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This thesis describes two lithographic techniques that may be used to introduce black and white lithography to beginning art students. Aluminum plate and paper lithography are two relatively low cost and safe lithographic methods suitable for schools with limited budgets and limited space. It is recommended that the instructor interested in teaching the two processes described in this thesis have some previous experience in lithography.

I create my artwork using a variety of media to explore and define my concepts. My concepts involve the body and are also integrated into a larger environment to tell a story.

An investigation into memory of heightened moments through visual phenomena.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T19:48:46Z No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:25:21Z (GMT) No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) / Made available in DSpace on 2013-04-18T12:25:21Z (GMT). No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) Previous issue date: 2011-12-07 / Jardim de passiflora: Impressões, marcas e devaneios é o título desta dissertação na linha de pesquisa de Processos Criativos. Partindo de experimentações teóricas e práticas, almejou-se realizar uma pesquisa na qual a obra fosse o objeto central de investigação, considerando o seu processo de criação e as variações que ocorreriam na sua realização. No decorrer desse processo, questões da memória e da contemporaneidade relacionadas ao conceito de imprimir foram surgindo, ao mesmo tempo que as técnicas de desenho, fotografia, gravura e cerâmica foram se entrelaçando. Os autores eleitos para dar suporte à pesquisa foram: Gaston Bachelard, Georges Didi-Huberman e Maria Celeste Wanner, entre outros. / Salvador

This research considers the ways in which digital, networked technologies influence contemporary everyday life and creative practice. Through studio practice and writing, I ask how a contemporary condition of everyday life, characterised by the suppression of distance in speed of communication and the ubiquitous presence of surveillant apparatuses, affects the way we understand and use the image. I also consider the role of the digital image in both destabilizing and reinforcing human agency. In the past, tactical creativity was protected by a level of invisibility from the vision of authority, as described by Michel de Certeau. With the the spread of networked technologies, that invisibility is no longer possible. I take Vilem Flusser’s methodology of ‘playing against the camera’—a recipe for overcoming of the functionalist relationship between human and image technology—as a possible model for establishing my own and identifying other artists’ practices as tactics of visibility. I seek to develop a material consciousness of the digital image based on ontologies that assert the materiality of its processes and effects. In studio work, I blend manual and digital techniques for image-making in order to expose the structure of the digital image. I attempt the work of the apparatus outside the apparatus, by performing digital processes by hand, creating a model of difference and refining a physical sense of the disparity between human and computer scales through the reassertion of the body in a process of making. Using Kendall Walton’s notio of photographic transparency, I make an argument for the affective potency of the ‘poor image’, evidenced in artwork and mass media, as inseparable from its materiality. I fictionalize aspects of this transparency, depicting an impossible reality and allowing me to model present anxieties stemming from the rise of digital image production. I find that transparency and the instantaneity of the digital network are responsible in part for the obfuscation of digital materiality, as well as a confused sense of spatial relationships and personal interconnection. Image quality is politicized by connotations of credibility or agenda as it bends to the need for ever-faster communications. Though certain characteristics of the digital image encourage or sustain an ignorance with regard to its materiality, these characteristics can also be exploited to foreground materiality in art practice that aligns itself with the spirit and purpose, if not the invisibility, of de Certeau’s tactics, and the critical methods of resistance to a programme of technology suggested by Flusser.

Orientador: Lygia Arcuri Eluf / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T14:37:33Z (GMT). No. of bitstreams: 1 Miranda_ZandraCoelhode_D.pdf: 36434955 bytes, checksum: 5496afec0b399dc5b21acf7e770e8599 (MD5) Previous issue date: 2008 / Resumo: Este trabalho de pesquisa em Arte surge a partir da experiência da gravura, seu pensamento construtivo e seus processos; somando-se a este fazer o repertório visual, material e técnico da cerâmica. A moldagem através da impressão de placas de argila e do despejo de barbotina permite a criação de séries de módulos múltiplos que uma vez entintados revelam a imagem impressa em relevo. A submissão da terra à múltiplos processos de queima aponta para uma dimensão ritualística e intrínsecamente metafísica, a qual, tradicionalmente, acompanha a transfiguração do barro em matéria cerâmica. A temática de todas as séries apresentadas é a paisagem local, tendo o ateliê como ponto de partida - e através de fragmentos vegetais e minerais esta paisagem é poeticamente reconstruída. / Abstract: This Art research work has roots in the experience of printmaking, its processes and constructive thinking, adding to it ceramics' visual references, techniques and materials. Molding through slip casting and imprints in clay slabs allows to create series of multiple modular shapes that once tinted with pigments reveal the image in relief. Clay's submission to multiple processes of firing points towards an intrinsec, ritualistic and metaphysical dimension wich traditionally follows the transformation of clay matter into ceramics. The subject of all series presented is the local landscape, having the art studio as starting point - and trough vegetal and mineral fragments this landscape is poetically reconstructed. / Doutorado / Doutor em Artes

The amount of information and the speed at which it is changing is fascinating and overwhelming. The capacity of our computer systems to process this information far exceeds the limits of our brains, making the systems of processing and organizing seem foreign and abstract. The anxiety caused by this information overload compels me to try and make sense of these systems by slowing things down, by recreating digital actions and artifacts by hand. At times my need to archive this digital world is genuine and results in sincere attempts to create physical records of the software and programs we use. But this cloud full of information, data, systems, and images is so elusive and mysterious that the frustration of creating a genuine archive encourages me to pull from software and systems at will, mashing them up in ways that are both generative and degrading. These then result in quasi-scientific, semi-fictitious images and installations that investigate possible histories and cultures that this invisible world might hold.

I love you and I will always try my best.

Tradition begins with innovation. The rich and complicated history of Printmaking is shaped by invention and discovery. I see this advancement for the sole purpose to distribute knowledge and ideas to every person regardless of prosperity and status. At its core intention is the need to make art and knowledge accessible. The procedural research I have been exploring along side my artist research was designed to do just as invention in printmaking has done before. I have applied my knowledge and availability of modern technology with traditional ways print artists create. These new processes are geared to make photomechanical practices in lithography and intaglio cheaper and more accessible to artists and students with limited resources. I have also included a statement about the artwork that has been able to be developed because of this research to provide context for my artistic practice.