Orientador: João Jurandir Spinelli / Banca: Elza Ajzemberg / Banca: Milton Terumitsu Sogabe / Resumo: Esse trabalho enfoca algumas modificações arquitetônicas/ urbanas ocorridas em Ouro Preto a partir de meados do século XX, usando como principais fontes visuais as fotografias de Luiz Fontana (1897- 1968), fotógrafo ouro-pretano atuante na cidade entre as décadas de 1930 a 1960. O objetivo do trabalho é contribuir com as discussões sobre a preservação de Ouro Preto e valorizar a documentação fotográfica de Luiz Fontana, fundamental para o estudo das transformações do espaço urbano de Ouro Preto no século XX . O crescimento de Ouro Preto nas últimas décadas tem colocado em risco seu patrimônio e a funcionalidade da cidade que tem um traçado urbano sui generis: a topografia acidentada como cenário de formas arquitetônicas de diferentes estilos. Ouro Preto é um monumento da arte pública brasileira. Um documento vivo da existência de múltiplas temporalidades, com a historicidade de sua arquitetura iluminando vivências individuais e coletivas. Primeira cidade brasileira considerada como Monumento Nacional em 1933 e depois, em 1980, Patrimônio Cultural da Humanidade, Ouro Preto é a síntese da ação do poder público em relação à política patrimonial no Brasil e também de seus desafios. / Abstract: This study focuses on some architectonic, urban modifications which occurred in Ouro Preto starting in the mid-twentieth century. The main visual sources used were the photographs of Luiz Fontana (1897-1968), who was born in Ouro Preto and photographed between 1930 and 1960. The aim is to contribute to the discussions on the preservation of Ouro Preto and highlight Luiz Fontanaþs photographic documentation, which is fundamental to the study of the urban space transformations the city underwent in the twentieth century. Ouro Preto's growth over the last decades has put at risk the patrimony and functionality of this city, with its unique urban design: the uneven topography as a scenario of architectonic forms of different styles. Ouro Preto is a monument of Brazilin public art and a living document of the existence of its architecture, illuminating individual and collective experiences. As the first Brazilian city considered to be a National Monument in 1933 and a Cultural Patrimony of Humanity in 1980, Ouro Preto is a synthesis of the action of government power in respect to its patrimonial policy in Brazil and also the challenges involved in preserving this patrimony. / Mestre

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Essa tese à o resultado de pesquisa sobre a presenÃa do pÃblico em exposiÃÃes de artes plÃsticas em centros culturais e museus de arte. Utilizando dados da observaÃÃo etnogrÃfica, descrevemos prÃticas sociais e interaÃÃes efetuadas entre os atores sociais durante o tempo em que estÃo em exposiÃÃes. ApÃs aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociolÃgica de exposiÃÃes de arte, tratamos das prÃticas sociais fundamentais do pÃblico em exposiÃÃes, como estudar, brincar, conversar, observar a obra, dar uma olhada, conviver, fazer carinho e namorar. Tentamos tambÃm mostrar como a exposiÃÃo pode consistir em item de um conjunto de atividades significativas para os atores sociais. A tÃtulo de conclusÃo, apresentamos nossas contribuiÃÃes e discutimos os limites do modelo um indivÃduo / uma obra e da concepÃÃo de exposiÃÃo de arte como arena de recepÃÃo de mensagens. / The result of the following thesis was based on research upon public attendance to art exhibition in Cultural Centres as well as Art Museums. Utilizing observing ethnographic facts, we describe social practices and interactions which take place amongst social actors during the time of the exhibit. On bringing the reader to the researching universe and discussing concepts based on a sociologic approach of art exhibition, we cover the fundamental social practices of the public during exhibits on how to study, play, talk, observe the artistic work, take a glimpse, familiarize, caress and court it. We also try to show how the exhibit may consist an item of a group of activities significant to the social actors. As to conclude, we presented our contributions and discussed the limits of the pattern individual / art work and that of the conception of art exhibition as a receptive message arena.

