Academic literature on the topic 'Brazilian art from the 1960s'
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Journal articles on the topic "Brazilian art from the 1960s"
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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.
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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.
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Amaral, Aracy. "From the Stamps to the Bubble." ARTMargins 5, no. 2 (2016): 120–25. http://dx.doi.org/10.1162/artm_a_00151.
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The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
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de Andrade, Patrícia Mourão. "Helena Ignez, an Incendiary Monster of Brazilian Cinema." Film Quarterly 74, no. 3 (2021): 23–34. http://dx.doi.org/10.1525/fq.2021.74.3.23.
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Patrícia Mourão de Andrade offers an impassioned portrait of the actress and filmmaker Helena Ignez, a foundational figure in Brazilian filmmaking of the 1960s and 1970s. Long ignored by a national historiography blinded by its own patriarchal distortions, Ignez has only gained recognition in the last fifteen years for her contributions to Brazilian cinema. Moving behind the camera for the first time in 2005, Ignez has created a body of work that brings the anarchic spirit of the Cinema Marginal movement of the late 1960s to Brazilian cinema of the 2000s. This article offers a comprehensive survey and assessment of Ignez’s career, from her first film, O pátio (1959), directed by Glauber Rocha, who became her first husband, to her memorable performances of the 1960s, to her years of political exile, to her recent, late renaissance.
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Gotti, Sofia. "Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble”." ARTMargins 5, no. 2 (2016): 105–19. http://dx.doi.org/10.1162/artm_a_00150.
Full textAbstract:
The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
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Martins, Sérgio B. "Ideas of Reality: Antonio Dias between Rio de Janeiro, Paris, and Milan." ARTMargins 7, no. 2 (2018): 72–99. http://dx.doi.org/10.1162/artm_a_00209.
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Despite the fact that the growing reception of Antonio Dias (b. 1944) in the English-speaking world is happening under the sign of global art history, the trajectory of the Brazilian artist in the 1960s and 1970s actually suggests both a counter-genealogy and a counter-geography of the global. This essay explores this situation by recontextualizing Dias's emergence vis-à-vis the critical debate on realism and underdevelopment that marked the Rio de Janeiro avant-gardist scene of the mid- to late-1960s and involved writers such as Ferreira Gullar, Hélio Oiticica, Mário Pedrosa, Pierre Restany, and Frederico Morais. It subsequently argues that such critical terms simultaneously both change and remain crucial as Dias moves away from Brazil, first to Paris, late in 1966, and then to Milan, in 1968, inflecting the artist's recourse to the English language and his turn to painting as his preferred medium even as he began to circulate amongst artists associated with Arte Povera and Conceptualism in Europe.
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Bader, Lena. "Verdrängte Orte und einverleibte Bilder Die Antropofagia-Bewegung im Spiegel transregionaler Bilderwanderungen." Zeitschrift für Kunstgeschichte 81, no. 2 (2018): 242–55. http://dx.doi.org/10.1515/zkg-2018-0017.
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Abstract This article proposes to consider the Brazilian art movement Antropofagia in the context of transcultural global modernism. Strongly connected to Paris during the 1920s and 1930s, the modernist movement that came to define Brazilian art was situated among clichéd colonial exhibitions and international artistic movements. With its striking background, the movement proves to be a very interesting contrast to Warburg’s Mnemosyne-Atlas. While both projects – from an emancipatory perspective – were formed as a ‘community of memory’, their different contexts of genesis did not make them equally susceptible to transregional experiences.
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Faccion, Debora. "The “Immersive” as a Model for Action in Artworks from the Brazilian Avant-Garde." Media-N 14, no. 1 (2018): 46–51. http://dx.doi.org/10.21900/j.median.v14i1.70.
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The concept of “immersive” gives us a practical direction to embodying the understanding of art works created by avant-garde Brazilian artists. Building upon Simone Osthoff’s seminal argument about the legacy of “interactivity” in works by Helio Oiticica and Lygia Clark, in this paper I suggest that the “immersive” presents a better model for encompassing the experience of works by artists like Antonio Dias and Anna Maria Maiolino, in their historical and material potencies. By looking at works of painting and photography by these artists, instead of installations or objects, we need to consider “immersion” beyond its technological capacity, activating, then, its parallel with Oswald de Andrade’s modernist concept of Anthropophagy, which was actualized by these artists in the 1960s and 70s, and continues to resonate with many of our current search for the decolonial.
