Orientador: João J. Spinelli / Resumo: O trabalho procura refletir sobre as condições de validação do discurso da Arte destinada aos espaços públicos. O chamado espaço público de convívio encarna a contradição dos interesses entre sujetividade, capital e estado, tornando esse ambiente ideologicamente tenso e descontínuo. Discutir sobre a validez social de uma obra de arte instalada em "lugar público", além de investigar os procedimentos conceituais e poéticos dos artistas, representa a reflexão sobre a tensão do conceito de "público", da sua materialização geográfica, política e histórica e sobre a formação de uma opinião pública que confere - ou não - essa validez. / Abstract: This research reflects upon the conditions of validation of the discourse of Art destined to public spaces. The so called public space of living incarnates interests contradictions between subjectivity, capital and sate, making this environment ideologically tense and discontinuos. Arguing about social validness of a work of art installed in a "public spot", beyond investigating conceptual and poetical proceedings of artist, represents refleting about the tension of the concept of "public". its geographical, political and historical materialization, and about the formation of a public opinion that confers - or not - this validness. / Mestre

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / O exemplar do IFCH tem 74 folhas / O exemplar do IFCH tem 74 folhas / Made available in DSpace on 2018-08-10T15:08:05Z (GMT). No. of bitstreams: 1 Figueiredo_NorivalBenedito_M.pdf: 85976761 bytes, checksum: b02dedd1c50e8aabb4b9ffa91dd2f122 (MD5) Previous issue date: 2006 / Resumo: Monotipia/Monoprint: a imagem singular no processo do múltiplo gravado é uma reflexão sobre os enfrentamentos entre teoria e práxis na produção do conjunto de monotipias e monoprints desenvolvidas a partir de meu contato com o Centro de Pesquisa em Gravura da Unicamp. Este depoimento, não se limitando ao presente, busca no fazer que antecedeu o momento atual a gênese de minha poética. Apresento as escolhas de caminhos e temáticas aliadas às questões técnicas que minha geração, em sua formação, problematizava. Faço breve mapeamento do universo da estampa, os meios de impressão e gravação e algumas definições para a compreensão da proposta de trabalho, envolvendo as questões que estruturam a linguagem gráfica e apresentando os conceitos de Monotipia e Monoprint. Designo o tema Acteon, objeto de vasta iconografia na história da arte, tal como é por mim apropriado e tratado. Finalmente as experimentações com monotipia e monoprint, seus problemas e desenvolvimentos, são apresentadas / Abstract: Monotipia / Monoprint: The singular image on the engraved multiple-process is a reflexion about the confrontations between theory and ¿práxis¿ on the production of the whole of Monotype and Monoprints developed from my contact with the Centro de Pesquisa em Gravura-Unicamp. This deposition, which doesn¿t limit to the present, seeks on what preceded the current moment to the genese of my poetic. I introduce the choice of paths and thematic associated to the technic questions that my generation, in it¿s development, caused problem. I make a brief mapping of the universe of the print, the ways of print and engraving and some definitions to the comprehension of the job proposal, involving the questions that build the graphic language and pointing out the conceptions of Monotopia and Monoprint. I appoint the theme Acteon, subject of the huge iconography in Art History, such as it is by me appropriated and treated. At last, the experimentations with monotopia and monoprint, it¿s problems and development, are presented. / Mestrado / Mestre em Artes

Recounts the author’s trajectory in the Masters of Fine Arts program. Describes the nature of his early practice in interactive sound art and its later development into sculptural, performative and social forms. Key theoretical influences in this development are identified and discussed in detail. In particular the writings of the philosopher Jacques Rancière and cricic Claire Bishop are discussed, as well as the work of artists William Pope.L, Joar Nango and Thomas Hirschhorn.

