En el principio era Távora - : itinerario para la transmisión de una síntesis arquitectónica

La tesis afronta el análisis del itinerario vital de Fernando Távora, una vida entregada apasionadamente a una causa de refundación estética y conceptual de una arquitectura portuguesa condenada a la mediocridad y al ostracismo en el momento en que empieza a ejercer la profesión. La investigación se adentra en todos los aspectos que convergen en su dedicación al logro de aquella misión, pues la que él mismo probablemente llamaría orteguianamente su circunstancia, resulta inseparable de su pensamiento y de su obra. Se pretende establecer la riqueza y complejidad de la figura de Fernando Távora y su importancia como punto de inflexión en la evolución de la arquitectura portuguesa, que ha llegado a alcanzar el reconocimiento internacional en las últimas décadas, fundamentalmente a partir de la consagración de Álvaro Siza Vieira y la denominada Escuela de Oporto. Desde una posición de absoluta autonomía respecto de lo que acontece dentro y fuera de las fronteras portuguesas, su labor se distinguirá por su singularidad teórica y arquitectónica, no dejando por ello de influir decisivamente en su entorno cercano. Dos manifiestos escritos, el juvenil O problema da Casa Portuguesa y el posterior Da Organização do Espaço son elementos estructurantes de un pensamiento teórico que germina en una obra construida inseparable de aquel, de cuya coherencia dan testimonio los aquí considerados verdaderos manifiestos proyectuales del arquitecto. Efectivamente, se analizarán detalladamente como tales la Casa sobre o Mar –manifiesto inicial-, el Pabellón de Tenis –manifiesto de confirmación- y la Casa dos 24 -manifiesto final-, proyectos que vieron la luz en diferentes etapas de su trayectoria y constituyen la aplicación práctica de sus teorías en una sintaxis magistral. En estos tres proyectos es donde verdaderamente la tesis cobra cuerpo, pues suponen el reflejo de la verdadera aportación del arquitecto al pensamiento arquitectónico europeo, la foto fija de la proclamación de resultados de un proyecto arquitectónico integral en momentos muy significativos de su itinerario vital, cuya complejidad se entiende a través de las fases más descriptivas de este documento. Se mostrará cómo para acometer su proyecto integral de arquitectura, una causa de regeneración de la arquitectura portuguesa a partir de la síntesis entre modernidad y tradición, entre universalidad y localidad, tomaría de sus dos personajes más admirados, Le Corbusier y Pessoa, la fuerza moral y la energía que le permitieron acometer apasionadamente tamaña misión. En una infatigable búsqueda en lo global y lo local, Távora conseguirá prestar gran atención al contexto del lugar de intervención sin renunciar a sus convicciones modernas, introduciendo la historia y el dibujo como herramientas de conocimiento del mismo y posteriormente del proceso creativo. El método proyectivo resultante de este modelo, que transmitirá a través de su ejercicio docente a sucesivas generaciones de arquitectos, se convertirá en elemento estructurante de una tendencia surgida de las aulas portuenses, que la crítica internacional acabará denominando Escuela de Oporto en un sentido más amplio. Por su importancia dentro del itinerario profesional del[os] arquitecto[s] portuense[s], las fases más destacadas de su evolución a partir de los años 50 se analizarán en paralelo a una serie de obras representativas de diferentes momentos de la trayectoria de Fernando Távora. En este itinerario vital, a pesar de la originalidad de su pensamiento y su obra, se atisban ciertos paralelismos con grandes arquitectos del siglo XX, que esta tesis afronta. Se puede distinguir entre influencias pasajeras de algunos maestros modernos en los que Távora buscaba la confirmación a sus propias teorías, similitudes con arquitectos coetáneos cuya obra conoció y a los que se encontró cercano por la convergencia de algunos de sus criterios e incluso sorprendentes coincidencias con arquitectos desconocidos para él, entre las que cabe destacar la de los maestros de la Escuela de Madrid Alejandro de la Sota y Javier Sáenz de Oiza. Por último, en una alegoría con los heterónimos de Fernando Pessoa, se analiza desde una perspectiva personal fruto de la investigación y de las entrevistas mantenidas con todos ellos, la importante labor de Álvaro Siza Vieira, Alexandre Alves Costa y su hijo José Bernardo Távora como agentes coadyuvantes en la consecución del proyecto integral de arquitectura [y vida] de Fernando Távora. Sin lugar a dudas, Álvaro Siza constituye el personaje fundamental e imprescindible para que la arquitectura portuguesa alcanzase la privilegiada consideración que en la actualidad ostenta en la escena internacional. Un arquitecto consagrado que ocupa ya, y ocupará siempre, un lugar privilegiado en la breve lista de maestros míticos e irrepetibles de la arquitectura contemporánea. Con todo, cabe afirmar con la paráfrasis bíblica que da título a la tesis que ‘En el principio era Távora...’ ABSTRACT This thesis addresses the analysis of Fernando Távora’s life journey, a life that was passionately devoted to the cause of aesthetically and conceptually overhauling Portuguese architecture, which was doomed to mediocrity and ostracism at the time when he started practicing professionally. This research delves into all aspects converging in his dedication to achieving that mission, since what he himself would probably call his circumstance – in the manner of José Ortega y Gasset – is inseparable from his thinking and his work. This thesis seeks also to establish the richness and complexity of Fernando Távora’s figure and his importance as a turning point in the evolution of Portuguese architecture, which has gone on to achieve international recognition in recent decades, especially after the consecration of Álvaro Siza Vieira and the so-called School of Oporto. From an absolutely autonomous position with regard to what is happening within and outside Portuguese borders, his work will stand out due to its theoretical and architectural uniqueness – this not being a reason to prevent its decisive influence on his close surroundings. Two written manifestos, his early O problema da Casa Portuguesa and his subsequent Da Organização do Espaço, become structural elements of the theoretical thinking that develops into works which are built in parallel with the former. The coherence of this thinking is reflected on the hereby considered the architect’s true project manifestos. Indeed, we will analyse as such the Casa sobre o Mar (initial manifesto), the Tennis Pavilion (confirmation manifesto) and Casa dos 24 (final manifesto), projects which saw the light at different stages of his career and constitute the practical application of his theories in a masterful syntax. These are the three projects where the thesis takes shape, as they become the reflection of the architect’s true contribution to the European architectural school of thought; the still picture of the results proclamation of a whole architectural project at highly significant moments in his life journey, whose complexity can be understood through this document’s most descriptive phases. This study will show how, in order to carry out his architectural project – regenerate Portuguese architecture by synthesizing modernity and tradition, universality and locality –, Távora would take the moral strength and energy from his two most admired figures, Le Corbusier and Pessoa, allowing him to passionately undertake such a colossal mission. In a tireless search within the global and the local, Távora will manage to pay more attention to the context of the intervention place without compromising his modern convictions, by introducing history and drawing as knowledge tools of the place and eventually of the creative process. The resulting projective method of this model, which he will transmit to successive generations of architects through his teaching, will become a structural element of a trend emerged from the Oporto classrooms which international critique will end up denominating School of Porto in a broader sense. Due to its importance within Porto architect[s]’ professional career, the most prominent phases of its evolution as of the 50s will be analysed in parallel to a series of representative works from different moments in Fernando Távora’s career. Despite the originality of his thinking and his work, certain parallelisms with great architects from the 20th century can be found in Távora’s life journey, which this thesis will address. Amongst temporary influences of some modern masters in whom Távora sought confirmation of his own theories, similarities can be spotted with contemporary architects whose work he knew and to whom he felt close because of the convergence of some of his views. It is also possible to see surprising coincidences with architects he did not know, such as Alejandro de la Sota and Javier Sáenz de Oiza, masters from the School of Madrid. Finally, in an allegory with Fernando Pessoa’s heteronyms, this thesis studies – from a personal perspective based on research and the interviews held with all of them – the important work of Álvaro Siza Vieira, Alexandre Alves Costa and his son Jose Bernardo Távora as auxiliaries in the achievement of Fernando Távora’s complete architectural [and life] project. Without the slightest doubt, Álvaro Siza constitutes the essential figure thanks to whom Portuguese architecture would reach the advantaged position it holds nowadays in the international arena. An acclaimed architect, Siza already holds a privileged spot in the brief list of legendary and unrepeatable masters of contemporary architecture. Nevertheless, with the biblical paraphrase that entitles this thesis it can be claimed that ‘In the beginning was Távora…’