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F. Duque, Juliana, and Luciana Inhan. "Discussing the pillars of the Brazilian Tropicália Movement: The graphic design of Rogério Duarte." Arte, Individuo y Sociedad 32, no. 4 (2020): 951–68. http://dx.doi.org/10.5209/aris.66113.
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This article addresses the Tropicalist movement, the iconic Brazilian countercultural phenomenon from the late 1960s. The discussion focuses on its main visual manifestation: graphic design. We aim to demonstrate that the work of graphic designer Rogério Duarte is one of the structural pillars of this anti-establishment movement. Tropicália is often associated with music, while other contributions such as graphic design are less known or taken as a later visual response. We propose and present an analysis of the role of Duarte at the creation of the movement and its development during the late 1960s and early 1970s. His critical vision and knowledge of the Brazilian cultural mosaic led to the construction of one of widest countercultural movements of the 20th century, with a range of manifestations that included not only graphic design and music, but also theatre, cinema, and the visual arts. Tropicália was indeed more political than the American and British psychedelic manifestations, in which it was visually inspired. It was also more than a cultural movement or an anti-academic manifestation: it was a means to criticize and work around the Brazilian government and its oppression.
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dos Santos, Sônia Beatriz. "Controlling black women’s reproductive health rights: An impetus to black women’s collective organizing." Cultural Dynamics 24, no. 1 (2012): 13–30. http://dx.doi.org/10.1177/0921374012452809.
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This article analyzes how the Brazilian state’s control of black women’s reproductive health rights shaped the emergence of the black women’s movement and organizations, particularly the rise in black women’s non-governmental organizations (NGOs). To understand the circumstances surrounding the state’s regulatory practices’ impact on reproductive health, I recount the history of the implementation of family planning policies of the 1960s through the 1980s and interrelated social action in the country. The essay focuses on the activism of the black women’s movement during the historical period from the 1960s to the 1980s, identifying their struggles around issues of reproductive health rights. I examine the political divergences black women activists encounter with state institutions and representatives, the broader black movement, the mainstream feminist movement, and other important social and political forces.
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Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.
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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.
Dissertations / Theses on the topic "Brazilian art from the 1960s"
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Schroeder, Caroline Saut. "X Bienal de São Paulo: sob os efeitos da contestação." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-26112011-133939/.
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Essa dissertação discute a X Bienal de São Paulo, de 1969, buscando investigá-la dentro de uma conjuntura sociopolítica e cultural marcada pelas arbitrariedades de um regime ditatorial, pelas manifestações coletivas contrárias às injustiças, e pela tomada de uma consciência social por artistas e críticos de arte. O estudo procura, dessa forma, ampliar a discussão para além do boicote que atingiu a organização e realização da mostra. Por meio de uma extensa pesquisa dos documentos relativos ao assunto acumulados no Arquivo Histórico Wanda Svevo Fundação Bienal de São Paulo, foi possível juntar um material informativo que auxiliou na reconstrução dos fatos. Ao lado disso, para estabelecer uma análise crítica dos dados encontrados, recorreu-se aos relatos dos acontecimentos publicados na imprensa escrita da época e a uma bibliografia atualizada do campo da política, da sociologia, da história e da arte. A pesquisa apresenta os diversos ângulos de visão e atitude que permearam o boicote e a X Bienal inseridos no contexto efervescente do final da década de 1960. A mostra se concretizou marcada por contestações políticas e culturais e reverberou internamente os mesmo conflitos e contradições ideológicas do cenário macropolítico. Essa agitação teve como origem o impulso utópico por transformações radicais das estruturas conservadoras.<br>This essay examine the 10th São Paulo Biennial, from 1969, investigating it within a cultural and socio-political situation marked by arbitrariness of a dictatorship, the collective manifestations against injustices, and the social consciousness taking by artists and art critics. The study aims, therefore, broaden the discussion beyond the boycott that has reached the arrangements and the materialization of the show. By an extensive research of documents related to the subject accumulated at the Wanda Svevo Historical Archive - São Paulo Biennial Foundation, it was possible to collect a number of information that helped reconstructing the facts. Besides, to establish a critical analysis of the informational findings, it was restored the published press reports from that time and an updated bibliography of politics, sociology, history and art field. The research presents the different angles of vision and attitude that permeated the boycott and the 10th Biennial seething within the context of the late 1960s. The show was achieved marked by political and cultural challenges and reverberated inside the same conflicts and ideological contradictions of the macro-political scenario. This agitation had its origins in the utopian impulse looking for transformations of the conservative structures.