Nous voudrions développer l'idée selon laquelle Marguerite Duras est un peintre du langage. En nous focalisant sur le rapport entre l'écriture et la peinture, nous nous efforcerons de repérer et d'analyser les tableaux évoqués ou inventés et les images façonnées dans les œuvres afin d'éclairer l'intertextualité complexe qui entre au sein des divers réseaux de représentation et partant de toute représentation. Sans prétendre à l'exhaustivité, nous pouvons essayer de donner un aperçu de cette présence de la peinture à l'arrière-plan de la réflexion durassienne. Comment la peinture fait-elle texte ? Et quel est l'enjeu ? Il s'agira aussi d'étudier le rôle et la signification de la peinture dans l'œuvre romanesque afin de comparer le statut de la peinture dans l'œuvre avec celui de la peinture. Une partie de cette étude traitera la peinture comme phénomène sociologique, intellectuelle et historique (les questions esthétiques). De plus, la recherche sera axée sur les liens entre le cinéma et la peinture, l'étude sera développée sur les points suivants : les émissions, et les critiques sur l'auteur afin de tracer un cadre d'ensemble des éléments en rapport avec le sujet. Nous aborderons notamment la présentation du débat théorique et méthodologique sur les rapports entre le cinéma et la peinture. L'œuvre tissera des liens étroits entre l'art visuel et le langage. Une partie analysera les rapports entre le cinéma et la peinture sur un corpus significatif de films à partir de ses débuts jusqu'à son dernier film datant de 1979. Notre étude sera une recherche et une analyse des occurrences de la peinture et leurs significations dans le discours filmique durassien. Le discours sur la peinture se confrontant à plusieurs problèmes. / We would like to develop the idea according to which Marguerite Duras is a painter of the language. By focusing us on the relationship between the writing and painting, we will endeavour to locate and analyze the evoked or invented tables and the images worked in works. In order to clarify the complex intertextuality which enters within the various networks of representation and on the basis of any representation. Without claiming with exhaustiveness, one can try to give an outline of this presence of painting to the background of the reflexion durassienne. How painting made it text ? And which is the stake ? It will also be a question of studying the role and the significance of painting in the novel in order to compare the statute of painting in work with that of painting. Part of this study will treat painting like sociological, intellectual and historical phenomenon (the esthetics question). Moreover, research will be centered on the bonds between the cinema and painting the study will be developed on the following points : emissions, and criticisms on the author in order to trace an overall framework of the elements in connection with the subject. We will approach in particular the presentation of the theoretical and methodological debate on the relationship between the cinema and painting. Work will weave close links between visual art and the language. A part will analyze the relationship between the cinema and painting on a significant film corpus, starting from its beginning to its last film going back to 1979. Our study will be a research and an analysis of the occurrences of painting and their significances in the filmic speech durassien. The speech on painting being confronted with several problems.

Visual art is important for humans. Most people have an interest in visiting art museums, and they spend both time and money on artworks. Appreciating visual art can have an effect on several psychological states, such as pleasure, emotions of wonder, awe, and the sublime. However, the question of what constitutes an aesthetic experience and what mechanisms that are involved in experiencing visual art, are still not fully understood. The discipline neuroaesthetics, which is a subfield of cognitive neuroscience, investigates the biology behind aesthetic experience and aesthetic appreciation. The aim of this thesis is to give an overview of the neural processes involved in experiencing visual art, and to explore how it could be related to components of emotional well-being. As such, neuroimaging studies addressing aesthetic experience and emotional processing are reviewed and discussed. This thesis found a relationship between the neural processes that operate behind a broad range of positive valanced emotions and aesthetic experience. The findings show that experiencing visual art that are aesthetically appreciated by the viewer, induces feelings of hedonic niceness or pleasant well-being and is associated with increased activity in the reward circuit. How aesthetic appreciation affects our emotional and cognitive states respectively and enhances our physiological and psychological well-being remains to be investigated. Understanding the underlying neurobiological processes involved when experiencing visual art is important due to its implications on positive health and well-being.

This project develops a new context for understanding the rise of the graphic novel by linking the grammar of comics as a form to the multimedia experiments of modernist writing. Presenting a counter-history of comics, I show how the form can be traced not just to the emergence of newspaper comics, as critics routinely claim, but also to the intermedial strain of modernist avant-garde fiction. With developments in photomechanical engraving and offset lithography, the space of the printed page increasingly became a zone of uncertain contact between text and image. Taking up a number of different genres—philosophy, modernist prose, book illustrations, and the wordless novel in woodcuts—I argue that modernist writing and early experiments in graphic narrative alike responded to this transformation of the book’s materiality by imagining new modes of literary and pictorial storytelling.  While comics scholars often trace the rise of the graphic novel to the work of Winsor McCay, George Herriman, and other early-century newspaper cartoonists, I offer a history and an aesthetics of graphic narrative that takes full account of the medium’s roots in the debates and collaborative practices of the modernist avant-garde. Graphic narratives undoubtedly take their grammar—panels, word balloons, motion lines—from newspaper comics. But they also become aesthetically entangled with the intermedial dimension of modernist writing. Literary modernism, I argue, is not a high cultural tradition that graphic novelists want to attack and overturn. It is instead a tradition that foregrounded the questions about media, language, and narrative that dominate contemporary graphic fiction. Exploring the dynamic connection between modernists like Joyce, Matisse, Rockwell Kent, and Lynn Ward, this project seeks to uncover the buried history of modernism’s kinship with the graphic novel, a kinship based on the legacy of inter-art experimentation that characterizes both modernist fiction and graphic narrative. / 2022-10-09T00:00:00Z