Influences of psychological and experiential processes in paintings of Sheila Sobol

"For a number of artists, the activity of making. art is an inquiry into: the nature of art, the true nature of reality, and the execution of artistic ideas. This inquiry ·is benefited by recognizing psychological processes and theories, subjectl.ve and external experiences, and technical and aesthetic knowledge. The "creative process" contains this inquiry and can be likened to a hinge which connects the art produced and the artist"

Impure Memory, Imperfect Justice: A Comparison of Post-Repression Fiction Across the South Atlantic

Thesis (Ph.D.)--University of Washington, 2016-06

The influence of memory for prior instances on performance in a conflict detection task

In 3 experiments, the authors examined the role of memory for prior instances for making relative judgments in conflict detection. Participants saw pairs of aircraft either repeatedly conflict with each other or pass safely before being tested on new aircraft pairs, which varied in similarity to the training pairs. Performance was influenced by the similarity between aircraft pairs. Detection time was faster when a conflict pair resembled a pair that had repeatedly conflicted. Detection time was slower, and participants missed conflicts, when a conflict pair resembled a pair that had repeatedly passed safely. The findings identify aircraft features that are used as inputs into the memory decision process and provide an indication of the processes involved in the use of memory for prior instances to make relative judgments.

The role of software tools in influencing creative problem solving in engineering design and education

Creativity is increasingly recognised as an essential component of engineering design. This paper describes an exploratory study into the nature and importance of creativity in engineering design problem solving in relation to the possible impact of software design tools. The first stage of the study involved an empirical investigation in the form of a case study of the use of standard CAD tool sets and the development of a systems engineering software support tool. It was found that there were several ways in which CAD influenced the creative process, including enhancing visualisation and communication, premature fixation, circumscribed thinking and bounded ideation. The tool development experience uncovered the difficulty in supporting creative processes from the developer's perspective. The issues were the necessity of making assumptions, achieving a balance between structure and flexibility, and the pitfalls of satisfying user wants and needs. The second part of the study involved the development of a model of the creative problem solving process in engineering design. This provided a possible explanation for why purpose designed engineering software tools might encourage an analytical problem solving approach and discourage a more creative approach.

A OAB no processo de transformação da sociedade brasileira: a seccional potiguar como espaço de redemocratização (1979-1988)

The period known as the Military Dictatorship (1964-1985) was a period of history marked by Brazil's control of state power by the Armed Forces together, this started with the Civil-Military Coup of April 1964. Was characterized as a time where political freedoms of expression and were placed in check by authoritarian and repressive measures taken by the military governments. The sectional potiguar of the Ordem dos Advogados do Brasil (OAB / RN), and the Federal Council of the institution, supported the establishment of this scam, but from the 1970s undertook measures that sought to corroborate the struggles around democracy the country, which has consolidated its image as a defender of democratic order. With the title inspired by the XII Meeting of OAB in October 1988, the research aims to analyze the participation of OAB / RN and its members within the Brazilian democratization. This analysis begins in 1979 with the participation of the entity in discussions Amnesty Policy to the promulgation of the 1988 Constitution, since the Constitution is the beginning of a full rule of law. We seek to understand the object as a space for democratization, combining the concepts of History, Memory and Politics. In the analyzes are guided theoretically by Jacques Le Goff, Pierre Nora, Maurice Halbwachs, Pierre Bourdieu and Hannah Arendt. Be rebuilt the period of democratic rule in the land potiguares birthing shares of OAB / RN, particularly in the following events: Amnesty Policy 1979, the mobilizations around the campaign of "Direct Now" and the 1988 Constitution We make use of legislation. minutes, papers and interviews built on Oral History.