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Gibson, Ashley M. 1982. "From Ant Farm to UbuWeb: Distribution and Access in Artists’ Video from the 1960s to the Present." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11984.
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viii, 87 p. : ill. (some col.)<br>This thesis examines the history of distribution platforms for artists' video. Artists' video is defined as time based art works that employ the medium of film, videotape, digital video, or any combination thereof. The thesis categorizes different points of access for artists' video from the 1960s to the present as well as how artists have distributed their work.
Three macro level platforms serve to classify the different sites of access between artists' video and a viewer - the first is television, the second is institution, and the third is the Internet. Over the past forty years, artists' video has transitioned from a marginal practice that existed outside of the institution to a medium that is now synonymous with the idea of a contemporary art museum. However, the Internet as a platform allows artists' video to exist outside of the museum, which is consistent with the earliest goals associated with this medium.<br>Committee in charge: Kate Mondloch: Chair and Advisor;
Albert Narath: Member;
John Fenn: Member
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Pedrosa, Sebastiano Gomes. "The influence of English art education upon Brazilian art education from 1941." Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332216.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.
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Cornish, Patricia Branco. "Artistas mulheres na ditadura brasileira: os casos de Wanda Pimentel e Teresinha Soares." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-12122018-120942/.
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Este estudo investiga as produções artísticas de Wanda Pimentel e Teresinha Soares em meados da década de 1960 e início da década de 1970, com o objetivo de analisar a questão de gênero e a construção da subjetividade feminina. A pesquisa buscou analisar as relações estéticas das obras de Pimentel e Soares à luz das influências das teorias feministas que migravam dos Estados Unidos para o Brasil ao final dos anos de 1960. A partir disso, destacou as relações teóricas entre as questões de gênero e as práticas artísticas das vanguardas brasileiras. Ademais, esta pesquisa tratou da circulação das obras de Pimentel e Soares, visto que as artistas estiveram inseridas no circuito de arte brasileiro em exposições coletivas, salões e bienais no período estudado. Esse contexto de circulação permitiu uma visão crítica frente à retomada das obras dessas artistas em exposições internacionais nos últimos três anos, em virtude de uma política revisionista dos museus acerca das questões de gênero e da produção artística de países à margem dos centros culturais canônicos. O estudo amplia o conhecimento acadêmico sobre as produções artísticas realizadas por mulheres nas décadas de 1960 e 1970, que adotaram a crítica feminista sem se ater a movimentos sociais, contribuindo para o debate sobre a suposta marginalidade da mulher no circuito de arte brasileiro durante a ditadura militar.<br>This study investigates the artistic productions of Wanda Pimentel and Teresinha Soares in the mid - 1960s and early 1970s, with the objective of analysing the issue of gender and the construction of female subjectivity. The research seeks to analyse the aesthetic relations of the works of Pimentel and Soares in light of the influences of feminist theories that migrated from the United States to Brazil in the late 1960s. This highlights the theoretical relations between gender issues and the artistic practices of the Brazilian vanguard. In addition, this research looks at the circulation of the works of Pimentel and Soares given that both were part of the Brazilian art circuit in collective exhibitions and biennials in this period. This context of the circulation of art allows a critical view of the return of the work of these artists to international exhibitions in the last three years; a return driven by the revisionist policies of museums on issues of gender and artistic production in countries outside the canonical cultural centres. The study expands the academic knowledge about artistic productions made by women in the 1960s and 1970s, who adopted a feminist critique without reference to social movements, contributing to the debate about the supposed marginalisation of women in the Brazilian art circuit during the dictatorship military.
