Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Nesta Dissertação, investigo o conjunto de desenhos que denominei desenhos-conceitos e que constituem-se como uma prática processual da minha atuação enquanto artista. Tal investigação é percorrida através de seis tangentes transdisciplinares na tentativa de estabelecer pontos de contato entre a prática do Desenho e outras práticas contemporâneas investigativas do conhecimento humano. São elas: Tangente Diagramas, Tangente Cosmologia, Tangente Desenhos, Tangente Linguística, Tangente Lógica/Matemática e Tangente Escritura. A pesquisa procura estabelecer uma maior proximidade entre teoria e obra apresentando-se como texto dissertivo e também como a elaboração de um Fichário. Neste Fichário o léxico dos desenhos-conceitos é apresentado em conjunto com uma série de anotações que permearam a investigação e ambos, desenhos-conceitos e anotações, configuram-se como pontos-chave para a formação da arquitetura conceitual do léxico. Tanto o texto dissertivo quanto as anotações e desenhos presentes no Fichário tecem indagações acerca da relação entre o espaço-tempo e o corpo daquele que performa ações. A pesquisa conclui na abertura de novos procedimentos práticos, através da ideia de performatividade na realização de ações, com as obras Desire to communicate e Obscena. / This dissertation investigates a set of processual drawings that constitute a part of my artistic process, which I denominated concept-drawings. This investigation is made through six transdisciplinary tangents, in an attempt to establish points of contact between the practice of drawing and other contemporary investigative practices of human knowledge. These tangents are: Tangent Diagrams, Tangent Cosmology, Tangent Drawings, Tangent Linguistics, Tangent Logic/Mathemathics and Tangent Scripture. The research also seeks to establish a closer relationship between theory and work of art presenting itself as text and as a Binder, in which the lexicon of concept-drawings are brought together with a series of annotations that were made throughout the research. Both concept-drawings and annotations are key points for the formation of the conceptual architecture of the lexicon. Together with the text, these annotations and drawings intend to question the relationship between the space-time relation with the body of he who performs actions. The research concludes with concept of performativity in the works "Desire to communicate" and "Obscena", openning new practical procedures within my process as an artist

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Nesta Dissertação, investigo o conjunto de desenhos que denominei desenhos-conceitos e que constituem-se como uma prática processual da minha atuação enquanto artista. Tal investigação é percorrida através de seis tangentes transdisciplinares na tentativa de estabelecer pontos de contato entre a prática do Desenho e outras práticas contemporâneas investigativas do conhecimento humano. São elas: Tangente Diagramas, Tangente Cosmologia, Tangente Desenhos, Tangente Linguística, Tangente Lógica/Matemática e Tangente Escritura. A pesquisa procura estabelecer uma maior proximidade entre teoria e obra apresentando-se como texto dissertivo e também como a elaboração de um Fichário. Neste Fichário o léxico dos desenhos-conceitos é apresentado em conjunto com uma série de anotações que permearam a investigação e ambos, desenhos-conceitos e anotações, configuram-se como pontos-chave para a formação da arquitetura conceitual do léxico. Tanto o texto dissertivo quanto as anotações e desenhos presentes no Fichário tecem indagações acerca da relação entre o espaço-tempo e o corpo daquele que performa ações. A pesquisa conclui na abertura de novos procedimentos práticos, através da ideia de performatividade na realização de ações, com as obras Desire to communicate e Obscena. / This dissertation investigates a set of processual drawings that constitute a part of my artistic process, which I denominated concept-drawings. This investigation is made through six transdisciplinary tangents, in an attempt to establish points of contact between the practice of drawing and other