Denna studies syfte var att öka kunskapen om hur bilddidaktisk forskning belyser motivation inom bildämnet. Metoden för denna undersökning var en litteraturstudie av kvalitativ form. Motivationsteorier och didaktikrelaterade KASAM-begrepp har använts som teoretisk utgångspunkt. Internationell forskning har granskats för att nå fram till det resultat som studien presenterar. Resultatet är uppdelat efter de frågeställningar studien ämnade att besvara. Utöver den bilddidaktiska forskningen som använts har även utvärderingar från Skolverket varit till hjälp. Resultatet visar att motivation är ett komplext begrepp som påverkar elever och lärare på flera olika sätt. Motivation kan med fördel delas upp i tre kategorier, inre motivation vilken kommer från en individs egna intressen. Yttre motivation som kommer utifrån, t.ex. betyg eller bestämda uppgifter, samt amotivation vilket är avsaknad av motivation. Forskningen visar att en alltför strikt och styrd undervisning kan skapa för mycket fokus på yttre motivationsfaktorer, vilket kan skapa en känsla av meningslöshet. Vidare om undervisningen blir för öppen kan det också skapa problem på grund av det känns ostrukturerat. Den studerade forskningen är överens om att en balans mellan inre och yttre motivationsfaktorer skapar det mest gynnsamma inlärningsklimatet. / <p>Bild</p>

Att vara i ritual med konsten kan verka lika trancenderande som genom meditation, kärlek, psykedelia eller tro - tro på något högre. I trancenderingen strävar vi mot högre energi. Vi befinner oss i ett liminalt utrymme mellan våra kroppar och kraften av vår strävan.

Immerse yourself in a world of sound and approximations. This practice-­led research is concerned with critically examining the roots and contemporary significance of immersion within sonic art and everyday life. This body of work has resulted from research into key issues repositioning the term immersion outside the normal parameters of art investigating the intertwining relationship between immersion, listening and anthrophony. The research has been informed by the working methods of selected contemporary artists using field recordings within various interior environments. Rigorous listening to works has also influenced and driven this research forward to search for definitions of immersion. The author analyses the sonic works produced by reflecting on his own practice, with the thesis focused on the works produced rather than any alternative historical notion of sonic arts. The thesis critically examines a collection of works perceived as immersive in nature and secondly explores the interaction with personal sonorous environments. This thesis presents a series of informative and illuminating original interviews that have reinforced expanded elements of immersion presented in the examination of the practice-­led aspects of the work. These primary source interviews give a wide spectrum of opinions and experiences enabling the term and practices of immersion to be viewed outside the commonly viewed perceptions and practices that immersion evokes with artists’, audiences and individuals. Thirteen interviews with international artists’, curators and contemporary writers reflect on their personal experiences of immersion in art and critical methodological influences and practices. The interviews also discuss the contested adjectives that the term immersion evokes and the wider reaching impacts of the term beyond popular usages of the term. These essential interviewees include: Alan Dunn (multidisciplinary artist), BJ Nilsen (field recordist and sound artist), Budhaditya Chattopadhyay (researcher and sound artist), Chris Watson (field recordist and artist), Christine Sun Kim (sound artist), Daniela Cascella (curator, researcher and contemporary writer), David Hendy (researcher and contemporary writer), Francisco Lopez (sound artist), Hildegard Westerkamp (composer and sound ecologist), Markus Soukup (film and sound artist) Matthew Herbert (electronic musician), Ross Dalziel (Local Curator) and Sebastiane Hegarty (visual and sound artist). This primary research brings together, for the first time, a broad spectrum of experiences, opinions and views on immersion in sonic art and everyday life and re-­considers the challenges presented when examining this theme. An accompanying collection of artistic recordings using three distinct methods is also presented as an integrated part of the thesis. First, using mobile phones to record the author’s everyday travels, conversations and movements. Secondly, it utilises the habituated environments and the in/significance of each reverberation by presenting recordings using delicate contact microphones. The third method utilises the phenomenological and abstract memories from the author’s autobiographical past, reconstructing the distant but real recollections. These methods illuminate the author’s immersive resonating capsule of isolated existence including and portraying the fragmented and often distorted everyday sonorous experience. Sound Received: Immersion, Listening and Anthrophony generates alternative and renewed thinking on immersion, re-­definitions illuminating historical moments that have shaped much of the research. The unique collection of interviews and sonic recordings contributes to the expanding area of sonic discourse and offers a unique contribution to the field.