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Torrubia, Rafael. "Culture from the midnight hour : a critical reassessment of the black power movement in twentieth century America." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1884.
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The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.
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Volpe, Maria Alice. "Indianismo and landscape in the Brazilian age of progress : art music from Carlos Gomes to Villa-Lobos, 1870s-1930s /." 2001. http://www.lib.umi.com/cr/utexas/fullcit?p3064681.
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Kelly, Patricia M. "From SDS to LSD : politics, viewers, and minimal art in late 1960s America." Thesis, 2003. http://hdl.handle.net/2429/15139.
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When the artist Mel Bochner described the reductive geometric forms on view in
the "Primary Structures" exhibition in 1966, a show that announced the arrival of
minimalism on the New York art scene, he claimed: "there is nothing behind these
surfaces, no inside, no secret, no hidden motive."1 Yet after a careful examination of
minimal art, and the ways in which it challenged a modernist trajectory set into place in
the postwar period, I am arguing Bochner couldn't have been more wrong. With
minimalism as its primary focus, my thesis considers how the political turmoil of the late
1960s- manifest in widespread social upheaval, the polemics of a contested war, and
questions regarding the nature of the modern subject- disrupted the perceived self-referentiality
of abstract art, particularly that adhering to a tradition of Greenbergian
modernism. That is, when complicated by contemporaneous social relations and artistic
debates, the formal language of minimalism, with its simple forms, precise lines, and
industrial manufacture, becomes full of potential meaning, leaving the minimal box less
hollow than Bochner would have us believe.
To get at some of the complexities of the minimal project, both mainstream
artists, such as Donald Judd and Robert Morris, and those more marginally related to the
movement, like Barnett Newman, Jo Baer, and Eva Hesse, are considered. Setting the
work of these artists into tension with one another and with the critical writings of
Clement Greenberg and Michael Fried, the unique strategies used to mediate between
individual artistic interests and larger social tensions are brought into focus. One primary area in which this was accomplished was in relation to the issue of viewership. Whether
rethinking Morris' notion of "experience," Newman's conceptualization of
"participation," or Baer's prioritization of "perception," these distinct modes of
engagement signal what was at the time a shifting understanding of how politics is
formulated in relation to the body of the viewer and how the art object is implicated in
this process. Considering how this broke with previous formalist models, what these
chapters show in different ways and from varying perspectives is that the authority of
modernism was fracturing in the late 1960s, and that minimal art was central to this
process.
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Morley, John. "The art of Jasper Johns and Robert Rauschenberg during the 1950s and 1960s : the transition from modernism to postmodernism." Thesis, 1998. http://hdl.handle.net/10413/5922.
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This dissertation is intended as an investigation into the art of Jasper Johns and
Robert Rauschenberg.The aim of thisinvestigation is to assess the possibility that the art produced by Johns and Rauschenberg during the 1950s and 1960s
constitutes a transition from modernism to postmodernism in the visual arts in
America. This dissertation is introduced by means of a broad outline of relevent
developments within the visual arts during the1950s and 1960s in America. This
outline also contains explanations of modernism and postmodernism and looks at how these terms are presented throughout this text. In the outline I describe how Johns and Rauschenberg can be identified with a shift that occurred in the visual arts in America during the mid 1950s away from two prominent modes of painting within modernism, namely' action' painting, as described by Harold Rosenberg (1982:28), and Clement Greenberg's 'American-type' painting (1973:208). Both Johns and Rauschenberg actively produced art during the 1970s and 1980s the period in which postmodernism is generally regarded to have been most prominent. However, in an attempt to assess the possibility that their art is transitional from modernism to postmodernism, this investigation focuses upon a selection of artworks produced during the 1950s and 1960s. I intend to discover whether or not these works signalled a departure from modernism and if they did, at what point this occurred and what the specific nature of this departure was. These works are examined from conceptual, formal, iconographical, stylistic and technical viewpoints.
