Etwa 20 skulpturale Arbeiten des frühen 16. Jahrhunderts werden auf der Basis stilkritischer Untersuchungen dem so genannten Meister HW zugeschrieben. Die Bildwerke gruppieren sich um drei mit den Buchstaben HW monogrammierte und datierte Bildwerke: die Figur der Hl. Helena von der Hl.-Kreuz-Kapelle des Rathauses in Halle/Saale (1501/1502), das Altarretabel in der Bornaer Marienkirche (1511) und die Schöne Tür von der Franziskanerklosterkirche in Annaberg (1512). Neben zwei Arbeiten in Goslar und Braunschweig konzentrieren sich die Erhaltungsorte und die Provenienzen im albertinisch regierten sächsischen Raum, wobei insbesondere die Städte Chemnitz und Freiberg, Annaberg und Ehrenfriedersdorf im oberen Erzgebirge sowie die südlich bzw. südwestlich von Leipzig gelegenen Orte Borna und Pegau hervortreten. Seit den 1938 von Walter Hentschel vorgelegten Untersuchungen stand die Gruppe von Bildwerken nicht erneut im Mittelpunkt einer wissenschaftlichen Arbeit. Die jüngste Beschäftigung mit den Werken kann auf die Forschungen insbesondere der letzten 10-15 Jahre zu bildkünstlerischen Äußerungen des ausgehenden Mittelalters und der beginnenden Neuzeit aufbauen. Im Vordergrund der vorgelegten Arbeit stehen umfassende Untersuchungen der drei monogrammierten und datierten Bildwerke sowie der Tulpenkanzel in der Freiberger Marienkirche. Dabei gewähren die Untersuchungen zu den künstlerischen Voraussetzungen nicht nur Einblicke in den Schaffensprozess des Bildhauers und Bildschnitzers, sie ermöglichen zugleich eine Positionsbestimmung der skulpturalen Arbeiten im Kontext des bildnerischen und raumkünstlerischen Geschehens des ausgehenden 15. und beginnenden 16. Jahrhunderts innerhalb des deutschen Sprachraums. / Approx. 20 sculptural works from the early 16th century are ascribed to the so-called Master HW on the basis of stylistic examinations. These sculptures are grouped around three dated sculptures monogrammed with the letters HW: the sculpture of St. Helena in Hl.-Kreuz-Kapelle (Holy Cross Chapel) of the town hall in Halle/Saale (1501/1502), the altar retable in St. Mary’s Church in Borna (1511) and Schöne Tür [Beautiful Gate] at the church of the Franciscan monastery in Annaberg (1512). Apart from two other pieces in Goslar and Brunswick, the places of preservation as well as the provenances are concentrated in the Saxon region formerly governed by the Albertine dynasty with the towns of Chemnitz and Freiberg, Annaberg and Ehrenfriedersdorf in the upper Ore Mountains as well as the towns of Borna and Pegau located to the south and south-west of Leipzig as especially prominent locations. Since the examinations presented by Walter Hentschel in 1938 this group of sculptures has never been the centre of another scientific examination again. The most recent thesis on these works can build on the research in particular of the last 10 to 15 years regarding sculptural expressions at the end of the Middle Ages and at the beginning of the modern age. Comprehensive examinations of the three monogrammed and dated sculptures as well as of Tulpenkanzel (tulip pulpit) in St. Mary’s Church in Freiberg form the focus of the thesis submitted. In this respect, the examinations regarding the artistic preconditions do not only provide insights into the sculptor’s creative process; at the same time, they also allow a positioning of the sculptural work in the context of the events in graphic arts and interior design in the German speaking territories at the end of the 15th and at the beginning of the 16th century.

