Photography and sociology: an exercise in serendipity

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ���field��� of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.

Every nation under heaven: the importance of the biblical concept of nations for contemporary mission practice

Is there a concept of nationhood in the Bible that can provide us with a framework for cross-cultural Christian mission? This thesis argues that current evangelical missiology has accepted too willingly the categories of the secular Enlightenment understanding of ethnicity and nationhood, and that it needs to rethink its understanding of nations from a biblical standpoint. While the pressures of globalisation are seen by some as rapidly eclipsing the nation-state, this thesis will argue that we need to move beyond the narrower secular categories of citizenship, political power and the boundaries of the state to recover a more biblical understanding of nationhood. By reference to Genesis 10-11, Acts 2:1-11 and those passages in the Book of Revelation that discuss the destiny of the nations, it will show that the biblical understanding of nations includes deeper ideas of shared history, culture and language as the essential components of nationhood. It will explain how nations are part of the created order, and explore the impact of the Babel narrative on our understanding of nations in relation to God. It will demonstrate that Pentecost did not reverse the curse of Babel, but served rather to honour the dignity and value of nations and their languages. It will also argue that nations have a destiny in the New Creation according to the Book of Revelation. This biblical concept of nationhood has significant implications in several areas: the development of a public theology; a Christian response to nationalism; the question of how urban mission fits within mission to the nations; and the importance of indigenous languages in cross-cultural mission, especially in the multicultural cities of Europe.

Art, sex, and institutions: defining, collecting, and displaying Shunga

In Edo-Japan (c.1603 ��� 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study ��� utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

Estrat��gias de Motiva����o em Educa����o Visual - caso 7�� ano do Ensino B��sico

No presente relat��rio �� feita uma an��lise das estrat��gias de motiva����o tendo em conta as Pr��ticas Educativas Supervisionadas desenvolvidas ao longo tr��s ciclos do ensino b��sico, no ��mbito do mestrado em Ensino de Educa����o Visual e Tecnol��gica no Ensino b��sico. Desta forma, o tema central ���Estrat��gias de Motiva����o em Educa����o Visual- caso 7��ano do ensino b��sico���, surge a partir da Pr��tica Educativa no 3�� ciclo do ensino b��sico. Durante o relat��rio �� ainda descrita a passagem pelo 1�� e 2�� ciclo de ensino, para que se compreenda o caminho at�� ao 3��ciclo, e a escolha de determinadas estrat��gias. Na fundamenta����o do trabalho s��o abordados os conceitos como Educa����o Art��stica, motiva����o em sala de aula e ainda estrat��gias de ensino, no sentido de aprofundar o tema do relat��rio. A an��lise sobre o tema tem um car��cter reflexivo, surgiu no decorrer da pr��tica educativa desenvolvida, como necessidade de encontrar estrat��gias que pudessem levar �� motiva����o dos alunos em sala de aula.

Etnografia visual das mangabeiras nas matas do tabuleiro costeiro.

This work is an ethnographic research with collectors women of Mangaba in the village of Ponta Negra in Natal - RN. This Women also known as Mangabeira's women reproduce a practice learned with their ancestors, collecting this fruit in the coastal tablelands forests and latter commercializing it in the local markets. This research uses the methodology of oral history and visual anthropology with presentation of collected images on board. It is intended to emphasize the botanical and environmental aspects of the Mangabeira plant, its ecosystem, territorial, economic and historical aspects of it, also the knowledge of this extractive practice of our immaterial culture.

Are Videogames Art?

My dissertation defends a positive answer to the question: ���Can a videogame be a work of art? ��� To achieve this goal I develop definitions of several concepts, primarily ���art���, ���games���, and ���videogames���, and offer arguments about the compatibility of these notions. In Part One, I defend a definition of art from amongst several contemporary and historical accounts. This definition, the Intentional-Historical account, requires, among other things, that an artwork have the right kind of creative intentions behind it, in short that the work be intended to be regarded in a particular manner. This is a leading account that has faced several recent objections that I address, particular the buck-passing theory, the objection against non-failure theories of art, and the simultaneous creation response to the ur-art problem, while arguing that it is superior to other theories in its ability to answer the question of videogames��� art status. Part Two examines whether games can exhibit the art-making kind of creative intention. Recent literature has suggested that they can. To verify this a definition of games is needed. I review and develop the most promising account of games in the literature, the over-looked account from Bernard Suits. I propose and defend a modified version of this definition against other accounts. Interestingly, this account entails that games cannot be successfully intended to be works of art because games are goal-directed activities that require a voluntary selection of inefficient means and that is incompatible with the proper manner of regarding that is necessary for something to be an artwork. While the conclusions of Part One and Part Two may appear to suggest that videogames cannot be works of art, Part Three proposes and defends a new account of videogames that, contrary to first appearances, implies that not all videogames are games. This Intentional-Historical Formalist account allows for non-game videogames to be created with an art-making intention, though not every non-ludic videogame will have an art-making intention behind it. I then discuss examples of videogames that are good candidates for being works of art. I conclude that a videogame can be a work of art, but that not all videogames are works of art. The thesis is significant in several respects. It is a continuation of academic work that has focused on the definition and art status of videogames. It clarifies the current debate and provides a positive account of the central issues that has so far been lacking. It also defines videogames in a way that corresponds better with the actual practice of videogame making and playing than other definitions in the literature. It offers further evidence in defense of certain theories of art over others, providing a close examination of videogames as a new case study for potential art objects and for aesthetic and artistic theory in general. Finally, it provides a compelling answer to the question of whether videogames can be art. This project also provides the groundwork for new evaluative, critical, and appreciative tools for engagement with videogames as they develop as a medium. As videogames mature, more people, both inside and outside academia, have increasing interest in what they are and how to understand them. One place many have looked is to the practice of art appreciation. My project helps make sense of which appreciative and art-critical tools and methods are applicable to videogames.

The role of the curator in the context of contemporary art

Disserta����o de Mestrado, Comunica����o, Cultura e Artes, Faculdade de Ci��ncias Humanas e Sociais, Universidade do Algarve, 2014

Ilustra����o de moda segundo a obra de Mucha, Klimt e Schiele

Disserta����o para obten����o do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Corpos tatuados : experi��ncias sens��veis em realidade aumentada m��vel

Tese (doutorado)���Universidade de Bras��lia, Instituto de Artes, Programa de P��s-Gradua����o em Artes, 2015.

DNA 10

Combined media on photographic paper on steel. 39" x 29" Museum of Contemporary Photography, Chicago

#01 CAGT

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#02 CGTA

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#03 CTAG

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#04 CATG

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago