Navegando por Assunto "Artes visuais"

Agora exibindo 1 - 20 de 23

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)
Arte Pará: etnografia e interpretação em um salão de artes visuais na Amazônia
(Universidade Federal do Pará, 2019-04) FLETCHER, John
The presente paper brings ethnographic reports on experiences with artists, curators, organizers and technicians in the assembly of the Arte Pará exhibit, between the years of 2012 to 2015, held in the city of Belém. An integral part of a doctoral research, this clipping is based on synchronic and dialogical methodological premises from authors, such as Vincent Crapanzano and James Clifford, problematized by contributions of thoughts by Walter Mignolo, Eva Marxen, Beatriz Sarlo, Homi Bhabha and Johannes Fabian, among others. Thus, in order to expose a more critical view of our asymmetric present, this research aims at conferring other interpretative dimensions to the general dynamics of human experience.
Acesso aberto (Open Access)
Arte, imaginação e criação com crianças da cidade de Benevides-PA
(Universidade Federal do Pará, 2025-05-15) CALDERARO, Kelly Lene Lopes; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
The aim of this paper is to reflect on children's paintings and what they can represent in their lives. Specifically, this research involved listening to children's drawings of the territory of Benevides, Pará, and trying to establish relationships with their lives by looking at the concepts of Imagination and Art in childhood. Lev Vygotsky's (2014) Cultural-Historical perspective was used as a conceptual basis, observing that the richer the human experience is culturally, the greater the material available for imagination and creation. Seen from this perspective, the child's imagination would be expressively open to countless creative experiences, considering that, when compared to adults, their repertoire would not be permeated by the marks of experiences that have already been widely experienced. And it is in this sense that the Art, Children and the City project sought this experience of listening, to give children a voice and bring them to the center of the process, in which they can participate in the construction of a territory, since they have a perception of the place in which they live and desires to be fulfilled for this place, demonstrating their sensitivity and affectivity. It is in this sense that we emphasize the importance of looking at both the experiences the child already has and those that are still open. Observing the relationships that are established between the child, art and its creation. The methodology used was participant research. The technique used was to listen to children, through drawings, in four public squares in the Benevides area, with the guiding question of how they see this city and how they would like it to be? Seventy-eight drawings were collected for analysis and construction of the results. In the same way, bibliographical research was carried out in the methodology developed, with the data presented coming from books, dissertations, theses, research published in periodicals and presentations of scientific papers. In order to analyze these drawings, discourse analysis and Vygotsky's approach to Art and Imagination were used. It is hoped that this research, together with other studies, can contribute to the academic field, as well as giving greater visibility to the importance of listening to children, their desires, ideas and dreams, through Art and Imagination.
Acesso aberto (Open Access)
Artes visuais e ensino médio: representações de professores sobre a prática pedagógica (2004-2010)
(Universidade Federal do Pará, 2013-03-28) FRANÇA, Rita de Cássia Cabral Rodrigues de; COELHO, Wilma de Nazaré Baía; http://lattes.cnpq.br/1035616337472088
This study consisted of an analysis of representations of Teachers of Visual Arts about their teaching practices in the context of high school. Aiming at analyzing Representations of Teachers of Visual Arts High School on Teaching Practice. The analysis was produced from the concept of representations from the perspective of Roger Chartier (1990, 1991, 1994): on pedagogical practice with Veiga (2011, 2010): on teacher: Pimenta (2009) and Coelho (2009, 2010): Art in with Barbosa (2009, 2010) and Fusari & Ferraz (2001, 2009). Use as methodological way content analysis of Bardin (2010). The study is a descriptive-analytical type. Used as instrument for data collection: official documents and a questionnaire, which was attended by 15 teachers of Art of Effective Networking State Public High School. The results of the study revealed that about teaching practice, teachers mostly, despite having a good time of service, demonstrated the representation of a triangulation presented in three vertices: reading, based on common sense, without substantiation Theoretical/ideal; doing so, the practice in improvisation, predominantly hand practical/Real, and the contextualization of superficial reasons for lack of drive theory/practical. We emphasize approaches as conclusive vulnerability in teacher Art. This training is deficient regarding the ability to develop pedagogical quality in public schools. We infer that there is an urgent need to (re)assess the training of teachers of Visual Arts start and continuing commitment to forging a professional-reflective critical to their social practice in education.
