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Efeitos especiais digitais na imagem técnica: a desocultação da arte / -Marcelo Henrique Leite 20 March 2015 (has links)
O objeto do estudo deste trabalho são as imagens de efeitos especiais digitais em computação gráfica (Computer Graphic Image - CGI) inseridas em narrativas cinematográficas da atualidade, principalmente a partir dos anos 1990, com a pluralidade de novas formas de viabiliza-lás baseadas em simulação e no contexto de uma sociedade em mutação nas formas de criação e reprodução técnica do audiovisual. A indagação proposta é identificar se os efeitos especiais simulados por CGI e as imagens decorrentes são apenas reconfiguração de velhas práticas e técnicas modernizadas tecnologicamente, ou estão neles embutidos novos modelos de compreensão do mundo na atualidade, se há um regime visual rearticulando o imaginário na pós-modernidade com nova relação entre representação e simulação. Essas articulações podem abrir espaços para se repensarem as relações atuais com as imagens digitais em um contexto entre a razão e a técnica, na óptica moderna, e o tempo presente e o prazer, na dimensão pós-moderna. O objetivo do presente estudo é estabelecer um diálogo com os efeitos especiais de segunda geração ou Digital Visual Effect (DVFx) para além de sua aplicabilidade prática somente como ferramenta para a linguagem narrativa em filmes mas desenvolver novas articulações entre o visível e o dizível, as possíveis visibilidades dos efeitos especiais como um novo regime visual na arte cinematográfica. O estudo avança para além de uma historicidade ao entender que as possibilidades trazidas pela tecnologia de computação gráfica (CG) produziram uma significativa renovação das possibilidades visuais no cinema contemporâneo, o que com certeza reflete e refletirá ainda mais na forma de consumo dos produtos audiovisuais produzidos a partir da ampliação do uso dessas tecnologias digitais e seu paralelo com estética, a arte e a cultura. A desocultação do processo criativo presente na técnica abre portas para a compreensão renovada do imaginário social e especialmente às formas de sua manifestação no campo das artes e da cultura. A metodologia empregada neste estudo será baseada em dados secundários desde livros e autores, pequenos trechos de filme, frames e até aplicações tecnológicas para demonstrar as configurações trazidas pelos efeitos especiais em computação gráfica (CG). * frames: é cada um dos quadros ou imagem fixa de um produto audiovisual. / The object of study are the images of digital special effects in computer graphics (Computer Graphic Image - CGI) inserted in film narratives of today, mainly from the 1990s, with the plurality of new ways to make them viable based on simulation and in the context of a changing society in ways of creating and technical audiovisual playback. The proposed inquiry is to identify whether the special effects simulated by CGI and the resulting images are just rewriting practices and old techniques technologically upgraded, or are embedded in them new models of understanding the world today, if there is a visual scheme rearticulating the imaginary postmodern with new relationship between representation and simulation. These joints can open spaces to rethink the current relations with the digital images in a context between reason and the technique in modern optics, and the present time and pleasure, in the postmodern dimension. The aim of this study is to establish a dialogue with the special effects of second generation or Digital Visual Effect (DVFx) in addition to its practical applicability only as a tool for narrative language in movies but develop new links between the visible and the speakable, the possible visibility of special effects as a new visual regime in cinematic art.). The study goes beyond a historicity to understand that the opportunities brought about by computer graphics technology (CG) produced a significant renewal of visual possibilities in contemporary cinema, which certainly reflects and further reflected in the form of consumption of the produced audiovisual products from the expanded use of these digital technologies and its parallel with aesthetics, art and cultura.A unblinding of the creative process in this technique opens the door to a renewed understanding of the social imaginary and especially the forms of its manifestation in the arts and culture. The methodology used in this study is based on secondary data from books and authors, small snippets of film, frames and even technological applications to demonstrate the settings brought by special effects in computer graphics (CG). * Frames: is each of the frames or still image of an audiovisual product.
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Wang xiaobo, un « génie en dehors du système » : des jeux d'écriture au « phénomène wang xiaobo » / Wang Xiaobo (1952-1997), a "Genius outside the system" : from writing games to "Wang Xiaobo phenomenon" / “文坛外高手”王小波 :追溯“王小波现象”,深究其小说艺术Mercier, Mei 20 October 2016 (has links)
Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.
