I detta arbetet så analyserar jag soundet ifrån tre framgångsrika musikproducenter inom popmusiken samt återskapar deras sound på mina egna låtar. Detta görs genom en grundlig analys i tre steg. Resultatet blev tillfredställande då jag har fått ett par ”aha-upplevelser” som direkt höjt kvalitén på mina produktioner.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-01-07T17:03:53Z No. of bitstreams: 2 Tese - Rodrigo França Carvalho - 2015.pdf: 1912047 bytes, checksum: 15a798b9bcdd143d1e01b4ebe0ff545f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-08T11:26:35Z (GMT) No. of bitstreams: 2 Tese - Rodrigo França Carvalho - 2015.pdf: 1912047 bytes, checksum: 15a798b9bcdd143d1e01b4ebe0ff545f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-08T11:26:35Z (GMT). No. of bitstreams: 2 Tese - Rodrigo França Carvalho - 2015.pdf: 1912047 bytes, checksum: 15a798b9bcdd143d1e01b4ebe0ff545f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-10-27 / Our thesis consists in analyzing, based on theories of the American quantum physicist David Bohm (1917-1992) and the Russian physical chemist, naturalized Belgian, Ilya Prigogine (1917-2003), the science ideas of these two scientists, how they represent authentic scientific views, quite deviating from the prevailing view of science, and also how their concepts contribute to overcoming long dichotomies that have been present in the history of science since a long time, such as determinism-indeterminism antithesis. Through a critical biographical analysis, we present the main aspects of scientific research work of Bohm, his formulation of an alternative interpretation of quantum theory, which has ignited debates and controversies within the world of quanta, his several theoretical contributions, including the theory of plasma, the development of an innovative theory called implicit and explicit order and also his philosophical investigations. We also present and analyze the scientific way of Prigogine and his theoretical interest in non-equilibrium thermodynamics. We show the fundamentals of his theory of dissipative structures, his unique insight into the irreversible phenomena and the most significant implications of this new view of nature and science that led him to the Nobel Prize in Chemistry 1977. Although several important differences between theoretical perspectives and Bohm and Prigogine approach, we noted some similar points that were quite significant, as a concept of science radically different from the prevailing idealized view. Among these similarities we have the search for a unity between man and nature, the importance given to the conception of science without dissociating it from the deepest philosophical questions and the concern about establishing more fruitful dialogues among areas of knowledge. / Nossa tese consiste em analisar, com base nas teorias do físico quântico estadunidense David Bohm (1917-1992) e do físico-químico russo, naturalizado belga, Ilya Prigogine (1917-2003), as ideias de ciência desses dois cientistas, como elas representam autênticas visões científicas, bastante distintas da visão predominante de ciência, e também como suas concepções contribuem para a superação de dicotomias há muito presentes na História da Ciência, como a antítese determinismo-indeterminismo. Por meio de uma análise bibliográfica crítica, apresentamos os principais aspectos do trabalho investigativo científico de Bohm, sua formulação de uma interpretação alternativa à teoria quântica, que acendeu debates e controvérsias dentro do mundo dos quanta, suas várias contribuições teóricas, entre elas a teoria do plasma, a elaboração de uma inovadora teoria denominada de ordem implícita e explícita e também as suas investigações filosóficas. Também apresentamos e analisamos o caminho científico de Prigogine e o seu interesse teórico pelos sistemas de não equilíbrio da Termodinâmica. Mostramos os fundamentos de sua teoria das estruturas dissipativas, sua original visão sobre os fenômenos irreversíveis e as implicações mais significativas dessa nova visão sobre a natureza e a ciência, que o levaram ao prêmio Nobel de Química de 1977. Apesar de diversas e importantes diferenças entre as perspectivas teóricas e de abordagem de Bohm e de Prigogine, evidenciamos pontos similares bastante significativos, como um conceito de ciência radicalmente distinto da visão idealizada predominante. Entre essas similitudes, estão a busca de uma unidade entre homem e natureza, a importância dada ao fazer ciência sem dissociá-la das questões mais profundas filosóficas e a preocupação em estabelecer diálogos mais profícuos entre as áreas do saber.