Acesso aberto (Open Access)
Uma câmera para os quilombolas: representações imagéticas de si e da cultura negra em Ourém-PA
(Universidade Federal do Pará, 2014-06-26) AGUIAR, Karollinne Levy; PACHECO, Agenor Sarraf; http://lattes.cnpq.br/5839293025434267
The thematic of this work deals with the quilombola photography and its object are the image representations that quilombola children, from the black community “Mocambo”, in Ourém, in the northeastern part of Pará, construct about themselves and their culture. The theoretical approach seeks to relate Visual Arts, Visual Anthropology and Post Colonial Studies to substantiate comprehensions towards the relations and the senses these individuals, within their creative process, let see in the constitutive movement of photography as an artwork with its interfaces with culture, memory and quilombola identity in Amazon. To obtain such objectives, the methodology parts from oral history and image analysis, through ethnographic exercises and image workshops with quilombola children and teenagers. In this sense, at the first moment, these individuals assume the role of visual artists to compose registry about them and about the most significant local landscape, according their choices. At the second moment, we put ourselves listening to the meanings attributed to the records by their creators, seeking to capture connections with quilombola modes of living. We argue that the study of objects of art, taking their joints with the place, their subjects and their stories, constitutes strong evidence of alliances between art and life. On the other hand, this work seeks to uncover and appreciate looks that these people construct about themselves and their culture, which can be an important clue about their silences in visual narratives and unexplored intercultural perspectives through the research in Arts in Amazon and in other regions of Brazil.
Acesso aberto (Open Access)
Campina: um filme em processo...
(Universidade Federal do Pará, 2021-01-15) CORREIA, Rodrigo José Castro; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This memorial of artistic poetics aims to reflect on the process of creating the film Campina. It is the construction and idealization of a hybrid documentary or also known as docuficção in which both aspects of the documentary genre and fiction come together. The film, in general, addresses the landscape of the Campina neighborhood in Belém and its multiple aspects, and this landscape is composed of symbolic and residual elements such as architecture, monuments, signs and shop signs, accompanied by the human landscape, its inhabitants who make the daily life of Campina, a commercial district. To reflect on this process of procedural realization of the film, we used the authors Claudia Mesquita, (2011), the concept of unfinished gesture by Cecília Salles (2014), showing that the creation process is always active and never ceases. In addition, the research aims to reveal and point out relations of power and domination in the neighborhood landscape, using the concept of landscape invention according to Anne Cauquelin's thought and Pierre Bourdieu's symbolic power.
Acesso aberto (Open Access)
Cantos de aparições: Cantos diversos de diversos cantos
(Universidade Federal do Pará, 2020-10-01) MEIRA JUNIOR, Paulo de Araújo; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211
Acesso aberto (Open Access)
Cidades em games: poéticas urbanísticas no espaço de jogo
(Universidade Federal do Pará, 2012-03-30) COSTA JUNIOR, José Maria Teixeira da; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
The work of this dissertation has as its object of study the urban spaces of vídeo games, called here by the word cities in games, from the analysis of its manifestation as models to be used by the discipline of urbanism as a field of visual studies and analyzes urban data. Such as urban planning, in its forms of technical research and design of urban forms, is used for game development, we believe there is an exchange of content very important for the future of these two areas of knowledge. So we start from the conceptual and theoretical analysis based on endoestética proposed by Claudia Giannetti and a theoretical shift using the elements of the city's image of Kevin Lynch in relation to the video game Grand Theft Auto, where we can prove the existence of all these relations.
Acesso aberto (Open Access)
Corpos convergentes: visualidade da performance na arte e no cotidiano
(Universidade Federal do Pará, 2012-03-02) VALENTE, Danielle Calazans; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This research analyses the Performance object as a phenomenon to be revealed through a thorough examination of diverse forms of its occurrence, both in daily life as in art. The objective is to investigate, the actualization of this phenomenon in the visual arts and daily life, by noting the similarities of performances in these areas, thus allowing the performative act move across borders in many different variants of the concept and practice of its occurrence. Also, the dissertation emphasizes, above all, the body as the base element of poetic practice.