Orientador: Haroldo Gallo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T15:47:03Z (GMT). No. of bitstreams: 1 Sandler_Sergio_M.pdf: 12350210 bytes, checksum: 87e48bed3b35d669cc92d7fa71b5b387 (MD5) Previous issue date: 2013 / Resumo: Tendo em conta a importância dos espaços públicos como lugares referenciais da cidade, que como tal são portadores de significados atribuídos coletivamente, a pesquisa aborda a questão da dimensão artística do urbanismo com relação à idéia de lugar e sua construção simbólica na cidade. Com base na visão crítica de dois autores seminais - Camillo Sitte, que registra o momento da transformação da cidade diante do advento industrial, e a consequente perda de seu senso artístico geral; e Giulio Carlo Argan, que aponta a crise da cidade contemporânea como uma crise de um sistema de valores que relega a ideia da cidade como artefato, e como uma crise da ideia mesma de arte; e ainda de uma série de autores dialógicos com a questão - desenvolve-se o estudo do caso de Chicago. Seu plano diretor, o Plano de Chicago, estabeleceu, na primeira década do século XX, as bases do desenvolvimento da cidade que conhecemos hoje. O plano, além de definir as diretrizes relativas aos sistemas técnicos da cidade, tratou também dos espaços públicos visando sua qualificação artística e simbólica. A experiência de campo em Chicago confirma o vínculo da arte pública com a vida cultural da cidade. Os lugares onde há o elemento artístico transformam-se em marcos urbanos, em referenciais identitários das comunidades e da cidade como um todo. Doações e fundos públicos mantêm e ampliam o acervo público, com a inclusão sistemática de elementos de arte pública nas praças e parques da cidade / Abstract: Considering the importance of public space as a city reference and that as such it must carry a meaning that is collectively attributed; this research approaches the artistic dimension of urbanism as related to the idea of space and its symbolic construction of the city. Based on the critical vision of two fundamental authors - Camillo Sitte, who registers the moment of the city transformation upon industrial advent, losing its general artistic sense; and Giulio Carlo Argan, who points out to the crisis of the contemporary city as a crisis of a system of values that relegates the idea of the city as an artifact, and as a crisis of the idea of art in itself; and a series of provocative authors, comes through Chicago's case study. Its master plan, the Plano of Chicago, established in the first decade of the twentieth century, is the basis for the development of the city as we know it today. The plan, besides defining directives concerning the technical systems of the city, covered also the city's public spaces, concerning its artistic and symbolic qualification. The field experience in Chicago confirms the link between public art and cultural life of the city. Where there is the artistic element the point is transformed in urban landmarks, in references that build the community and city's identity as a whole. Donations and public funds sustain and enhance growth of public collection, with systematic inclusion of elements of public art in parks and plazas / Mestrado / Artes Visuais / Mestre em Artes Visuais

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-01-31T17:51:12Z No. of bitstreams: 1 Daniel, Debora-Dissert-2013.pdf: 3036667 bytes, checksum: d6a4114b08e29dff18f25eeae92efd89 (MD5) / Made available in DSpace on 2014-01-31T17:51:12Z (GMT). No. of bitstreams: 1 Daniel, Debora-Dissert-2013.pdf: 3036667 bytes, checksum: d6a4114b08e29dff18f25eeae92efd89 (MD5) Previous issue date: 2013 / A presente dissertação tem como objeto de estudo a questão do lugar da arte de rua na cidade de Florianópolis a partir da década de 1980. Do ponto de vista da história do tempo presente, aborda a construção de política pública municipal para a arte pública, desde a criação de lei de incentivo específica até as ações de repressão aos artistas de rua que levaram a proibição dos mesmos de ocuparem certos espaços urbanos. Este trabalho aborda ainda a questão da disputa de sentidos por parte do poder público em duas praças: a Praça XV de Novembro, ocupada no passado; e a Praça Bento Silvério, ocupada no presente por estes artistas. Além disso, por meio da história oral caracteriza percursos de artistas de rua em Florianópolis. Através da história destas duas praças, da legislação de incentivos à arte pública e, também, dos relatos dos artistas de rua, é possível perceber os incentivos e os limites para a arte pública na cidade de Florianópolis. / This dissertation is aimed at the study of some queries about the place of street art in the city of Florianopolis from the 1980s. From the perspective of the history of present time, it addresses the construction of the municipal public policy for public art, since the creation incentivizing laws for public art up to repressive measures against streets artists who were prohibited to presenting their work in some urban areas of the city. Also, through oral history characterizes street artists pathways of Florianópolis. This work also talks about the dispute of meanings from the government in two Town squares: the Praça XV de Novembro, which was used in the past; and the Praça Bento Silvério, which is now being used by these street artists. Through the history of these two Town squares, by the incentivizing laws for the public art and also, through reports made by these streets artists, it is possible to perceive the incentives and the limits towards the art in the city of Florianópólis.

Set in the historic centre of Pretoria CBD, this study draws extensively on its context to formulate an appropriate response to bringing about urban regeneration in this section of the city. The study was initiated with the selection of a small site set in the percieved northern portion of the inner city. By challenging both the alleged threshold between the 'north' and the 'inner city' and the city council's proposal for the surrounding sites, the proposed building attempts to create meaningful space while enriching the visitor's experience of his immediate surroundings. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

September 11 terrorist attacks not only affect the United States but also the entire international community. Hundreds perished; most of them innocent citizens from over ninety different nations. It has changed the history of America, much like Japan’s strike against Pearl Harbor. The 9/11 attacks triggered the United States’ ongoing war against terrorism, starting with Afghanistan as the first target to overthrow Taliban, changing the course of world history. The significance of the incident and severity of that traumatic loss makes a case for a memorial on the UMass campus in tribute to those victims. It is worth mentioning that a UMass community member (computer research specialist) lost his life in that event. The intention of this design is to pay a well-deserved tribute to the victims of the September 11 tragedy, together with providing information about the whole story. The statistics of the event have a visceral interpretation. All different aspects and numbers are incorporated into the design: number of the flights, number of the people killed, nationality of the victims, each have their specific place in the design pattern.

