Lynsey Martin: A case study in 1970s Australian experimental animation

Lynsey Martin’s short experimental Animations remain largely unknown internationally. His graphic 16mm films Approximately Water (4 minutes 1972), Whitewash (1973, 4 minutes), Interview (25 minutes 1973) and Leading Ladies (1975 5 minutes) are analysed for their technique and cultural position, artifacts of a productive if marginalized period of artist made films. These graphic films stand as critical works at the heart experimental filmmaking in Australia and speak through their design and production method to current trends in digital media. Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space. For martin his films deal with films deal abstraction and illusionism, elements of chance, the deconstruction of film language, the diary film and process as content. These films stand as historic aesthetic traces of an immediate hands-on approach to image making that came into crisis in Australia through the disappearance of technical education in the 1980s when Martin taught graphic design in technical schools.

A sonoridade do violão na execução musical : um estudo sobre os seus aspectos formadores e análise de duas gravações das Quatro Peças Breves de Frank Martin

A sonoridade é um aspecto importante para a execução violonística. Esse trabalho tem por objetivo estudar a sonoridade com um elemento da execução musical, entender os seus aspectos formadores dentro do âmbito técnico, textual e perceptivo, utilizando-se como exemplo duas gravações das Quatro Peças Breves de Frank Martin. Os resultado são discutidos à luz do embasamento teórico, fazendo-se considerações a respeito das possibilidades de execução musical e como a sonoridade do violão atua nesse contexto.

Brachymeria pandora (Crawford) (Hymenoptera: Chalcididae) as a New Parasitoid of Thyrinteina leucocerae (Rindge) (Lepidoptera: Geometridae) in Brazil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Hermenêutica existencial em Agostinho de Hipona e Martin Heidegger

The thesis presents interpretations of Augustine of Hippo with regard to the first three chapters of genesis, the first book of the Bible. These interpretation are found in the works Literal Commentary on Genesis, concerning Genesis Against the Manicheans, Literal Commentary on Genesis, Unfinished, Books Xi-XIII of the Confessions, as well a brief exposition in Books XI-XIV of the City of God. Exposition of these Augustinian Commentaries seeks to demonstrate various interpretations made by author in one group of texts revealing a hermeneutics centered in the interpreter and not in established interpretive rules. In sequence there is described succinctly the evolution of textual hermeneutics during the modern period up to the reflections conducted by Martin Heidegger in the first half of the twenties. Based in Heidegger s existential commentaries on the Pauline Epistles (Galatians and I-II Thessalonians) and on the tenth Book of the Confessions, there is shown a return to a interpreter-based hermeneutics, such as practiced by Augustine. The concern manifested by Heidegger with regard to given bases foundations, existent in Dasein, foundations which can influence self-comprehension, constitute themselves in possibilities of explication as much for Augustinian interpretive variations, as for the existential approach applied by Heidegger to the Pauline epistles and Augustine s text

O lugar no espaço: de Martin Heidegger para Eduardo Chillida

In preparing the book Art and Space - originally titled Die Kunst und der Raum (1969) - together with the work of Eduardo Chillida, and devote the text written to the sculptor, Heidegger seems to see in the works of Chillida some of his key themes rescued and reunited. This fusion of content and thought was revealed in his dialogue, at another moment, with the poetry of Friedrich Hölderlin. This dissertation aims to present some of the fundamental concepts in Heidegger's work, especially space, place and art; as well as explain the dialogue between these concepts and the works and thoughts of the sculptor Eduardo Chillida. Amongst the main points of this convergence of thought between the philosopher and the sculptor, we can find: the definition of art; the relationship of world and earth; the thinking about the place of art nowadays; and the meanings of interspace, to incorporate and make the space positive