This Thesis deals with the organization of a non-profit cultural project -- a photographic exhibition. It is based on the theory of project management and arts marketing, which is compared with the experience of Jan Foltán, an experienced organizer of such exhibitions. The Thesis is divided into seven chapters; the first one presents the person himself, his work and experience which forms the practical part of the following chapters. In the second chapter, I present the principles of project management, which form the theoretical ground of the Thesis. Another chapter is devoted to marketing of a cultural project where the emphasis is on Public and Media Relations. Part of that chapter is also devoted to the organization of openings of exhibitions and charity auctions of art works. The research of factors that influence the attendance of artwork exhibitions is also included in this chapter. An important part of PR and funding is sponsoring, the importance of which is evident from the chapter on financing. The fifth chapter deals with the realization of exhibitions including theme selection, ensurance of locations, logistics, and schedule. The following section is devoted to the connection of cultural projects with charity and human motivation to help others through their work. The last chapter deals with branding of artists; thus creating their brand which is also another very important part for ensuring the attendance at the exhibitions.

Orientador: Andre Munhoz de Argollo Ferrão / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-14T15:19:19Z (GMT). No. of bitstreams: 1 Perecin_AntonioLaercio_D.pdf: 32243241 bytes, checksum: 16966ce3c138274d3a49357db2d14a74 (MD5) Previous issue date: 2009 / Resumo: O trabalho visa mostrar que é possível correlacionar a arquitetura rural, bem como o patrimônio cultural da cidade de Atibaia-SP, através da análise das diferentes escalas do arranjo produtivo do morango e culturas complementares, com os processos que nele ocorrem. A arquitetura rural aqui é vista como aquela resultante dos processos de produção agrícola e assume importância quando é necessário conhecer um determinado espaço rural com a finalidade de planejamento do desenvolvimento regional. Nesse sentido é útil para aqueles que necessitam tomar decisões empresariais e para os que projetam políticas públicas para incentivo de certos setores importantes da economia regional, bem como àqueles encarregados do projeto de engenharia que visam materializar essas decisões e essas políticas. Concluiu-se que existe uma correlação entre os processos que ocorrem no arranjo produtivo e a arquitetura que dele resulta. / Abstract: The work aims to show that it is possible to correlate the rural architecture and the cultural heritage of the city of Atibaia-SP, through the analysis of the different scales of production arrangement of strawberry crops and complementary to then, with the processes that occur therein. The rural architecture here that is seen as resulting from processes of production and is important to know when a rural area with the aim of regional development planning. In this sense it is useful for those who need to make business decisions and for those who design public policies to encourage certain important sectors of the regional economy as well as those responsible for engineering project aimed at realizing those decisions and those policies. It was concluded that there is a correlation between the processes that occur in production arrangement and architecture that follows it. / Doutorado / Recursos Hidricos / Doutor em Engenharia Civil

O Antarctica artes com a Folha foi uma exposição de arte contemporânea realizada no Pavilhão Manoel da Nóbrega, em São Paulo, em 1996. Ao reunir 62 artistas naturais de onze estados brasileiros e com até 32 anos de idade, a coletiva construiu um enunciado forte e bastante disseminado do que seria, dentro da perspectiva de sua equipe, a \"geração 90\" do país. O objetivo desta tese é realizar um estudo de caso da mostra, atentando para o seu vínculo com práticas sociais de valoração do \"capital juventude\" (DEBORD, 1997, p.108) e, por conseguinte, para o seu papel na definição de critérios e discursos, sempre relativos, de uma arte \"jovem\" e \"brasileira\" em 1996. Isso envolve, em primeira instância, organizar uma narrativa histórica que articule as perspectivas dos diferentes agentes que fizeram o projeto, a partir de documentos de época, uma vasta cobertura jornalística e entrevistas concedidas por artistas, curadores, organizadores, jornalistas, críticos, arquitetos e galeristas. Em segunda instância, mas de forma intercalada ao exercício narrativo, coube examinar as categorias dos discursos do Antarctica para entender por que e como priorizaram a temporalidade do evento, com edição única, e nele produziram ideias de geração e região. / Antarctica artes com a Folha (Antarctica arts with Folha [de São Paulo newspaper]) was a contemporary art exhibition held at the Pavilhão Manoel da Nóbrega (Manoel da Nóbrega Pavillion) in São Paulo in 1996. By bringing together 62 artists up to 32 years of age from 11 Brazilian states, the exhibition team formulated a powerful and widely disseminated exhibition statement of what, from their specific standpoint, would become the country\'s \'90s Generation. The aim of this thesis is to carry out a case study of the group show, emphasizing its link to social practices of valorisation of the \"capital of youth\" (Debord, 1997: 108), thus noting its role in establishing the always relative criteria and discourses of a \"young\" and \"Brazilian\" art in 1996. This involves firstly organizing a historical narrative that articulates the perspectives of the different agents who organized and produced the project, based on documents from that time, on wide media coverage and interviews granted by artists, curators, organizers, journalists, art critics, architects, and gallerists. And secondly, proceeding to examine the categories of discourses of the Antarctica, though in a way that is interspersed with the narrative exercise, in order to understand why and how the event\'s temporality was prioritized, namely as a one-time event, wherein ideas about generation and region were produced.

