Página 1 dos resultados de 307 itens digitais encontrados em 0.020 segundos

‣ A abordagem estética e pedagógica do teatro de figuras alegóricas: chamas na penugem; The Pedagogical and Aesthetic Approach of the Theater of Figures

Gama, Joaquim Cesar Moreira
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 21/06/2010 Português
Relevância na Pesquisa
57.896807%
O objeto da presente pesquisa é a abordagem estética e pedagógica do Teatro de Figuras Alegóricas, na encenação Chamas na Penugem, sob a coordenação da Profa. Dra. Ingrid Dormien Koudela com alunos do curso de Licenciatura de Teatro. Identifica-se, neste projeto, a concepção da encenação como prática pedagógica e o seu cerne está nas relações existentes entre a criação artística, a pedagogia do teatro e o artista-docente. As proposições do presente trabalho englobam procedimentos referentes ao jogo teatral, à leitura de imagens e aos processos colaborativos. No que tange à leitura da imagem, são analisados os fundamentos estéticos da didática alegórico-diabólica de Peter Brueghel, o Velho relacionados à descrição de uma série de gravuras intituladas Os Sete Vícios Capitais.; The purpose of the present research is the pedagogic and aesthetic approach of the Theather of Allegorical Figures in the staging of Chamas na Penugem (Flames on down), under the coordination of the PhD Professor Ingrid Dormien Koudela with students of the Theater Degree Course. It can be noticed in this project the conception of staging as a pedagogic practice, and its essential part is in the existing relationship between the artistic creation...

‣ A imagem do artista e os diferentes públicos : um estudo de caso na 6ª Bienal do Mercosul

Araujo, Paula Langie
Fonte: Universidade Federal do Rio Grande do Sul Publicador: Universidade Federal do Rio Grande do Sul
Tipo: Dissertação Formato: application/pdf
Português
Relevância na Pesquisa
88.83737%
A imagem do artista e os diferentes públicos. Um estudo de caso na 6ª Bienal do Mercosul é uma pesquisa no campo da História, Teoria e Crítica de Arte que apresenta uma abordagem sociológica do estatuto do artista contemporâneo e visa analisar o quanto a construção e divulgação de uma “imagem” (entendida enquanto nome, conceito e reputação) em torno da figura do artista contemporâneo é importante para o seu desempenho profissional no atual sistema das artes plásticas. Baseando-se fundamentalmente em um estudo de caso realizado durante a 6ª Bienal do Mercosul, é questão central, neste trabalho, tentar compreender como o público que visita as bienais vê a figura do artista plástico contemporâneo. Para isso, são propostas as seguintes questões: Existe uma “imagem”, enquanto conceito, do artista? Essa imagem-conceito é veiculada em diferentes meios, como os de comunicação? Como essa imagem-conceito é encarada pelo próprio artista, pelo público especializado e pelo grande público? Como o público que freqüenta a Bienal do Mercosul se aproxima da imagem do artista contemporâneo? A dissertação foi dividida em 4 capítulos. Para enriquecer cada um dos 3 últimos capítulos, foram utilizadas entrevistas ordenadas em 3 grupos distintos. No primeiro capítulo...

‣ Art, Crime, and the Image of the City

Kaliner, Matthew Erik
Fonte: Harvard University Publicador: Harvard University
Tipo: Thesis or Dissertation
Português
Relevância na Pesquisa
97.72904%
This dissertation explores the symbolic structure of the metropolis, probing how neutral spaces may be imbued with meaning to become places, and tracing the processes through which the image of the city can come to be - and carry real consequences. The centrality of the image of the city to a broad array of urban research is established by injecting the question of image into two different research areas: crime and real estate in Washington, DC and the spatial structure of grassroots visual art production in Boston, Massachusetts. By pursuing such widely diverging areas of research, I seek to show the essential linkage between art and crime as they related to the image of the city and general urban processes of definition, distinction, and change. And yet, the research pursued here offers a mixed appraisal of strategies that pin urban prospects to image and image manipulation, from the great crime decline of the past two decades to the rise of the creative economy and application of urban branding campaigns. Across the analyses, I highlight tension between expectations of change and the essentially conservative forces of image. Far from rebranding the city, culture is shown to play a key role in locking in inequalities, undermining revitalization efforts...