Belmiro Borba, um homem de abismos: um personagem em conflito sob o prima da melancolia na obra O amanuense Belmiro, de Cyro dos Anjos

This master‘s thesis presents an analytical reading of Cyro dos Anjos (1906-1994)‘s novel O amanuense Belmiro (1937) and its main objective is to analyze the way some aspects of melancholy, together with the notion of memory, diary writing as well as time permeate all the narrative of this unique book in the Brazilian literary scenario. Anjos‘ novel is an atypical work in the fiction of the 1930s as it is considered a dissonant voice compared to the regional and social productions of the time it was published. Among other themes, the book depicts the relationship of man with life; the present and the past; love and frustrations and the hero in search of itself. Belmiro Borba, character-narrator, is a sentimental man, often handicapped by his inner life. For this matter, Borba decides to write a book in order to register his stories, memories, feelings, meditations and illusions. From this perspective, this research aims to deal with issues related to the aesthetics of melancholy, especially its relationship with the creative process, which belongs to Borba‘s attempt to write literature. Throughout our academic research, we used the work of Aristotle (1998), Lambotte (2000), Benjamin (2011) and Kristeva (1989) to articulate relevant issues of melancholy; Halbwachs (2006) on the concept of memory, among other theorists who were essential to the completion of this study.

Beyond Black and White: The grisaille exterior of the Netherlandish triptych

This thesis is a study of fifteenth- to mid sixteenth-century Netherlandish triptych exteriors, focusing on the so-called ‘grisaille’ technique. During this period, altarpieces produced in the Low Countries were typically constructed in a tripartite format with folding wings. This arrangement created the opportunity for pictorial representations on both sides of the hinged panels. Painters emphasized the distinction between the triptych’s two faces by executing the exteriors in a strikingly more subdued palette than the interiors. Particular iconographic subject matter was favoured for grisailles, which often depict the Annunciation or saints that reflect the triptych’s patronage or intended location. Jan van Eyck was notable for his emphasis on imitating stone statuary and created three important grisailles, one of which would influence triptych exteriors for years to come. Hieronymus Bosch, an artist working at the turn of the sixteenth century, also brought innovation to his grisailles, further expanding the potential of these reduced-palette paintings. This thesis examines the creative process involved in the production of grisailles and compares the underdrawings of triptych exteriors to those of the corresponding polychromatic interiors. In this study, grisailles are situated in their context as part of multifaceted artworks as well as within the broader church environment. New infrared reflectograms were generated using Queen’s OSIRIS infrared camera to document works in Belgium and the Netherlands. While some aspects of underdrawings could indicate that the figure was meant to imitate statuary, this distinction was not directly linked to triptych exteriors and was related instead to efforts at a trompe-l’oeil effect. Such attempts at mimicry can also be found on triptych interiors. Through a close examination of the underdrawing stage of these paintings it appears that this part of the creative process was not distinguished in any significant way from the underdrawings of triptych interiors.

The Uses of Print and Writing in Eighteenth Century European Ballet: the Case of The Letters on Dancing and Ballets by Jean-Georges Noverre

This article aims to study the uses of print, especially the Letters on Dancing and Ballets by Jean-Georges Noverre, throughout the emergence of pantomime ballet in the late eighteenth century. Noverre’s discourse is directly associated with a project to revitalize the art of dance. In this sense, books as an object are not only a support for the new aesthetic discourse, but a tool with multiple uses. It simultaneously seeks to modify the spectator’s view of the scene, legitimize the success of the new theatrical genre and value the ballet master profession.