RECONSTRUCTION is a conversation that shifts between analyzing and locating the artist’s position in their society. Especially the power of the majority in the society over the individual. Reconstruction is a way of resistance, or the only way of resistance, at least for me.  In these pages I will talk about reconstruction as a tool in my art, and find connections between my experience and others, people who share one or several of the identities that I have, as an artist, asylum seeker, or queer. Illustrating the different use of the concept of reconstruction that I’m working on, I will introduce the artist Leileh Babirye, a Ugandan artist, living in New York. She works in a multidisciplinary practice that transforms everyday materials into objects that address issues surrounding identity, sexuality and human rights. I will also discuss the work of Miriam Cahn, through the book “I as Human'', proposing new perspectives on her writing, and her paintings based on her personal experiences, from other writers like Poul Preciado, a Spanish writer, with a long history of writing about trans struggle and rights through his own experience.  In this essay I want to try to explore and discuss the relationship between the artwork (with it’s why, when, what etcetera), the artist and the audience. For me, they are connected, and I want them to be so. My ideal, or at least what engages and interests me, is when we let art be a communication. When the work is facilitating a conversation. I see the art piece as a connecting point, with different points outside it, that exchange their reflections and communicate. I want to make this connection clear and obvious. It’s a multiple way conversation, everyone both receiving and reaching for the other. I see the artwork as a communication channel, which should have a shape that conveys the concept to make the conversation possible. That means that the artwork is a material.  That was one of the things that I tried to research in the past two years in my master studies at Konstfack. I did an experiment around this at my solo exhibition. I didn't include an art statement to explain about the work, instead I was in the space to make a conversation with the audience and tried to listen first to what my artwork was telling them. I saw how my concept was perceived, got their reflections and reflected back. And through the conversations arose the issues I’m trying to talk about through the installation. At the same time I didn’t try to “correct” anyone, didn’t try to remove the abstract, or the dramatic stories people told about the piece. The balance, the sides, the unequal power dynamics: all this I got the opportunity to discuss with my audience. In person.  I also address a number of questions connected to my work. Like: When is art private? is art always political? Does my existence in this field have to be a political statement? Making art as a minority: how the position as artist makes the art political, and how the audience makes the context political. I’m questioning how we read and engage with the artwork, the visual output and the concept of the work, how they work together to convey the artist's conclusion of a process, is it convenient to address the environment that surrounds the artwork. This is a process of discovering and digging and revealing whether it is just about the work itself or also the way it is read depending upon its context. Everything that comes spontaneously and makes it a statement.

SAMMANFATTNING I vår studie undersökte vi i vilka situationer pedagogens roll är viktig under en planerad aktivitet samt vad barnen fokuserar på när de betraktar bildkonsten. Idag lever vi i ett samhälle där bilder är en stor del av vår vardag. Därför är det intressant att undersöka hur barn reagerar på världskända konstverk i förskolan. I tidigare forskning (Yu, Garces-Bacsal &Wright 2017) blir det tydligt att barn kan uppskatta konst och att barnen beskriver verbalt vad de ser när de betraktar bildkonsten. Syftet med studien var att undersöka hur barnen verbalt benämner bildkonsten och vilken betydelse pedagogen har under aktiviteten. I studien använder vi oss av en kvalitativ metod, genom tre observationer på tre olika förskolor. Resultatet visar på att barn som möter bildkonst uttrycker sig verbalt. Med hjälp av sitt verbala språk benämnde barnen vad de kände igen samt uttryckte känslor när de betraktade bildkonsten. Pedagogens roll blev avgörande i de situationer som barnen blev tysta och behövde stöttning i deras svar

Vår kunskapsöversikt fokuserar på att besvara frågan: hur kan lärare arbeta med färglärai bildundervisningen, för att öka elevers kunskap om färglära? Kunskapsöversikteninnefattar också att beskriva definitionen av färglära och hur färglära är relevant ibildundervisningen. Syftet med vår kunskapsöversikt är att presentera olikaundervisningsmodeller som innefattar färglära och vidare diskutera omundervisningsmodellerna fungerar för bildundervisningen, eller inte. För att finnarelevanta undervisningsmodeller för vår frågeställning, använder vi oss avlitteraturöversikt som metod. I sökandet efter relevanta undervisningsmodeller, märktevi att det fanns en brist på forskning kring framtagna modeller för färglära ibildundervisningen. Resultatet blev därför att vi fann några undervisningsmodeller somfungerar för vår frågeställning och några fungerar till viss del. Ett parundervisningsmodeller fungerar inte alls, men dessa undervisningsmodeller visar dockpotential för ett vidare arbete i färgundervisning och är därför med i vårkunskapsöversikt.

No description available.