二戰後，隨著經濟的持續發展，日本音樂產業在1998年到達實體唱片銷售額6075億日圓的極致巔峰，之後伴隨著全球音樂市場的萎靡以及數位資訊產品技術的逐漸成熟，日本音樂產業進入長達數年唱片銷量大跌的低迷期。唱片銷售衰退，其原因除了科技中介的變革帶來的影響外，群眾對音樂市場的需求改變更是一大關鍵，為此許多唱片公司紛紛轉型為經紀公司，積極的發展音樂市場的新價值，其中以藝人品牌化和現場展演為最受矚目的價值創造趨勢。 流行音樂市場越趨多樣性與娛樂性，2008年正式出道的日本視覺系搖滾樂 團—Golden Bomber金色爆彈，以短劇表演代替樂器演奏的空氣樂團形式打入日本音樂市場，顛覆群眾對傳統樂團的既定印象，特有的表演型態亦成為其樂團特色。從品牌建構的角度而言，金爆樂團作為一個藝人品牌，其利基點、競爭優勢與品牌建構之步驟為何？在競爭激烈的日本藝能界中勝出之關鍵又是什麼？而台灣與日本的藝人品牌之建構又有何雷同、差異性與需要省思處？ 本研究以日本金爆樂團作為一藝人品牌進行個案分析，藉由深度訪談金爆的十位日本fans，以及參與觀察金爆的現場演唱會和活動過程，再輔以相關的次級資料，透過金爆樂團在核心價值、識別系統、事件經歷與附屬商品等多處的呈現，作為新生代藝人品牌建構與台灣音樂市場後續發展等研究目的之參考。分析結果發現，「惡搞」、「空氣」、「搖滾」和「地下樂團」的標籤初步定位了金爆在日本藝能界裡的位置，打破主流樂團在日本音樂市場稱霸的藩籬，而品牌承諾的落實與識別系統的創新則緊緊抓住了粉絲的心，在互信互賴的專業團隊的品質把關下，金爆樂團秉持初衷，繼續他們的演藝之路。 / After World War II, as the economy developed continuously, Japanese music industry had reached its ultimate peak in 1998 with physical record sales of JPY 607.5 billion. However, due to the contraction of the global music market and the rapidly maturing digital technology, Japanese music industry has entered a steep downturn for the record sales for years. In addition to the impact of technological revolution, the changes in the masses’ demands for the music market are also a significant factor in the decline of record sales. On this account, many record companies have transformed themselves into a brokerage firm, actively developing the new value of the music market, among which the branding of artists and live performances are the most two notable trends of the value creation. At the same time, the pop music market has become more diverse and entertaining. Golden Bomber, a Japanese “visual kei” air rock band that officially debuted in 2008, is famous for their unique performance by acting out short dramas instead of playing with instruments, which has not only overthrown the common view of a traditional band and also become the band’s unique characteristic. From the perspective of brand building, what are the niche point, competitive advantages, and brand building steps of Golden Bomber as an artist brand? What is the crucial key they can stand out in the fierce competition in the Japanese entertainment industry? As for Taiwanese artists, what are their similarities and differences from Japanese artists and what should they reflect on? This study aims to conduct a case study of Golden Bomber as an artist brand by utilizing the in-depth interviews of ten Japanese fans of the band and the author’s observation during the personal participation in the live concerts and events of the band in combination with the supplemented relevant secondary data, hoping to be taken as a reference for the artists of the new generation for brand building and for the future development of Taiwanese music industry with the presentation of various aspects of Golden Bomber, including the band’s core values, identification systems, event experience and affiliated commodities. The analysis results found that several labels attached to Golden Bomber such as “parody”, “air”, “rock” and “underground band” have initially positioned the band in the Japanese entertainment industry, breaking the barriers built by the mainstream bands that dominate the Japanese music industry. Furthermore, the band’s implementation of brand promise and the innovation of identification systems have firmly kept their fans glued to the band. With the mutual trust with a professional team and the persistence in the quality, Golden Bomber has continued their career with their original intention.

No description available.

