Études des enjeux de la représentation de l'artiste moderne au cinéma à l'occasion d'une analyse du film de Peter Watkins sur le peintre Edvard Munch

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Analysis of coaches objectives in artistic gymnastics

The present study is a piece of the main project entitled ""Diagnosis of the Artistic Gymnastics Developing Program in Brazil"". Among many issues included in the main study, we analyzed and discussed the coach`s objectives who are coaching incoming gymnasts who are potential to be representative at the national teams. We interviewed 46 coaches from 29 sports institutions in Brazil. As data collection we used a semi-structured interview, and as data treatment we used the content analysis proposed by Bardin ( 2004). We could evidence that many coaches` objectives is focused on the competition and the highest level, and that the institutions` emphasis on the results in all levels of categories.

Competitive artistic gymnastics: reflections about gymnasts` development

The current study is a piece from the original project entitled ""Diagnosis of the Developing Program of Artistic Gymnastics in Brazil"". Among other issues discussed in this main project, our objective was to investigate the development of the gymnast who are entering the intensive training and are potential to be representative to national teams. We interviewed 46 coaches from 29 sports institutions in Brazil. Regarding methodology, we used a semi-structured interview and for data treatment we adopted the content analysis proposed by Bardin (2004). We could evidence that coaches have concern regarding many aspects of the children development, and have been trying to equate sports demands with gymnasts characteristics and needs.

Somewhere near reality: artistic portrayal of violence in post WWII British realistic drama

ABSTRACT - I will explore and present the portrayal of violence in some British plays that were staged between 1951 and 1965, in order to discuss the role, impact and aim of its representation. Thus, I will consider John Whiting’s Saint’s Day (1951), Ann Jelicoe’s The Sport of my Mad Mother (1956), Arnold Wesker (Chicken Soup with Barley (1958), Harold Pinter’s Birthday Party (1958), David Rudkin’s Afore Night Come (1962) and Edward Bond’s Saved (1965). My aim is to discuss the way how theatre in the post WWII changed the traditional ways of representing violence. On one hand, violence and reality became more and more familiar and domestic, permitting a representation of multiple and non-agonic violence; and, on the other hand, the violence that was depicted often changed the way one perceived reality itself, being part of a socially engaged artistic attitude.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.

Synthesis and characterization of innovative luminescent glasses for artistic applications

Dissertação para obtenção do Grau de Doutor em Química Sustentável

Tool for spatial and dynamic representation of artistic performances

This proposal aims to explore the use of available technologies for video representation of sets and performers in order to serve as support for composition processes and artistic performer rehearsals, while focusing in representing the performer’s body and its movements, and its relation with objects belonging to the three-dimensional space of their performances. This project’s main goal is to design and develop a system that can spatially represent the performer and its movements, by means of capturing processes and reconstruction using a camera device, as well as enhance the three-dimensional space where the performance occurs by allowing interaction with virtual objects and by adding a video component, either for documentary purposes, or for live performances effects (for example, using video mapping video techniques in captured video or projection during a performance).

Revolution in Crisis: The Ruptures of Revolution and Ruptured Revolutions Through the Ruptures of Artistic Practice

This article proposes an investigation of the history and memory of the Carnation Revolution through the lens of contemporary art. Drawing upon the argument according to which history and memory are investigated by visual artists by means other, but no less relevant, than those of professional historians, this article will argue for the importance of attending to the visual, auditory, textual, object- and research-based ways in which artists from several generations and geographies have been unearthing the repressed histories and memories of the Carnation Revolution in Portugal and of anticolonial struggles, decolonization and post-independence nation-building in Mozambique, Guinea-Bissau and Angola. The discussion focuses on several works by Ângela Ferreira, but attention will also be paid to precursors in imaging the Revolution, such as Ana Hatherly, and to a younger generation of artists such as Filipa César, Kiluanji Kia Henda and Daniel Barroca.

Mythes à la cour, mythes pour la cour (Courtly mythologies)

Le présent volume réunit les conférences plénières et une sélection de contributions choisies parmi les plus intéressantes et les plus représentatives des quatre axes de recherche proposés pour le XIIe Congrès de l'International Courtly Literature Society qui s'est tenu aux Universités de Lausanne et de Genève du 29 juillet au 4 août 2007 : - Mythologie courtoise convie à une interrogation sur les implications mythiques de la passion amoureuse, qu'elle marque les aventures de Tristan, de Merlin, de Morgane ou d'Enée ; - Mises en scène du pouvoir examine la capacité à l'autoreprésentation mythique du prince et de la cour, du XIIe au XVe siècle, en Italie aussi bien qu'en France ou en Allemagne ; - Figures exemplaires étudie les modèles culturels actifs dans la construction de héros romanesques dont l'exemplarité est volontiers mise au service d'une utilitas politique ; - Débattre d'amour met en lumière l'importance du débat dans la littérature du Moyen Age finissant, aussi bien dans le sillage du Roman de la Rose qu'à travers les échos suscités par l'oeuvre d'Alain Chartier. Rassemblant des chercheurs d'horizons intellectuels divers, réunis par leur intérêt commun pour la culture courtoise, le volume permet de confronter, dans leur actualité la plus immédiate, les différentes approches de la recherche sur l'art, la littérature et l'histoire du Moyen Age. Son propos, résolument interdisciplinaire, consiste à identifier les problèmes que suscite la notion de mythe, que l'on comprend ici comme une manifestation artistique ou politique, par laquelle une personne ou un événement sont arrachés à la contingence historique pour être chargé d'une valeur symbolique qui leur confère le statut de modèle. Il rend aussi compte de la dimension européenne d'une civilisation en mouvement dont les échos se font entendre jusqu'au XVIe siècle. Enfin, les éditeurs entendent nourrir le débat en l'affranchissant des frontières qui séparent habituellement les domaines des études médiévales.

1st Conference on Arts-Based and Artistic Research. Critical reflections on the intersection between art and research

[eng] Proceedings for the 1st Conference on Arts-Based and Artistic Research: Critical Reflections on the Intersection of Art and Research. University of Barcelona, January 31st - February 1st, 2013.

Intersecciones entre visión artificial y mirada artística. Semantic Intersections between Artificial and Artistic Vision.

En el presente artículo se ha desarrollado un sistema capaz de categorizar de forma automática la base de datos de imágenes que sirven de punto de partida para la ideación y diseño en la producción artística del escultor M. Planas. La metodología utilizada está basada en características locales. Para la construcción de un vocabulario visual se sigue un procedimiento análogo al que se utiliza en el análisis automático de textos (modelo 'Bag-of-Words'-BOW) y en el ámbito de las imágenes nos referiremos a representaciones 'Bag-of-Visual Terms' (BOV). En este enfoque se analizan las imágenes como un conjunto de regiones, describiendo solamente su apariencia e ignorando su estructura espacial. Para superar los inconvenientes de polisemia y sinonimia que lleva asociados esta metodología, se utiliza el análisis probabilístico de aspectos latentes (PLSA) que detecta aspectos subyacentes en las imágenes, patrones formales. Los resultados obtenidos son prometedores y, además de la utilidad intrínseca de la categorización automática de imágenes, este método puede proporcionar al artista un punto de vista auxiliar muy interesante.