Dissertações em Artes (Mestrado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806

O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).

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Acesso aberto (Open Access)
Arte e mídia digitais: as relações de hibridação nas obras de artemídia de Giselle Beiguelman
(Universidade Federal do Pará, 2012-03-29) LIMA, Diogo Chagas; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
Media Art emerges as a field of study, taking into account cultural and artistic exchanges in contemporary Art. Hybridization of concepts and practices highlights the interrelationships of advances in Art, Science and Technology. The objective is to study the relationship of hybridization in the works of Media Art of Brazilian artist Giselle Beiguelman. Analyze the ubiquity, the hybrid spaces, nomadism and intermediality in the flows of teleinterventios metalinguistic proposals of the artist. Thus, we address the emulation of nature´s systemic action, the metalanguage of printed and digital codes, the intermediality of sounds, images and words into hybrid objects; interactive interfaces. We discuss the hybrid spaces in the interactive proposals with nomadic technologies. The notion of flow is applied to the relationships of hybridization found in the artworks. Present Metaliguistic proposals on the Internet and teleinterventios. The Metaliguistic proposals employ morfogeneses and intermedialities to develop hybrids of printed and digital, also seek to expand the meaning of the book in cyberspace, recycling their codes in / with digital. The teleinterventios produce hybrid spaces, connecting streets, art galleries and websites, via nomadic devices. These artworks operate in the context of ubiquity and expansion of interaction in traffic situations between spaces. Deviations in logic programming provide relations of hybridization. The aesthetic proposals highlights the flows. The role of the artist becomes programmer interfaces and events. Emerge the systemic relationship between the artwork and the interactor.
Acesso aberto (Open Access)
Hipercoreografias: corpo e imagem digital em experimentação na Companhia Moderno de Dança
(Universidade Federal do Pará, 2013-06-19) CONCEIÇÃO, Luiz Thomaz Sarmento; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
The current research aims to investigate the possibilities on digital mobile media uses as interfaces for creation in contemporary dance. Some experiments have been proposed to Companhia Moderno de Dança, from Belém, Pará, where the 10 participating subjects experienced relations on photographic and videographic corporal image creation, of themselves and others, in a proposal of recreation of views upon the body and the dance in the choreographic composition. The researches in movement and choreographic creation were understood by the visualization of images produced by the dialogic use of mobile digital media. The experiments, titled as “Videochoreographics”, were divided into three moments: Videochoreographic Experiments 1, in which creative possibilities have been developed with a fixed camera, and Videochoreographic Experiments 2, made up from the use of the camera movements and its filters and effects. Each one of these stages has culminated in the creation of short videodances, here called “videocorporeities”, which have been used for the elaboration of an interactive scenic installation that, added to the simultaneous registry of the corporal experimentation of the interpreters-creators, has resulted as the Videographic Experiments 3. The aesthetic result come from this experimentation was the technological hypermediation and hypermediatization of the body and the dance; such practice has been name as hyperchoreography.
Acesso aberto (Open Access)
A personagem-subjétil: um estudo da (des)construção de personagens femininas em quadrinhos máquinas de guerra
(Universidade Federal do Pará, 2017-06-30) MONTEIRO, Samantha Ranny do Nascimento; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Acesso aberto (Open Access)
VIDEOCLIPES QUE REIVINDICAM O DIREITO A OLHAR: Sentidos decoloniais da América Latina em This Is Not América, Tierra Zanta e Reza Forte
(Universidade Federal do Pará, 2025-01-30) MAIA, Yasmim Oliveira; DAMASCENO, Alex Ferreira; http://lattes.cnpq.br/8620263171962896
This dissertation addresses Latin American music videos, investigating narratives that counter hegemonic perspectives, based on the concept of Countervisuality by Nicholas Mirzoeff. To this end, the works Reza Forte (Baiana System), This Is Not America (Residente), and Tierra Zanta (Trueno) are analyzed. The objective is to understand how these music videos construct non-hegemonic meanings about Latin American culture, highlighting audiovisualities that claim the right to look for these peoples. Thus, the research contextualizes the music video language in Latin America, identifies distinct trends produced in this territory, and examines images created from the perspective of colonizers and how to challenge this view. Therefore, we aim to present music videos that share the following similarities: the presence of Indigenous peoples, Afro-descendants, and respect for nature. To achieve this, decolonial theorists such as Darcy Ribeiro, Aníbal Quijano, and Walter Mignolo are used to address aspects of Latin America, along with Visual Culture scholars such as Ulpiano Meneses and John Berger, to explore what constitutes the gaze identified as colonized. In these music videos, we find a narrative that empowers, celebrates, and elevates the culture and resistance of Latin American peoples.
Acesso aberto (Open Access)
Videoescritura: um objeto-quase...
(Universidade Federal do Pará, 2012-03-28) CASTRO, Jacksonilson dos Santos; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This present master thesis brings as its research object artistic vídeos by means of concepts of philosophy and literary studies, taking the concept of writing as a procedure of the video. Videowriting, writing power of the video, presents the interlacement of electronic signs of the video with the notions of writing, text, textuality, originally from the literary studies in authors like Roland Barthes, Leyla Perrone-Moisés, Neiva Pitta Kadota, Julia Kristeva and others, as well as the present notions of writing and difference in the philosophy, specially in authors like Jacques Derrida, Gilles Deleuze, between others. The language of the video is boarded from Arlindo Machado, Christine Mello, Philippe Dubois and others that are brought to bring near different fields of the knowledge, but that operate with common codes of expression. From a transdisciplinar gaze , these different fields are joined to project a quasi-object, dynamic and hybrid object and what talks to different languages (literature, cinema, philosophy, etc.) forming a different body and always in dislocation: the videowriting.