Acesso aberto (Open Access)
Da ilustração de livro infantil ao imaginário amazônico: mergulhos em “A história das crianças que plantaram um rio”
(Universidade Federal do Pará, 2016-06-15) NUNES, Brisa Caroline Gonçalves; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research draws uponthe universe of the image for the children book. The main goal is to analyzethe relationships between verbs and images at the children’s picture book from Pará,The story of the children who planted a river (2013), through the complex understanding of the images. We developed three chapters: firstly, there were gathered pages of the illustration’s history, its origins, the European context, the Brazilian illustration and some considerations about the children illustration inPará. Secondly, we investigated the theory nuances, the epistemological base of Visual Studies, introduced by Domènech and its “ecology” concept, followed by the “mimesis” concept from Aristoteles, revisited by Guerbauer and Wulf, wherebywe understand esthetic productions as phenomenafrom symbolic territory, contributing to the Imaginary’s studies of Gilbert Durand. Third chapter analyzes the already said book, its aspects about relationships among text, image and body, followed by image readings and its symbolic resonances. Our methodology consists of a qualitative approach of the collected data, doing a kind of exploratory and descriptive research, through the bibliographic and documentary procedures, unfolding a case study. We hope this investigation contributes to the studies about visuality and amazon culture, as well as the comprehension of the image as a knowledge object.
Acesso aberto (Open Access)
Elemento transitório: caminho de volta para o mar
(Universidade Federal do Pará, 2019-07-01) LEVY, Bianca Costa; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
Acesso aberto (Open Access)
Entre a docência e o fazer artístico em artes visuais: a atuação de professores-artistas na educação básica de Belém e Ananindeua (Pará)
(Universidade Federal do Pará, 2021-01-29) RODRIGUES, Ailzon Gonçalves; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
From the understanding of the teacher-artist as a hybrid professional who has his actions moving between being a teacher and being an artist. And how the dialogical relationship of these professions brings benefits that, many times, can be suppressed in view of the obligations related to the teaching of Art. Searched in the performance of this professional reasons to avoid his detachment in Art and conciliate the artistic making with the pedagogical practices in basic education schools in the municipalities of Belem and Ananindeua. Therefore, the research aimed to understand the ways in which the relationship between the pedagogical practices of the teacher-artist in basic education and artistic productions develops. In addition to analyzing the contributions provided by the interaction of these activities and the methods used to realization of this conciliation. For this, the qualitative research, used as tools of data collection the semi-structured interview with six teachers from basic education of Art and the participant observation in the classroom. So, it was determined that the professionals to be investigated should have some characteristics, such as degree in Visual Arts or Artistic Education, working in basic education, regardless of the levels of experience with Art teaching and develop works and / or artistic experiments, regardless of the techniques or purpose with the art system. The teachers, under indication, would be previously investigated through the Lattes Curriculum before contacting them, which would allow to know more about the formation of these professionals, their historic of teaching and artistic performance. This way, the results showed how important the aesthetic and artistic experiences are for these professionals, which seek to keep them active, either in parallel activities or in the construction of pedagogical actions so that they can integrate the teaching-learning processes in Art together. Although this relationship has not been so evident in the actions in the classroom and does not have the support of the school, in the observations made it was not continuously present. So, it was understood that artistic making and teaching are activities inherent to the teacher-artist. For this reason, even in the face of the difficulties of several orders present in the basic education, this professional will seek ways for the coexistence of these processes in harmony, and feedback continuously
Acesso aberto (Open Access)
A gambiarra na cena: uma poética de iluminação para ativação de obras de arte em Belém do Pará
(Universidade Federal do Pará, 2011-03-18) SOUZA, Iara Regina da Silva; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
The object of this research is the reflection about the appropriation of the gambiarra lights to the scene exhibition. In an specific way there will be treated the cultural mechanisms favourable to this process, transversal in its essence, its contribution to an expository scene dramatized, with an indentation at the end of last century to the present days, outlining the problem studied to the reality of Belém do Pará. The research has the purpose of understanding the creating processes, building and reception of gambiarras such as illuminating artifact in the activation of artistic creation. For this, the study discusses about light within the universe of art gallery from the appropriation of gambiarra lights, that are part of daily urban of Belém do Pará, in order to evaluate the illumination while potency in the activation of art works. In the argumentative sequence there are articulated the understanding of relationship between illuminating and the other elements of art exhibition, since that operates as an activation agent not only of the work, but from the spatial situation in which it is located; producing theory, strengthening the art as a field of knowledge. The gambiarra has character of meaning conceptual implication, not while object, but what it produces, which is denominated as social and aesthetic effects, that are read from fifteen years of experience of this researcher in the appropriation, re-signification and re-transportation of luminous artifacts for the activators function of exhibition spaces, in a statement of the praxis like main element of joint research paths, considering that during this time, a method has been constituted and it is in perfect accord with this research. To operate more efficiently within the complexity of the materiality fields and reproducibility of the object; from the devices to establish the art works; from the gambiarra lights as an inventive way and of investigative solution that takes place in a subjectivity field, we used the methodological approach of bricolage.
