Mestrado em Artes
URI Permanente para esta coleção
Nível: Mestrado Acadêmico
Ano de início: 2006
Conceito atual na CAPES: 4
Ato normativo:Portaria MEC nº 2.000, publicada no D.O.U. de 21/12/2006, Seção 1, pág. 35
Periodicidade de seleção: Anual
Área(s) de concentração:Arte e Cultura
Url do curso: https://artes.ufes.br/pt-br/pos-graduacao/PPGA/detalhes-do-curso?id=1396
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- ItemNovos espaços de fruição e comunicação da arte no século XXI : ressignificações digitais de Van Gogh nas exposições imersivas(Universidade Federal do Espírito Santo, 2024-06-28) Bastos, Sandra Regina; Ruiz Torres, David ; https://orcid.org/0000-0003-2458-2992; http://lattes.cnpq.br/0455058699179367; https://orcid.org/0000-0002-6537-384X; http://lattes.cnpq.br/4108266192355451; Costa, Robson Xavier da ; https://orcid.org/0000-0003-3012-3741; http://lattes.cnpq.br/3706411790927848; Hora, Daniel de Souza Neves ; https://orcid.org/0000-0001-6582-3276; http://lattes.cnpq.br/1587944007709027More and more contemporary installations are defining virtual reality spaces using mediation and technologies, allowing interaction between work and viewer. As a result of cyberculture, the fact is that digital media, as a tool, has been promoting and expanding art and culture, giving new meaning to works of art through animations and effects, enabling virtual processes. Technological events have generated a post-digital scenario, thus emerging augmented and mixed realities and other artistic practices that are becoming recognized and have transformed digital art into a prosperous and interesting segment, as it involves the participation of many important artists. The research seeks to present data recognizing how digital technologies transform the visual and artistic environment, influencing the practice of communication between work, artist and public in exhibitions with immersive technological mediations. The research proposes a reflection on the questions presented by several authors who study the topic of virtuality, including Oliver Grau, an author who fundamentally contributes to this research and treats sensory interactivity as essential for the study of “virtual art”. Author Anne Cauquelin addresses the theme of immersive exhibitions transcending the classic exhibition space and also shows us how virtual installations are also a reflection of the unfolding of postmodernism. Author Greice Antolini Silveira adds to the research information about the interference of images in the senses, reacting to the effects of illusion when the visitor enters the installations. Several other authors add data from research on the elements such as floor, walls and ceilings that are part of the project so that the participant feels like a scenic presence and how the occupation of the space completes the work, integrating it. In interactive installations, images are presented in a way that makes the viewer experience emotions and sensory experiences – tactile, auditory, visual, olfactory – using effects with 3D moving images and alternative materials. Immersive exhibitions have gained notoriety since the beginning of the 21st century and are currently presented in large spaces, using digital resources and bringing new parameters for coexistence, communication and dissemination of different forms of artistic expression to different types of audiences. This research investigated how digital technologies are capable of transforming the imagery and artistic environment, influencing the practice of communication between work, artist and public in exhibitions with immersive technological mediations. The study was developed based on a qualitative documentary research methodology with a case study based on reports and stories with mapping of immersive exhibitions over the last 4 years in the Southeast region of Brazil and reference material prepared during visits made in person since 2019 with the theme of artist in question. To conclude the research and to present the case study of an immersive exhibition, we will use as a reference the Analysis Methodology, developed in 2004 by Dr. Javier Marzal Felici, in 4 levels of methodological analysis. In the research we brought this context of virtuality and immersion, within which the viewer has a new look at the elements created by the artist in the real work, in relation to colors, volume, shapes and gestures. In this way, the image reproduced using digital resources places the viewer as part of the work. By giving new meaning to artistic expressions, immersive exhibitions are analyzed in this research from a poetic point of view, from the theatrical and spectacular aspect of reproductions, in addition to being able to reorganize and reorder a desired theme for a new spatiality. Within this new context, these spaces in the format of interactive installations give new meaning to works by renowned artists such as Van Gogh, allowing us to understand this new version or museum language, called immersive exhibitions, as a new space for the enjoyment and communication of art in the 21st century