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-07Bitstream added on 2014-06-13T18:49:14Z : No. of bitstreams: 1 pereira_e_me_ia.pdf: 647047 bytes, checksum: ebbc4570f6b9237a412d0360811df275 (MD5) / Universidade Estadual Paulista (UNESP) / Esta pesquisa inicia com uma narrativa autobiográfica, na qual a pesquisadora relata sua prática pedagógica, conta histórias sobre ensinar/aprender e sobre a formação de professores. No decorrer da dissertação, a investigação vai-se adensando, fios vão sendo tecidos para articular as dimensões da vida, da arte, da educação e da práxis política. A narrativa da história de vida, uma das modalidades da pesquisa qualitativa, parte da prática, que é uma forma interessante de pesquisar quando se banha na teoria, porque permite ser revista, superada e propor soluções à luz de novos estudos, que podem trazer ideias renovadas, se submetidas à teorização. O ideário de Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre e Vigostski balizaram a pesquisa. A autora, atuando como Supervisor Escolar da Rede Municipal de Educação de São Paulo, descreve dois processos de formação de gestores educacionais mediados pelas artes visuais em momentos distintos: visitas a museus e a exposições de arte e um encontro de formação com uma imersão na arte contemporânea. Estabelecer ligações entre a vida e a escola, promover reflexões e significação no ato de ensinar e aprender são urgências que se colocam aos educadores. A intenção dessas mediações com arte foi alimentar os sentidos, os sonhos, e promover um distanciamento entre os educadores e a rotina institucional, apostando que num outro tempo, em outro espaço e através da linguagem visual, reflexões pudessem ser mobilizadas e a arte conviesse como metáfora para olhar a vida e a educação. Essa pesquisa em arte/educação possibilitou à pesquisadora estruturar uma metodologia de formação de professores tendo a arte como linguagem mediadora. Grande Área: letras, lingüística e artes / This research begins with an autobiographical narrative, in which the researcher describes their teaching, telling stories about teaching/learning and on teacher training. During the dissertation research will be denser, yarns are being woven to articulate the dimensions of life, art, education, and of praxis politics. The narrative of the life history, a form of qualitative research, part of the practice, which is an interesting way to search when you soak in theory, because it allows to be revised, to surmount and propose solutions in light of new studies that can bring ideas renewed, is subject to theory. The ideas of Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre and Vigostski guiding the research. The author, serving as Supervisor of the Municipal Schools of São Paulo, describes two processes of educational management training mediated by the visual arts in different times: visits to museums and art exhibitions and a meeting with an immersion training in contemporary art. Making connections between life and school, to promote reflection and meaning in the act of teaching and learning are emergencies that arise for educators. The intent of these mediations with art was feeding the senses, dreams, and promote a gap between educators and the institutional routine, betting that in another time, another space and through visual language, thinking and art could be mobilized as a metaphor suited to look at life and education. This research in art/education enabled the researcher to structure a training methodology for teachers taking art as a language mediator

In this essay my aim is to understand the machinations of the action of taking a photograph and putting it in circulation, and what the role of a sculpture becomes in a world where this is possible. In a general sense, how does instant representation through photography activate sculpture? Can sculpture change photography, or is the connection a one-way feed? Can it be that this connection determines our lives to such an extent that the success of one medium informs the strength of the other? / Nej

Orientador: Olympio José Pinheiro / Banca: José Carlos Plácido / Banca: Lucy Carlinda da Rocha de Niemeyer / Resumo: O presente estudo, que se caracteriza como investigativo qualitativo, tem como objetivo principal analisar a convergência entre os campos das artes visuais e do design. Para fundamentar a análise, foi desenvolvida uma pesquisa bibliográfica que analisou as contribuições das vanguardas modernistas para o design moderno e o papel da escola alemã, Bauhaus, no campo de design; e apresentou o conceito de linguagem híbrida, a mestiçagem no design brasileiro, as relações entre a arte e design e o Prêmio Museu da Casa Brasileira (MCB). Com base neste levantamento teórico, foram apresentados os designers Luciana Martins e Gerson de Oliveira, da empresa ,OVO, e os objetos selecionos por este estudo, que são os dois produtos premiados pelo MCB, que possuem características artísticas e são comercializados e reconhecidos como objetos do design brasileiro contemporâneo. Esses produtos foram analisados e foram levantadas as características híbridas dos mesmos / Abstract: This study, which is characterized as qualitative researchers, aims at analyzing the convergece between the fields of visual arts and design. To support our analysis, we developed a literature that examined the contributions of the avant-garde modernists to the modern design and the role of the German school, Bauhaus, in the design field, and presented the concept of hybrid language, mixing in the Brazilian design, relationships between art and design and the Brazilian House Prize (MCB). Based on this theoretical approach, the designers were presented Luciana Martins and Gerson de Oliveira, the company, EGG, and the selected for this study, the two products that are rewarded by the MCD, which possess artistic features and are marketed and recognized as objects contemporary Brazilian design. These products were analyzed and were raised the same hybrid characteristics / Mestre