O ambiente marinho muitas vezes é negligenciado nas discussões ambientais devido ao aparente distanciamento entre esse e nosso cotidiano, tendo sofrido um acentuado processo de transformação e degradação. Assim, fica evidente a necessidade de atividades de Educação Ambiental que abordem tal ambiente. A Exposição interativa Mergulho Fora d\'Água (MFA) insere-se nesse contexto. O presente trabalho visa contribuir para a ampliação do conhecimento sobre concepções de estudantes do Ensino Fundamental acerca do ambiente marinho, bem como para a avaliação e aprimoramento da exposição interativa MFA. A pesquisa apresenta como objetivos específicos investigar concepções iniciais e verificar se e como a atividade MFA influência tais concepções dos alunos do Ensino Fundamental de uma escola da cidade de São Paulo sobre: (1) meio ambiente; (2) ambiente marinho, sua conservação e relação com o cotidiano desses alunos. Para isso, foram aplicados questionários estruturados compostos por questões fechadas e abertas, antes e após os estudantes participarem da exposição MFA. Para a análise dos dados, as respostas de questões abertas foram submetidas a um processo de categorização aberta e as categorias foram comparadas por meio de quantificações simples (cálculo de médias de ocorrência). Respostas provenientes de questões fechadas foram diretamente quantificadas e comparadas. Os dados foram coletados em turmas de sétimo, oitavo e nono ano do Ensino Fundamental de uma Escola Estadual da Cidade de São Paulo, localizada nas proximidades da USP. Um total de 476 estudantes participou da pesquisa. Nossos resultados evidenciaram que os estudantes sujeitos da pesquisa podem apresentar diversas concepções de meio ambiente, aplicando-as dependendo das várias situações as quais são expostos. Por exemplo, como concepções iniciais, ao pensarem no meio ambiente em geral, foram predominantemente Naturalistas e excluíram o homem do meio ambiente. Já quando pensam no ambiente marinho propriamente dito, justificam a necessidade de sua conservação também com base em concepções Naturalistas, mas estabelecem relação entre tal ambiente e seu cotidiano com base em uma concepção Antropocêntrica, justificada principalmente por uso de substâncias e alimentos derivados do mar. Vale ainda ressaltar que uma porcentagem bastante reduzida dos estudantes (20%) conseguiu estabelecer tal relação ambiente marinho-cotidiano. A principal palavra associada a esse ambiente foi “curiosidade” e, ao serem questionados sobre organismos marinhos, os cordados foram os mais citados (baleias, peixes e tubarões). Apesar da persistência de muitas dessas concepções iniciais, pudemos verificar algumas mudanças após a realização da exposição MFA, como uma maior inclusão do homem como elemento do meio ambiente. Além disso, concepções Antropocêntricas e Problema de meio ambiente sofreram redução. Quanto às concepções sobre ambiente marinho, a porcentagem absoluta de estudantes que conseguiu estabelecer a relação desse ambiente com seu cotidiano aumentando discretamente (para 30%). Quanto às palavras associadas ao ambiente marinho, “curiosidade” aumentou para estudantes de todos os anos. Já para os mais jovens alguns aspectos negativos também sofreram aumento (como poluição, doença e medo). No caso do nono ano, a situação foi diferente, ocorrendo maior citação de aspectos positivos, como beleza e diversão. Para todos os anos escolares, as citações de animais não cordados (ex. estrelas e ouriços), vegetais (algas) e plâncton foram maiores e organismos não marinhos (ex. girinos) foram menos citados. Nossa percepção geral é que a exposição MFA alcançou objetivos mais efetivos para os alunos de nono ano. Pautamos essa percepção em dados como o aumento de interesse após a exposição por parte dos alunos e do aumento da associação do ambiente marinho à beleza e diversão, além de curiosidade. Assim, o presente trabalho representou um esforço inicial para a melhor compreensão sobre as concepções de meio ambiente e, especialmente sobre o ambiente marinho. Esperamos que os dados obtidos possam ser subsídios para a avaliação à atividade MFA por parte de seus idealizadores em um processo continua de aprimoramento / The marine environment is often neglected in environmental discussions due to the apparent detachment between this and our daily lives, having undergone a marked transformation and degradation processes. Based on this, it is evident the need for environmental education activities about this environment. The interactive exhibition Out of Water Diving (OWD) is inserted in this context. The present work aims to contribute to the expansion of knowledge about the concepts of elementary