This work is about presenting the weave in a new and different context, by bringing textile and glass together. The work is characterized by material and shape experiments with silver and copper weave and hand blown glass. From experiments and sketches, the work has resulted in four sculptures, symbolizing four selected stages in a lifecycle; the birth, the development, the maturity and the death. One important part of the work has been to combine different materials and techniques. Studies of literature, sketching, handweaving and integration of silver and copper weave in the glass have been important methods in the working process. Inspired by the flower, the human being and the universe, a story about the life cycle has taken shape. The paper describes the working process with choices and analyses. It describes the experiments and the making of the sculptures. / <p>Uppsatsnivå: C</p>

La construction de ce mémoire est basé sur la compréhension que les manifestations artistiques enrichissent l´expérience sensorielle dans la ville, étant, de quelque façon, significatives pour la population. La proposition de ce travail est de construire un inventaire des expressions de l´art urbain présents dans les espaces publics de Maceió, pour, à partir de cela, analyser les dynamiques qui impliquent leur création et leur présence dans la ville. Ainsi, l´expression dans l´oeil de la rue a pour but faire allusion à la situation d´être de corps présent dans l´espace public de la ville. Cette investigation est composée de trois étapes principales: 1- inventaire des manifestations artistiques présentes dans les espaces publics et collectifs de Maceió; 2- classification de ces manifestations; 3- analyse des diverses catégories et de l´ensemble. Les références théoriques, historiques, urbaines et artistiques furent abordés dans deux chapitres. Le premier a pour but d´introduire quelques concepts essentiels qui lient la ville et l´art dans le contexte contemporain. Le deuxième chapitre est dedié à tracer un bref panorama de la formation urbaine de Maceió, en mettant l´accent sur ses références historiques et culturelles. L´analyse de l´inventaire de l´art urbain à Maceió est divisée en trois matières. Le troisième et le quatrième chapitre abordent l´art urbain officiel : sculptures publiques, mémoriaux et couloir culturel . Le cinquième et dernier chapitre aborde l´art urbain qui n´est pas lié aux iniciatives des gestions publiques, auquel nous avons nommé l´art urbain nonofficiel : le populaire et l´éphémère . Sur le point de vue de la recherche en art contemporain, l´importance de cette étude est liée à son insertion dans le domaine de l´investigation du rapport intrinsèque entre l´art et la ville, et, encore plus, entre l´art et la vie. / Fundação de Amparo a Pesquisa do Estado de Alagoas / A construção desta dissertação baseou-se na compreensão de que as manifestações artísticas enriquecem a experiência vivencial-sensorial na cidade, sendo, de algum modo, significativas para a população. Propôs-se neste trabalho inventariar as expressões de arte urbana presentes nos espaços públicos de Maceió, para, a partir delas, analisar as dinâmicas que envolvem sua criação e sua presença na cidade. A expressão no olho da rua pretende, assim, aludir à situação de estar de corpo presente no espaço público da cidade. Esta investigação foi composta por três principais etapas de trabalho, a saber: 1 - Inventário das manifestações artísticas presentes nos espaços públicos e coletivos de Maceió; 2- Classificação destas manifestações; 3- Análise das diversas categorias e do conjunto. Os referenciais teóricos, históricos, urbanos e artísticos foram abordados em duas seções distintas. A primeira seção objetivou introduzir alguns conceitos fundamentais que relacionam cidade e arte no contexto contemporâneo. A segunda seção dedica-se a traçar um breve panorama da formação urbana de Maceió, enfocando seus referenciais históricos e culturais. A análise do inventário da arte urbana de Maceió divide-se em três seções. As seções três e quatro tratam da arte urbana oficial : esculturas públicas, memoriais e corredor cultural. A quinta e última seção trata da arte urbana não concretizada por meio de iniciativas das administrações públicas, denominadas de arte urbana não-oficial : o popular e o efêmero . Do ponto de vista da pesquisa em arte contemporânea, a relevância deste estudo encontra-se em sua inserção no campo de investigação da relação, cada vez mais intrínseca, entre arte e cidade, e, mais ainda, entre arte e vida.