A presente dissertação tem como foco as relações entre público e arte, propostas por instituições culturais. O estudo parte do pressuposto de que, sobretudo a partir da década de 1960, um dispositivo pedagógico da arte é organizado, no sentido de responder a uma urgência histórica do nosso tempo, qual seja: a de criar estratégias de acessibilidade à arte. Nesse contexto, o principal objetivo do trabalho consiste em compreender as formas pelas quais esse dispositivo “ensina-nos” modos de nos relacionarmos com as artes visuais hoje. Como corpus de análise, optou-se por privilegiar um espaço específico de enunciação, a saber: quatro materiais didáticos produzidos por instituições culturais, destinados a professores e alunos, cuja temática é a obra do artista gaúcho Iberê Camargo. Com base no pensamento de Michel Foucault (em especial, os conceitos de saber, poder e subjetividade), buscou-se identificar nesses materiais: a) a maneira como a arte aparece objetivada pelos regimes de saber do dispositivo; b) como esses regimes são fixados e quais relações de poder estão em jogo; c) e, por fim, o modo como os materiais orientam a forma pela qual o sujeito deveria aproximar-se das artes visuais. As análises desenvolvidas possibilitaram apontar que os museus, ao se definirem como instituições educativas, legitimam o atravessamento de certos discursos pedagógicos em sua estrutura, dentre os quais destaquei: o construtivismo piagetiano, o “movimento interdisciplinar” e a educação libertadora de Paulo Freire. Essa dinâmica de organização dos saberes, por sua vez, talvez explique o porquê de o público ser convidado, nas atividades pedagógicas, a trazer referências pessoais e, a partir delas, estabelecer relações com formas de existência do artista e seu processo criativo. / The present dissertation has as focus the relations between the general public and the art, which are proposed by cultural institutions. The study parts from the presupposition that, mainly from the sixties, a pedagogical dispositif of art is organized in order to respond to a historic urgency of our time, namely: to create strategies to the art accessibility. In this context, the main objective of this study is to understand the ways in which this device "teaches us" ways of relating to the visual arts today. As a corpus analysis, it was chosen to focus on a specific space of enunciation: four teaching materials produced by cultural institutions, for teachers and students, whose theme is the gaucho artist's work Iberê Camargo. Based on the thought of Michel Foucault (especially the concepts of knowledge, power and subjectivity), the attempt was to identify in these materials: a) how art appears objectified by the knowledge systems from the dispositif, b) how these systems are fixed and which power relations are at stake, c) and, finally, how the materials guide the way in which the subject should approach the visual arts. By the developed analysis, it was possible to identify that the museums, when defining themselves as educational institutions, legitimate the crossing of certain pedagogical discourses in their structure, among which it was highlighted: Piaget's constructivism, the "interdisciplinary movement" and liberating education of Paulo Freire. This dynamic of knowledge organization, in turn, may explain why the public is invited, in educational activities, to bring personal references, and from them, establish relationships with forms of existence of the artist and his creative process.

