Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Validating the relationship between 3-dimensional body acceleration and oxygen consumption in trained Steller sea lions

We tested the ability of overall dynamic body acceleration (ODBA) to predict the rate of oxygen consumption ([Formula: see text]) in freely diving Steller sea lions (Eumetopias jubatus) while resting at the surface and diving. The trained sea lions executed three dive types-single dives, bouts of multiple long dives with 4-6 dives per bout, or bouts of multiple short dives with 10-12 dives per bout-to depths of 40 m, resulting in a range of activity and oxygen consumption levels. Average metabolic rate (AMR) over the dive cycle or dive bout calculated was calculated from [Formula: see text]. We found that ODBA could statistically predict AMR when data from all dive types were combined, but that dive type was a significant model factor. However, there were no significant linear relationships between AMR and ODBA when data for each dive type were analyzed separately. The potential relationships between AMR and ODBA were not improved by including dive duration, food consumed, proportion of dive cycle spent submerged, or number of dives per bout. It is not clear whether the lack of predictive power within dive type was due to low statistical power, or whether it reflected a true absence of a relationship between ODBA and AMR. The average percent error for predicting AMR from ODBA was 7-11 %, and standard error of the estimated AMR was 5-32 %. Overall, the extensive range of dive behaviors and physiological conditions we tested indicated that ODBA was not suitable for estimating AMR in the field due to considerable error and the inconclusive effects of dive type.

Sounding loneliness in under the skin

How one affectively sounds loneliness on screen is dependent on what instruments, melodies, voices and sound effects are used to create a sonic membrane that manifests as melancholy and malcontent. It is in the syncretic and synesthetic entanglement that sounding loneliness takes root. It is in the added value inherent in the “sound-image” – to draw upon Chion1 – that loneliness fully emerges like a black dahlia. So many lonely people, where do they all come from? And yet, as I will suggest, this sounding loneliness is not only textually specific, simply or singularly driven by narrative and generic concerns, but is historically contingent and nationally and culturally locatable. For example, the sounds of urban isolation of the American 1940s film noir are different from the Chinese peasant laments of Chen Kaige’s Yellow Earth (1984), or what I will presently argue are the British austere strings of sounding loneliness today. When one employs a “diagnostic critique”2, one undertakes to find the history in the text and the text in the history. It is in the interplay between sound and image that historical and political truth emerges. These contextualised and historicised soundings change across and within national landscapes and their related imaginings. We don’t just see the crumbling walls of the imagined nation state, but get to hear its desolate tunes: The Specials wailing “Ghost Town” – the anthem of/to Margaret Thatcher’s first wave of 1980s neo-liberalism – is a striking case in point. But what specifically is this contemporary “sounding loneliness”, and where does it come from? I would like to suggest that this age of loneliness is composed in, through and within the sonic vibrations found in the wretched politics of austerity. My case study will be the anomic soundings of Jonathan Glazer’s Under the Skin (2013).

Materials Collection Creation and Administration: A New Role for Libraries (White Paper)

The Problem/Opportunity: To define, identify, and guide design-based materials collections in academic settings and foster community among those with existing collections and/or those considering creating and supporting one. Contents and topics: What is a materials collection? Why have a materials collection? Acquisition strategies Organizational approaches Programming possibilities Symposium summary Resources

William Gaddis's aesthetics of recognitions

William Gaddis’s The Recognitions (1955) is a selfreflexive novel that portrays Wyatt Gwyon’s trajectory from childhood to maturity, as he rejects and searches for originality. The present work bestows an analysis of William Gaddis’s The Recognitions focusing on the problematization of originality and authorship proposed by the novel by means of the central issues of forgery and plagiarism, which bring with them two larger and more important sister-notions: authorship and originality. The novel questions the prevailing demand for originality and discusses the possibility of being original. It formulates an aesthetics of recognitions defended in the novel and used by the author in the making of this text. In order to do that, this work provides a view on the different concepts associated with the terms originality and original, as well as some of the main infringements related to them in contemporary society. It also offers an account of the development of the concepts of originality and authorship in Western society, showing the growing importance of the figure of the author and the parallel development of the concepts of plagiarism and copyright. The next three chapters are dedicated to attempt to provide an account of William Gaddis’s The Recognitions focusing on the main artist characters and an analysis of the novel in the light of the theoretical and historical background provided. The first of these chapters focuses on Wyatt’s trajectory and his visions of art. The second identifies and analyses Wyatt’s mirrors in the narrative, which reinforce the self-reflective structure of the novel. And the third chapter exemplifies and analyses Wyatt’s aesthetics of recognitions, which turns out to be Gaddis’s own aesthetics in the making of his fiction.