Throughout this dissertation I attempt to describe how Johns and Rauschenberg
anticipated and embraced various postmodem tendencies that have subsequently emerged in the arts and other related disciplines. Parallels are drawn between the artworks of Johns and Rauschenberg and the disciplines of architecture and literary theory. These parallels are drawn with the intention of aligning Johns and Rauschenberg's attitude towards making art in the 1950s and 1960s with a relatively widespread mood in literary theory, philosophy and the social sciences concerning the inability of these disciplines to deliver totalising theories and doctrines, or enduring answers to fundamental dilemmas and puzzles posed by objects of inquiry, and a growing feeling, on the contrary, that chronic provisionality, plurality of perspectives and incommensurable appearances of the objects of inquiry in competing discourses make the search for ultimate answers or even answers that can command widespread consensus a futile exercise. (Boyne and Rattansi 1990: 12).<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.
Books on the topic "Brazilian art from the 1960s"
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Rauschenberg, Robert. Robert Rauschenberg: Transfer drawings from the 1960s. Jonathan O'Hara Gallery, 2007.
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Ileana, Sonnabend, Sonnabend Michael, and Princeton University Art Museum, eds. Selections from the Ileana and Michael Sonnabend collection: Works from the 1950s and 1960s. Art Museum, Princeton University, 1985.
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Riley, Bridget. Bridget Riley: Paintings from the 1960s and 70s. Edited by Corrin Lisa G and Serpentine Gallery. Serpentine Gallery, 1999.
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G, Corrin Lisa, Kudielka Robert, Spalding Frances, and Serpentine Gallery, eds. Bridget Riley: Paintings from the 1960s and 70s. Serpentine Gallery, 1999.
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Peter, Cartwright, and Karsten Schubert Ltd, eds. Alison Wilding: Art school drawings from the 1960s and 70s. Ridinghouse, 2011.
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Art of the postmodern era: From the late 1960s to the early 1990s. IconEditions, 1996.
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Art of the postmodern era: From the late 1960s to the early 1990s. Westview Press, 1998.
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England, Arts Council of. Art unlimited: Multiples of the 1960s and 1990s from the Arts Council collection. South Bank Centre, 1994.
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Neistein, José. A arte no Brasil, dos primórdios ao século vinte : bibliografia seleta, anotada =: Art in Brazil, from its beginnings to modern times : a selected, annotated bibliography. Brazilian-American Cultural Institute, 1997.
Find full textBook chapters on the topic "Brazilian art from the 1960s"
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Zegarra-Vásquez, Juan Carlos, and Nestor Mamani-Macedo. "IP Network Management from the Perspective of Distributed Artificial Intelligence: State of the Art." In Proceedings of the 5th Brazilian Technology Symposium. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57548-9_14.
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Fernie, Eric. "Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day." In A Companion to Medieval Art. John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch17.
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Câmara, Regina. "From Karlovy Vary to Cannes: Brazilian Cinema Novo at European Film Festivals in the 1960s." In Cultural Transfer and Political Conflicts. V&R unipress, 2017. http://dx.doi.org/10.14220/9783737005883.63.
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Rivenbark, Elizabeth Richards. "Cloth as a sign of the absent body in American sculpture from the 1960s." In Binding the Absent Body in Medieval and Modern Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315096322-6.
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Divino-Filho, José Carolino, Kleyton de Andrade Bastos, Abdul Rashid Qureshi, Miguel Carlos Riella, Roberto Pecoits-Filho, and Natália Fernandes. "Brazilian Peritoneal Dialysis Multicenter Study (BRAZPD): From Conception to Execution of a National Peritoneal Dialysis Reality Check." In Peritoneal Dialysis - State-of-the-Art 2012. S. KARGER AG, 2012. http://dx.doi.org/10.1159/000337793.
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Fremantle, Chris, Anne Douglas, and Dave Pritchard. "The Harrisons’ Practice in the Context of Global Environmental Policy and Politics from the 1960s to 2019." In The Routledge Companion to Art in the Public Realm. Routledge, 2020. http://dx.doi.org/10.4324/9780429450471-28.