This thesis consists of two parts ? theoretical and practical. The theoretical part is focused on the topics of beautiful book ? i.e. bibliophilia, artist?s book, illustration, and overall literary art. The basis for the practical part of this thesis is figure and work, namely ?The Day of the Triffids? by John Wyndham, as well as meaning and place of science fiction in the world of art. The practical part consists of set of illustrations, a cover design and a typographical solution of the book ?The Day of the Triffids? The aim of this work was to create a book, which could be classified as valuable literature, not only by its contents, but by its appearance as well.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this thesis I present my poetic trajectory in two years linked to Todos os nomes (SARAMAGO, 1997), novel which addresses weavings of political issues between the problematizations of the subjects and their inventive powers. The art courses are beyond the comprehension of bureaucracies, here I present my current idea of art reflected in poetic actions experiencing artist books, objects, texts, illustrations, records, happenings and performances. This work is a narrative of intertext between the investigation of the character José and mine. Why be an artist? From this story, I investigated art as a form of re-creation of realities, not without dominions, but finding possible deviations. As theoretical contribution of this research I used: Hutcheon (1991) and Bourriaud (2009) about the postmodern poetic strategies; also Foucault (1998, 2011) to weave relations between the content of this narrative and reflections about power, hierarchies and speeches; besides, Silveira (2001) and Gonzalez (2013) to clarify about the artist book. / A presente dissertação de mestrado refere-se a uma pesquisa em Poéticas Visuais / Arte e Visualidade. Nesta, apresento minha trajetória poética ao longo de dois anos vinculada a Todos os Nomes (SARAMAGO, 1997), romance que me endereçou a uma tecedura de questões políticas acerca das potências inventivas dos sujeitos, e a partir do qual, construí ações poéticas experimentando livros de artista, objetos, textos, ilustrações, registros, happenings e performances. Este trabalho trata de um intertexto narrativo entre as buscas inventivas do personagem Sr. José e as minhas. Por que ser artista? A partir deste romance, investigo a arte como uma forma de recriação das realidades, não isenta de dominações, mas encontrando desvios possíveis. Como aporte teórico desta pesquisa utilizo: Hutcheon (1991) e Bourriaud (2009) sobre as estratégias poéticas pós-modernas; também Foucault (1998, 2011) para tecer relações entre os conteúdos desta narrativa e reflexões sobre poder, hierarquias e discursos; além de, Silveira (2001) e González (2013) para esclarecer os conceitos de livro de artista.

Made available in DSpace on 2014-12-17T14:00:20Z (GMT). No. of bitstreams: 1 ChrystinePS_DISSERT.pdf: 2037695 bytes, checksum: 1cdce9c08277a41924f14e44bf173871 (MD5) Previous issue date: 2014-03-27 / Tanto no contexto acad?mico quanto no art?stico e mercadol?gico, ? crescente a discuss?o sobre o espa?o de conceitua??o da dan?a contempor?nea e suas fissuras, que deixam de abarcar esta ou aquela manifesta??o art?stica ou mesmo acaba por abarcar aquelas manifesta??es que n?o se encaixam em outros espa?os de conceitua??o. No presente trabalho objetivamos a investigar, a Dan?a na Contemporaneidade, para al?m do que se entende por dan?a contempor?nea, em sua capacidade de atravessar os espa?os de conceitua??o j? estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos tamb?m pensar a pot?ncia que a Dan?a imprime no corpo do artista criador, pensando tamb?m como este se comporta no espa?o de entre linguagens . A disserta??o que aqui se apresenta encontrou enquanto estrat?gia metodol?gica o recurso da met?fora, partindo das ideias de travessia, cartografia e cidades invis?veis para a constru??o do pensamento sobre o corpo do artista e suas rela??es com as diferentes linguagens art?sticas, tomando por base uma retomada das experi?ncias est?ticas e art?sticas de sua proponente. Dialogando experi?ncias pr?ticas e referenciais te?ricos, inicialmente tratamos da dan?a contempor?nea em seus problemas de classifica??o que apontam para a necessidade de um pensamento contempor?neo em dan?a, que pense as manifesta??es art?sticas em seus pontos convergentes, e n?o nos divergentes que as situam sob diversas nomenclaturas. No cap?tulo seguinte discutimos a possibilidade de contamina??o entre as linguagens art?sticas a partir do pr?prio corpo-artista. Discorremos tamb?m sobre a dan?a enquanto agenciamento e resposta aos impulsos resultantes da rela??o com o espa?o e outros corpos, pensando como o corpo do vivente se organiza nesta rela??o de compartilhamento de experi?ncias. Mostrando uma pot?ncia do corpo artista criador que se dedica ? transvalora??o das fronteiras entre as linguagens para a organiza??o do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de cria??o que variam de acordo com as possibilidades t?cnicas e necessidades est?ticas de cada artista criador