La tesi ricostruisce la complessa vicenda della scrittura e pubblicazione del celebre poema Uljalaevščina di Il’ja Sel’vinskij. La stesura dell’opera, le sue riscritture e pubblicazioni non sono mai state oggetto di indagine, perciò il lavoro della dott.ssa Krasnikova, basato su fonti sia d’archivio sia a stampa, costituisce il primo studio sistematico della storia del poema che analizza tutte le fonti pubblicate e d’archivio conosciute attualmente (la maggior parte delle quali non è mai stata studiata prima) e utilizza sia i metodi tradizionali della critica del testo sia gli strumenti digitali. Con il suo lavoro di ricerca la dott.ssa Krasnikova ha individuato e stabilito tutte le versioni del testo del poema, e anche gli altri materiali che possono far luce sulla storia del poema; successivamente, ha descritto e analizzato le versioni, definito il tipo e il grado delle differenze tra le varianti, cercando di capire i motivi dei mutamenti. Tra i risultati della ricerca spiccano la creazione dell’elenco di tutte le versioni del poema e dei suoi frammenti (38 testi in totale) e la costruzione di un corpus digitale delle versioni di Uljalaevščina. / The thesis reconstructs the complex story of the creation and publication of the famous Uljalaevščina, a poem by Ilya Selvinsky. The issue has never been studied, so the work of Anna Krasnikova, based on archival and published sources, constitutes the first systematic study of the history of the poem. The author analyzes all the published and archival sources currently known (most of which have never been studied before) and uses traditional methods of text criticism and digital tools. The author has identified and established all the versions of the text of the poem, as well as other materials that can be useful for the reconstruction of the history of the poem; she has described and analyzed all he versions, defined the type and degree of differences between the variants, trying to understand the reasons for the changes. Among the research results are the creation of a list of all the versions of the poem and its fragments (38 texts in total) and the construction of a digital corpus of the versions of Uljalaevščina.

This dissertation examines the early works of the Russian artist Ilya Kabakov and traces the beginning of a linguistic trend in the development of Moscow Conceptualism. Analyzing the drawings and paintings that the artist created between 1962 and 1966, I place Kabakov’s artistic style and ideas in the context of the cultural, theoretical and scientific phenomena that affected Soviet art and society in the early 1960s. Kabakov’s works are shown as evolving in a process that renders the artist’s techniques increasingly polysemantic, dialogic and conceptual. The dissertation then demonstrates that Kabakov’s visual images and linguistic titles participated, indirectly yet actively, in the cultural debates of Moscow’s artistic underground and the Soviet society. The dynamic correspondence between a fervent cultural context, growing interest in linguistic and scientific ideas, increasing conceptualization of visual means of expression and intellectualization of the artistic approach to the image led to the appropriation of language in the works of Moscow underground artists. The dissertation establishes such a development in the early works of Ilya Kabakov, proposing that his earliest “conversational” work Whose Fly is This? was the first conceptual painting to display text in the form of a written dialogue. The colloquial style and conversational character of the depicted discourse are examined as an ironic gesture that takes its genesis from the polyphonic theory of Mikhail Bakhtin and reverses the official non-dialogical imperatives of Soviet newspeak and ideology. The main figural image of the painting—the fly—is seen as articulating the utopias and anti-utopias of avant-garde figures such as Kharms or Malevich and interpreted as alluding to a key contemporaneous scientific discovery—the chromosomes of the drosophila. In the end, the words and the image of Whose Fly is This? form the two mutually exclusive and mutually complementary aspects of a compound conceptual signifier. That is the signifier of the free artistic spirit, evanescent human existence and mundane, yet resilient human nature that ironically survives—against all odds and despite all absurdities—beyond the boundary of the social utopia and the limits of epistemological systems. / text