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La tentativa hipotesis de lo real : la política heterotópica en Nadie me verá llorar de Cristina Rivera GarzaReid-Soucy, Nadine 04 1900 (has links)
Notre mémoire cherche à étudier la poétique de l’espace qui articule le
roman Nadie me verá llorar publié en 1999 par l’écrivaine mexicaine
contemporaine Cristina Rivera Garza. En inscrivant sa démarche romanesque
dans la perspective postmoderne d’une nouvelle histoire culturelle, Rivera
Garza dépeint un moment fondamental de l’histoire du Mexique allant de la fin
du Porfiriato jusqu’aux lendemains de la Révolution mexicaine en l’incarnant
dans le destin des laissés pour compte. Ce faisant, elle présente un texte où
une multitude de récits se fondent et se confondent en un tout complexe où sont
mis en perspective une série d’espaces de nature ambigüe.
Notre analyse tâche d’expliquer cette interrelation des chronotopes de
l’Histoire et du privé en tenant compte de son impact sur la structure narrative.
En décrivant les différentes modalités des espaces évoqués dans l’oeuvre, nous
nous intéressons au type de relations qui unit l’ensemble de ces espaces au
grand temps de l’Histoire officielle mexicaine en démontrant que tous ces
éléments sont régis par une politique hétérotopique qui lézarde le fini du
discours officiel en y insérant un ensemble d’éléments qui le subvertissent.
L’identification et la description de cette stratégie discursive est pertinente dans
la mesure où elle offre un éclairage autre sur le roman et semble caractériser
l’ensemble des oeuvres de Cristina Rivera Garza. / This thesis studies the poetics of space in which the novel Nadie me verá
llorar, published in 1999 and written by Cristina Rivera Garza, is articulated.
Locating her novelistic project in the postmodernist perspective of a new cultural
History, Rivera Garza outlines an essential moment of the history of the Mexican
Revolution, from the so-called Porfiriato until the end of the Revolution. That
being said, this author presents a text where a diversity of stories are founded
and confounded in a complex whole in which a series of ambiguous spaces is
put into perspective.
Our analysis tries to explain the interaction between the chronotopes of
the History, as a public space, and the private sphere to account for its impact
on the narrative structure. As we describe the different modalities of space
evoked in the novel, we are interested in the relations linking the spatial
ensemble to the official historic time, demonstrating that all those elements are
ruled by a heterotopic policy which fissures the official history, inserting
elements that are capable of subverting it. The identification and description of
such a peculiar discursive strategy allows us the capacity to see this novel from
a different perspective. Furthermore, this discursive strategy seems to be
characteristic of all of Rivera Garza’s novelistic work. / El presente estudio analiza la poética del espacio que articula la novela
Nadie me verá llorar, publicada en 1999 por la escritora mexicana Cristina
Rivera Garza. Al inscribir su proyecto novelesco en la perspectiva posmoderna
de una nueva historia cultural, Rivera Garza esboza un momento fundamental
de la historia mexicana, el comprendido entre el Porfiriato y el final de la
Revolución, ubicándolo en el destino de los desquiciados. Dicho lo anterior, la
autora presenta un texto donde una variedad de relatos se funden y se
confunden en un todo complejo en el que se somete a escrutinio una serie de
espacios de naturaleza ambigua.
Nuestro análisis trata de explicar esta interrelación de los cronotopos de
la Historia (constructo oficial de acontecimientos, legitimado desde el poder) y
de lo privado (memoria íntima y personal de los individuos) para dar cuenta de
su impacto en la estructura narrativa. Al describir las diferentes modalidades de
los espacios evocados en la obra, este estudio analiza el tipo de relaciones que
une el conjunto de esos espacios con el gran tiempo de la Historia mexicana
oficial, demostrando que todos esos elementos son regidos por una política
heterotópica que fisura la homogeneidad del discurso oficial al insertar
elementos que lo subvierten. Identificar y describir dicha estrategia discursiva es
pertinente ya que proyecta una luz diferente sobre la novela, siendo además
una estrategia recurrente en las obras firmadas por Rivera Garza.