La position de l’artiste dans l’écosystème du marché de l’art contemporain n’est pas satisfaisante à l’heure actuelle en raison de la mutation du milieu socio-économique de l’art. Son statut reste flou, il se voit infantilisé et instrumentalisé par son environnement proche. Aussi, l’interrogation cruciale tourne autour de savoir si l’artiste réussira à trouver d’autres voies pour se positionner différemment et y gagner en autonomie. Mes propres expériences m’ont conduit à penser que l’entreprise-artiste, concept porté par l’équipe de recherches Art&Flux depuis 2006, peut apporter une solution intéressante à cette question. Il s’agit alors d’un positionnement ancré dans la réalité qui permet une posture critique. Ma réflexion s’articule autour des concepts développés par Edouard Glissant sur la créolisation, de Gilles Deleuze et Felix Guattari sur le rhizome, de Michel Bauwens sur le peer-to-peer (pair-à-pair) et de Jeremy Rifkin sur l’économie du partage. En m’appuyant sur mon étude du terrain auprès des acteurs de l’art, j’analyse l’évolution des comportements des collectionneurs, plus enclins à devenir des amateurs ou des usagers. Cela me permet d’en arriver à la création d’une entreprise-artiste qui prend l’aspect d’une plateforme d’oeuvres participatives régie par la rencontre entre des artistes et leurs publics. Le but est de rendre visible et de développer toutes les richesses humaines au-delà de la seule richesse économique ou financière, pour développer le lien dans la relation aux autres, la créativité et le partage. / The art market has completely shifted, and as such, the artist’s role within its ecosystem appears impaired. Artists’ status has become blurred; they are infantilized and used by the art world and market. Crucial questioning thus emerges: Will artists reposition themselves in such a way as to gain autonomy? My own experience has led me to think that creating artist enterprises, with the project of artist-run businesses, could provide an interesting response to the current situation. This approach is anchored in reality and also leaves room for critical thinking in link with research team Art & Flux (a CNRS research team who is working on art, economy & society). My research furthermore combines thoughts and is structured by the ideas developed by Édouard Glissant concerning «Creolization», Gilles Deleuze and FelixGuattari’s «Rhizome», Michel Bauwens thinking about peer-to-peer methods, and Jeremy Rifkin’s research regarding the economics of sharing. My surveys and in-depth conversations with a selection of art world stakeholders have allowed me to carry out a worthwhile analysis of collectors’ changing habits. They appear ever more likely to gradually become connoisseurs, active contributors and users. Thanks to these consistent efforts, the stage of developing a platform of participatory artworks has been reached. This platform is a gateway for artists to gain direct access to their audience. This project’s overarching objective is to render all human riches accessible - beyond purely economic or financial preoccupations - to reinforce connections between people, through sharing and creativity.

UFU - Universidade Federal de Uberlândia / A temática desta pesquisa é o ensino da arte. Nela se propõem novas vias de interseção entre a Educação, a Arte e a Investigação, através do uso de suportes digitais como meios de expressão artística. A pesquisa realizou-se graças à participação de dois países de América Latina, o Brasil e o México, o quais têm uma enorme tradição na investigação educativa e na produção artística. A ideia desta tese nasceu e desenvolveu-se em uma universidade do sudeste do Brasil, enquanto os sujeitos que participaram da coleta de dados foram de uma universidade do norte do México. Realizou-se sob o amparo do Programa de Alianças para a Educação e a Capacitação (PAEC), no âmbito do Acordo de Cooperação entre a Organização dos Estados Americanos (OEA) e o Grupo Coimbra de Universidades Brasileiras (GCUB). Na pesquisa foram descritas e analisadas as capacidades de um instrumento educativo e artístico, desenhado e nomeado nesta tese como o diário artístico digital, com o objetivo de investigar suas capacidades na formação do artista plástico no contexto universitário. / The theme of this research is the teaching of art. It proposes new ways of intersection between Education, Art and Research, through the, use of digital supports as means of artistic expression. The research made with the participation of two countries in Latin America, Brazil and Mexico, which have an enormous tradition in educational research and artistic production. The idea of this thesis was born and developed in a university in the southeast of Brazil, while the subjects that participated in the data collection were from a university in northern Mexico. The research was covered with, the Partnerships Program for Education and Training (PAEC) in the field of the Cooperation agreement with the Organization of American States (OAS) and the Coimbra Group of Brazilian Universities (CGBU). The research described and analyzed the capacities of an educational and artistic instrument, designed and named in this thesis as the digital artistic diary, with the aim of investigating their capacities in the formation of the plastic artist in the university context. / Tese (Doutorado)