contemporary investigative practices of human knowledge. These tangents are: Tangent Diagrams, Tangent Cosmology, Tangent Drawings, Tangent Linguistics, Tangent Logic/Mathemathics and Tangent Scripture. The research also seeks to establish a closer relationship between theory and work of art presenting itself as text and as a Binder, in which the lexicon of concept-drawings are brought together with a series of annotations that were made throughout the research. Both concept-drawings and annotations are key points for the formation of the conceptual architecture of the lexicon. Together with the text, these annotations and drawings intend to question the relationship between the space-time relation with the body of he who performs actions. The research concludes with concept of performativity in the works "Desire to communicate" and "Obscena", openning new practical procedures within my process as an artist

A seguinte dissertaÃÃo se apresenta enquanto um registro de um rastro de passagem em uma experimentaÃÃo que se dà no Ãmbito da processualidade na criaÃÃo cÃnica. A investigaÃÃo aqui proposta parte do diÃlogo traÃado entre o Teatro do artista PolonÃs Tadeusz Kantor e o coletivo de artistas da cidade de QuixerÃ, CearÃ, denominado Trupe Motim. Para tanto este diÃlogo se efetivou a partir da percepÃÃo à respeito do carÃter processual presente na poÃtica de Tadeusz Kantor que serviu enquanto disparo para a realizaÃÃo de um trabalho de criaÃÃo junto à Trupe Motim. No percurso do processo de pesquisa, problematizou-se o ato de ensaiar, trazendo enquanto discussÃo este como mÃtodo de pesquisa, tensionando a relaÃÃo da pesquisa em arte, ou seja, o prÃprio processo enquanto mÃtodo de pesquisa em contraponto aos mÃtodos da pesquisa clÃssica. Desse modo, o percurso traÃado neste trabalho, tem como questÃo a relaÃÃo da arte em seu aspecto autorreferencial, trazendo para a discussÃo, a dinÃmica dos fluxos molar e molecular, a partir do referencial da filosofia de Deleuze & Gattari. Desta forma, o experimento efetuado se dà na perspectiva do jogo entre os fluxos molar e molecular, uma vez que questiona a ideia de obra de arte acabada e busca trabalhar na ideia de uma obra que se realiza em seu aspecto processual e nesse sentido, se abre para a realizaÃÃo cÃnica enquanto uma construÃÃo em devir. Estes aspectos acima descritos se mostram inclusive na prÃpria apresentaÃÃo desta dissertaÃÃo que joga com a quebra da normatizaÃÃo, uma vez que propÃe uma leitura que se estabelece em meio Ãs possibilidades do acaso, se dando, portanto, tambÃm em uma leitura em processo. / The following dissertation presents itself as a record of a trace of passage in a trial that takes place within the processuality in the scenic creation. The research proposed here of the dialogue drawn between the theatre of the polish artist Tadeusz Kantor and the collective of artists of the city of QuixerÃ, CearÃ, called Trupe Motim. To this end this dialogue was effective from the perception regarding the procedural character present in the poetry of Tadeusz Kantor who served as a trigger for carrying out creative work by the Trupe Motim. In the course of the research process, problematized is the act of rehearsing, bringing as discussion this as a research method, straining the relationship of research in art, that is, the process itself as a research method in contrast to the methods of classical research. Thus, the path traced in this work is to question the art of relationship in their self-referential aspect, bringing to the discussion, the dynamics of molecular and molecular flows from the framework of the philosophy of Deleuze & Gattari. Thus, the made experiment takes place in the context of the match between the molar flow and molecular as it questions the idea of art work finished and seeks to work on the idea of a work that takes place in its procedural aspect and in that sense, opens to the scenic realization as a building becoming. These above aspects are even show the actual presentation of this dissertation playing with breaking the regulation, since proposes a reading that takes place amid the possibilities of chance, giving thus also in a reading process.

