Programa de Pós-graduação em Arte e Cultura Visual
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Navegando Programa de Pós-graduação em Arte e Cultura Visual por Por Orientador "CLÍMACO, José César Teatini"
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Item Brasília gravada(Universidade Federal de Goiás, 2008-03-27) AFONSO, Manoela dos Anjos; FRAGOSO, Maria Luiza Pinheiro Guimares; http://lattes.cnpq.br/6228855946764716; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This Master dissertation is mainly composed by some reflections about the creation processes that have brought me to the beginning of a new engraving production. The graphic research showed here was made from 2003 to 2005 and is a result of my affective relation with Brasilia through several languages. As I got to know the city, initially having a foreign look over it, I came from the architecture to its history and then to the Nicolas Behr´s poetry. In that constant transit I made the Brasília Gravada engraving series, which became a thinkingthe- city graphic place.Item A matriz de gravura como elemento de moda(Universidade Federal de Goiás, 2007-04-11) GOMES, Lavínnia Seabra; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This dissertation developed on the line of studies in Contemporaneous Processes of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts University, from UFG (Federal University of Goiás) resulted in plastic productions, were fashion and tecnics of figure, blend toghether forms, materials and images. The objective of this work, was concetrated on the matrixies creation, that didin t fall into the ordinary tradictional element, and could be applied to the clothing element, without loosing its main features or the question of the multi. The couttion linking some objects the concepts of protection, decency or tradictionally ornament related to fashion. The important factor in this research is highlight the possibillity of conceiving the figure impression in another type of support, in our case, 3 dimensional (clothes), and conceive those images trough electronic devices, without leavingout the multiplicity principles and impression. All the time we have been searching for another form of visual conception of figure between the mode and all of yours industrials tendences. So many ideas and questionings have come up as webecame more and more familiar with the process, and what is pointed to another series of creative utilization. Following that line of poetic study, owing particularity, what singled each student of art, thoes productions make o out experiences of world in something to be admirable or not, favoring each receptor of plastic produtions, or diferents interpretations what give to then the better understanding.Item Sentidos fluidos: uma abordagem semiótica dos videoclipes de Chris Cunningham(Universidade Federal de Goiás, 2006-05-18) LIMA, Fábio Ferreira de; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901Item A Última Princesa: Pensando a Ilustração do Livro Infantil, uma produção em gravura(Universidade Federal de Goiás, 2010-05-07) MACÊDO, Luciana Vasconcelos; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This masters dissertation deals with the children's book illustration from the standpoint of the illustrator, emphasizing the structural aspects of visual as well as the relationship of images with text. The production of an illustrated book, starting from the creation of the text until the final aspects of graphic production, highlighting in detail the process of designing and creating the illustrations, punctuatess comments and thoughts on specific aspects of this type of image.Within the text, are approached from the history of children's book illustration, to its development, going through technical aspects and focusing the discourse on the similarities and differences within the processes of production of manuals and digital images and their impact on the final results All this from the point of view of my own experience as an illustrator.Item GRAVURAS COM USO DE COMPUTAÇÃO GRÁFICA: UM PROCESSO PESSOAL DE CRIAÇÃO, AUTOCONHECIMENTO E TRANSFORMAÇÃO(Universidade Federal de Goiás, 2007-04-17) MORAES, Sérgio Antônio Penna de; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This Dissertation is a reflection upon a personal artistic creation in graving with computer graphics aid. Phenomenology is taken as the intellectual support on reading the knowledge resulting from this research. In Phenomenology, subject and object are interrelated in the sense of exploring potentialities that do come up as the result of the experience lived in ease but committed attitude regarding the research object. On reflecting on the artistic creation process, the idea is to contribute to the understanding of the process of visual art creation. An additional purpose is to inspire artists and art teachers to produce art and think on their own creative processes as well. Giving thought to art practice is also a methodological process in education and this can result in improving self-knowledge, classroom teaching methodology and artistic skills. The method used for this research includes a field diary called atelier diary. There is an overlapping and crossing between poetics and education in this study, which integrates the artist, the researcher and the teacher. It is felt from this experience that when one creates artistically, the process must come from within, so it is free. The artist should be open to the flow. It is important to