The work goes from the contemporary concept of artist-teacher in order to define and discuss the working ways and possibilities for the artist who teaches in the context of the University courses of Art in Brasil, specifically Theatre courses. Thus, the work uses examples and experiences of the actress and teacher Ana Maria Pacheco Carneiro, as to define forms of being and working of the artist inside brasilian university art courses, through their practices in class and in the transposition of the artistic experiences to the teaching.The work discusses the notion of artist-teacher, at first in a conceptual and terminological approach, for then broaden it and propose dialogs between different points of view concerning the contemporary relations between arts and teaching. It can not be ignored, also, how my own experience in acting and teaching directs and particularizes the discussion.The experiences collected among some teaching artists led to a discussion supported in part by the writings of Michel de Certau, mainly his notions of tactics and strategy. These concepts supported the understanding, here expressed, of the artsist´s actions inside the learning institutions, and acts as a touchstone for the selection as for the discussion of the precedures and postures assumed by the teaching artists studied, such as Tácito Borralho, Adriana Schneider Alcure, besides Ana Carneiro. / O trabalho parte do entendimento contemporâneo de artista-docente, para elencar e discutir modos e possibilidade de atuação do artista que ensina no contexto dos cursos universitários de artes, mais especificamente, de teatro. Assim, vale-se de exemplos, percursos e experiências da atriz e professora Ana Maria Pacheco Carneiro, de Tácito Borralho e Adriana Schneider, mapeando modos de ser e trabalhar do artista em Cursos Universitários de Teatro no Brasil por meio das práticas em aula e nas transposições de experiências artísticas para as de ensino. A concepção de artista-docente é neste trabalho discutida, a princípio por um viés conceitual e terminológico para, a partir de então, ampliar e fazer dialogarem estudos variados acerca da relação entre arte e ensino. Não se pode ignorar também o quanto a minha experiência em teatro e aula pessoaliza e direciona a discussão. As experiências colhidas com diversos artistas/docentes conduzem a uma discussão apoiada em parte pelos escritos de Michel de Certeau no que toca às noções de tática e estratégia. Tais conceitos auxiliaram o entendimento da ação do artista na instituição de ensino e servem como ponto de apoio para a seleção e a discussão dos procedimentos e posturas dos artistas que ensinam estudados, tais como Tácito Borralho, Adriana Schneider Alcure, Amir Haddad, além da própria Ana Carneiro. / Mestre em Artes

Made available in DSpace on 2014-07-29T16:10:27Z (GMT). No. of bitstreams: 1 dissertacao eleny macedo de oliveira.pdf: 962902 bytes, checksum: 982b25d431e9e5242c1bab303a4b2613 (MD5) Previous issue date: 2010-06-10 / This study, inserted into the Research Line Training and Teacher Professional Process, aimed to identify and analyze aspects of professional identity of teacher - artist who works in higher education. Thus, it was necessary to understand the reasons that lead this professional to join the university teaching, besides knowing about the aspects that constitute the identity of the teacher - artist who exercises teaching at the university. The concept of teacher - artist constructed in dialogue with references as Célia Maria de Castro Almeida (1992) and Késia Mendes Barbosa (2006) serves to clarify the concept of professional identity and inclusion of teacher - artist in the formation of Higher Education. Along with this concept, the narrative of the first institutions of higher education in Brazil is delineated, in order to elucidate how the genesis of the university teacher training throughout history happened, especially the teacher - artist. These informations are the base for understanding the evolution of the professional training and the identity of the teacher - artist of Higher Education in dialogue with Carmen Lucia Abadie Biasoli (1999), Luiz Antonio Cunha (2003) e Ana Mae Barbosa (2005). Thus, the analysis turns to the concept of teacher identity focusing these authors who propose analysis and discussions on the topic. The highlights of this concept are: Valter Soares Guimarães (2004), Tomaz Tadeu da Silva (2009), and Luzia Alves de Carvalho (2009). Analyses on the professional identity takes consistency, followed by reflections of Léa das Graças Anastasiou (2001, 2006), Pimenta (2002), Miguel A. Zabalza (2004) and Valter Soares Guimarães (2004). The field research achieved in the GT of Education and Art of the National Association for Research and Post-Graduation Education - ANPEd - and at School of Arts, in the Visual Arts Faculty - FAV-and at School of Music and Performing Arts - EMAC- of UFG had as instrument for data collection a questionnaire. The findings resulting from analysis of field research and the possible contributions