Made available in DSpace on 2016-04-26T18:13:22Z (GMT). No. of bitstreams: 1 Juliana Luisa Cappi.pdf: 1096834 bytes, checksum: b5c0761d44d765052a45337fe437029f (MD5) Previous issue date: 2013-10-14 / The purpose of this research is to investigate the formal and poetic aspects concerning to the program of creation of non-linear narratives, organized in a database system, the Korsakow System. The research is based on articles and interviews published by the creator of the program, Florian Thalhofer, and it shows the context on which it was created, its purpose and the reasons of the choices made for broadcasting and distribution of the program. These purposes consist of the development of an interactive database system formed by audiovisual objects organized in a time schedule by the spectator, who chooses such objects from the connections set by the programmer. This work also shows a list of the most creative applications of this program, done by its creator and other researchers. This list was organized according to a classification that limits the production into four categories that define the most popular aims of the uses of the program, which are: artistic, documental, cinematographic and educational. At the end of this explanation, we developed a critical text about the uses of this program, including on it the structural and conceptual problems that unable the creation of narratives that reach Thalhofer s initial proposal. Our methodology was established based on Arlindo Machado and Lev Manovich s theories of the connections between the new media and the cinema as well as the discussions upon web and internet creation proposed by Lucia Leão and Janet Murray. This research present a series of issues related to the contemporary production in visual arts, in the movies and in the internet, and explain the notions of interactivity, authorship and creation of shared experimental online projects / Esta dissertação visa investigar os aspectos formais e poéticos referentes ao programa de criação de narrativas não-lineares interativas organizadas em um banco de dados, o Korsakow System. A pesquisa baseia-se em artigos e entrevistas publicados pelo criador do programa, Florian Thalhofer, que explicitam o contexto no qual o programa foi criado, o objetivo buscado com a sua criação e as justificativas das escolhas de divulgação e distribuição do programa. Esses objetivos consistem no desenvolvimento de um banco de dados interativo formado por objetos audiovisuais organizados em uma montagem temporal realizada pelo espectador, que seleciona esses objetos a partir de ligações propostas pelo programador. A pesquisa também realiza um levantamento das aplicações mais criativas deste programa, realizadas pelo criador e por outros pesquisadores. Esse levantamento foi organizado em uma classificação que delimita a produção em quatro categorias criadas na pesquisa e que definem os objetivos mais populares de utilização do programa: artístico, documental, cinematográfico e educacional. Ao finalizar esta contextualização, desenvolvemos um texto crítico sobre a utilização do programa, incluindo os apontamentos das problemáticas estruturais e conceituais que impedem a criação de narrativas que alcancem a proposta inicial de Thalhofer. A metodologia desta pesquisa é estabelecida a partir das teorias sobre as relações entre as novas mídia e o cinema dos pesquisadores Arlindo Machado e Lev Manovich e pelas discussões sobre criação em rede e internet propostas por Lucia Leão e Janet Murray. As discussões propostas por esta pesquisa estão relacionadas à produção contemporânea nas artes visuais e no cinema interativo na internet, na apropriação de conceitos de interatividade, autoria e criação de projetos colaborativos presentes em projetos experimentais online

Neun Jahre nach der russischen und französischen Erstveröffentlichung erschien 1922 im Russischen Musikverlag neben der englischen schließlich auch eine deutsche Übersetzung von Rimsky-Korsakows berühmtem Traktat. Exemplarisch wird die Rezeption von Rimsky-Korsakows Schrift untersucht 1. in nach 1922 geschriebene deutschsprachigen Instrumentationslehren 2. in Dokumenten des hochschulischen Unterrichts 3. in der deutschsprachigen Historiographie der fraglichen musiktheoretischen Teildisziplinen 4. anhand Kompositionen aus der Zeit um 1930. Die mit dem Orchester verbundenen Klangideale hatten sich gewandelt. Man legte Wert auf Trennschärfe und erstrebte einen Klang, der ein gespaltener genannt und als Gegensatz zu einem verschmelzenden konstruiert wurde. Man suchte eine