- ItemCriatividade na práxis arte-educadora escolar na educação infantil(Universidade Federal do Espírito Santo, 2024-05-28) Thompson, Francysmeyre Rodrigues; Sanmartin, Stela Maris ; https://orcid.org/0000-0001-7276-0584 ; http://lattes.cnpq.br/3169230790004855 ; https://orcid.org/0000-0002-6960-5169 ; http://lattes.cnpq.br/1148456713128245 ; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X ; http://lattes.cnpq.br/4616788871589192 ; Iavelberg, Rosa; https://orcid.org/0000-0003-1273-5955 ; http://lattes.cnpq.br/3612410780790990This research addresses creativity as a methodological bias in the praxis of art educators in early childhood education. Seeking to understand whether the presence of creativity in educational artistic practices in early childhood education, with the aim of understanding whether the mediated by the art educator promote or inhibit a creative environment. The role of art in the education of young children is highlighted as a means of promoting creativity and individual expression, which are fundamental for their integral development. Also the complexity of relating the child's development with creative stimuli, but the importance of understanding the general dynamics of the art-educational process is emphasized. The proposed methodology involves three stages: selection of the research field based on the pedagogical projects of art teachers, field observation for data collection and semi-structured interviews with teachers. The research is based on a qualitative approach, considering the child as an active social agent. Teachers' conceptions of creativity and their practical application are investigated. The data were analyzed using, as scientific methods, discourse analysis and analysis of data collected in the field. The conclusions obtained indicate that creative methods foster a more creative educational environment, stimulating children in their creativity
- ItemCorpo-paisagem : elaborações performáticas para um exoesqueleto poético(Universidade Federal do Espírito Santo, 2024-10-31) Pereira, Francisco Aurélio de Souza; Silva, Cláudia Maria França da; https://orcid.org/0000-0001-6971-6363; http://lattes.cnpq.br/3462886315780014 ; https://orcid.org/0009-0009-3445-1807 ; http://lattes.cnpq.br/9631789063649032 ; Coelho, Rodrigo Borges ; https://orcid.org/0000-0002-7686-8258; http://lattes.cnpq.br/6448880563509404; Guimarães, Aissa Afonso ; https://orcid.org/0000-0001-9626-4606; http://lattes.cnpq.br/5450445723454857 ; Ortigão, Elisa Ramalho ; https://orcid.org/0000-0003-2214-6417 ; http://lattes.cnpq.br/4365540818438340This research in poetics addresses the negotiations of existence - the flows of life and death - between the body and the landscape, human beings and animals, other components of a sertanejo reality. Creative writing, performance - in video and photographic developments - and creative process reports are taken as methodological strategies to produce a double movement of excavation and camouflage: first, rural animals (such as pigs, donkeys, oxens) have their carcasses excavated and exposed to view; later, the body in a state of performance is immersed in the landscape in an attempt to become integrated into the whole ground. Thus, the perspective of death is taken as the starting point for investigating relationships of literal, symbolic, narrative and epidermal entanglement between the individual and the space around them. Euclides da Cunha, Gilles Deleuze and Félix Guattari, João Cabral de Melo Neto and Emanuele Coccia are some of the authors who structured a mimetic body-landscape perspective, in which the poetic exoskeleton, which at first would be a deadly protective device, becomes an element of connection/symbiosis/embatement that sparks, through the bodily and performative link in the forest, the desire for a utopia where the hierarchical fallacy of the split between the human and its animal dimension is undone