‣ Performing process : the artist studio as interactive art; Artist studio as interactive art

Blackaller, Luis (Luis Eduardo Blackaller Bages)
Fonte: Massachusetts Institute of Technology Publicador: Massachusetts Institute of Technology
Tipo: Tese de Doutorado Formato: 127 p.
Português
Relevância na Pesquisa
57.847856%
Digital technology has radically changed human communication in the last few decades. The digital medium has pushed cultural artifacts towards forms defined by interaction, participation, and social systems. This thesis looks at recent changes of artistic practice in the realm of digital visual arts. In order to study the intersection between interactive art and the digital image, I will describe the design of an online participatory studio system, where an artist can perform the creative process and respond to remote feedback from audience participants at the same time. Such a system opens a conversation between artist and audience that will shed new light on how we can learn, understand and communicate boundaries in digital space and digital interactive art.; by Luis Blackaller.; Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.; Includes bibliographical references (p. 123-127).

‣ Vom Lukasbild zur Pictura-Allegorie. Die Ikonografie und Theorie der Malerei in der niederländischen Kunst der frühen Neuzeit; From St. Luke to allegories of Pictura. The iconography and theory of painting in the Netherlandish art of the early modern period

Andratschke, Claudia
Fonte: Universität Tübingen Publicador: Universität Tübingen
Tipo: Dissertation; info:eu-repo/semantics/doctoralThesis
Português
Relevância na Pesquisa
88.35991%
Die Arbeit untersucht die kunsttheoretische Reflexion innerhalb der niederländischen Malerei und Grafik des 15. bis 17. Jahrhunderts. Im Zentrum stehen Darstellungen des Künstlers, in denen die soziale und intellektuelle Stellung des Malers thematisiert und aufgewertet werden konnten. Dies sind zunächst die zahlreichen Gemälde und Grafiken des Themas „Lukas malt die Madonna“, die im ersten Teil unter besonderer Berücksichtigung des Lukaspatronats von Zünften und Bruderschaften analysiert werden. Der christlichen Tradition und Verortung des Malerberufs schließt sich im zweiten Teil die Untersuchung von Identifikationsfiguren, Motiven und Themen heidnisch-antiker Herkunft („Apelles malt Campaspe“, Zeuxis, Protogenes, Pygmalion, die Malerei im System der artes liberales et mechanicae, Merkurkinderbilder, Minerva, Hermathena) sowie von Allegorien im Zusammenhang mit der frühneuzeitlichen Erfindung der personifizierten Malerei (Pictura) an. Der dritte Teil wertet die zuvor untersuchten Bildinhalte mit Bezug auf die überlieferte soziale Stellung des Künstlers und die frühneuzeitliche Kunsttheorie beidseits der Alpen aus und zeigt die weitere Entwicklung der bildlichen Diskurse in Form von Pictura-Allegorien auf. Die verschiedenen ikonografischen Themen werden somit erstmals zusammenfassend unter sozialgeschichtlichen und kunsttheoretischen Aspekten behandelt. Der zeitliche Rahmen der Untersuchung reicht von Rogier van der Weydens Lukasbild (um 1430/35) bis zur Genese der Bildgattungen der gemalten Kunstkammer und des profanen Atelierbildes...