school students about the marine environment, as well as for the evaluation and improvement of the interactive exhibition OWD. The specific objectives are to investigate the initial conceptions and check whether and how the OWD activity influence conceptions of students from a São Paulo school about: (1) the environment, (2) marine environment, its conservation and relation with the daily lives of students. We used structured questionnaires consisting of open and closed questions, before and after OWD exhibition. For data analysis, responses to open questions were subjected to a process of open categorization and categories were compared. Answers from closed questions were directly quantified and compared. Data were collected in classes of seventh, eighth and ninth year of elementary school in a public School of São Paulo city, located near at USP. A total of 476 students participated in the survey. Our results showed that students may have different environment conceptions, applying them depending on various situations which are exposed. For example, as initial conceptions about the environment, the students showed predominantly Naturalist concepts and excluded the man of environment. However, when they think about marine environment, they justify the need for its conservation also based on conceptions Naturalists, but establish relationship between such an environment and their daily based on an anthropocentric concepts, mainly explained by substance use and food derived from the sea. In addition, a small percentage of students (20 %) was able to establish a relation between marine environment and everyday life. The key word associated with this environment was “curiosity”, and when questioned about marine organisms, the chordates were the most frequent cited (whales , fishes and sharks ). Despite the persistence of many of these initial conceptions, we could detect some changes after the exposure OWD, as an increase on inclusion of man as an element of the environment. In addition, Anthropocentric and Problem concepts of environmental were reduced. Regarding conceptions of the marine environment, the absolute percentage of students who were able to establish the relationship of this environment with their everyday life slightly increasing (to 30 %). About the words associated with the marine environment, “ curiosity” increased for students of all years. However, for the youngest students, some negative aspects also increase (pollution, disease and fear). For the ninth year, the situation was different, occurring most citations of positive aspects, such as beauty and fun. For all school years, the citations of animals not chordates (eg. stars and sea urchins), vegetables (seaweed) and plankton were higher and non-marine organisms (eg, tadpoles) were lower cited. Our general perception is that OWD exposure achieved goals more effective for students of ninth year. We base this perception on data such as the increase after exposure of interest by students and increased of the association among marine environment and beauty and fun, as well as curiosity. Thus, this study represented an initial effort to better understanding of environment concepts as well as marine environment concepts. We hope that the data can be subsidy for the evaluation OWD exposition by its creators in a continuous improvement process

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The aim of this study is to examine the temporary museum exhibit World of the Vikings (Welt der Wikinger), created by Sweden’s Statens Historia Museum (SHM), through the lenses of  gender and pedagogical analysis. The exhibit which was planned to be showcased in the German city of Kiel in time for the sailing Olympics in 1972 and had several goals in mind. The primary goals were to showcase models of Viking ships and achievements of their ship art (to coincide with the sailing Olympics), provide an overview of the Viking Age and showcasing all its different aspects as opposed to just the infamous warrior. Using a gender theory and the overarching analyst method ‘The Feminist Museum Hack’, primarily utilizing a discourse analysis and a visual method (as well as comparative reading, a quantitative method and content analysis, depending on which objects were analysed), this study examines archival material of the exhibit in order to unveil both gender and pedagogical aspects. The material used, consisting of protocols, memos, exhibition texts, booth overviews (consisting of photographs), catalogues and letter correspondents, provide an extensive look into the exhibit, its purposes as well as the overall structure. The main findings of this study are that the