Orientador: Clice de Toledo Sanjar Mazzilli / Resumo: O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por "não-arquitetos". Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista. / Abstract: The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by "non-architets" This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist. / Mestre

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-28T13:29:30Z No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-28T13:32:58Z (GMT) No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-07-28T13:32:58Z (GMT). No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-07-14 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This Master's Thesis, entitled “The Sacred Art in Goiás: the recognition of the work of Veiga Valle and the other anonymous saint makers (1820-1940)”, presents the results of the field research and the literature review about the saint makers from the state of Goiás, Brazil, that remained under the shadow of José Joaquim da Veiga (1806-1874) during the 19th century and the beginning of the 20th century. Hence, the considered period of the artistic production starts in 1820 and ends in 1940. In spite of not including a secular historical study, this work deals with the biographies of the artists and their art works. Regarding the religious iconographic representations, only those that are relevant to the role of saint makers, related to the considered period, are analyzed. Basically, the text discuss the saint makers role as creators of either original or non-original art works that represent not only their own subjectiveness but also the collective spirit of their time. In addition, the aim is to determine the relations between history and art history in terms of saint makers art and to understand the language associated to the images and their potential for the comparative analyses of the works. Initially, the objective was to develop a comparative study between the works by Veiga Valle and his son Henrique Ernesto da Veiga Jardim (1849-1933). However, the conducted research revealed other saint makers from the state of Goiás that deserve recognition as well. Hence, the goal was slightly modified into the discoveries of their works, their location and the authorship corroborating documents. In the cities of Goiás, Pirenópolis, Goiânia, Jaraguá and Cuiabá, the empirical research and interviews were developed based on the methodology of the oral history. Among the most relevant saint makers from the state of Goiás, one can mention Antonio de Sá (1879- 1905) and Francisco Ignácio da Luz (1821-1878), both from the city of Pirenópolis, Henrique Ernesto Veiga Jardim and Sebastião da Silva Jesus, this one known as Sebastião Epifânio (1869-1937) from the city of Vilas Boas. In order to understand the sacred art in Goiás, it is important to define a group of images for the iconographic study, namely, the sculptures of God Boy, that were chosen not only due to their presence during religious celebrations, but also because they were made in significant numbers by Veiga Valle and the other studied saint makers. Only Francisco Ignácio has never carved or even there is no sign about such event. The aim of this research is to focus on some concepts related to the art history and to demonstrate the interpretation about the found discoveries, once the history itself shows distinct versions and seeks an approximation with the truth, the verisimilitude. Through the collection of documents and iconographic analysis, the research was conducted towards to reveal anonymous saint makers, to valorize their art works, a heritage of the cultural patrimony from the state of Goiás. Additionally, these sacred art works have great devotional meaning and nowadays they are also considered as artistic objects. Most of these works can be found in either private collections or even are exposed in museums and churches. / Nesta dissertação, intitulada “A imaginária religiosa de Goiás: o reconhecimento de Veiga Valle e o anonimato dos santeiros goianos (1820-1940)”, procuro divulgar os resultados da pesquisa de campo e bibliográfica sobre os santeiros goianos que ficaram à sombra de José Joaquim da Veiga Valle (1806-1874) no século XIX e início do século XX. O período dessa produção artística abrange de 1820 a 1940. Não apresento, contudo, um estudo histórico secular, e sim a biografia dos artistas e suas obras. O que pretendo é, por meio das fontes e imagens, analisar as representações iconográficas religiosas desse tempo histórico, no qual se destaca o papel dos artistas santeiros responsáveis por sua produção, interpretando-os como artistas criadores, originais ou não, que representaram a sua subjetividade ou o espírito da coletividade da época. Busco estabelecer as relações entre história e história da arte no que se refere à arte santeira e entendo ser necessária uma compreensão da linguagem imagética e seu potencial de leitura para uma análise comparativa entre as obras. O objetivo, a princípio, era realizar um estudo comparativo entre as obras de Veiga Valle e de seu filho Henrique Ernesto da Veiga Jardim (1849-1933). No entanto, no decorrer da pesquisa, descobri que havia outros santeiros goianos que mereciam ser reconhecidos, isto é, sair de sua condição de quase anonimato. O intuito passou a ser a descoberta dessas obras, buscar sua localização e algum documento que comprovasse a autoria. Nas cidades de Goiás, Pirenópolis, Goiânia, Jaraguá e Cuiabá, fiz a pesquisa empírica e as entrevistas, para as quais utilizei a metodologia da história oral. Entre os santeiros goianos destacados estão os pirenopolinos Antônio de Sá (1879-1905) e Francisco Ignácio da Luz (1821-1878); os vilaboenses Henrique Ernesto da Veiga Jardim e Sebastião da Silva de Jesus, este conhecido como Sebastião Epifânio (1869-1937). Para entender a imaginária religiosa em Goiás, considero pertinente a definição de um grupo de imagens para o estudo iconográfico: as esculturas do Menino Deus, que foram escolhidas por sua presença nas festas religiosas goianas e por terem sido realizadas, em boa quantidade, por Veiga Valle e, entre os santeiros estudados, somente o padre Francisco Ignácio não o esculpiu ou não se teve notícia a esse respeito. Nesta pesquisa, abordo alguns conceitos relacionados à história e à história da arte e interpreto o que foi encontrado, uma vez que a história apresenta versões e busca uma aproximação com a verdade, uma verossimilhança. Por meio de documentos e análise iconográfica, busco tirar alguns santeiros do anonimato, valorizar a sua arte, herança ao patrimônio cultural goiano, destacar que essa imaginária religiosa possui grande significado devocional e hoje é vista também como objeto artístico. Muitas dessas obras se encontram em acervos particulares ou estão expostas em museus e outras ainda estão em igrejas.