Kateřina Skořepová Předmětnost a procesualita hry, Praha 2018 ANNOTATION The idea of a game as a limited space used mainly for fun, leisure or a purposeful instrument is quite limited. From this definition of the vast phenomena of games and play, it is impossible to recognize what else playfulness can offer. By differentiating the subject of the game from the gaming process itself, allows perceiving the general concept of game in a new light. Such a deviation from the generally accepted interpretation of what game is and what playing is, enables the perception of playfulness as a principle in the same way as Greek and modern philosophers described the principle of being. Utilizing this new view we can change the perception of values in everyday life and transform the way we perceive own being. KEY WORDS Game, play, processuality, paidia, world, being

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

The dissertation analyses the judicial review of legislation in Public Administration, questioning the possibility of such competence in the course of administrative process on the basis of the due process clause. After studying the logical-legal aspects of the constitutionality of legislation phenomenon, the constitutionality control instruments in the Brazilian legal system is examined. A broad definition process that could include administrative processuality is adopted. It is argued that the clause of due process functions as procedural validity requirement, limiting thus the content of the decisions and the form to decide. In the last chapter, the hypothesis of due process, the procedural validity requirement condition, support the constitutionality control laws in the administrative process is verified. / A dissertação analisa o controle de constitucionalidade das leis no âmbito da Administração Pública, problematizando o cabimento de tal competência sindicante no curso dos processos administrativos com fundamento na cláusula do devido processo legal. Após o estudo dos aspectos lógico-jurídico do fenômeno da inconstitucionalidade das leis, examinam-se os instrumentos de controle de constitucionalidade no ordenamento jurídico brasileiro. Apresenta-se, em seguida, uma definição ampla de processo, capaz de abarcar a processualidade administrativa. Defende-se que a cláusula do devido processo legal funciona como requisito de validade processual, limitando, dessa forma, o conteúdo das decisões e a forma de decidir. No último capítulo, a hipótese de o devido processo legal, na condição de requisito de validade processual, amparar o controle de constitucionalidade as leis no processo administrativo é, enfim, verificada.

FONSECA, José Flávio Gonçalves da. Por um Teatro do Devir: a criação em processo no diálogo da Trupe Motim com o Teatro de Tadeusz Kantor. 2016. 136f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Artes, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-03-29T23:43:33Z No. of bitstreams: 1 2016_dis_jfgfonseca.pdf: 3077740 bytes, checksum: 29697e1eabf7c8ae94998ec6856687ce (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2016-03-29T23:54:28Z (GMT) No. of bitstreams: 1 2016_dis_jfgfonseca.pdf: 3077740 bytes, checksum: 29697e1eabf7c8ae94998ec6856687ce (MD5) / Made available in DSpace on 2016-03-29T23:54:28Z (GMT). No. of bitstreams: 1 2016_dis_jfgfonseca.pdf: 3077740 bytes, checksum: 29697e1eabf7c8ae94998ec6856687ce (MD5) Previous issue date: 2016 / The following dissertation presents itself as a record of a trace of passage in a trial that takes place within the processuality in the scenic creation. The research proposed here of the dialogue drawn between the theatre of the polish artist Tadeusz Kantor and the collective of artists of the city of Quixeré, Ceará, called Trupe Motim. To this end this dialogue was effective from the perception regarding the procedural character present in the poetry of Tadeusz Kantor who served as a trigger for carrying out creative work by the Trupe Motim. In the course of the research process, problematized is the act of rehearsing, bringing as discussion this as a research method, straining the relationship of research in art, that is, the process itself as a research method in contrast to the methods of classical research. Thus, the path traced in this work is to question the art of relationship in their self-referential aspect, bringing to the discussion, the dynamics of molecular and molecular flows from the framework of the philosophy of Deleuze & Gattari. Thus, the made experiment takes place in the context of the match between the molar flow and molecular as it questions the idea of art work finished and seeks to work on the idea of a work that takes place in its procedural aspect and in that sense, opens to the scenic realization as a building becoming. These above aspects are even show the actual presentation of this dissertation playing with breaking the regulation, since proposes a reading that takes place amid the possibilities of chance, giving thus also in a reading process. / A seguinte dissertação se apresenta enquanto um registro de um rastro de passagem em uma experimentação que se dá no âmbito da processualidade na criação cênica. A investigação aqui proposta parte do diálogo traçado entre o Teatro do artista Polonês Tadeusz Kantor e o coletivo de artistas da cidade de Quixeré, Ceará, denominado Trupe Motim. Para tanto este diálogo se efetivou a partir da percepção à respeito do caráter processual presente na poética de Tadeusz Kantor que serviu enquanto disparo para a realização de um trabalho de criação junto à Trupe Motim. No percurso do processo de pesquisa, problematizou-se o ato de ensaiar, trazendo enquanto discussão este como método de pesquisa, tensionando a relação da pesquisa em arte, ou seja, o próprio processo enquanto método de pesquisa em contraponto aos métodos da pesquisa clássica. Desse modo, o percurso traçado neste trabalho, tem como questão a relação da arte em seu aspecto autorreferencial, trazendo para a discussão, a dinâmica dos fluxos molar e molecular, a partir do referencial da filosofia de Deleuze & Gattari. Desta forma, o experimento efetuado se dá na perspectiva do jogo entre os fluxos molar e molecular, uma vez que questiona a ideia de obra de arte acabada e busca trabalhar na ideia de uma obra que se realiza em seu aspecto processual e nesse sentido, se abre para a realização cênica enquanto uma construção em devir. Estes aspectos acima descritos se mostram inclusive na própria apresentação desta dissertação que joga com a quebra da normatização, uma vez que propõe uma leitura que se estabelece em meio às possibilidades do acaso, se dando, portanto, também em uma leitura em processo.