To view the Shelves Catalogue in the correct format: 1. Click "view"; 2. Click "page display"; 3. Click "Two Page View"; 4. Click "Show Cover Page in Two Page View" / This study explores how a narrative view of collecting can be expanded and applied to Ilya and Emilia Kabakov’s installations, as well as to my own artworks. It focuses on personal and intimate collections of everyday objects that serve to edify their owner’s sense of being. The project is undertaken in order to arrive at new interpretations of the themes of loss, meaning and absence through Mieke Bal’s (2006) narrative theory, Susan Pearce (1994) and Mikhail Epstein’s (1995) methods of collecting and Jean Baudrillard’s (1996) notions of the collector. These theories are applied to selected installations from the Kabakovs’ series Ten Characters. My own exhibition, S(h)elves, is an exploration of collections, underpinned by conceptually relevant theories. Conclusions are reached by means of literary analysis and comparison of selected theorists and artworks. A reflexive approach to art-making means that theories inform art-making processes while practical developments facilitate re-evaluated perceptions which lead to new insights. / Art History, Visual Arts and Musicology

Orientador: Luiz Benedicto Lacerda Orlandi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-27T11:01:34Z (GMT). No. of bitstreams: 1 Dunajew_TatianaSilva_M.pdf: 6388002 bytes, checksum: 380534212d2526084d503c76fae86699 (MD5) Previous issue date: 2000 / Resumo: Esta pesquisa pretende investigar ressonâncias entre os trabalhos do cientista russo Ilya Prigogine e o filósofo francês Gilles Deleuze. Ao invés de buscar modelos comparativos para este propósito, o mesmo, uma vez que tem como foco a filosofia da diferença, tem o compromisso evidente de gerar novos modos de experimentação do pensamento, longe dos critérios daquilo que Deleuze chama de imagem tradicional do pensamento. Para tanto, apesar de a noção de caos ser colocada de modo diverso em ambos domínios - filosofia e ciência - , esta aparecerá como o aspecto mais importante desta pesquisa / Abstract: This research aims to investigate ressonances between the works of the russian cientist Ilya Prigogine and the french philosopher Gilles Deleuze . lnstead of searching comparative models for this purpose, once it has the difference philosophy as focus, it. has the obvious committment of generating brand new ways of thought experimentation far away of that called by Deleuze's words as tradicional thought image. For that although the chaos notion being essentially different in both domains - philosophy and science - this will appear as the most important aspect in this research / Mestrado / Mestre em Filosofia

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Ce travail propose une lecture de la création artistique russe actuelle – 1990-2010 – au regard de l’histoire qu’elle entretient avec la folie grâce à l’analyse de personnages qui émaillent son paysage culturel. Que ces derniers soient jugés fous – fols-en-Christ ou jurodivye, artistes romantiques, dissidents internés en Union soviétique – ou qu’il s’agisse de figures traditionnelles d'idiots – Ivan le simple, le prince Mychkine de Dostoïevski –, un pont sera créé qui reliera ces archétypes et certaines pratiques de l’extrême contemporain, allant jusqu’à la prière-punk des Pussy Riot. Cette étude porte sur le concept d’une idiotie comme posture artistique permettant à l’artiste de se faire le médiateur d’une vérité – politique, religieuse ou sociale. Avançant masqué, il révèle ainsi les glissements sémantiques opérés entre les notions de « folie » et de « norme », en parallèle des rapports qu’entretiennent « art » et « politique ». L’histoire de la folie en Russie sera par ailleurs abordée à travers diverses formes d’envol – compris d’un point de vue métaphysique comme un escapisme de la raison. La littérature servira de socle à une première analyse de la figure romantique de l’artiste maudit à la raison vacillante, celle-ci ensuite mise à mal par les créateurs postmodernes qui déconstruisent aussi bien le mythe du saint idiot que celui du génie artistique, par l’incarnation d’un créateur sot reproduisant des formes sans en saisir le sens. Certains en appellent de surcroît, directement ou non, à la figure ancestrale du jurodivyj afin d’élaborer des postures critiques, parfois scandaleuses, envers les pouvoirs politique et religieux. Considérant les réactions virulentes que peuvent susciter les pratiques actuelles, et grâce à l’étude d’œuvres problématiques représentatives, les causes de leur rejet deviendront explicites. Il sera ainsi permis d’envisager ces