to the understanding of the aspects that constitute the professional identity of teacher - artist of Higher Education form the outcome of this investigation by presenting two main lines of dominance in teaching in Art with visions distinct, but with common purposes: the teaching of art. / O presente estudo, compreendido na Linha de Pesquisa Formação e Profissionalização Docente, buscou identificar e analisar a identidade profissional do docente-artista que atua na Educação Superior. O docente-artista é conceituado à luz das teóricas Almeida (1992) e Barbosa (2006), como aquele que atua com as diferentes linguagens artísticas no Ensino Superior, com produção artística ou não. De posse desse conceito recorre-se à trajetória das primeiras instituições de Ensino Superior no Brasil, com o intuito de elucidar como aconteceu a gênese da formação do docente universitário ao longo da história, em especial do docenteartista. Essas informações servem de alicerce para conhecer a evolução da formação profissional e da identidade do docente-artista da Educação Superior em interlocução com Cunha (2003) e Ana Mae Barbosa (2005). As análises sobre a identidade profissional tomam consistência, acompanhadas das reflexões de Pimenta (2002) e Zabalza (2004). A pesquisa de campo realizada junto a docentes-artistas teve como instrumento para coleta de dados o questionário. As conclusões advindas das análises da pesquisa de campo e as possíveis contribuições para a compreensão dos aspectos que constituem a identidade profissional do docente-artista da Educação Superior formam o desfecho desta investigação, com a apresentação de duas grandes linhas identitárias. A primeira linha é composta por docentesartistas com características mais voltadas para a identidade de educador. A segunda linha apresenta contornos em que se acentua a identidade de artista em detrimento da visão de educador. São identidades distintas para a docência em Arte, com propósitos comuns aos que atuam nos cursos de formação de professores.

Gérard Gasiorowski, artiste français dont l'opus polymorphe, mais essentiellement pictural, s'est déroulé sur deux décennies seulement, a oscillé d'un photoréalisme austère et raffiné à un expressionnisme tourmenté et parfois lyrique. Mais si cette œuvre use indéniablement des moyens de la peinture, elle se veut avant tout, par son dispositif global, une réflexion critique sur la production esthétique de son temps et les différentes instances de l'art. Après une ascension fulgurante de peintre distingué, ayant épuisé les vertus de l'image, cet enfant terrible brise ses jouets pour se retrancher en un long cycle de travaux dit régressifs, avant de revenir à une interprétation grave et majestueuse de son histoire intime de l'art. Si ces trois temps de l'œuvre peuvent être lus comme des phases, ils peuvent être également considérés comme les chapitres d'un récit où l'auteur serait aussi le ou les personnages. Car, et de façon délibérée, c'est sur le registre de la fiction que l'ouvrage pictural s'est élaboré. Dérision et autodérision auront conduit Gasiorowski, pour échapper aux classifications d'usage, aux académismes, à inventer l'artiste qui saurait au mieux servir la peinture sans se servir. Car «Peinture» était pour lui corps et langage, soit une entité complexe et non un simple produit. S'appuyant sur une documentation augmentée et en partie inédite (exhumations des archives et de certaines œuvres) ainsi que sur une enquête portant sur les sources iconographiques utilisées par l'auteur, ce travail a, entre autres, permis d'établir que cette stratégie était présente, à l'œuvre, dès le début. / Gérard Gasiorowski was a French artist whose polymorphic, though essentially pictorial work, was developed over two decades only, and oscillated from an austere and sophisticated photorealism to a tormented and occasionally lyrical expressionism. But if his work undeniably uses the painting medium, it claims to be, before everything and as a whole, a critical thought of the aesthetic production of his time and the different art authorities. After a dazzling ascension as a eminent painter, this terrible child, having exhausted all the properties of the image, breaks his toys to take refuge in a long cycle of so-called regressive works, before returning to a serious and majestic interpretation of his persona! history of art. If these three moments can be seen as phases of his work, they can be considered as chapters of a novel as well, in which the author would also be the character(s), for his pictorial work has been based on fiction, in a deliberate way. Mockery and self-mockery finally led Gasiorowski to invent the artist who would know how to serve painting without serving himself, in order to escape usual classifications and academicism. Because « Painting » was a body, a language, i complex entity to him, and not just a product. Based on an extended and partly new documentation (exhumation of archives and some previously unseen works) and a survey on the iconographic sources used by the artist, this dissertation has, among other things, enabled to establish that this strategy was present in Gasiorowski's work since the beginning.