access one s memories, feelings and other psychological phenomena. After an artistic work is done, then one goes back and gives it deep thinking. That s one when realizes what concepts are implied. The purpose of any artist should be to be true to himself or to herself. That is, to encounter oneself. Besides, the artist communicates with his or her audience through both conscious and unconscious layers of communication. Blending together creation and reflection, practice and theory can fuel in transformations that stir the full development of one s potentialitiesItem Lembranças Azuis e um Rio Vermelho(Universidade Federal de Goiás, 2010-10-27) PARREIRA, Selma Rodrigues; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901The present text presents a series of works of my own production in visual poetics between the years 2003 and 2010. This series' main work is entitled Lençóis esquecidos no Rio Vermelho, 'Sheets forgotten in the Vermelho River', an urban intervention done in 2009 at the Vermelho River (Red River) in the City of Goiás. This site-specific proposal is related to the history and memory of women who washed clothes at the Vermelho River in the City of Goiás. The final piece, Lençóis esquecidos no Rio Vermelho, is comprised of an urban intervention, a photographic installation and a video documentary. The theoretical reflexions about this visual production are pluridisciplinary. They dialogue with literature, history, philosophy, social studies and photography. The texts generated as a result approach the processes involved in the work's elaboration, conclusion and presentation.Item A transparência e o processo de criação em gravura: produções experimentais(Universidade Federal de Goiás, 2008-03-31) SILVA, Alana Morais Abreu e; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This research includes technically the production, scanning / tinge and printing of objects / matrices made in transparent plastic polyethylene. This support provides a reflective study and poetic about the different processes of construction of the work, scoring its relationship with traditional and digital technologies, and poetic thinking about the limits of the field. Initially this study focused on the production in the engraving workshop, which was held in a freedom technical and conceptual in the process of creation. The variations of matrices allowed then concentrate production in two opposite techniques: one is the extraction of material (plastic), and the other in collage of material. With the development of these two techniques deployed, the process experimental restricted itself, producing poetic reflections, conceptual searches and increased volume of production. The technique and the concept of engraving developed the work, the processes and considerations involving the manufacture of objects from / matrices until your impressions or final proposals. As path poetic, was questioned the transparency of the object / matrix being immaterial, missing, and their behaviour in steps of the production process, printing and reflection. This supports research on the work of artist Regina Silveira, in times that discusses the immaterial being, under the aspect of the concepts and ways of doing and understand the engraving. So its work built on the line of poetic visual, the daily the artist is a member of thinking and construction of the work, so as to the document which it uses referring to the process of creation. This research presents technical and conceptual axis as the engraving, which promotes reflection on the presence of transparent as a representation missing.Item Trançar com as mãos e tramar com os olhos: um testemunho da arte goiana(Universidade Federal de Goiás, 2010-05-25) SOUZA, José Antônio Gomes de; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901My thinking about art today is in some way about understanding a series of events that I both witnessed and lived in Goias.The thinking of the pioneers of modern art like Gustav Ritter, Nazereno Confaloni, and DJ Oliveira, influenced this story. There was a clear dichotomy between the Arts and Crafts, both fields are connected, but there was tension between what one believed to be true art, and one‟s livelihood. The complex concepts of beauty, ugliness, aesthetics and poetry, plus how to commercial create art that would appeal to the masses were all at play. Through this turmoil, the creative discoveries of these artists and craftsman allowed the art of Goiania to thrive and be exported and to find it‟s place in the larger marketplace. This actually enhanced important artistic achievements in places like Rio de Janeiro and Sao Paulo in the 70‟s and 80‟s. By this complex and frenzied mix of intertwined artistic ideas and visions, Goias lived a century of modernism in just thirty years. I created a series of works to illustrate this history that were part of three exhibitions called Tramas, Tranças e Cestarias. I chose to combine a variety of different materials with conventional painting, as metaphor for the variety of techniques and approaches that were in use by the creative community at that time. Recently, I employed new computer technology to take make three-dimensional stereograms from original photographs of those pieces, showing traces of classic art originating in Goiania, that is completely contemporary. My research in creating this new work resulted in not just a new interpretation of the work of this period, but a specific focus on the unique themes and styles of that period.