El declive de la memoria en "Tu rostro" mañana de Javier Marías: la escritura revivida

Este trabajo tiene como objetivo estudiar los diferentes estados mentales de los personajes de las novelas de Tu rostro mañana, de Javier Marías. Estudiando las reflexiones del narrador sobre J. Deza, Peter Wheeler o Francisco Rico observamos que su decadencia mental se muestra a través de una suerte de ―presciencia‖ o lucidez momentánea que puede servir para mostrar el silencio como única tendencia de todo discurso. Desde el momento en que toda historia de ficción se cimenta sobre un discurso –no importa su cauce de presentación, ni su fuente– este es falsificado por el tiempo, la gente y cualquier otra herramienta que pueda ser utilizada para contar nada. Las conclusiones de este trabajo muestran la quimera que implica tratar de mantener una contención absoluta sobre lo acaecido, pues dicho vacío de narrativas será ocupado por una suplantación que suele ser el reverso más infame de sus actores. Es por ello que el narrador J. Deza sigue conminado a explicar sus historias, incluso allí donde uno diría que ya no puede haber ni palabras suficientes para traducir un hecho en ficción.

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Pedaços

This is a 50 minute solo performance work. Created by Magda Miranda and Rea Dennis Directed by Rea Dennis Performed by Magda Miranda Entitled 'Pedaços' - a Portuguese word meaning pieces or fragments, the performance is built on fragments: of text, of memory, of artifacts collected over a life, of cultural identity that is fractured through the passages of life, migration, the death of family members, and even ageing. Part of Dr Dennis' practice-led research the inquiry explores the way memory intersects with creative process, including spontaneity and decision making, when devising for theatre. Following a post-doc line of inquiry which yielded two previous works: Apart of and A Part From (2007) and Train Tracks and Rooftops (2010) in which Dennis performed and directed. The current work shifts focus to my work in a directorial role alone. It is performed by Magda​ and informed by her memory.

Fallen Awake

Photo from process: David Megarrity, albury 2007 - example of convergence of writing/design/perfomance/video RESEARCH COMPONENT Fallen Awake was a practice-led research process that opened the development process to the influence of collaborative authorship across artforms. The project focused on of how multiple artforms and artists converge their vision into a singular text, in the context of collaborative authorship. The work also uncovered new questions relating to the dream-life of children. The stimulus for the work was a selection of verbal statements by three-year-olds, raising complex ethical questions as the project progressed about the child’s voice, mediated by the adult artist, for the eventual presentation to a child audience. With the text emergent and open to influence, this project raised other questions related to the lived experience of children, dreaming, creative play and the development of consciousness. It pushed the creative process to experiment with associative, rather then causal narratives, and to negotiate the challenges this raises for traditional story structures and the development processes that usually shape them. It led to the consideration of each artforms and artist as equal contributors in the development of story: traditionally the province of the sole author. The outcomes appeared in various artforms, none of which was live-performance based. An ‘artist’s book’ by the designer, a ‘video treatment’ - a DVD capturing the approach to the performance and a script for an innovative large-scale performance. Fallen Awake was developed with the assistance of Strut & Fret Production House, Arts Queensland, and HotHouse Theatre, Albury Wodonga, through their ‘Month in the Country’ initiative.

The effective and the evocative : reflecting on practice-led research approaches in art and design

Early in the practice-led research debate, Steven Scrivener (2000, 2002) identified some general differences in the approach of artists and designers undertaking postgraduate research. His distinctions centered on the role of the artefact in problem-based research (associated with design) and creative-production research (associated with artistic practice). Nonetheless, in broader discussions on practice-led research, 'art and design' often continues to be conflated within a single term. In particular, marked differences between art and design methodologies, theoretical framing, research goals and research claims have been underestimated. This paper revisits Scrivener's work and establishes further distinctions between art and design research. It is informed by our own experiences of postgraduate supervision and research methods training, and an empirical study of over sixty postgraduate, practice-led projects completed at the Creative Industries Faculty of QUT between 2002 and 2008. Our reflections have led us to propose that artists and designers work with differing research goals (the evocative and the effective, respectively), which are played out in the questions asked, the creative process, the role of the artefact and the way new knowledge is evidenced. Of course, research projects will have their own idiosyncrasies but, we argue, marking out the poles at each end of the spectrum of art and design provides useful insights for postgraduate candidates, supervisors and methodologists alike.