Sincretismo cultural na joalheria afro-brasileira

Body adornment has been used as a ornament, ritualistic object, religious icon or as symbol demonstration of status and power in many different cultures. In Brazil, own visuality develops from the cultural syncretism. Thus, together with the mode of dress, the african-Brazilian jewelry acquires peculiarities derived from cultural identities that coexist. This paper proposes a look at africanBrazilian jewelry through visual representation in some works of Jean-Baptiste Debret - French painter member of the French Artistic Mission that registered objects and everyday scenes of slaves and freemen, of poor whites and aristocrats of Rio de Janeiro in the early nineteenth century. We are looking for jewelry as a historical record of lifestyles from a time and place with a social, economic and cultural local configuration.

Bioarte: inferências e aplicabilidades nos campos da arte e suas intersecções biotecnológicas

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

Alguns procedimentos na poética de João Cabral e sua relação com a poesia contemporânea (década de 80 e 90)

Pós-graduação em Letras - IBILCE

Videoaulas de escrita/redação científica na internet: um estudo bakhtiniano

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Centelhas de uma cidade turística nos cartões-postais de Jaeci Galvão (1940-1980)

The postcard is a medium that has gained popularity at the time that the picture was linked to its support. It circulated favoring mainly the views of the cities and composed a triad between landscape, photography and tourism. The visuality that loads is among signs of representations, relationships, forms of collective consciousness and ways of seeing the world. In Natal, the photographer Jaeci Emereciano Galvão registered urban and social transformations focusing on interventions that emphasized urban centres as social space and progress and nature as a space for contemplation and enjoyment. They are images with social and cultural issues very clear, since the picture is from a process of creation that is all about choices and decisions about what deserves to be photographed. Therefore, the aim of this research by investigating the role of photographs evidenced in Jaeci’s postcards, with a view to inclusion of tourism in the spaces of Natal and the visuality assumed in the context of their own identity. The theoretical framework that makes up the discussions about the landscape, the city's tourism and photographic representation in postcards emerged from the literature of Schama (1996), Corbin (1989), Cosgrove (1998), Benjamin (1987), Kossoy (2003; 2006; 2009) and Souza Martins (2009), which gave grants to interpret and understand the symbolic construction presented in the postcards. Methodologically the work was done through research in archives, newspapers, postcards of the survey, interviews, iconographic and iconological analyses proposed by Kossoy. At the end, it was concluded the Jaeci Galvão’s postcards established themselves as essential elements for symbolic landscapes of tourism in Natal.

As paisagens nas pinturas de Ido Finotti: reflexões artísticas e históricas

This research studies the landscape paintings of the artist Ido Finotti, specifically the Brazilian cerrado vegetation and rivers landscape paintings, in the region of Triângulo Mineiro, mainly Uberlândia and the surrounding cities as Uberaba and Araguari. The artist produced the landscape paintings from 1947 to 1980. This study searches to understand the poetic in the paintings and identify the elements that the artist chose to create the visuality of landscape to build a regional identity. Therefore, it links the artistic and historical reflections with the general ideas about the landscape painting in the Universal History of Art and in the Brazilian History of Art through the main landscape painters. First, this work shows the trajectory of the artist Ido Finotti and the two phases of his paintings: as a decorative painter of walls from 1920 to 1940, then as an oil painter artist on canvas. Second, the national and foreign authors studied were from several fields: Visual Arts, History, History of the Art, Philosophy and Geography, but had produced literature on the idea and the subject of landscape in the painting. The initial reading was about some workmanships of Ido Finotti, which included 142 landscapes paintings; interviews; articles, periodicals and magazines collected; documents, brochures and catalogues gathered. The comparison between the written and visual sources made possible the textual construction of this research.

Globalizing the Sculptural Landscapes of the Sarapis and Isis Cults in Hellenistic and Roman Greece

“Globalizing the Sculptural Landscape of Isis and Sarapis Cults in Roman Greece,” asks questions of cross-cultural exchange and viewership of sculptural assemblages set up in sanctuaries to the Egyptian gods. Focusing on cognitive dissonance, cultural imagining, and manipulations of time and space, I theorize ancient globalization as a set of loosely related processes that shifted a community's connections with place. My case studies range from the 3rd century BCE to the 2nd century CE, including sanctuaries at Rhodes, Thessaloniki, Dion, Marathon, Gortyna, and Delos. At these sites, devotees combined mainstream Greco-Roman sculptures, Egyptian imports, and locally produced imitations of Egyptian artifacts. In the last case, local sculptors represented Egyptian subjects with Greco-Roman naturalistic styles, creating an exoticized visual ideal that had both local and global resonance. My dissertation argues that the sculptural assemblages set up in Egyptian sanctuaries allowed each community to construct complex narratives about the nature of the Egyptian gods. Further, these images participated in a form of globalization that motivated local communities to adopt foreign gods and reinterpret them to suit local needs.

