Depuis les années 1990, face à l’expansion du numérique, le cinéma argentiqueest confronté aux enjeux économiques, politiques et poétiques de l’obsolescence.Notre étude vise à explorer les ambiguïtés, les ambivalences et les potentialitésde l’obsolescence qui ouvre des nouveaux champs de possibles à la réinventiondu cinéma argentique. Nous nous intéressons notamment à cette période de réinventiondu médium-film à partir de la fabrication de l’émulsion-maison, de la réactivationdu sténopé et de l’exposition de la machinerie du cinéma argentique.Conçu comme une articulation entre esthétique et technique, comprenant une viséehistorique, ce travail propose une systématisation théorique de la pratique du laboratoire,de la camera obscura, du sténopé et de la machine avec l’analyse d’un corpusd’oeuvres actuelles réalisées avec ces outils argentiques. Dans le parcours esquissé,qui s’appuie sur des entretiens avec les artistes, nous tentons d’élucider lestechniques impliquées dans les oeuvres et le processus créatif des artistes. Nousverrons enfin comment, à partir de ces liens entre théories et pratiques, des artistesréinventent aujourd’hui, grâce à l’obsolescence, le cinéma argentique à l’âge dunumérique et entretiennent une mémoire de toute sa technicité et machinerie. / Since the 1990s, in the face of digital expansion, analogue cinema has been confrontedwith economic, political, and poetic issues of obsolescence. Our study aimsto explore the ambiguity, ambivalence and potential of obsolescence, which opensup new fields of possibilities for the reinvention of analogue cinema. We are particularlyinterested in this period of reinvention of medium-film from the manufactureof the handmade emulsion technique, the reactivation of the pinhole, and theexhibition of analogue cinema machinery. Viewed through a historical lens andconceived as an articulation between aesthetics and technique, this work proposesa theoretical assessment of laboratory practices, the camera obscura, the pinholeand the machine, and an analysis of a body of current work realized using thesefilm tools. Through interviews with artists, we aim to illuminate their creative processesand reveal the techniques involved in the artworks. Finally, we will showhow thanks to obsolescence, artists today are reinventing analogue cinema in thedigital age and maintaining a memory of all its technicality and machinery.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T10:47:59Z (GMT). No. of bitstreams: 1 Fan_Xing_M.pdf: 1902154 bytes, checksum: e78b0a1c977a70269f1afab9e5e6ab14 (MD5) Previous issue date: 2014 / Resumo: A dissertação analisa Tocaia Grande (1984) como o romance-síntese de Jorge Amado, articulando todas as obras anteriores do autor, tanto as ficcionais quanto as não ficcionais. Após uma breve apresentação cronológica que enfoca a continuidade e transformação na criação literária de Jorge Amado, o trabalho divide-se em três partes conforme o desenvolvimento do romance ¿ formação de uma sociedade, construção de uma utopia e destruição de Tocaia Grande ¿ enfatizando respectivamente os personagens marginais, as ideias anarquistas/carnavalescas e a relação estreita entre a ficção amadiana e a realidade brasileira. Dessa forma, comprova-se que Tocaia Grande não só reúne os elementos básicos dos romances anteriores de Jorge Amado, mas também revisa seus pensamentos antigos e limitados, apresentando a origem da zona cacaueira e da nação brasileira / Abstract: This dissertation analyzes Tocaia Grande (English title: Showdown) as the summative novel of Jorge Amado, linking all the previous works of the author, both fictional and non-fictional. After a brief chronological presentation that focuses on the continuity and transformation in the literary creation of Jorge Amado, this paper is then divided into three parts according to the development of the novel - the formation of a society, the construction of a utopia and the destruction of Tocaia Grande - emphasizing respectively marginal characters, anarchist/carnival ideas and the close relationship between fiction and reality. Thus, it proves that Tocaia Grande not only brings together the basic elements of the previous novels of Jorge Amado, but also reviews the old and limited thoughts, showing the origin of the cacao zone and the Brazilian nation. / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

This thesis proposes a fresh engagement with the idea of the archaic as a means to recover and replenish some of the lost vitality suffered during what William Barrett characterized the modern period as “the gigantic externalization of life.” An introductory essay examines how the related ideas of the archaic, the primal, and the prehistoric have at key moments provided a source of creative energy for the arts of the last century. Collections of found material, and several photographic studies document the city of Niagara Falls—icon of American pop culture and faded relic of romanticism. The photographs present an alternative to the world of the touristic snapshot, and address the questions: In the age of simulation how do we know what is real anymore? Can we learn to see with archaic eyes?