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Bianchini, Paolo, Circe Maria Fernandes Bittencourt, and Pompeo Vagliani. "La bellezza come strumento di accesso alla conoscenza storica. La mostra Scuole come capanne. Libri come opere d’arte. Dal Brasile all’Agro romano." In Studi e saggi. Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-5518-009-2.21.
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The essay deals with the exhibition “Schools as huts and books as works of art. From Brazil to the Agro Romano” (Scuole come capanne e libri come opere d’arte. Dal Brasile all’Agro Romano), which collected educational materials and objects of daily life made for the schools of the Brazilian Indians, as well as those of the farmers of the Agro Romano of the early 20th Century. The dialogue between these materials underlines the centrality of beauty in education and in creating a better world.
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Moebius, Stephan. "Ups and Downs of Sociology in Germany: 1968–1990." In Sociology in Germany. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71866-4_4.
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AbstractIn the 1960s, Germany was strongly marked by changes in cultural values and social concepts of order, by new developments in art, music, and film, as well as suburbanization; also, as in many other countries, in 1968 there were massive student protests in Germany. The student movement brought sociology into the limelight. The Frankfurt School and the more Marxist Marburg School in particular became closely connected with the student movement. As a subject of study, sociology gained enormously in importance, which was connected with the growing need for social reflection in all areas of life. A characteristic feature of sociology in this period was an increasing differentiation into specialized subfields. The number of academic positions for sociologists and the number of students increased, partly as a result of the founding of new universities and of reforms in higher education policy. The increasing number of non-university research institutions complemented sociological research at the universities. This expansion, which coincided with a highly visible public sociology, also led to counter-movements: Conservative sociologists criticized the growing social influence of sociology and propagated an “anti-sociology.” As far as empirical social research is concerned, quantitative research had become more professional; interpretative social research had slowly developed, reinforced by the increasing reception of symbolic interactionism. The “planning euphoria” of the 1960s and 1970s weakened, and many looked at 1968 with disappointment and some even turned away from sociology. There were debates, such as that between representatives of Critical Theory and systems theory (the “Habermas-Luhmann debate”) and the debate on “theory comparison,” and controversies regarding “postmodernism.” The 1980s was the great time for sociological theory in Germany. Also, a further increase in the differentiation and pluralization of the sociological field could be observed.
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Buckley, Eve E. "Conclusion." In Technocrats and the Politics of Drought and Development in Twentieth-Century Brazil. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469634302.003.0008.
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This concluding section briefly traces the shift in approaches to regional development that took place under Brazil’s military dictatorship during the late 1960s and 1970s, with increased focus on urban industrialization and reduced interest in smallholder irrigated farming. Critical perspectives on approaches to northeast development during and after the dictatorship, from Brazilian academics and intellectuals like Celso Furtado—first director of SUDENE (the Superintendencia de Desenvolvimento do Nordeste)—and others are emphasized. The book ends by evaluating the limits of technocratic solutions to problems rooted in social and political organization—of which drought in northeast Brazil is an exemplar—with reference to similar development projects elsewhere in the world.
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Kosick, Rebecca. "Feminine Objects, Embodied Subjects." In Latin American Culture and the Limits of the Human. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0010.
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In 1960s Rio de Janeiro, a multidisciplinary group of artists dedicated themselves to making art that invited active, sensory engagement from audience participants. This neoconcrete group theorized the art object as participatory and relational. The theoretical consequences of this approach to art-making included an expansion of the object’s agency. No longer a static wall-hung work of art, the object was now capable of shaping the engagement of its human participants. Conversely, these participants would share in the object-like qualities of the artwork, merging with it in a relational exchange in which both the human and the nonhuman contributed to the constitution of the work. However, changes to this paradigm arise when the subject (or object) in question is not an abstract participant untethered to notions of gender identity. In Lygia Pape’s work, objects are embodied and bodies are objectified, but, as she shows, this exchange cannot be separated from gender. This essay examines key works by Lygia Pape, including the Neoconcrete Ballet, Divisor, and Eat Me, and argues that her embodied aesthetics, rooted in twentieth century Brazilian art, chart new horizons for feminist posthumanism today.
