People maintain histories through memory filtered through language to create fictions. My work involves the recording and incorporation of stories into audio and sculptural and installation, to reveal the structures that make up the fictions we exist within. For this exhibition, it is through a combination of disparate objects: fingers, furniture, potatoes and peach pits, stripped of their colors and humming with life that I am investigating my own fictions and their undeniable relations with others.

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Every day we encounter objects and use them for purposes related to improving our life. However, sometimes the reason these objects are manufactured is because of capitalistic gain rather than the need for improved quality of life. In fact, the more objects that are produced by American companies, the more garbage is inevitably ending up in landfills. The installation work, Ocean of Objects, arranges mundane objects in a different context within a diorama. The United States is in an age of consumerism where our relationship to the objects we buy defines the way we conceptualize our relationship to the physical environment we are in. As a theater artist, I studied scenic design and installing scenery for productions. The exhibition and diorama are created using methods of theatrical scenic design, and digital elements such as projections help reinforce the narrative setting. I sense that if people paid more attention to how things get made and then discarded and changed the perception of their environment through the objects they buy and use, then they could build a better community with each other. / Master of Fine Arts / The effectiveness of waste management impacts every person. Most people tend not to think about what they throw out once it leaves their home. To create a better ecology, it is critical to persuade people that their individual effort makes a difference. In the process of "Reduce, Reuse, Recycle," individuals can try in the latter two steps. Besides recycling, people have the power to buy less and find new ways to use objects that become "disposable" after their initial use. The exhibition Ocean of Objects puts members of the Blacksburg, Virginia community in close contact with objects, and asks them to reconsider how they buy and use things in their daily lives.

Appreciation of the natural light, air, and scenery outside the built interior environment spurs the architect's desire to "bring the outside in". (Lately, floor-to-ceiling glazing is the most popular way of doing this.) Appreciation of what can be found "in the wall" also inspires the architect. Neither inside nor outside, being "in the wall" offers unique sensory experiences. Historically, the thick masonry walls of public buildings provided spaces (such as the arched vestibule of a library) within the walls' openings where people could gather to talk or wait out the rain. Another example of space within walls is the window seat, which is the architect's response to many peoples' desire to curl up inside a window to read a book or to watch what's going on outside. Modern materials and technologies have allowed us to build buildings taller and lighter than ever before but they also have led us to cease creating those special spaces, neither inside nor outside, that protect people from the elements without entirely cutting them off from them. It is this third space, neither inside nor outside, that I seek to reclaim in this thesis project. I hope to return to people space of fresh air, indirect, natural light, sense of protection, and openness; a place where stories are traded, secrets are whispered, and stars are wished on. With this project, I seek to develop a third space. / Master of Architecture

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-07T13:34:01Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Sabrina_Biblioteca.pdf: 2155567 bytes, checksum: 337e57f90faddc74b2ff7ef66e72dfb4 (MD5) / Made available in DSpace on 2016-07-07T13:34:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Sabrina_Biblioteca.pdf: 2155567 bytes, checksum: 337e57f90faddc74b2ff7ef66e72dfb4 (MD5) Previous issue date: 2015-03-17 / FACEPE / Found footage é uma regime estético que tem como base a apropriação de imagens preexistentes para a realização fílmica. Questões concernentes à reciclagem, ao arquivo e à memória são despertadas por essas obras. Além de tais temas, temos como objetivo investigar como os filmes experimentais em found footage relacionam-se com a confluência tecnológica imagética corrente, analisando a conexistência entre arquivos de distintos formatos e materialidades dentro de um mesmo espaço temporal. Para isso, investigaremos obras provenientes de distintas tecnologias, buscando evidenciar aspectos de representação mnemônica, narratividade histórica e as relações que esses filmes estabelecem com o arquivo. No início da pesquisa será realizado um mapeamento em torno das obras seminais do found footage. A partir disso, buscaremos delinear conexões estéticas e discursivas com a contemporaneidade e em seguida realizaremos uma releitura crítica sobre os conceitos de memória, narratividade histórica e arquivo. Após a releitura bibliográfica e histórica, seguiremos para a análise de filmes contemporâneos em found footage buscando, com isso, investigar as distintas formas através das quais o excesso imagético proporciona um segundo uso para as imagens tecnológicas. / Found footage is an aesthetic regime that has the appropriation of preexisting images as the main basis of the film realization. Questions concerning to the recycling, the archive and the memory are awaken by its works. Beyond this, we intend to investigate how found footage experimental movies relate with the current image technological confluence, analyzing the coexistence between archives of distinct formats and material inside the same temporary space. To this, we will investigate works from different technologies, searching to evidence aspects of mnemonic representation, historical narrative and the relations that found footage films establish with the archive. In the beginning of the research we will map the seminal works of found footage. From there, we intend to outline discursive and aesthetic connections with the contemporary works to later make a critic analysis of the concepts of memory, historic narrative and archive. In the end, we will follow to the bibliographic analysis and subsequently to the analysis of found footage contemporary films, in order to investigate the various ways in which the imagery excess provide a second use to the technical image.

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

No description available.

No description available.