rohe, holzschnitthafte Orchestration. Den tiefen klangtechnischen Einsichten Rimsky-Korsakows und dem Raffinement des russischen Orchestrators konnten und wollten sich die Musiker dennoch nicht entziehen. Im Konflikt zwischen der Faszination durch seine Schrift und der neuen Klangmode zeichneten sich alsbald mehrere Lösungen ab. Besonders eine war erfolgreich: Rimsky-Korsakows ausdrückliche Empfehlungen ließen sich gegen den Strich bürsten oder auch allzu wörtlich nehmen; genau das verbürgte in den Dreißiger Jahren Expressivität. / Nine years after the Russian and eight after the French first publications, the German, alongside the English translation of Rimsky-Korsakov’s famous treatise was eventually published by the Edition Russe de musique in 1922. In answering this question, the following has been taken into account: i) orchestration guides written in German after 1922; ii) documents from education institutions; iii) German historiography of the theoretical discipline in question; and iv) works by German composers who are known to have reacted against Rimsky-Korsakov’s model of orchestration. The sound ideal associated with the orchestra had changed. Selectivity was emphasized and composers sought to create an orchestral sound that was seen as ‘split up’ and thought of as the opposite to something merging and melting. The new composers sought a raw, woodcut-like orchestration. Some musicians nonetheless could not or did not want to escape from the deep technical insights of Rimsky-Korsakov, from the sophistication and raffinement of the Russian orchestrator. The conflict between the fascination by his writing and the new sound fashion soon offered multiple solutions. Especially one of them was successful: Rimsky-Korsakov\\\'s explicit recommendations could be understood against the grain, or could be taken too literally: in the thirties just this guaranteed expressivity.

Neun Jahre nach der russischen und französischen Erstveröffentlichung erschien 1922 im Russischen Musikverlag neben der englischen schließlich auch eine deutsche Übersetzung von Rimsky-Korsakows berühmtem Traktat. Exemplarisch wird die Rezeption von Rimsky-Korsakows Schrift untersucht 1. in nach 1922 geschriebene deutschsprachigen Instrumentationslehren 2. in Dokumenten des hochschulischen Unterrichts 3. in der deutschsprachigen Historiographie der fraglichen musiktheoretischen Teildisziplinen 4. anhand Kompositionen aus der Zeit um 1930. Die mit dem Orchester verbundenen Klangideale hatten sich gewandelt. Man legte Wert auf Trennschärfe und erstrebte einen Klang, der ein gespaltener genannt und als Gegensatz zu einem verschmelzenden konstruiert wurde. Man suchte eine rohe, holzschnitthafte Orchestration. Den tiefen klangtechnischen Einsichten Rimsky-Korsakows und dem Raffinement des russischen Orchestrators konnten und wollten sich die Musiker dennoch nicht entziehen. Im Konflikt zwischen der Faszination durch seine Schrift und der neuen Klangmode zeichneten sich alsbald mehrere Lösungen ab. Besonders eine war erfolgreich: Rimsky-Korsakows ausdrückliche Empfehlungen ließen sich gegen den Strich bürsten oder auch allzu wörtlich nehmen; genau das verbürgte in den Dreißiger Jahren Expressivität. / Nine years after the Russian and eight after the French first publications, the German, alongside the English translation of Rimsky-Korsakov’s famous treatise was eventually published by the Edition Russe de musique in 1922. In answering this question, the following has been taken into account: i) orchestration guides written in German after 1922; ii) documents from education institutions; iii) German historiography of the theoretical discipline in question; and iv) works by German composers who are known to have reacted against Rimsky-Korsakov’s model of orchestration. The sound ideal associated with the orchestra had changed. Selectivity was emphasized and composers sought to create an orchestral sound that was seen as ‘split up’ and thought of as the opposite to something merging and melting. The new composers sought a raw, woodcut-like orchestration. Some musicians nonetheless could not or did not want to escape from the deep technical insights of Rimsky-Korsakov, from the sophistication and raffinement of the Russian orchestrator. The conflict between the fascination by his writing and the new sound fashion soon offered multiple solutions. Especially one of them was successful: Rimsky-Korsakov\\\''s explicit recommendations could be understood against the grain, or could be taken too literally: in the thirties just this guaranteed expressivity.