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Occurrence, morphology and ultrastructure of the Dufour gland in Melipona bicolor Lepeletier (Hymenoptera, Meliponini)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Teatro Ventoforte de 1985 a 1995: a formação de um artista e arte-educador

Pós-graduação em Artes - IA

Pintura e objeto

Pós-graduação em Artes - IA

A relação entre Música e Poesia nas canções para Voz Aguda e Piano de Bruno Kiefer

Pós-graduação em Música - IA

Oscar Wilde: teoria e prática

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estado, direito e politícas públicas: um estudo sobre a incidência normativa na educação superior a partir da Constituição Federal de 1988

O presente estudo teve como objeto central analisar as políticas públicas exaradas pelo Estado brasileiro, via espécies normativas para a educação superior. Tendo como categorias de análise a autonomia da universidade, e o financiamento da educação superior. A pesquisa parte da premissa de que as políticas públicas têm sido materializadas a partir de normas jurídicas. Assim, investigamos o Estado brasileiro, as políticas públicas por ele emanadas por meio de espécies normativas e suas implicações na educação superior. O estudo foi realizado por meio de pesquisa bibliográfica que consistiu num levantamento minucioso do ordenamento jurídico elaborado pelo Estado brasileiro para a educação superior a partir da Constituição Federal de 1988 até o ano de 2006. Detectamos que após a CF/88, no que concerne à autonomia da universidade e ao financiamento da educação superior, foram aprovadas quarenta e quatro normas jurídicas, sendo duas Emendas Constitucionais, onze Leis, três medidas provisórias, nove Decretos, dentre outras espécies normativas, que contribuíram para alterar de forma profunda o texto constitucional. No desenvolvimento do estudo iniciamos com a discussão sobre o Estado com vistas a estabelecer relações com o direito e as políticas públicas. Em seguida, traçamos uma contextualização histórica de todas as Constituições brasileiras, mas com ênfase no processo de redemocratização iniciado em 1974 e que culminou na CF/88, cuja característica essencial foi sua definição como a Carta Magna mais democrática que se tem nota no Brasil. Dessa carta, analisamos os artigos que inferem sobre a autonomia universitária e o financiamento da educação superior. Com base na discussão sobre o Estado regulador brasileiro e nas indicações fornecidas pela ciência do Direito constitucional, realizamos a análise da legislação pós-constitucional que define as políticas para a educação superior brasileira direcionada ao financiamento desse nível de ensino e à autonomia da universidade. Tendo como referência o texto constitucional, discorremos sobre o instituto jurídico do controle de constitucionalidade. O estudo apontou que grande parte das normas jurídicas infraconstitucionais, que regulamenta a educação superior brasileira, atua contra legem mater, quando, por exemplo, dispõe contra o art. 207 ao interferir sobre a escolha de dirigentes universitários, ferindo a capacidade da universidade se auto-legislar sobre assuntos que lhe são próprios, ou quando desvincula percentuais assegurados para o financiamento da educação superior, no caso da emenda constitucional de revisão n. 1/1994 e Emenda Constitucional n. 10/1996, ferindo princípios constitucionais e reproduzindo interesses do Estado capitalista neoliberal. O estudo apresenta contribuição para o campo das políticas públicas educacionais, vez que possibilita reflexões sobre a forma pela qual o direito público subjetivo à educação, assegurado no texto constitucional, vem sendo negado sistematicamente e de forma sucessiva pelos governos pós CF/88 que adotam o modelo de Estado neoliberal.

Monitoramento do desempenho de diferentes tecnologias de módulos fotovoltaicos

Este trabalho consiste na avaliação experimental de 13 módulos fotovoltaicos de 5 diferentes tecnologias. Para isso foi instalado na área externa do laboratório do Grupo de Estudos e Desenvolvimento de Alternativas Energéticas na Universidade Federal do Pará um campo de testes para medição de módulos a sol real, com os testes realizados no período de 21/10/12 a 30/08/2013. Essas medições possibilitaram a aquisição das principais variáveis de interesse nessa aplicação que são: irradiação solar, temperatura da parte posterior dos módulos, tensão e corrente elétrica e curva IV. A partir dessas medições foram calculados parâmetros como eficiência, desempenho global, produtividade, entre outros. Essas grandezas determinam as cacterísticas de geração dos módulos fotovoltaicos e são fundamentais para se entender seu funcionamento, sendo elas apresentadas detalhadamente na forma gráfica ao longo deste trabalho. Além dos dados experimentais, o estudo traz como contribuição um panorama geral sobre o estado da arte de módulos fotovoltaicos, experiências adquiridas durante o período de monitoramento, características do sistema de aquisição de dados desenvolvido e uma análise da influência de sombreamento no desempenho dos módulos fotovoltaicos.

Una lapide in via Mazzini: os sofrimentos em Auschwitz e os desafios da tradução

Giorgio Bassani in his book Una lapide in via Mazzin seeks to show to the readers all the sufferings passed by Italians during the Second World War and emphasized those persists until today. Aiming to make an unprecedented translation of this tale, it is expected that the text provides us great experiences in the language and we could see the actual difficulties and differences with the Portuguese language, despite being considered these languages closed ones. The objective of this work is to produce a translation that allows us to transmit all anxieties and reflections suffered by the main character of the tale. After the war, the survivor of the concentration camp can go back to your city. He appears exactly at the moment is being placed a headstone on the synagogue wall in homage to Jews deported and killed in the camps. Given the gaunt figure of the man with his striped pajamas, the population is driven to rethink their own indifference and , in a way, its share of blame. Thus, the return should be celebrated is rejected and the figure of the survivor becomes a nuisance. The function of the headstone is actually and literally put a stone on the story. To achieve the proposed objective for this work, we analyzed all the chapters of the story Una lapide in via Mazzini and tried to find equivalents in Portuguese. However, we not ignored the traces of meaning that Giorgio Bassani invested in his work. Therefore, it was necessary to use both printed and virtual dictionaries. With the advancement of the translation work, we realized the difficulty of finding appropriate solutions to achieve the desired effect . The fidelity proposed by the author became increasingly difficult as our work progressed. In the course of all the discussions, it was concluded that , in fact , when it comes to translation, maintaining fidelity to the original text in a foreign language is a difficult and laborious process