Orientador: Roberto Berton de Ângelo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T16:51:21Z (GMT). No. of bitstreams: 1 Souza_RonaldoFerreirade_M.pdf: 113475591 bytes, checksum: 753526d33e1bb4440040fa9c609b8a72 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa propõe um estudo das obras das fotógrafas norteamericanas Cindy Sherman e Nan Goldin, mais especificamente dos seus trabalhos Untitled Film Stills e The Ballad of Sexual Dependency, respectivamente. Ambas são artistas de extrema importância para a arte fotográfica contemporânea, possuem praticamente a mesma idade, vivem e trabalham na mesma cidade, escolheram a fotografia como forma de expressão, mas, apesar destas e outras semelhanças, possuem uma produção bem diferente a principio. Enquanto Sherman constrói ficções Goldin registra a realidade a sua volta. Sherman é uma artista que cria cenas, universos, se inserindo dentro destes através de personagens que ela mesma incorpora. A artista cria mundos de representações que abordam toda a cultura, em especial a feminina. Já Goldin trabalha de forma mais instantânea, registra o mundo ao seu redor, guardando momentos, às vezes mais banais, às vezes mais íntimos, dos que a rodeiam e de sua própria vida, tornando público o que antes era privado. Mesmo com processos de criação tão distintos, e com motivações e resultados diferentes, o trabalho das duas fotógrafas pode ser relacionado pela temática do universo feminino que ambos abordam, onde nos é apresentado a vida privada de várias mulheres, sejam elas reais ou ficcionais. Assim, essas produções são postas lado a lado, evidenciando que caminhos diferentes podem levar a um mesmo lugar / Abstract: This research proposes a study of the works of American photographers Cindy Sherman and Nan Goldin, specifically their work "Untitled Film Stills" and "The Ballad of Sexual Dependency", respectively. Both artists are extremely important for contemporary photographic art, have practically the same age, live and work in the same city, chose photography as a form of expression, but, spite of these and other similarities, have a production very different at first. While Sherman builds fictions Goldin registers reality around her. Sherman is an artist who creates scenes, universes, inserting themselves inside of those through personages which she herself incorporates. The artist creates worlds of representations addressing the whole culture, particularly of women. Already Goldin works more instantaneous, registers the world around them, keeping moments, sometimes more banal, sometimes more intimates, of those around her and of your own life, making public what was once private. Even with creative processes so distinct and different motivations and outcomes, the work of the two photographers can be related by the theme of feminine universe they both deal with, where is presented to us the private lives of several women, whether real or fictional. Thus, these productions are placed side by side, showing that different paths could lead to the same place / Mestrado / Multimeios / Mestre em Multimeios

Zero Magic is a trick for the financial markets, which has the capacity to undermine the perceived value of a publicly traded company and profit from this. Short selling is a way of profiting from loss: Making money if and when a target company loses in value. It is a fundamental market activity that goes as far back as the first stock, yet to this day little is publicly known about the strategies employed by short sellers. On the US exchanges there is no requirement for hedge funds to disclose short positions, and in other jurisdictions such requirements are very limited. Zero Magic was developed by covertly infiltrating a secretive hedge fund specializing in short selling, and reverse engineering its methods. In brief, the hedge fund’s trading strategy is based on identifying suitable short selling targets through analyzing networks of corruption, and then framing critical newsworthy stories about these target companies that can be anonymously distributed among journalists. Profit is gained when a target company loses in value. Rigorous measures are taken by the fund never to be identified as the source of a negative campaign.Access to the hedge fund was gained through the art world. The founder and co-director routinely supports artists and art institutions and is said to have gotten the idea for his fund when looking at a Mark Lombardi drawing (an artist known for mapping networks of power and corruption). It is hard to tell whether the founder’s engagement with art merely entertains personal vanity, or if it functions more strategically as a means of “secret publicity” for the fund; giving access to investors, while staying under the radar of more mainstream public relations. Covert techniques such as hidden recordings and proxy researchers were used to uncover the fund’s methods. With the assistance of Théo Bourgeron, sociologist of finance, Zero Magic not only reconstructs the workings of the trading strategy, but offers a fully operational magic gimmick. The magic gimmick is a computer program providing non-expert users the means to identify relevant short selling targets (companies with weak “valuation conventions”), and a step-by-step guide to undermining their perceived value. With this gimmick one can execute a successful short sale without any previous contacts in the investor community or access to insider information. A US patent application for the trick was filed in January 2016.The artistic PhD “Zero Magic: Shifting the Valuation Convention” concludes with a stage performance and a magic box:The stage performance, “On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero” with magician Malin Nilsson, performed on May 11 and 12, 2016, at Cirkus Cirkör, Stockholm. Through the ticket sales, audience members are drawn into the Zero Magic trick, buying into the predicted future loss of a target company. The magic box, prepared for public archives, contains the Zero Magic computer software, a US patent application for a “Computer Assisted Magic Trick Executed in the Financial Markets” and four historical examples of magic tricks played out beyond the stage, in the world at large.