A presente dissertação tem como foco as relações entre público e arte, propostas por instituições culturais. O estudo parte do pressuposto de que, sobretudo a partir da década de 1960, um dispositivo pedagógico da arte é organizado, no sentido de responder a uma urgência histórica do nosso tempo, qual seja: a de criar estratégias de acessibilidade à arte. Nesse contexto, o principal objetivo do trabalho consiste em compreender as formas pelas quais esse dispositivo “ensina-nos” modos de nos relacionarmos com as artes visuais hoje. Como corpus de análise, optou-se por privilegiar um espaço específico de enunciação, a saber: quatro materiais didáticos produzidos por instituições culturais, destinados a professores e alunos, cuja temática é a obra do artista gaúcho Iberê Camargo. Com base no pensamento de Michel Foucault (em especial, os conceitos de saber, poder e subjetividade), buscou-se identificar nesses materiais: a) a maneira como a arte aparece objetivada pelos regimes de saber do dispositivo; b) como esses regimes são fixados e quais relações de poder estão em jogo; c) e, por fim, o modo como os materiais orientam a forma pela qual o sujeito deveria aproximar-se das artes visuais. As análises desenvolvidas possibilitaram apontar que os museus, ao se definirem como instituições educativas, legitimam o atravessamento de certos discursos pedagógicos em sua estrutura, dentre os quais destaquei: o construtivismo piagetiano, o “movimento interdisciplinar” e a educação libertadora de Paulo Freire. Essa dinâmica de organização dos saberes, por sua vez, talvez explique o porquê de o público ser convidado, nas atividades pedagógicas, a trazer referências pessoais e, a partir delas, estabelecer relações com formas de existência do artista e seu processo criativo. / The present dissertation has as focus the relations between the general public and the art, which are proposed by cultural institutions. The study parts from the presupposition that, mainly from the sixties, a pedagogical dispositif of art is organized in order to respond to a historic urgency of our time, namely: to create strategies to the art accessibility. In this context, the main objective of this study is to understand the ways in which this device "teaches us" ways of relating to the visual arts today. As a corpus analysis, it was chosen to focus on a specific space of enunciation: four teaching materials produced by cultural institutions, for teachers and students, whose theme is the gaucho artist's work Iberê Camargo. Based on the thought of Michel Foucault (especially the concepts of knowledge, power and subjectivity), the attempt was to identify in these materials: a) how art appears objectified by the knowledge systems from the dispositif, b) how these systems are fixed and which power relations are at stake, c) and, finally, how the materials guide the way in which the subject should approach the visual arts. By the developed analysis, it was possible to identify that the museums, when defining themselves as educational institutions, legitimate the crossing of certain pedagogical discourses in their structure, among which it was highlighted: Piaget's constructivism, the "interdisciplinary movement" and liberating education of Paulo Freire. This dynamic of knowledge organization, in turn, may explain why the public is invited, in educational activities, to bring personal references, and from them, establish relationships with forms of existence of the artist and his creative process.

I denna studie har fem porträtt på kvinnor fotograferade av Stockholmsbaserade fotografer analyserats utifrån ett genusperspektiv. Fotografierna är ifrån 1920-talet och syftet med analysen är att se hur kvinnlighet och genus görs i porträttfotografi och varför det kan vara relevant för bildundervisning. Med hjälp av bildanalys som utgår ifrån Roland Barthes semiotiska metod har porträtten delats upp i denotativ samt konnotativ nivå och därefter har analysen fokuserat på kvinnornas pose och blick. I analysen framkommer det att kvinnorna på bilderna är för lika varandra för att det ska vara rimligt att de vanligtvis beter sig så och porträttens likheter upplevs spegla samhällsnormen för hur en kvinna ska vara. De gemensamma drag för kvinnlighet som upptäckts i bilderna är framförallt kvinnornas poser som framställer dem som passiva objekt snarare än egna personer. Till detta arbete hör en gestaltning som består av tre fotografier på kvinnor. Fotografierna är en kommentar på de analyserade bildernas konventioner samt dagens användning av kameran och fotografi. Med fokus på poser och blickriktningar har tre bilder valts ut för att representera de bilder som väljs bort, bilder som inte är tillräckligt vackra eller tillräckligt passande. Idag har vi möjligheten att välja bland hundratals bilder som ska representera bilden av oss själva. Denna möjlighet fanns inte för kvinnorna i det analyserade materialet och på så vis blir gestaltningen en kommentar på den möjligheten.

Syftet med denna uppsats är att undersöka hur religiösa teman manifesterar sig i TV-serien Supernatural (2005 ff.), och i vad mån dessa teman motsvarar en "banal religion". Fyra scener ur serien har analyserats med avseende på dess tematik och estetik för att fastställa hur Supernatural har anpassat berättelsen om Kain och Abel samt skapelseberättelsen till en modern miljö med övernaturliga inslag. Studien påvisar att serien använder sig av religiösa berättelser för att skapa narrativ som inte behöver beaktas som religiöst av åskådaren. Supernatural har hämtat fragment från bibliska berättelser och anpassat tematiken till seriens handling och genre men en viss symbolik finns fortfarande kvar och på sätt kan dess tematik och estetik kopplas till en banal religion.