DALI components and temperature control with PriOn regulating device. Creating of basic visualization and controlling of the board with SmartServer is described in the last task.