exhibit had a clear pedagogical goal in mind, as its content was divided into different parts and chapters to detail various parts of the Viking Age, including their everyday life. Several artifacts collected from various museums were showcased, and the exhibition texts were designed to both educate its visitors and inspire to seek further knowledge. Nuancing gender roles was not part of its purpose, which is confirmed by a gender analysis of the exhibit. A significant portion of the Nordic people mentioned were men while only a few women were mentioned, but  most of the featured men and women were also from a higher hierarchical standing. In terms of expression of gender and gender roles, men were the primary focus in describing and showcasing everyday Nordic life, whereas the women remained passive and secondary. Through the exhibit material, it is clear the roles and chores performed by men were deemed of a higher importance.

Persona through persona – to interest non-inducted for film history is a thesis in information design with a focus on spatial design. The work has been done in collaboration with the Bergmancenter at Fårö, which wanted a design proposal for the renewal of its basic exhibition about Ingmar Bergman and Fårö. The current base exhibition is based on the perspectives of Fårö inhabitants, which makes it difficult for other target groups to find the red thread. The theme of the exhibition is unclear. The exhibition shows large amounts of text and photographs. Movie clips appear on TV-screens. Other ways of disseminating information are lacking, which limits the target group for the exhibition. Bergmancenter wants to reach a broader target group, that Ingmar Bergman is highlighted as a person and artist, that Bergman's films recorded on Fårö come out more clearly while preserving Bergman's connection to Fårö and the Fårö inhabitants. The wishes of the client were among other things to get suggestions for designs that highlight the interesting stories that do not appear in today's exhibition. The work has focused on one of these stories, behind the camera on the filming of the movie Persona. The purpose of this thesis is to develop information design solutions that can be used in spatial design of stories in small-scale exhibition environments. This to create interest in people without knowledge of a subject and to stimulate memorable experiences. The persona method was used to create an image of the intended target group. By using affordance in the creation of spatial storytelling, a design proposal was created for part of the basic exhibition. The result was a design proposal created in the form of a spatial story containing several small stories, which highlights the film Persona, innovative film technology, Bergman as a person and the Fårö inhabitant’s participation in the film. / Persona genom persona – att intressera oinsatta för filmhistoria är ett examensarbete inom informationsdesign med inriktning mot rumslig gestaltning. Arbetet har skett i samverkan med Bergmancenter på Fårö som önskade ett gestaltningsförslag för förnyelse av sin basutställning om Ingmar Bergman och Fårö. Nuvarande basutställning utgår från Fåröbornas perspektiv, vilket gör det svårt för andra målgrupper att finna den röda tråden. Tematiken i utställningen är otydlig. I utställningen visas stora mängder text och fotografier. Filmklipp visas på tv-skärmar. Andra sätt att förmedla information saknas, vilket gör att målgruppen för utställningen begränsas. Bergmancenter vill nå en bredare målgrupp, att Ingmar Bergman lyfts fram som person och konstnär, att Bergmans filmer inspelade på Fårö kommer fram mer tydligt samtidigt som Bergmans koppling till Fårö och fåröborna bevaras. Önskemål från uppdragsgivaren var bl.a. att få förslag på gestaltning som lyfter de intressanta berättelser som inte kommer fram i dagens utställning. Arbetet har fokuserat på en av dessa berättelser, bakom kameran på inspelningen av filmen Persona. Syftet med arbetet har varit att finna informationsdesignslösningar som lämpar sig vid spatial gestaltning av berättelser i småskaliga utställningsmiljöer. Detta för att skapa intresse hos människor utan förkunskap om ett ämne samt för att stimulera till minnesvärda upplevelser. Metoden persona användes för att skapa en bild av den tilltänkta målgruppen. Genom användning av affordance i skapandet av spatial storytelling skapades ett gestaltningsförslag för en del av basutställningen. Resultatet blev ett gestaltningsförslag skapat i form av en spatial berättelse innehållande flera små berättelser, som lyfter filmen Persona, innovativ filmteknik, Bergman som person och Fåröbornas medverkan i filmen.