- ItemRessonâncias entre o Expressionismo abstrato e o Free Jazz(Universidade Federal do Espírito Santo, 2024-04-22) Amorim, Gabriel Rossetto; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X; http://lattes.cnpq.br/4616788871589192; https://orcid.org/0009-0004-1452-1859; http://lattes.cnpq.br/7667438924474627; Costa, Fabiano Araujo ; https://orcid.org/0000-0002-7386-3320; http://lattes.cnpq.br/7101979822731454; Santos, André Domingues dos ; https://orcid.org/0000-0001-5899-3306; http://lattes.cnpq.br/0350620295872742We investigated parallels between music and painting in the 20th century, with a particular focus on the programs of abstract expressionism and free jazz, in the 1950s and 1960s. The primary objective was to identify similarities between these two distinct types of artistic expression. To achieve this objective, we adopted a methodological approach based on the concept of “resonances”, conceived by Freitas (2012), according to which the observer brings together artistic works from different modalities with the aim of extracting new readings and interpretative layers. With the approximations between musical and pictorial materials/techniques, we investigate possible similarities nurtured from our artistic experience, from a phenomenological perspective. The subsequent discussion highlighted the capacity of interarts approaches to expand the interpretative scope of works, often unveiling layers of meaning that were supported by the relationship between the medium and experience (MCLUHAN, 1964). We believe that the album “Free jazz: a collective improvisation” (1960) by Ornette Coleman and the painting “White light” (1954) by Jackson Pollock acquire similarities mainly in the tactile context and in the importance given to improvisation, as the driving force of these arts. When we listen to music through phonograms through headphones, we reduce the distance from the sound source to our hearing aid, providing the experience with a heightened sense of tactility, which will be supported by the theory of audiotactile music (CAPORALETTI, 2018). Furthermore, we explore the ambivalences underlying the comparative analysis of these two artistic modalities. We conclude, therefore, that this study promoted updated perspectives in the field of interdisciplinary approaches between music and painting, in the aforementioned section, based on analyzes of the poetics of Jackson Pollock inserted in the abstract expressionism movement and recordings by Ornette Coleman and his improvisation group free jazz collective, outlining new paths for convergence between these two creative domains within the scope of the interartistic experience that involves the subject, environment and environment in contemporary times.
- ItemEcologias urbanas : Dona Dominga, algumas narrativas negras a partir da escultura(Universidade Federal do Espírito Santo, 2024-04-24) Nunes, Fabíola Fraga; Cirilo, Aparecido José ; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; https://orcid.org/0000-0002-2607-7992; http://lattes.cnpq.br/4407754677472529; Mello, Júlia Almeida de ; https://orcid.org/0000-0001-8454-2453; http://lattes.cnpq.br/2648924540669238; Castilho, Liliana Andrade de Matos e ; https://orcid.org/0000-0001-7724-8002; http://lattes.cnpq.br/5816252090183813In addition to revealing the possible intentions of the Monument to Dona Domingas, located in the vicinity of the State Government Palace, the work that has been carried out so far, attempts to establish a clearer and more updated perception of the unmeasurable abyss that separates the tributes made through monuments public, to the illustrative children of a Nation, especially when we take into account their socioeconomic origin. In particular the representation of black women, as public works in the capital of Vitória in Espírito Santo. In this sense, Dominga, the sculpture, reflects, from the haughtiness of his statue, how far we still need to go in the direction, except for equality in relation to these historical records, but a reduction in this disparity. The place reserved for the poor, black, disadvantaged, in the country's statutory framework, despite their sociocultural importance, compared to their "peers" of Eurocentric origin, are enormous, and the analysis of the invisibility of the monument in question makes this clear. In a parallel way, the ongoing research, as has become evident, does not separate the woman from the work, the citizen of the marble, on the contrary, it tries to bring to light, the gigantic legacy of the woman so that, in some way, the Monument. It is possible to state peremptorily that all the initial intention imagined for the research was completely trampled and redirected, in such a way that it is possible to say about Dominga the work and Domingas the woman, that we are far from bringing to light the totality of phenomena so broad and complex. The importance of Artist Carlos Crepaz materializing the work with a wealth of details, placing Domingas in the Center of the capital of Espírito Santo, is also important. special importance in the work carried out. There is still a lot to be researched, both from a personal point of view, the woman, and an artistic one, the work. The Character's developments amplify with each step taken and present us with new challenges.