I begin my dissertation by examining how Isis and Sarapis were represented in Greece. My first chapter focuses on single statues of Egyptian gods, describing their iconographies and stylistic tendencies through examples from Corinth and Gortyna. By comparing Greek examples with images of Sarapis, Isis, and Harpokrates from around the Mediterranean, I demonstrate that Greek communities relied on globally available visual tropes rather than creating site or region-specific interpretations. In the next section, I examine what other sources viewers drew upon to inform their experiences of Egyptian sculpture. In Chapter 3, I survey the textual evidence for Isiac cult practice in Greece as a way to reconstruct devotees’ expectations of sculptures in sanctuary contexts. At the core of this analysis are Apuleius’ Metamorphoses and Plutarch’s De Iside et Osiride, which offer a Greek perspective on the cult’s theology. These literary works rely on a tradition of aretalogical inscriptions—long hymns produced from roughly the late 4th century B.C.E. into the 4th century C.E. that describe the expansive syncretistic powers of Isis, Sarapis, and Harpokrates. This chapter argues that the textual evidence suggests that devotees may have expected their images to be especially miraculous and likely to intervene on their behalf, particularly when involved in ritual activity inside the sanctuary.

In the final two chapters, I consider sculptural programs and ritual activity in concert with sanctuary architecture. My fourth chapter focuses on sanctuaries where large amounts of sculpture were found in underground water crypts: Thessaloniki and Rhodes. These groups of statues can be connected to a particular sanctuary space, but their precise display contexts are not known. By reading these images together, I argue that local communities used these globally available images to construct new interpretations of these gods, ones that explored the complex intersections of Egyptian, Greek, and Roman identities in a globalized Mediterranean. My final chapter explores the Egyptian sanctuary at Marathon, a site where exceptional preservation allows us to study how viewers would have experienced images in architectural space. Using the Isiac visuality established in Chapter 3, I reconstruct the viewer's experience, arguing that the patron, Herodes Atticus, intended his viewer to inform his experience with the complex theology of Middle Platonism and prevailing elite attitudes about Roman imperialism.

Throughout my dissertation, I diverge from traditional approaches to culture change that center on the concepts of Romanization and identity. In order to access local experiences of globalization, I examine viewership on a micro-scale. I argue that viewers brought their concerns about culture change into dialogue with elements of cult, social status, art, and text to create new interpretations of Roman sculpture sensitive to the challenges of a highly connected Mediterranean world. In turn, these transcultural perspectives motivated Isiac devotees to create assemblages that combined elements from multiple cultures. These expansive attitudes also inspired Isiac devotees to commission exoticized images that brought together disparate cultures and styles in an eclectic manner that mirrored the haphazard way that travel brought change to the Mediterranean world. My dissertation thus offers a more theoretically rigorous way of modeling culture change in antiquity that recognizes local communities’ agency in producing their cultural landscapes, reconciling some of the problems of scale that have plagued earlier approaches to provincial Roman art.

These case studies demonstrate that cultural anxieties played a key role in how viewers experienced artistic imagery in the Hellenistic and Roman Mediterranean. This dissertation thus offers a new component in our understanding of ancient visuality, and, in turn, a better way to analyze how local communities dealt with the rise of connectivity and globalization.

Territorios culturales: un análisis comparativo de las características de la información periodística en la contemporaneidad

En este artículo proponemos la reflexión sobre la información periodística en el contexto contemporáneo a partir del análisis de las características del soporte del periódico, en una comparación entre dos periódicos de distintos países. A partir de los conceptos de espacialidad, visualidad y comunicabilidad, discutidos por Ferrara, considerando también el análisis de los componentes de paginación y diagramación de los periódicos, buscamos escudriñar los sentidos de la información y del conocimiento en este contexto de instrumentalización técnica

Digital Figurations : The Human Figure as Cinematic Concept

Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.