As second-year graduate students from LMU’s Art Therapy program, we are excited to introduce the focus of our Master’s research project, a concept we coined as exhibition as intervention. Our goal is to create a space that brings awareness to the possibilities of exhibition to amplify the voice and increase empathy between artist and viewer. Originally, our vision was to hold the exhibition at Cedars-Sinai to supplement the 2020 Art Therapy Research Symposium. With COVID-19 placing restrictions on public gatherings, the exhibition had to transform from a physical experience to a virtual one. The catalog which began as our secondary focus to the exhibition, shifted to become the primary source of communicating our intentions. Informed by the literature of our research, we felt a catalog best collected and organized the data, which in this case was the artwork submitted. It is our great privilege to present this catalog with the works of artists engaging in the creative process to make meaning of their experiences with cancer.

The present diploma thesis deals with the life and compositional style of M. P. Mussorgsky and the generation of The Five. Subsequently, it focuses on the analysis of Mussorgsky's piano work Pictures at an Exhibition, the circumstances of its origin and its sources of inspiration. In the section devoted to the interpretation concept, this thesis aims to analyze and then compare two selected piano performances of Pictures at an Exhibition, namely the ones by E. Kissin and K. Buniatishvili, on the basis of which it will point out specific features of the concept and way of playing of each of these pianists.

El presente artículo analiza el consumo de cine regional, tomando como objeto de estudio a la audiencia joven residente en Lima, para comprender los factores influyentes en su consumo. El cine regional peruano, se ha caracterizado, recientemente, por ser una categoría del cine peruano, en evolución, con obras cinematográficas de gran presencia en los circuitos de distribución y exhibición comercial. Sin embargo, la evolución en el crecimiento y los avances tecnológicos para la producción, no han logrado introducir el cine regional en la distribución comercial. Así mismo, las investigaciones académicas alrededor del tema son escasas. El presente trabajo, se centra en analizar el consumo de cine regional peruano en los adultos jóvenes que viven en Lima, a través de una investigación cualitativa de la audiencia mencionada, la cual se realizó de manera virtual, a través de grupos focales online asíncronos. Debido a la pandemia que se vive actualmente generada por la Covid-19. Los resultados muestran que los usuarios tienen presente el cine regional dentro de sus hábitos de consumo cinematográficos. Finalmente, esta investigación, ha permitido conocer los factores que influyen en el consumo de cine regional y la necesidad de mayor estudio en el campo del cine regional peruano, en el campo audiovisual, psicológico y académico. / This article analyzes the consumption of regional cinema, taking as object of study the young audience residing in Lima, to understand the influencing factors in its consumption. The Peruvian regional cinema has been characterized, recently, as a category of Peruvian cinema, in evolution, with cinematographic works of great presence in the distribution and commercial exhibition circuits. However, the evolution of growth and technological advances for production have not succeeded in introducing regional cinema into commercial distribution. Likewise, academic research on the subject is scarce. The present work focuses on analyzing the consumption of Peruvian regional cinema in young adults living in Lima, through a qualitative investigation of the aforementioned audience, which was carried out virtually, through asynchronous online focus groups. Due to the current pandemic generated by Covid-19. The results show that users keep regional cinema in mind within their film consumption habits. Finally, this research has allowed to know the factors that influence the consumption of regional cinema and the need for further study in the field of Peruvian regional cinema, in the audiovisual, psychological and academic fields. / Tesis