‣ FCL04 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 25 x 67 cm, photo lithograph BKF Rives 280gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FCL05 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 25 x 67 cm, photo lithograph BKF Rives 280gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FC03 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 112 x 224 cms, exhibition print, Ink Jet on Hahnemuhle Monet Canvas 410 gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FC02 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 112 x 224 cms, exhibition print, Ink Jet on Hahnemuhle Monet Canvas 410 gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FCL02 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 25 x 67 cm, photo lithograph BKF Rives 280gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FC14 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 112 x 224 cms, exhibition print, Ink Jet on Hahnemuhle Monet Canvas 410 gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FC04 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 112 x 224 cms, exhibition print, Ink Jet on Hahnemuhle Monet Canvas 410 gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FCL08 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 25 x 67 cm, photo lithograph BKF Rives 280gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ FC01 (part of the "Finger Codes" Series)

Gates-Stuart, Eleanor
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Still Image Formato: 112 x 224 cms, exhibition print, Ink Jet on Hahnemuhle Monet Canvas 410 gms
Português
Relevância na Pesquisa
57.48941%
Finger Codes is the title relating to the body of artwork produced by Eleanor Gates-Stuart as part of her artist residency at the University of California Santa Cruz. Using the fingerprint as a device for human identity, Gates-Stuart merged numerous reference information meshed into multiple grids and layers as a new visual translation of complex systems and network existence. Human fingerprints are translated into numerical symbols, coded through the artist's drawings and used as symbolic data. Patterns that merge are also to be lost, woven and undone again, in layers adding complexity in the language of code and information architecture. The artist strives for simple representation, the artworks to appear non-technological and seemingly painterly, a result that belies the underlying infrastructure and composition of this creative endeavour.

‣ View of the south gate and towers of the Cathedral of Saint John the Divine, Saint John, Antigua; The Bryant Slides Collection; The Bryant Slides Collection, Antigua

Unknown ( Photographer ); Fuller, J. ( Architect ); Cullen, Robert ( Artist )
Fonte: Universidade da Flórida Publicador: Universidade da Flórida
Tipo: still image Formato: 35 mm
Português
Relevância na Pesquisa
67.081523%
The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.; The Cathedral of Saint John the Divine, reconstructed in the 1840s, is an Antiguan landmarked located in the island’s capital Saint John’s. This Anglican Cathedral is part of the Diocese of the North East Caribbean and Aruba. In this image is the south gate of the church featuring statues of Saint John the Baptist and Saint John the Divine which were erected in 1789. Below the statue of Saint John the Divine is a woman crouched down resting her elbowing on a box. In the distance are Cathedral’s twin towers. One of the towers features a clock.

‣ "The perennial dramas of the East": Representations of the Middle East in the Writing and Art of Dante Gabriel Rossetti and William Holman Hunt

Mason, Deanna
Fonte: Quens University Publicador: Quens University
Tipo: Tese de Doutorado Formato: 2709149 bytes; application/pdf
Português
Relevância na Pesquisa
57.87266%
This dissertation studies depictions of the Middle East in the works of the Pre-Raphaelite Brotherhood. My discussion focuses on two prominent members of the Brotherhood—Dante Gabriel Rossetti and William Holman Hunt—and utilizes an interdisciplinary approach that examines the poetry, prose, unpublished correspondence and journals, sketches, watercolours, and oil paintings that they produced prior to 1856. I argue that Rossetti and Hunt make use of the Middle East as a repository for and reflection of the ambiguities and ambivalences of their own positions as avant-garde artists and authors. Chapters Two and Three focus on the work of Dante Gabriel Rossetti. Chapter Two examines Rossetti’s juvenilia in order to trace the ways in which the young author-artist uses the Middle East as a platform from which to work out the interplay between narrative and image, the conceptualization of the role of the author and artist, and the use of realistically depicted elements in religious painting. Chapter Three continues this discussion of Rossetti through an investigation of the 1850 edition of his poem “The Burden of Nineveh,” which centres on an encounter with an ancient Assyrian statue, and I argue that Rossetti links this artifact to the P. R. B. and uses it to critique the artistic ideals of mid-nineteenth-century England. The next two chapters shift to an investigation of William Holman Hunt’s first visit to the Middle East in 1854-6...

‣ Le sacré et la représentation de la femme dans le théâtre et la peinture symbolistes

Buatois, Isabelle
Fonte: Université de Montréal Publicador: Université de Montréal
Tipo: Thèse ou Mémoire numérique / Electronic Thesis or Dissertation
Português
Relevância na Pesquisa
57.76607%
L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres)...