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Solitudes enseignantes ou la volonté de changer la société par l’éducationBradet, Julie 08 1900 (has links)
No description available.
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Tierra de campos, tierra de sueños : Cartografía posmoderna de la sociedad española contemporánea.Cobos Gil, Miguel January 2020 (has links)
Esta investigación tiene como propósito desentrañar la sociedad española que sedescribe en la novela Tierra de campos del autor español David Trueba, con elobjetivo de cartografiarla y encontrar en ella rasgos comunes y propios de unasociedad posmoderna.Para ello se recurrirá a los postulados de la teoría de la posmodernidad deFredrik Jameson y se centrará especialmente en los conceptos de espacio y tiempo.De la novela se extraerán los rasgos distintivos de los personajes, de los lugares ydel contexto en el que esta acontece para poder configurar un paisaje amplio de lasociedad a la que pertenecen y de esta forma acercarse al objetivo del estudio.Como resultado de la investigación se ha podido definir la sociedadespañola descrita en la novela como de carácter posmoderno, pero con unaspeculiaridades propias derivadas de la herencia de las antiguas estructuras deltardofranquismo. / The following research is intended to ascertain and furthermore describe in depththe way in which David Trueba’s fictional novel Tierra de campos reflects thecontemporary Spanish society. And by so doing, an analysis of whether Spanishsociety can genuinely be considered postmodern, will be presented.The analysis will be supported by a focus on the space-temporal scope asit is asserted in Fredrik Jameson’s theory on post-modernism. Taking the novel byTrueba as a main source, reference characters, places, setting as well as context, willplay an important role in the mapping out of all shared features of the society thatthe novel describes in order to approach the purpose of the study.As a result of this research, we have been able to properly define the societydepicted in the novel as one clearly pertaining to the post-modern timeline,nonetheless bearing some of the inherent traces derived from the rusty structurescharacteristic of the last period of Franco’s dictatorship.
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GUILD HOUSE. La idea de transgresión en la arquitectura de Venturi, Rauch & Scott BrownArnau Orenga, Prudencia Inés 28 February 2022 (has links)
[ES] Robert Venturi y Denise Scott Brown no sólo fueron transgresores con sus teorías en los años 60, también con sus obras. La Guild House fue una de ellas, "ordinaria" y "extraordinaria" a la vez. Un edificio de transición, ni sólo moderno, ni sólo posmoderno, sino complejo y contradictorio, que fue más allá de las convenciones del Movimiento Moderno, transgrediéndolo y apostando por su superación, sin dirigir la mirada a los grandes maestros, sino al presente y el futuro.
Un ejercicio de experimentación en un edificio de viviendas sociales para personas mayores con pocos recursos, que incluye un programa complejo, repleto de simbolismos históricos y ordinarios a favor de la semántica de los elementos convencionales, las distorsiones y los distintos tipos de ornamento, con el que volvieron su mirada hacia el pasado para mirar al futuro, acercándose a la realidad social a través de la aceptación de los gustos populares americanos. Apoyados en la ironía, promovieron una arquitectura aparentemente ordinaria, aunque compleja y culta en esencia, arquetipo de la arquitectura de "lo feo y lo ordinario" frente a lo "heroico y original", manifiesto del "decorated shed", y probablemente, el primer gran edificio "posmodernista". / [CA] Robert Venturi i Denise Scott Brown no només van ser transgressors amb les seves teories en els anys 60, també amb les seves obres. La Guild House va ser una d'elles, "ordinària" i "extraordinària" alhora. Un edifici de transició, ni només modern, ni només postmodern, sinó complex i contradictori, que va anar més enllà de les convencions del Moviment Modern, transgredint-lo i col¿laborant en la seva superació, sense dirigir la mirada als grans mestres, sinò al present i el futur.