Epistemología del pensamiento visual contemporáneo desde el imaginario transdisciplinario

El pensamiento visual contemporáneo trae consigo un campo nuevo deconocimiento. Los llamados estudios visuales implican nuevos problemas, que se caracterizan, a su vez, por niveles de complejidad inéditos y requerimientos transdisciplinarios de abordaje. Este estudio propone un análisis epistemológico a partir del problema de la construcción de la realidad, en su relación con el imaginario y el régimen escópico. En este sentido, se insiste en la apertura al estudio de la visualidad –sobre todo– desde una perspectiva compleja y transdisciplinaria.

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

Geometrical Methods in Multivariate Risk Management: Algorithms and Applications

This thesis builds a framework for evaluating downside risk from multivariate data via a special class of risk measures (RM). The peculiarity of the analysis lies in getting rid of strong data distributional assumptions and in orientation towards the most critical data in risk management: those with asymmetries and heavy tails. At the same time, under typical assumptions, such as the ellipticity of the data probability distribution, the conformity with classical methods is shown. The constructed class of RM is a multivariate generalization of the coherent distortion RM, which possess valuable properties for a risk manager. The design of the framework is twofold. The first part contains new computational geometry methods for the high-dimensional data. The developed algorithms demonstrate computability of geometrical concepts used for constructing the RM. These concepts bring visuality and simplify interpretation of the RM. The second part develops models for applying the framework to actual problems. The spectrum of applications varies from robust portfolio selection up to broader spheres, such as stochastic conic optimization with risk constraints or supervised machine learning.

Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa

A tese teórico-prática de doutoramento apresentada contempla a investigação, a criação, a produção e a conceptualização da instalação artística interativa intitulada Por baixo da pele outra pele. A Obra é constituída por três objetos tridimensionais concebidos à escala humana. Recorre a materiais flexíveis, como têxteis, convidando o público (interator), à envolvência física, numa relação corporal sensorial e sensual com a obra. Os objetos contêm dispositivos técnicos interativos e sensores tácteis, que, ao serem utilizados, desencadeiam estímulos multissensoriais no espectador. A instalação interativa focaliza a experiência háptica e íntima do interator considerando os seus mecanismos sensoriais e cognitivos como um potencial aparato na construção de experiências fenomenológicas, singulares e individuais. A autora considera a interatividade enquanto elemento potenciador da experiência estética visual háptica. Na argumentação conceitual da obra, reflete-se sobre o tema da visualidade háptica interativa a partirdos conceitos de ecrã, corpo e interface, assim como de endossensorialidade. Instrumentam-se metodologias de investigação em ação, experimentais e observacionais. Apresentam-se os processos investigativos, criativos e técnicos necessários ao desenvolvimento e à materialização da instalação artística. A investigação revela-se de grande interesse para o avanço da pesquisa de novas linguagens experimentais apresentando estratégias de criação artística que, ao privilegiarem o corpo físico e fenomenológico do interator, transpõe a experiência háptica interativa para um grau interno de imersão motoro-sensorial; Underneath the skin another skin: art installation. Body, screen and interface towards an interactive haptic visuality. Abstract: The theoretical-practical doctorate dissertation presents the research and conceptual framework behind, and the processes leading to, the creation and production of the interactive installation art piece Underneath the skin, another skin. The piece is presented in the shape of three human-scale tridimentional objects. It is made from flexible materials, such as textiles, inviting the (interacting) audience, to physically engage in a bodily sensorial, and sensuous, relationship with the artwork. The objects enclose interactive devices and tactile sensors that, when used, trigger in the interactor multiple sensorial stimuli. The interactive installation focuses on the interactor's intimate haptic experience taking in consideration his or hers sensorial and cognitive mechanisms as a potential apparatus in the construction of unique individual phenomenological experiences. The author understands interactivity as a triggering element into an haptic visual aesthetical experience. The supporting conceptual reasoning deals with thought and criticism on interactive haptic visuality applied to the concepts of screen, body and interface, as well as with that of endo-sensoriality. The dissertation describes the use of experimental and observation research methodologies. It also elaborates on the research, creative and technical processes at play in the installation's development and realization. The research at hand has shown great potential for the further development of new experimental languages, as it presents art-creation strategies privileging the interactor's physical and phenomenological body, and thus able to take the interactive haptic experience onto an greater inner level of motor-sensorial immersion.