Acesso aberto (Open Access)
Guia didático para o Laboratório de Práticas e Experimentações Sala Arthur Leandro Tatá Kinamboji de Ensino Cultura e Artes Visuais Afro-Amazônica: caminhos para a decolonialidade
(Universidade Federal do Pará, 2023-06-29) VASQUEZ, Jessica Calandrine; RODRIGUES, Ronaldo de Oliveira; http://lattes.cnpq.br/1573942492848983; https://orcid.org/0000-0001-5721-2926
This work was developed with the objective of creating an educational product that is characterized as the Didactic Guide for the Laboratory of Practices and Experimentations Arthur Leandro Tatá Kinamboji Room for Teaching, Culture and Afro-Amazon Visual Arts. Methodologically, the research approach was qualitative, which unfolded in documentary research and participant research. The documents that served as the basis were the laboratory project, course plan, pedagogical project for the Visual Arts course in 2019, extension project, room project and teaching project. Participatory research was based on experiences in the Afro-Brazilian Art discipline, in meetings and actions from the Tatá Kinamboji Laboratory and Room. In the creation of the product, it was necessary to use two methodologies, design thinking and the open laboratory methodology. The first to think about the construction of this product in a practical way, and the second as a way of thinking about dynamics to enhance the aforementioned space. In this process, a pedagogical action was carried out, using the collection of Sala Tatá Kinamboji, in the discipline of Afro-Brazilian art. The validation and evaluation of the product was carried out from the application of physical and online questionnaires with the students of the class, questionnaire only online with the professors of the faculty of Visual Arts, as well as with the pedagogical sector of the course and members of the laboratory and Sala Tatá Kinamboji. The results present the construction of the guide as a proposal for direction and add up satisfactorily to validate the developed product. Although the product is finalized, it is extremely important to deploy and update it, as the laboratory is constantly being updated, due to the location where it is located, the need to continue cataloging incoming materials and new productions. Thus, this product contributes to the teaching-learning process, assists in the use of the laboratory, strengthening practices, research and actions in the decolonial perspective of Visual Arts Teaching.
Acesso aberto (Open Access)
Hilda Híbrida Outro Eu: Filme Ensaio
(Universidade Federal do Pará, 2022-02-09) GALVÃO, Galvanda; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Acesso aberto (Open Access)
Journey: o jogo e a experiência como fonte de criação
(Universidade Federal do Pará, 2016-07-07) CARVALHO, Márcio Lins; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This dissertation discusses the experience with games (eletronic games), focused on case study that considers the analysis of the image, experience and mediation modes proposed by the game Journey (TGC, 2012). Therefore, there is the interactive, symbolic, interface and game functionality features in question and its aesthetic possibilities of dialogue with other art forms, such as comics and illustration. In this perspective, we make use of theories and authors that we consider relevant to the case study and relatable to important aspects in the approach of the game (Johan Huizinga, Roger Caillois, Eric Zimmerman, Katie Salen), imaginary (Gilbert Durand, Philippe Malrieu), experience in general and aesthetic experience in particular (Robert Solomon, John Dewey) and language and media (Lucia Santaella, Julio Plaza, Monica Tavares). Having the playful interaction as lens, it promotes an analysis of the intricacies of the game, its relations with the player(s), the questions posed during and at the end of his experience to thus understand how mimicry occurs with other means of expression that not only the game itself. The theoretical crossings tend to cooperate with the studies of the game while expanded field of art.