This dissertation focuses on va-rious strategies of presenting identity in contemporary art and the current trend of forming its mutations and mystifications. It deals with approaches such as when the name of an artist is absent from his performance, various forms of concealment, and the subsequent detection of an artist. The term “anonymity” is not examined as its mere literal definition, but it subsequently forks into other related meanings. The introduction points at our daily meetings with anonymity, the condensation of information stemming from all spheres including the sphere of visual arts. The subject of the dissertation is explored though the influence of media operating at a given time (time-specific) and a given place (site-specific): here and now. The text primarily deals with the phenomenon of being “anonymous”. While examining this topic, the period starting with the 1990s is discussed and supplemented by examples from the history of Slovak, Czech, and international visual art with extensions to literature, music and film. It closely focuses on the following four bi-polar forms of anonymity: celebrity / anonymous artist, art groups / collective exhibitions, street art / net art, signature art / untitled art. These terms are defined and organized into dictionary entries (containing both names of artists and definitions of terms). Comprising of over two hundred words, a hybrid thematic dictionary has been produced. It consists of already existing definitions taken from the Slovak and Czech mutations of Wikipedia which are quoted with consistence with each entry. The collaboration with Wikipedia is based on subsequent addition of the author’s definitions and thus supplements it with missing information from the sphere of visual arts. The text also deals with a current trend of renaming as a symbol of a hegemonic tool of power. The terms a.k.a., name, monogram, nick, and pseudonym are explored.

This work focuses on the research of contemporary Czech and Slovak visual art which critically reflects problems in the society. Due to the totalitarian past in former Czechoslovakia, this orientation of art made a specific genesis. It was established as a acknowledged part of art only in the last decade. The aim of my thesis was to analyze when and by which means the Czech and Slovak sphere of visual art became repoliticized. I research and analyze selected works of artists who are critically reacting to the problems of politics and society. I keep the chronological order of the artworks and exhibitions. Afterwards I focus on the two important topics in this field: feminism and queer issues. The engagement of the artworks was forced in the past and this fact has its result in the devaluation of the term. Part of my thesis examines the terms political art and activist art in the international and domestic context and proposes its definitions.

This thesis contributes to an EU Policy Lab project entitled The Future of Government 2030+. The aim of which is to generate knowledge in the context of the rapidly changing relationship between citizens and government.Using a co-design and speculative design process this thesis specifically looks at informing a citizen centric perspective on envisioning and formulating the design of new interactive tools and forms of engagement. Looking at the potential of art’s role in rethinking the way democracy and governments operate and exploring how citizens could interact, participate and engage in democracy. Investigating how new forms of debate and decision making could unfold in both domestic and public spaces in a future model of participatory democracy.A framework for a future model of government is presented in this thesis through prototype scenarios. This framework emerged from citizens visions of communication and interaction with a future government. The framework focuses on two key areas where artistic expression is used: 1: The formulation and communication of issues of concerns. 2: Community organising for creative participation in addressing these issues.The discussions on art and democracy by philosophers John Dewey and Bruno Latour were influential in the formulation and selection of the methodological approach. Culminating in a sequential design research process conducted through public probes, cultural probes and co-design workshops.

While Stockholm has made significant investments in formal public art throughout the inner city and suburbs, the city has a lack of informal public art. Defined as a feature or work produced by a person who considers themselves to be an artist or craftsperson, located in a place accessible to and used by the public, public art can be either formal or informal. Informal public art generally has no formal process, with flexibility on the temporal nature of the work, materials and subject. This allows the artwork to inhabit spaces which are overlooked or underinvested in by formal public art commissioning bodies, and not have to follow formal public art requirements which are part of the broken “public art machine”. (Phillips, 1988). Much of Stockholm’s urban environment is considered beautiful, has heritage value and/ or is protected. But Stockholm also hosts many spaces in between – spaces that hold the city together, including infrastructure, bridges, alleys, and the places under and between them. These spaces can be labelled as a city’s residual spaces (Villagomez, 2010), and are where informal public art can be utilised to make these spaces into places. This study outlines the importance of and background to public art in the context of Stockholm. A survey of Stockholm’s residents, visitors and potential future visitors established how they feel about public art in the city, as well as in residual urban spaces, and to what extent it assists with establishing a place connection. This was accompanied by onsite interventions and observational analysis which challenged the way residual urban spaces are being used in Stockholm, and developed a case for how informal public art can be incorporated in the city’s residual urban spaces.