créations, paraissant en rupture avec l’ordre établi, dans leur ancrage au sein d’une tradition historique et littéraire de la folie. / This work proposes an interpretation of the current Russian artistic creation – 1990-2010 – with regard to his links with history of madness, through the analysis of characters that punctuate Russian cultural landscape. The latter characters are deemed insane – holly fools, Romantic artists, dissidents interned in the Soviet Union - or whether are traditional idiots figures - Ivan the fool, Dostoevsky’s Prince Myshkin. A bridge will be created linking these archetypes and certain contemporary practices, up to Pussy Riot’s punk prayer. This study focuses on the concept of idiocy as an artistic position which allows the artist to become a mediator of a political, religious or social truth. The creator, moving forward hidden, reveals semantic shifts made by the concepts of "madness" and "norm", in parallel with relations held between "art" and "politics." The history of madness in Russia will also be depicted through various forms of soaring - understood in a metaphysical point of view as an escapism of reason. Literature will be used as a base for a first analysis of the romantic image of the damned artist with flickering reason. This picture will then be undermined by postmodern creators who both deconstruct the myths of the holy fool and the artistic genius, by their incarnation of a stupid creator reproducing forms without understanding their meaning. Moreover, some of them require, directly or not, to the ancestral figure of the holly fool to develop critical postures, sometimes scandalous, against political and religious powers. Considering the violent reaction that can generate the current artistic practices, and through the study of representative problematic works, the causes of their rejection shall become explicit. This will make it possible to consider these creations – apparently breaking with the established order – in their anchor within a historical and literary tradition of madness.

This thesis presents a theoretical and historical account of how artists have responded to politics of democracy since the late-1980s. Three questions guide the direction of this analysis. Firstly: why, during its apparent apotheosis in recent years, have numerous artists critiqued democracy as the political, critical and aesthetic frame within which to identify their work? Secondly: how have artists undertaken this critique? Thirdly, and most importantly: what aesthetic and political discourses have artists proposed in lieu of the democracy that they critique? Particular case studies of art from Europe help us to address these questions, for Europe has been an important crucible for vociferous, and often fraught, arguments about democracy in recent aesthetic, philosophical and political discourses. The first chapter of this thesis rigorously contextualises these discourses in relation to historical mobilisations of democracy since the Iron Curtain??s collapse. Relying on writings by Pat Simpson, Slavoj ??i??ek, Alain Badiou and Mario Tronti, I chart the significant imbrications of political ideology, philosophy and what I call ??aesthetics of democratisation?? from the end of European communism, through the democratisations of postcommunism to the militarised democratisations of Iraq and Afghanistan after 2001. Notions of democracy shift and change during this period, becoming what ??i??ek calls a problematic ??transcendental guarantee?? of assumed values and self-legitimation. These shifting values in turn propel the concurrent critiques of democracy that are the subjects of the five subsequent chapters: Ilya Kabakov??s ??total?? installations; Neue Slowenische Kunst??s mimicry of the nation-state during the 1990s; Thomas Hirschhorn??s large-scale works from the late-1990s onwards; Christoph B??chel and Gianni Motti??s collaborative ventures; and the co-operative practices of Dan and Lia Perjovschi. Through examination of the artists?? installations and voluminous writings, and based primarily on archival research and interviews, this thesis examines how their aesthetic politics emerge from the remobilisation of nonconformist art histories, through self-instituted contexts and alternative models for art production, exhibition and interpretation. These models, I argue, counter our usual understandings of art practice and its politics in Europe. They cumulatively assert ??postsocialist aesthetics?? as an impertinent, yet urgent, prism through which to analyse contemporary art.