Acesso aberto (Open Access)
Naif urbano: percepção visual no trânsito de Bragança, Castanhal e Belém
(Universidade Federal do Pará, 2012-12-20) ROSÁRIO, Daniely Meireles do; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184
This research is focused on a aesthetic-poetic-visual construction of the contemporary city from the perception of urban naïve – handmade painting – present in the transit of three cities: Bragança, Castanhal and Belém. Just do is presented as a manifestation of a popular aesthetic, characterized handmade by their appearance. Capturing and understanding of these events happened through photographic records, used as tools for collecting a visual construction of the city from the objects that comprise naïve and supported by a phenomenological method of awareness in which the body is an agent in the world and the eye is the main instrument in the construction of memory.
Acesso aberto (Open Access)
Projeto “Adote um urubu”: uma experiência artística na comunidade de Algodoal - Maiandeua - Pará
(Universidade Federal do Pará, 2011-09-08) ANDRADE, Andréa Feijó; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
When the art-thematize the community and discuss the artistic creation and social participation, this work has as its object of study shared artistic production. The visual language of photography is the main tool in the construction of devices artistic / aesthetic. From the epistemological point of view, we adopted the paradigm of complex thought, proposed by Edgar Morin, of reference guiding this research approach. Because it is a practical research on an experimental basis, committed to community participation Algodoal, we used the assumptions of action research, in theoretical terms proposed by Rene Barbier. The community chosen for this experiment artistic / aesthetic is located on the island of Maiandeua, northeastern Pará State.
Acesso aberto (Open Access)
Pseudonegligência, dominância manual e habilidades motoras em alunos das artes em comparação com alunos de outros cursos
(Universidade Federal do Pará, 2008-05-02) MELO, Thiago Martins de; MARTIN, William Lee Berdel; http://lattes.cnpq.br/8591034699611752
A prominent line of research dealing with cerebral lateralization in artists have investigated the behavior of artists afflicted with various neuropathological syndromes affecting either the right or left hemisphere. In contrast, Bertrand (2001), noting that a few studies have reported an increased prevalence of left-handedness and ambidextrality among artists, suggested the need for systematic research into the laterality characteristics of normal artists. In the absence of such studies, and because it was not possible to obtain data from professional artists, this project was designed to investigate in detail, lateral asymmetries in handedness, motor abilities and visuospatial attention in art and non-art students. These students were recruited from the Art Department at the Federal University of Maranhão, and a public school of art in São Luis. There were 50 non-art students (24 right- and 26 left-handers), and 51 art students (27 right- and 24 left-handers) in the sample. Data were obtained on handedness, eyedness, and footedness, and two measures of motor proficiency: Finger tapping and the Grooved Pegboard Test. In addition, a version of the Visual Line Bissection Test (VLBT) was administered in order to compare the degree of pseudonegligence among and between art and non-art students. We sought to ascertain whether, in comparison with non-artists, the art students would evince a reduced degree of intermanual asymmetry in handedness and motor ability, as well as higher-level accuracy on the VLBT. Our predictions regarding such performance differences, were in fact, supported. Art students, especially left-handers were much less consistent, and more ambidextrous than dextral and sinistral non-art students, and displayed a lower between-hand performance on both motor tests. Also, whereas the degree of pseudonegligence was increased among non-art students, art students were more accurate in their responses, and produced fewer errors around the true zero point. Consistent with previous research among musicians, art students in general, showed a balanced level of visuospatial attention, and these differences were related to the cognitive demands of visual art training.
Acesso aberto (Open Access)
Racionalização das artes para o século XXI
(Universidade Federal do Pará, 2021-06) RIBEIRO, Louise Bogea; SANTOS, Raquel Chagas; RIBEIRO, Milena Moraes Araújo; DERENJI, Jussara Silveira
In order to characterize three fundamental criteria for the recognition of an artistic work, based on the principles of Georg Wilhelm Friedrich Hegel (1770-1831), when discussing artistic criticism during the course Tribuna do Cretino, this essay was produced. As an attempt to promote the artist and public interaction, valuing the craft and professionals of the area, without limiting the production of art in its most diverse supports. It is defined as the origin, content, purpose, and ability to transmit messages of any artwork, when discussing the relations between new creation and reality, considering the lack of dialogue with the consumers of art. It is hoped to contribute to the union of the sensible and rational, as well as the development of an artistic practice against the current banalizing and damaging scenario for the human spirit, with a significant lack of artistic-cultural communication and little understanding for what serves the art.