This thesis proposes a fresh engagement with the idea of the archaic as a means to recover and replenish some of the lost vitality suffered during what William Barrett characterized the modern period as “the gigantic externalization of life.” An introductory essay examines how the related ideas of the archaic, the primal, and the prehistoric have at key moments provided a source of creative energy for the arts of the last century. Collections of found material, and several photographic studies document the city of Niagara Falls—icon of American pop culture and faded relic of romanticism. The photographs present an alternative to the world of the touristic snapshot, and address the questions: In the age of simulation how do we know what is real anymore? Can we learn to see with archaic eyes?

Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2017-02-15T16:13:06Z No. of bitstreams: 1 texto completo.pdf: 1163777 bytes, checksum: c8ff82d674544e4765b54ad683117bf6 (MD5) / Made available in DSpace on 2017-02-15T16:13:06Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1163777 bytes, checksum: c8ff82d674544e4765b54ad683117bf6 (MD5) Previous issue date: 2005-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo geral desse estudo foi o de contribuir para um melhor conhecimento dos jacuguaçus (Penelope obscura bronzina), assim como da situação em que ela se encontra na área, um fragmento de 75 ha de Floresta Estacional Semidecidual (conhecido como Mata da Biologia) inserido no Campus da Universidade Federal de Viçosa (UFV). Este foi percorrido de forma aleatória em toda a sua extensão pela manhã e à tarde, entre os meses de julho de 2004 e maio de 2005, sendo os aspectos comportamentais dos jacuguaçus registrados em fichas de campo. Indivíduos solitários até grandes agregações de cerca de 60 jacuguaçus foram registrados. A estação reprodutiva compreendeu os meses de setembro a dezembro de 2004 (coincidindo com a estação chuvosa), caracterizado pelos displays de vôo (rufar de asas dos machos) e pela presença de filhotes novos. Foram registrados dois ninhos em oitis (Licania tomentosa) na calçada que margeia a mata (próximo ao horto), pertencentes a um mesmo casal que realizou postura de reposição após ter perdido a primeira ninhada. Ambos adultos cuidam da prole. Os filhotes são bastante ativos já na primeira semana de vida. Outro casal com dois filhotes e uma fêmea com um filhote foram registrados na área, além de indivíduos imaturos acompanhados dos adultos nos meses seguintes à estação reprodutiva. Os jacuguaçus tiveram a maior parte de sua dieta composta por frutos de 12 famílias de espécies vegetais. Consumiram frutos disponíveis na mata e visitaram com freqüência árvores frutíferas nos quintais das casas das vilas Sete Casas e Gianetti, marginais ao fragmento. Realizaram pequenos deslocamentos na mata seguindo a frutificação das plantas, concentrando-se nestes locais de alimentação. São bastante oportunistas, se alimentando na horta das casas, de milho e canjiquinha e frutas colocadas por moradores e funcionários (fato constante e corriqueiro). Além disso, consumiram a relva que cresce em alguns trechos ao longo das vias, folhas novas e brotos das plantas do subosque, e flores. Foi possível determinar sete condições favoráveis e 11 condições desfavoráveis para a espécie na área. Para as condições favoráveis foram traçadas 13 medidas potencializadoras e para as condições desfavoráveis 23 medidas mitigadoras. A maioria das medidas pode ser realizada pela própria instituição (UFV), auxiliada pelos resultados deste estudo e pelos professores e estagiários dos cursos afins. A disponibilização de alimentos pelos moradores e pelos funcionários parece ser o fator principal da concentração dos jacuguaçus em determinadas áreas, atraídos pela oferta fácil e regular de alimento, aliado ao ambiente propício - fonte de água, sombra, poleiros seguros nas araucárias e mangueiras - nos arredores da represa e à abundante frutificação de duas espécies de palmeiras exóticas. A oferta de alimento somada à mansidão que os jacuguaçus já apresentam pode estar ocasionando uma crescente domesticação das aves no local. / The general objective of this study was to contribute for a better knowledge of the dusky-legged guans (Penelope obscura bronzina), as well as of the situations which the species is submitted in the study area, a 75 ha Seasonal Semidecidual Forest fragment (known as “Mata da Biologia”) within the Campus of the Federal University of Viçosa (UFV), Viçosa, Minas Gerais, southeastern Brazil. This forest fragment was randomly scanned in its entire extension by morning and by evening, between July of 2004 and May of 2005, and the behavior aspects of the dusky-legged guans were recorded. Flock size ranged from two to 60 birds, but solitary individuals were recorded in the area. The breeding season comprised September and December of 2004 (which coincides with the rain season), characterized by flight displays and by the presence of chicks. Two nests, belonging to one pair of dusky-legged guan that laid a reposition clutch after they had lost the first one, were recorded on “oiti” trees (Licania tomentosa) on a sidewalk alongside of the forest fragment (nearby the botanical garden). Either the female or the male take care of the chicks. The chicks are very active even in the first week of borne. Other pair with two chicks and one female with one chick were recorded in the area, besides adults followed by immature young individuals in the following months after the breeding season. The dusky-legged guans had the most of its diet composed by fruits of 12 botanical families and ate fruits available on the woods and frequently visited the fruiting trees at the “Sete Casas” and “Gianetti” villages that margining the forest fragment, making small shifts following the ripeness of some trees, concentrating in these feeding bouts. The dusky-legged guans were very opportunistic and fed on the kitchen gardens of the village’s houses and were feeding every day by inhabitants of the villages and by employees of the UFV with corn, corn meal and fruits. Beside that, these birds consumed grass, young leaves and buds of the sub canopy and flowers. Based on the observations, it was possible to determined seven favorable conditions and 11 unfavorable conditions for the species in the study area. Thirteen magnifying and 23 mitigating measures were outlined for the favorable and unfavorable conditions, respectively. The majority of these measures could be executed by the institution (UFV) itself, helped from the results of this study. The food offering by inhabitants of the villages and by the employees of the UFV seems to be the main cause of the concentrations of the dusky-legged guans in some areas, allied with the propitious ambient of the dam’s surroundings and with the abundant and rich fruit crop of two exotic species of palms in the area. This, added to the tameness that the dusky-legged guans are presenting could promote an increasing “domestication” of these birds in the area. / Não foi localizado o cpf do autor.