Un exercici d'experimentació en un edifici d'habitatges socials per a gent gran amb pocs recursos, que inclou un programa complex, ple de simbolismes històrics i ordinaris a favor de la semàntica dels elements convencionals, les distorsions i els diferents tipus d'ornament, amb el qual van tornar la seva mirada cap al passat per mirar al futur, acostant-se a la realitat social a través de l'acceptació dels gustos populars americans. Recolzats en la ironia, van promoure una arquitectura aparentment ordinària, encara que complexa i culta en essència, arquetip de l'arquitectura de "el lleig i l'ordinari" davant el "heroic i original", manifest del "decorated shed", i probablement, el primer gran edifici "postmodernista". / [EN] Robert Venturi and Denise Scott Brown were not only transgressors with their theories in the 1960s, but also with their works. The Guild House was one of them, "ordinary" and "extraordinary" at the same time. A transitional building, neither only modern nor only postmodern, but complex and contradictory, that went beyond the conventions of the Modern Movement, transgressing it and collaborating in its overcoming, without looking to the great masters, but to the present and the future.
An exercise of experimentation in a social housing building for old people with few resources, which includes a complex program, full of historical and ordinary symbolism in favor of the semantics of conventional elements, distortions and different types of ornamentation, with which they turned their gaze to the past to look to the future, approaching social reality through the acceptance of popular American tastes. Supported by irony, they promoted an apparently ordinary architecture, although complex and cultured in essence, an archetype of the architecture of "the ugly and the ordinary" as opposed to the "heroic and original", a manifesto of the "decorated shed", and probably, the first great "post-modernist" building. / Arnau Orenga, PI. (2022). GUILD HOUSE. La idea de transgresión en la arquitectura de Venturi, Rauch & Scott Brown [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181230 / TESIS
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La re-escritura de la historia en Déjame que te cuente de Juanita Gallardo (1997): entre el producto cultural y el discurso identitarioRodriguez Tapia, Stella Maris 12 1900 (has links)
No description available.
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La juste rémunération des créateurs de la musique à l’ère du numérique : regard croisé France-Canada : quelle régulation pour assurer l’équitable répartition des redevances musicales à l’ère du numérique?Pouet-Bocard, Nils 05 1900 (has links)
La rémunération des créateurs d’œuvres musicales est indispensable au développement et à la pérennisation de l’innovation artistique. Cette rémunération doit se faire de manière juste et équitable entre les divers acteurs de la création musicale.
Pour assurer une répartition équitable des redevances musicales, le droit de la propriété intellectuelle prévoit diverses règles et mécanismes de gestion des droits d’auteur. Cependant, à l’ère du numérique, ces mécanismes ne semblent plus efficaces face au développement des technologies informatiques.
À côté des règles étatiques, des règles d’origine privée se sont développées. Parmi ces règles, les règles de nature technique et informatique présentent des caractéristiques intéressantes et efficaces pour renforcer et/ou suppléer les règles étatiques de gestion des droits d’auteur.
En partant du principe que l’on se trouve aujourd’hui dans une ère juridique postmoderne où se juxtaposent des règles juridiques d’origine et de nature différentes, ce mémoire se présente comme une réflexion sur le type de régulation le plus pertinent pour assurer la juste et équitable rémunération des créateurs de la musique à l’ère du numérique. / The remuneration of music creators is essential for the development and sustainability of artistic innovation. This remuneration must be fair and equitable among the various participants in the creation of music.
To ensure a fair distribution of music royalties, intellectual property law sets up various rules and mechanisms of copyright management. Yet, in this digital age, these mechanisms no longer seem appropriate for the developments of such technologies.
In addition to legislative rules, other rules have developed in the private sector. Among them, technical and IT rules provide interesting and efficient characteristics to reinforce and/or replace the collective management rules found in mainstream copyright law.
Starting with the assumption that we are today in a postmodern legal era where legal rules of different origins and natures are juxtaposed, this dissertation is a reflection on the relevant type of regulation that is needed to ensure a fair and equitable remuneration for music creators in the digital age.
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Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National CinemaChang, Hsin-Ning 13 June 2017 (has links)
No description available.
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Hope in America: Lyotard and Rorty, Dobson and Obama, and the Struggle to Maintain Hope in Postmodern TimesKeen, Daniel E. Rossi 25 September 2008 (has links)
No description available.
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