Submitted by Nara Lays Domingues Viana Oliveira (naradv) on 2015-06-11T12:07:07Z No. of bitstreams: 1 BiancaElisadaCosta.pdf: 1405808 bytes, checksum: af83914ee25991451d56add5316eb545 (MD5) / Made available in DSpace on 2015-06-11T12:07:07Z (GMT). No. of bitstreams: 1 BiancaElisadaCosta.pdf: 1405808 bytes, checksum: af83914ee25991451d56add5316eb545 (MD5) Previous issue date: 2012-03-14 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / UNISINOS - Universidade do Vale do Rio dos Sinos / Esta dissertação elabora um estudo de comunicação sobre cinco filmes do diretor e documentarista Eduardo Coutinho. Os documentários foram analisados com base na perspectiva da comunicação, compreendida como uma ação que gera interação. As análises elaboradas sobre os filmes Cabra Marcado para Morrer, Boca de Lixo, Santo Forte, Peões e O Fim e o Princípio partiram da percepção inicial de que Eduardo Coutinho opera uma processualidade indiciária na direção dos filmes que tem a potencialidade de revelar a realidade social, cultural e política das pessoas que entrevista. Para chegar a ideia de que os documentários podem ser analisados como dispositivos interacionais, a pesquisa iniciou com a observação da centralidade de processos comunicacionais nos filmes, entre eles a interação, sustentada e fundada nos filmes por uma lógica muito específica que é a pessoalização. Essa lógica aparece de diversas maneiras durante os filmes e foi captada depois de um estudo sistemático e transversal das cenas mais expressivas dos filmes. O processo indiciário do diretor pode ser caracterizado como um processo que procura, nos detalhes mais simples do entrevistado, pistas para desvelar o que ele pensa sobre a vida e sobre a realidade social. Dessa forma, o diretor procura desvelar a realidade social dos personagens a partir de perguntas simples que têm o objetivo de evidenciar a pessoa e sua história de vida. Por fim, concluímos que os processos comunicacionais estão embrenhados nos filmes e são geradores de interação. / This dissertation develops a study of communication about five films for director and documentarian Eduardo Coutinho. The films were analyzed from the perspective of communication, understood as an action that generates interaction. The analyzes produced films about the Cabra Marcado para Morrer, Boca de Lixo, Santo Forte, Peões and O Fim e o Princípio left the initial perception of Eduardo Coutinho operates an indiciary processivity in the direction of the films that have the potential to reveal the social reality, cultural and political life of the people he interviews. To get the idea that documentaries can be analyzed as interactional devices, the survey began with the observation of the centrality of communication processes in the films, the interaction between them, supported and funded in the films by a logic that is very specific pessoalização. This logic appears in various ways during the film and was captured after a systematic study and cross the most significant scenes from the movies. The director evidentiary process can be characterized as a process that seeks the simple details of the interviewee, revealing clues to what he thinks about life and about social reality. Thus, the director seeks to reveal the social reality of the characters from simple questions that are intended to highlight the person and his life story. Finall, we conclude that the communication processes are caught up in the movies and are generating interaction.