Made available in DSpace on 2016-03-15T19:42:14Z (GMT). No. of bitstreams: 1 Roseli Behaker Garcia.pdf: 728373 bytes, checksum: 2a30e9baaa2644178c270ad6715586c5 (MD5) Previous issue date: 2012-02-28 / Fundo Mackenzie de Pesquisa / This work had the objective of expanding the knowledge about the blind people perception of works of art, in this specific case, sculptures. It was proposed to investigate the peculiar universe and details of blind people´s perceptive experience by recording the sensorial ways they use. The conceptions and ideas of authors as Kastrup, Almeida and Carijó (2010), Masini (2007), Sacks (1995), Vigotski (1997) constituted the foundation and reference for this work. Three blind people separately touched, manipulated and commented on two figurative sculptures in the museum Pinacoteca do Estado de São Paulo. The issues concerning the contact of blind people with the sculptures were collected by interview and written report. The interviews were done with each blind person who took part of the research while they explored the sculptures, recording what occurred and was manifested in the situation. Their expressed sensations, perceptions and feelings were recorded and registered. The written report was made and elaborated by the subjects of the investigation one month after their experience in the museum and this report was sent to the researcher. The analysis was made in two stages. Firstly, was made an individual analysis of each person and their contact with the sculptures, considering both the objective issues and their expressed feelings and what each one could have experienced, and what they referred in the interviews. Secondly, the convergences and divergences were organized, according to the objective issues and feelings, considering each person who took part in the research and the experiences which they referred to in the interview. Reflecting of these issues showed convergences and agreements among three persons both in the interview and in written report only in the category called Perception of the Elements of the Sculptures showing a denotative recognition of the parts of the artistic objects. There was common focus by three blind subjects in these categories: Personal Experience , Feelings , Emotions , Personal Expression of the Sculpture Meaning , Esthetic Evaluation of Sculptures Elements but the sculptures did not evoke the same experiences in each subject because of their individualities and singularities. / Este trabalho teve como objetivo ampliar o conhecimento sobre a percepção da obra de arte pela pessoa cega, no caso específico a percepção de esculturas. O que se propôs desvelar foi o universo peculiar e detalhes da experiência perceptiva de pessoas cegas, pelas vias sensoriais de que fazem uso. Concepções e ideias de autores como Kastrup, Almeida e Carijó (2010), Masini (2007), Sacks (1995), Vigotski (1997) constituíram fundamentação e referencial para a elaboração deste trabalho. Foi realizada uma pesquisa com três pessoas cegas congênitas, na Pinacoteca do Estado de São Paulo, onde realizaram a exploração tátil de duas esculturas figurativas. Os dados sobre o contato das pessoas cegas com as esculturas foram coletados por meio de entrevista e de depoimentos escritos de cada um dos sujeitos. A entrevista foi realizada no momento da exploração, de cada um dos sujeitos da pesquisa, gravando o que ocorria e era manifestado na situação, referente às sensações, às percepções e aos sentimentos. Os depoimentos escritos foram realizados pelos sujeitos da pesquisa, após um mês de contato com os objetos de arte, e enviados à pesquisadora. A análise foi realizada em duas etapas. Na primeira foi feita a análise individual de cada sujeito, no contato com a escultura, tanto dos dados objetivos, como dos sentimentos e do experienciado a que a pessoa entrevistada se referiu. Na segunda etapa foi feita a análise das convergências e divergências entre os dados objetivos, os sentimentos expressos e o que podem ter experienciado a que os três sujeitos entrevistados se referiram. A reflexão sobre esses dados evidenciou convergência e concordância entre os três sujeitos, tanto na exploração da escultura como no depoimento escrito, somente na categoria elementos percebidos das esculturas , evidenciando identificação denotativa referente aos objetos artísticos. Houve convergência entre os três sujeitos nas categorias experiência pessoal , sentimentos , emoções , expressão pessoal do sentido da escultura , avaliação estética dos elementos da escultura , em virtude de se tratarem de singularidades vivenciadas diferentemente pelos sujeitos.

Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est développé sont suivies de prolégomènes sur les cadres historiographiques et théoriques de la recherche. Ils soulignent l’utilité d’une méthodologie et d’une terminologie appropriées ainsi que la nécessité d’un corpus des sculptures correctement documentées sur lequel une étude stylistique peut se fonder. L’inventaire des sculptures a permis d’identifier et de rassembler dans une base de données électronique environ 5000 oeuvres dont la provenance est attestée. La dernière partie se concentre sur l’identification des écoles, des foyers artistiques, des centres de production et des ateliers gandhāriens ainsi que sur leur caractérisation iconographique et formelle. La présentation suit une progression géographique qui permet de montrer la corrélation entre les niveaux stylistiques et la géographie gandhārienne et de déceler des réseaux d’interaction. Cette thèse propose en conclusion une reconstruction provisoire des routes anciennes de la région, un réexamen des chronologies fondées sur l’étude des styles et une réflexion sur la normalisation géographique des iconographies bouddhiques. / Buddhist statues and narrative relieves from Gandhāra share common characteristics thus justifying the designation of “Gandhāran art”. The homogeneity of Gandhāran art is certainly manifest in its material, its subject and its composite nature, yet it is possible to distinguish important iconographic and stylistic variations. This doctoral thesis aims to highlight these variations in order to provide the first identification and characterisation of the various stylistic languages of Gandhāran Buddhist art. The introductory reflections on the geographical, historical and religious contexts within which Gandhāran Buddhist art developed, are followed by prolegomena of the historiographical and theoretical frameworks of the research. These emphasise the need for an appropriate methodology and terminology and the necessity for a corpus of correctly documented pieces on which a stylistic study can be founded. The preliminary inventory of Gandhāran sculptures has identified approximately 5000 pieces of known provenance gathered in an electronic database. The last part focuses on the identification of Gandhāran schools, artistic zones, production centres and workshops and on their characterisation in terms of iconography and form. The review is geographically organised, thus revealing the existing correlation between the stylistic levels and Gandhāran geography and allowing the recognition of various interaction networks. The thesis concludes with an attempt to identify ancient routes, a reassessment of old stylistically based chronologies and a reflection on the geographical normalisation of Buddhist iconographies.

THE DIPLOMA THESIS WHITE CUBE2 DEALS WITH THE ISSUE OF THE INTERIOR OF THE GALLERY. THE AIM OD THE THESIS IS TO DEFINE THE ONTOLOGICAL STATUS OF THE ARCHITECTURAL SPACE OF THE GALLERY AND ITS EXHIBITIONS. THIS PART IS PRECEDED BY A DISCOVERY OF INSTALLATION DISCOURSE AND THE OVERALL CONCEPT OF WHITE CUBE2. THE WORK DEALS WITH THE RELATIONSHIP OF THE MODEL GALLERY IN THE GALLERY AND WITH THE CHANGE OF THE USED MODEL OF THE TRADITIONAL ROLE OF THE VIEWER AS THE RECIPIENT OF THE WORK. THE WORK PRESENTS THE SCI-FI IDEA OF THE FUTURE OF THE MALE ELEMENT.