‣ A Imagem e Semelhança : um estudo sobre a imagem da crinaça nas pinturas de Eliseu Visconti, Vicente do Rego Monteiro, Tarsila do Amaral e Lasar Segall; Image and Likeness : a study on child's image in the paintings by Eliseu Viscont, Vicente do Rego Monteiro, Tarsila do Amaral and Lasar Segall

Magali dos Reis
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 29/08/2007 Português
Relevância na Pesquisa
68.07942%
O estudo analisa a imagem da criança nas pinturas de Eliseu Visconti, Vicente do Rego Monteiro, Tarsila do Amaral e Lasar Segall. Compreende o período de 1890-1940 (aproximadamente), cujo eixo de problematização está na emergência de um movimento político, artístico e cultural. O período registra uma profunda mudança não só no papel social da criança, como também de sua representação nas artes plásticas, na literatura, na educação e no imaginário social. A arte sugere um ensaio de modulação da afeccionalidade social sobre a infância, o que permite trabalhar com aspectos ainda pouco explorados, no que diz respeito à imagem de crianças. Na pintura crianças tornam-se anjos, meninas enlaçam-se e enlaçam a composição da obra, corpos repousam sobre lençóis, meninos transfiguram a inquietude da puerícia. As paisagens são permeadas pelos enigmas da infância. As imagens da criança não são retratos de uma certa infância, o que faz a sua força é que elas são imagens políticas e inseparavelmente imagens de um inconsciente social, e sob esta ótica, são registros de corpos sempre falados, descritos e analisados por adultos, não tendo voz própria, sobre as formas como vêm sendo interpretados, expressos...

‣ The immediacy of the artist's mark in shape computation : from visualization to representation

Martino, Jacquelyn A
Fonte: Massachusetts Institute of Technology Publicador: Massachusetts Institute of Technology
Tipo: Tese de Doutorado Formato: 119 leaves
Português
Relevância na Pesquisa
77.734756%
Approaches to shape computation and algorithmic art-making within the fields of shape grammars and computer graphics still do not consider the immediacy of the artist's mark in drawing and painting. This research examines the canvas, or 2D picture plane, as the expressive and dynamic problem space of the artist who naturally reframes both the problem and the solution with each successive mark. The fluidity of the artist's mark is the most important element in transforming the blank canvas into an image. In this research, I use my own traditionally drawn and painted artwork as the baseline corpus for analysis. From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype "sketches" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally.; (cont.) I compare the results of the synthesis phase with my traditional sketches showing that it is possible to compute imagery consistent with the evolving style of the artist's own hand. Additionally...

‣ The science of digitizing paintings for color-accurate image archives: a review

Berns, Roy
Fonte: The Society for Imaging Science and Technology (IS&T) Publicador: The Society for Imaging Science and Technology (IS&T)
Tipo: Artigo de Revista Científica
Português
Relevância na Pesquisa
57.737876%
A review of the human visual system, the CIE L*,a*,b*color space and its use in evaluating color image quality, and digital image capture is presented,the goal of which is to provide background information for imaging professionals involved in creating digital image databases for museums, galleries, archives, and libraries. Following this review,an analysis was performed to determine the effects of bit depth, dynamic range,gamma correction,and color correction on the ability to estimate colorimetric data from R,G,B digital images with a minimum of error.The proper use of gray scale and color targets was also considered. Recommendations are presented for the direct digital image capture of paintings. Finally, a brief look into the future using spectral imaging techniques is presented.; RIT community members may access full-text via RIT Libraries licensed databases: http://library.rit.edu/databases/; This publication was written while the author was a Senior Fellow in Conservation Science at the National Gallery of Art, Washington; the Gallery’s financial support is sincerely appreciated. The author gratefully acknowledges the assistance of Janet Bliburg, Lorene Emerson, and Lyle Peterzell in collecting digital and conventional images...