Zusammenfassung Das Forschungsprojekt untersucht Bekehrungsmotive von südsudanesischen Migranten, die in einem islamischen Kontext leben. Dazu wird zunächst das biblisch-theologische Bekeh¬rungsverständnis erhoben und im Kontext seiner kirchengeschichtlichen Entwicklung dar¬gestellt. Da jede Bekehrung ein multidimensionaler Prozess ist, der neben theologischen Fragestellungen auch soziologische, anthropologische und religionspsychologische Aspekte enthält, wird ein multidimensionaler Ansatz zur Erforschung von Bekehrungsmotiven konzipiert und ein Forschungswerkzeug erstellt, dass den Kontext südsudanesischer Migranten aufnimmt. Dieses kommt im Rahmen einer Pilotstudie zum Einsatz, die aus fünf Konvertiten-Interviews besteht. Zuerst wird der Inhalt jedes Interviews aus theologischer, soziologischer, religionspsychologischer und anthropologischer Sicht separat erhoben. Danach werden die unterschiedlichen Betrachtungsweisen in einen kritischen Dialog gebracht, um die Bekehrungsmotive zu bestimmen, welche den Kategorien kognitiv-religiös, mystisch-religiös, affektiv, experimentell oder sozial-politisch zugeordnet werden. Zum Schluss wird der Ertrag aller Interviews zu einem Gesamtergebnis verbunden und einer selbstkritischen Evaluierung unterzogen. Summary This dissertation examines conversion motives of Southern Sudanese migrants who live in an Islamic context. First of all a theological view of conversion in scripture and its development in the church history is presented. Since every conversion is a multi-dimensional process containing not only theological problems but also sociological, anthropological and religio¬psychlogical aspects, a multi-dimensional approach and a reseach methodology are designed for above context. This methodology is used for a pilot study of five interviews with converts. Each interview is examined separately from a theological, sociological, religio-psychological and anthropological analysis. After this the different views are brought into a critical dialog in order to identify the motives of conversion which are related to cognitive-religious, mystical¬religious, affective, experimental or social-political categories. The results of all individual interviews are merged in a final analysis and reflected in a self-critical evaluation. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Zusammenfassung Das Forschungsprojekt untersucht Bekehrungsmotive von südsudanesischen Migranten, die in einem islamischen Kontext leben. Dazu wird zunächst das biblisch-theologische Bekeh¬rungsverständnis erhoben und im Kontext seiner kirchengeschichtlichen Entwicklung dar¬gestellt. Da jede Bekehrung ein multidimensionaler Prozess ist, der neben theologischen Fragestellungen auch soziologische, anthropologische und religionspsychologische Aspekte enthält, wird ein multidimensionaler Ansatz zur Erforschung von Bekehrungsmotiven konzipiert und ein Forschungswerkzeug erstellt, dass den Kontext südsudanesischer Migranten aufnimmt. Dieses kommt im Rahmen einer Pilotstudie zum Einsatz, die aus fünf Konvertiten-Interviews besteht. Zuerst wird der Inhalt jedes Interviews aus theologischer, soziologischer, religionspsychologischer und anthropologischer Sicht separat erhoben. Danach werden die unterschiedlichen Betrachtungsweisen in einen kritischen Dialog gebracht, um die Bekehrungsmotive zu bestimmen, welche den Kategorien kognitiv-religiös, mystisch-religiös, affektiv, experimentell oder sozial-politisch zugeordnet werden. Zum Schluss wird der Ertrag aller Interviews zu einem Gesamtergebnis verbunden und einer selbstkritischen Evaluierung unterzogen. Summary This dissertation examines conversion motives of Southern Sudanese migrants who live in an Islamic context. First of all a theological view of conversion in scripture and its development in the church history is presented. Since every conversion is a multi-dimensional process containing not only theological problems but also sociological, anthropological and religio¬psychlogical aspects, a multi-dimensional approach and a reseach methodology are designed for above context. This methodology is used for a pilot study of five interviews with converts. Each interview is examined separately from a theological, sociological, religio-psychological and anthropological analysis. After this the different views are brought into a critical dialog in order to identify the motives of conversion which are related to cognitive-religious, mystical¬religious, affective, experimental or social-political categories. The results of all individual interviews are merged in a final analysis and reflected in a self-critical evaluation. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)