Master’s thesis focuses on area of historic water reservoirs on Yellow Hill, situated between streets of Tomešova and Tvrdého. They continued to supply Brno with non-potable water until 1997 and TIC is currently looking for a new way to make water reservoirs accesable and more interesting to the general public. Due to the existence of underground reservoirs the site has remained undeveloped and is covered with dense greenery. Thanks to that, the character of the place is in the context of the surrounding build-up area very unique. The proposal not only respects that, but seeks to support it. The whole area is undergoing through new landscape design and is completed by three single-storey pavilions, which with their various functions ensure the operation of the site. The historic buildings that were used to manage the underground reservoirs are renovated and integrated into the operation of the site. An important part of the design is also the solution of barrier-free access to reservoirs, their interconnection and installation of optical device - the Camery Obscury in the oldest of the reservoirs. The whole place becomes more accesible and attractive for visitors.

Texten jämför det analoga- och digitalafotografiet. Disskutioner kring arbetssättet, uttrycket i fotografiet, uppfattningen av det, de olika tekniska asspekterna och känslan i fotografiet är områden som berörs i texten. Även kamerans och fotografiets historia i allmänhet tas upp.

Made available in DSpace on 2016-04-28T14:16:34Z (GMT). No. of bitstreams: 1 Veranice Canato.pdf: 2119970 bytes, checksum: 0b3e2b259a68a1ec4980cdecd8d345a1 (MD5) Previous issue date: 2008-10-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the year of 1604, with the objective to produce a theory, that would explain the refraction of light of celestial bodies and solve the existing problems in the observation of solar eclipses through camera obscura, Johannes Kepler published Ad VItellionem Paralipomena, quibus Astronomiae pars Optica Traditvr. Paralipomena has been raising the attention of history of science researchers since the first decades of the twentieth-century, and its classification, as either a continuity or a break with the treatises of optics developed during the Middle Ages, has become a controversial theme. Different aspects in this debate lead to a comprehension of Kepler's work as an appreciation of several studies of optics, astronomy and natural magic available at the end of sixteenth- century. Several studies available in Kepler s times, which probably contributed for his solution of the problems with the camera obscura, are presented in this dissertation in an attempt to show that Kepler s elaboration of his camera obscura theory, presented in chapter second of Paralipomena, is a consequence of this appreciation / Com o objetivo de apresentar teorias capazes de explicar a refração da luz nos corpos celestes e de solucionar problemas nas observações de eclipses solares com câmaras escuras. Johannes Kepler (1571-1630) publicou, em 1604, o seu Ad VItellionem Paralipomena ,quibus Astronomiae pars Optica Traditvr. Esse livro vem despertando a atenção de pesquisadores em história da ciência desde as primeiras décadas do século XX e se constituiu como objeto de um polêmico debate em torno de sua classificação como uma continuidade ou uma ruptura com os tratados ópticos desenvolvidos no medievo. Os diferentes aspectos destacados nesse debate possibilitam uma compreensão do trabalho de Kepler como uma apreensão dos diversos estudos de óptica, de astronomia e de magia natural que circulavam no final do século XVI. Nesta dissertação, procuramos mostrar que a elaboração de sua teoria para a câmara escura, apresentada no segundo capítulo do Paralipomena, é uma conseqüência dessa apreensão. Para tal, procuramos analisar vários trabalhos que circulavam à época de Kepler e que possivelmente contribuíram para a sua solução dos problemas da câmara escura

No description available.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)