Conference papers on the topic "Brazilian art from the 1960s"
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Duarte, Emanuel Felipe, and M. Cecília C. Baranauskas. "Revisiting Interactive Art from an Interaction Design Perspective." In IHC 2018: 17th Brazilian Symposium on Human Factors in Computing Systems. ACM, 2018. http://dx.doi.org/10.1145/3274192.3274227.
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Kuhlmann, Ulrike, and Simon Bove. "Refurbishment of orthotropic steel bridge decks by bolted solutions." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.1111.
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<p>An increasing number of steel road bridges in Germany, but also in Europe and North America, show severe fatigue damages induced by the increase in heavy traffic loads. In addition, these road bridges from the 1960s to the 1980s were executed with fatigue-critical details, which are no longer state of the art today. Longitudi- nal stiffeners of orthotropic steel bridge decks, fitted between the cross girders are an example. Due to the particular importance of these bridges, e.g. crossing the Rhine, for the regional infrastructure network, the refurbishment has to be realized under consideration of the running traffic. Thus, refurbishment solutions are needed that are robust and durable with the least possible intervention in the current traffic. Bolted bearing- type shear connections are particularly suitable in this context, as they can usually be classified in higher fa- tigue detail categories than welds. However, for longitudinal stiffeners with a closed cross section such as a Y- shape or a trough shape normal bolting is not applicable. Therefore, the development of a refurbishment solution using mechanical fasteners and considering the only one-sided accessibility of stiffeners with a closed section by the use of blind rivets was the focus of two German research projects [1], [2]. In this paper, this innovative refurbishment solution by means of mechanical fasteners including blind rivets is presented. Fa- tigue tests on large-scale components consisting of longitudinal stiffeners butted up to a cross girder web with and without repair measure as well as small size fatigue tests on blind rivets were realized. First results of the currently still ongoing research [1] are presented.</p>
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Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.
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This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
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Varga, Audrey L., Matthew R. Chandler, Worth B. Cotton, et al. "Innovation and Integration: Exploration History, ExxonMobil, and the Guyana-Suriname Basin." In Offshore Technology Conference. OTC, 2021. http://dx.doi.org/10.4043/30946-ms.
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Abstract Exploration in the Guyana-Suriname Basin has been a decades-long endeavor, including technical challenges and a lengthy history of drilling with no offshore success prior to the Liza discovery. The 1929 New Nickerie well was the first onshore well in Suriname, and was followed by 30 years of dry holes before the heavy-oil Tambaredjo field was discovered in the 1960s. In the 1990s, nearly 40 years after the Tambaredjo discovery, ExxonMobil utilized the 1970s-vintage, poor-to moderate-quality, 2D seismic and gravity data available to create a series of hand-drawn, level-of-maturity (LOM) source and environments-of-deposition (EOD) maps over the basin to move their exploration efforts forward. This work established the genetic fundamentals necessary for understanding the hydrocarbon system and led to negotiation for and capture of the Stabroek Block in 1999. The Liza-1 success in 2015 spurred extensive activity in the Basin by ExxonMobil and the Stabroek Block co-venturers, Hess Guyana Exploration Limited and CNOOC Petroleum Guyana Limited (Austin et al. 2021). The collection of extensive state-of-the art seismic data has been leveraged to enable successful exploration of multiple play types across the Guyana-Suriname Basin. Further data collection, including over 2 km of conventional core and additional seismic data acquisition and processing, has enabled ExxonMobil to adopt interpretation techniques that are applied across the entire basin to characterize and understand the subsurface better. From initial hand-drawn maps to the use of advanced technology today, ExxonMobil's work in the Guyana-Suriname Basin has relied on integration of geologic and geophysical understanding as well as the ability to leverage new technology to continue a successful exploration program with 8 billion barrels discovered to date.
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Pecoroni, Stefan. "Citrus Oil Recovery: Using Modern “State-of-the-Art” Centrifuge Technology as Part of Economical Citrus Processing." In ASME 2006 Citrus Engineering Conference. American Society of Mechanical Engineers, 2006. http://dx.doi.org/10.1115/cec2006-5203.