La production statuaire féminine de la fin de la République et du début de l’époque impériale se révèle être bien plus variée que ce que les anciennes études ont mis en évidence jusqu’à présent. La présente étude propose une critique des précédentes classifications typologiques à partir d’un corpus documentaire comprenant deux cent quatre statues en ronde bosse et haut-relief. L’étude de ce corpus a permis de mettre en lumière l’existence d’un riche répertoire de variantes aux types statuaires officiels et d’élaboration hellénistique. Ces variantes statuaires se révèlent être fondamentales pour la compréhension des relations entre les différentes régions de l’Empire ainsi que des traditions artisanales locales qui s’imposent encore parfois face à l’élaboration du langage de l’art augustéen. En même temps, l’analyse des statues féminines dans leur contexte a permis de démontrer une différence substantielle entre le plan de l’art officiel et celui de la production privée : contrairement aux choix iconographiques et stylistiques réservés aux hommes, les premières statues honorifiques des femmes romaines ne se révèlent pas totalement soumises aux règles de l’imitatio principis. L’importance de cette étude repose dans l’originalité de cette période de transition entre les modèles féminins issus de la précédente expérience iconographique hellénistique et ceux élaborés au cours de la période impériale romaine. / The statues of roman women during the end of the Republic and the first decades of the Empire were far more diversified than what previous scholars have claimed so far. Thanks to two-hundred and four female statues on round and high-reliefs collected from the west provinces of the roman Empire, the classifications proposed in the previous studies are retreated in order to stress the existence of a rich group of variations, which were different from the hellenistic statue types or from those which had been introduced during the imperial period. This variations are fundamental for the understanding of the relations between the different regions of the Empire as is the knowledge of traditional handicrafts, which were still heterogeneous in spite of the hellenization of roman art in the roman Republic. Moreover, this study of female honorific statues stresses the difference between the private and the official levels: on the contrary of masculine honorific sculpture, the first female statues from honorific context don't strictly reproduce the types and the facial features of female members of the Domus Augusta. The importance of this study resides in the peculiarity of this period of transition that, lying between the hellenistic and the imperial eras, represents a key moment for the elaboration of the image of the roman woman.

Physical visualizations are artifacts that materialize abstract data. They take advantage of human natural abilities to interact with information in the physical world. These visualizations present an opportunity to be applied on new application domains. With the objective of discovering if physical visualizations can support remote monitoring of biological data, a technology probe is presented in the form of a reversed voodoo doll. This probe uses the natural affordance of an anthropomorphic figure to represent a person and reverses the concept of voodoo dolls in a playful way. The scenario of safety is selected for testing physical visualizations of bio-data. Two measurements from the human body, heart rate and motion are chosen as a light way to monitor remotely over a person’s conditions. During the study, a group of six participants were exposed to the technology probe and their interactions with it were observed. The study reports on the users’ interpretations of the data and uses given to the alternative modalities of the probe. The results suggest that the data mapping to the object’s body parts was effective for conveying meaning. Additionally, the results confirm that the use of multiple modalities in physical visualizations offers an opportunity to present information in situated contexts in the real world. The degree of physicality achieved by the reversed voodoo doll and the effects of the selected metaphors are discussed. In conclusion, it is argued that the responses and interpretations from the users indicate that the reversed voodoo doll served as a means in its own right to transmit information for monitoring of bio-data. / Fysiska visualiseringar är artefakter som materialiserar abstrakt data. Genom att använda sig av mänskliga naturliga förmågor interagerar de med information i den fysiska världen. Dessa visualiseringar skapar möjligheter för appliceringar inom nya tillämpningsområden. För att undersöka om fysiska visualiseringar kan stödja fjärrövervakning av biologisk data introducerades en sond i form av en omvänd voodoodocka. Med en människolik figur representerar denna sond en verklig person. På så sätt utnyttjar den naturliga associationer till mänskliga egenskaper och omvänder konceptet vodoodockor på ett lekfullt sätt. De fysiska visualiseringarna av biologisk data testas ur ett säkerhetsperspektiv. Två värden, hjärtfrekvens och rörelse, mäts från en människokropp för att göra det möjligt att övervaka en persons tillstånd på distans. Under studien observeras sex användare då de interagerar med sonden. Studien visar hur användarna tolkar sondens data och hur användningen varierar med avseende på sondens olika modaliteter. Resultaten från denna studie tyder på att datamappningen till sondens kroppsdelar effektivt ökade förståelsen. Dessutom bekräftar resultaten att användning av flera modaliteter i fysiska visualiseringar gör det möjligt att presentera information, anpassat till olika situationer i den verkliga världen. Till vilken grad voodoodockan ger en känsla av kroppslighet samt konsekvenser av de valda metaforerna diskuteras. I slutsatsen hävdas att användarnas svar och tolkningar tyder på att den omvända voodoodockan fungerade som ett medel för att övervaka biologisk data.