Ce travail se propose d'analyser principalement la figure de Barbara dans le livre Soeurs, Saintes et Sibylles de Nan Goldin (2005). Dans cette oeuvre, qui a d'abord été une installation, trois récits principaux sont racontés: celui de sainte Barbara, celui de Barbara (la soeur de Goldin, qui s'est suicidée) et celui de l'auteure. Dans les trois cas, des femmes un peu marginales ont souffert de la répression et de l'enfermement. Il s'agira notamment de décrire les caractéristiques et les répercussions de cette figure, mais aussi de considérer la manière dont Goldin la fait apparaître. Même si le processus de figuration et de symbolisation est fondé à même la démarche artistique de cette artiste dans l'ensemble de son oeuvre, des différences formelles dans le texte étudié ont pour effet de susciter chez la lectrice un investissement important dans la compréhension et l'interprétation de ce livre. Ainsi, pour la lectrice, la figure n'est pas seulement le résultat d'un travail de relation et de projection, mais aussi l'aboutissement logique d'une série d'indices érigés par l'auteure. En plus de se nourrir d'ouvrages sur la photographie et la lecture, ce travail s'appuiera sur la théorie des figures (Gervais, 2006; Lefebvre, 1997; Didi-Huberman, 1992), en l'utilisant non pas comme une grille de lecture, mais bien comme fondement d'un raisonnement et d'une analyse. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Figure, Photographie, Lecture, Nan Goldin, Sainte Barbara.

Il est souvent dit des œuvres de Nan Goldin et de Pina Bausch qu'elles sont si près de l'individu qu'elles traduisent l'identité telle qu'elle est, criante de vérité, dépourvue de tous les oripeaux que lui impose la vie en société. L'identité s'avère cependant un phénomène discutable dans son unité et questionnable dans sa sédentarité. Elle paraît davantage observable dans sa multiplicité et son nomadisme. L'étude actuelle esquisse les voies par lesquelles la photographe et la chorégraphe parviennent à poser un regard sur cette mouvance plurielle, non seulement au sein de leurs œuvres, mais plus particulièrement à travers les approches qu'elles privilégient. En adoptant des processus comparables à la discipline de soi des écritures, elles accordent la création artistique à la construction du sujet. Le devenir de l'œuvre rejoint donc le devenir individuel, se révélant dans l'accumulation des expériences, se mouvant entre le soi et l'autre. L'essai est divisé en quatre chapitres. Le premier ébauche le contexte de la problématique tel qu'elle se positionne à mi-chemin entre l'histoire de l'art et l'histoire de la danse. Le propos soutenu revendique un décloisonnement des champs de recherche pour ouvrir la voie à plus de créativité dans l'étude des arts. Le second dessine d'abord les portraits des cheminements distinctifs de Pina Bausch et de Nan Goldin, permettant ensuite d'établir les parentés sur lesquelles s'appuiera l'étude. Le troisième définit les balises conceptuelles et met en forme la structure théorique nécessaire au regard proposé. Dans la foulée, il fonde la relation entre l'œuvre d'art et les écritures de soi. Enfin, le quatrième cherche à observer le rapport tissé entre la discipline subjective, et les démarches propres à la chorégraphe et à la photographe. Il vise à mettre en relief les dimensions que prennent le rapport à soi et la relation à l'autre dans la dialectique de l'identité et du devenir au fondement des pratiques des deux artistes. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Pina Bausch, Nan Goldin, devenir, identité, processus de création, écriture de soi, le soi et l'autre

Zugl.: Leipzig, Univ., Diss., 2006

Contemporary constantly expanding content of social media like Instagram brings the medium of photography to new contexts. Photography becomes an instrument of immediate communication and its historically defined functions are an object of change. The continuity of Instagram content creating, the personal perspective of its users, the constant presence of camera accompanying them are aspects analogous to the artwork of Nan Goldin. Goldin's photo essay ​The Ballad of Sexual Dependency (1986)​has a character of visual diary that captures the life of her community with almost obsessive continuity. It's also captured from deeply personal perspective depicting intimate moments and describing Goldin's personal relationships. Publishing of ​The Ballad​and formation of Instagram is divided by more than twenty-five years and both events and its meanings are profoundly different. This thesis nevertheless presumes that comparison of these, in many aspects alike phenomenons can help describe the change of the function of the media of photography, explore contemporary tendencies in photography aesthetics, the meaning of instagram's content to its users and provide general understanding of the role of shared photography in social and historical context. The methods of comparison are semiotic visual analysis,...

The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Bystr​öm​, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as ​Vogue, Harper's Bazaar, i-D, Dazed, and ​Vice​. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.