Instâncias da representação imagética hiper-real

The approach that undertakes this work revolves around the emergence of iconic structures on reflecting about the meaning of different methods of image representation through which the contemporaneity reveals itself. At baseline, three aspects are considered looking for an analytical ontology of the act of representation and imagery: the transition of representation in the oral culture of societies for writing, from these to typography, and finally the creation of a representation device. Resorted to, therefore, the argument by some genealogy reference points that technological instances such as writing, printing and photography, the evolution of this process, correspond, in itself, a consequent shift technique, for each representation precedent. In the area of the image, the most salient aspect of this change in foward process is the emergence of hyper-reality: the instances of hyper-realistic representation. In the Western context, the 'simulation of the world' - essential idea of mimesis is the work of an autonomous an conventional system. It should be noted, then the fact that under unreflective of the post-industrial societies, the mass-media image is coating with natural or fake code including - according to Baudrillard - tends to replace the real world in the "perpetuation of a large chain of simulacra." Hence in modern times, in the postindustrial society, during the crisis of the representation regimen and perception, centered in the referent. In this limit, new settings are established by aesthetic representations of imagery in contemporary culture: establishing spaces of simulation [Jean Baudrillard] the spectacle [Guy Debord] and hypermodernity [Gilles Lipovetsky] in which they operate. In these assemblages, saps the emergence of Hyper-reality Representation Instances - as seen in this study aesthetic events to configure itineraries of a new sensibility. It is the nature of this practice sign-iconic, ingrained in the creation of current artistic expression, which this research engaged in peering: the hyper-realistic setting, taking empirical support central to contemporary imagery production, diverse formats of analog representation.

O mundo criado pelas imagens: paisagens e espaços coloniais na obra do holandês Frans Post

The aims of this dissertation is to study formation of the Dutch view seeing the colonial scenery in screens by Frans Post, as well as, to perceive a colonial world constitution through landscape paintings by him with his natural and human representation. The artist was the first to portray South American views, after he landed in Pernambuco with retinue of Dutch governor of colony, John Maurice, Prince of Nassau-Siegen. Post, by his 24 years old, was designated to represent for Dutch people their colony. The text reflects on visual construction of natural and human aspects in landscapes by Dutchman and how that aspects were included in colonizer imaginary about the strange world of America. European (Dutch) look about their conquered possessions in the New World was charged with exoticism and imagination. In order to understand that view, it`s paramount to study imaginary pictures reared by Frans Post, on his return to the Netherlands, and notions of landscape and exotic, wild and unspoiled nature which the Dutch people had when they thought about the Dutch colony in America. Our principal (visual) sources of research are six paintings: Vista da Sé de Olinda (1662), Vista das ruínas de Olinda (undated), Engenho (undated), Engenho (1660), Vista da cidade Maurícia e do Recife (1653), e Paisagem com rio e tamanduá (1649), all these canvases were painted when Frans Post returned to Europe. We seek to work through a methodology that focuses on investigation of primary visual and textual material, because these textual and pictorial representations reflect the 17th-century colonial view of colonial history themes of the - here called - Dutch America