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The present citrus oil business is dominated by two trends: The price for orange oil as a bulk product is under serious market pressure. This has been ongoing for a number of years. In many regions of the world, for example, Southern Italy, this has led to a situation where oil is no longer recovered. However, due to insufficient deoiling, this results in giving away a valuable product (even at a low price) and increased waste water treatment costs or losses in revenue when selling the peels for animal feed. Based on 30,000 l/h emulsion of orange oil coming from the extractors, a return on investment between one and two years can be achieved at present prices as shown in Table 1. Therefore, large processors must focus on increasing production efficiency. In contrast to the economical situation for orange oil, we see a very strong dynamism in the market for other citrus oils. The price for more rare oils like grapefruit, pink grapefruit, lemon, and mandarin is increasing, partly influenced by climatic factors like hurricanes. This makes the recovered oil very valuable and brings an even stronger focus onto production efficiency. In addition, the tendency towards constructing bigger production lines is still very dominant in the market, especially in Brazil and the US. This increases the pressure for the equipment suppliers to provide the industry with units having higher capacity and efficiency. Westfalia Separator has reacted to this trend by introducing new models, such as the new ESE 500 for first stage oil emulsions and the new OSD 60 for second stage emulsions. These machines are tailor-made for these applications. In intense test work, these machines have been optimized for Brazilian as well as American processing conditions on various fruits. Mainly, the capacities have been brought up to a maximum level of 130 GPM depending on fruits and conditions. Furthermore, recovery rates could be optimized by approx. 10% from 3 lbs/ton to a level of 3.3 lbs/ton. Paper published with permission.
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Hioe, Y., S. Kalyanam, G. Wilkowski, F. W. Brust, and E. Punch. "Direct-Current Electric Potential (D-C EP) Technique Validation Through an Experimental and Computational Study on Pipe With Surface Crack." In ASME 2019 Pressure Vessels & Piping Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/pvp2019-93771.
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Abstract The direct-current electric potential (d-c EP) technique (also known as Electrical Potential Drop, EPD) was developed by researchers in the 1960s and applied to cracked geometries. In this investigation, measurement of the d-c EP signature from a circumferential surface-crack profile in a pipe was attempted to characterize the flaw shape with higher resolution using state-of-the-art digital equipment. A part-circular profile of crack was inserted using an EDM technique in a small diameter (4-inch diameter Schedule 160) TP304 (Type304) stainless steel pipe. Experimentally, different magnitudes of electric-current were applied to obtain the d-c EP across the length of the crack (from the shallowest to the deepest point). Finite Element Analysis (FEA) was performed to calculate the variation of the d-c EP across the length of the crack. A sensitivity study was done for various distances between the d-c EP probe locations near the crack. A comparison of the d-c EP values obtained from the part-circular crack front and a semi elliptical crack FEA (more realistically seen/assumed in service crack cases and used in the ASME Section XI calculations) were made. The study also investigated the variation of the d-c EP for various crack depths through the thickness for the applied constant amplitude direct-current. The sensitivity on d-c EP probe location distance from the surface flaw and d-c EP probe location along the length of the surface flaw (from deepest or center of the surface flaw to the shallowest point or corner of the surface flaw) were investigated. The scatter in the acquired d-c EP data across the two sides of the crack was investigated and accuracy of crack depth characterization was characterized in detail. This was done to investigate the limits of d-c EP calibration curves used for crack growth predictions. The d-c EP calibration curves are useful in determining the crack growth that occurs without destructively opening the specimen and also measuring the in-situ crack depth measurements real time during a pipe or other surface flawed component/fitting experiments.
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Soares, Pedro Gabriel Santos do Couto, Arnaldo Barros Da Silva, and Luis Filipe Alves Pereira. "An assault detection system based on human Pose Tracking for video surveillance." In XXXII Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sibgrapi.est.2019.8327.
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The development of new technologies for video surveillance and automatic violence detection can bring more security to our daily lives. Solutions previously published in the state-of-the-art had presented techniques to detect violence at movie scenes, sports matches, or crowds. In this work, we propose a novel system architecture based on human Pose Track for detecting evidence of assaults in real-world videos from closed-circuit television (CCTV) of Brazilian lottery agencies. The results showed that our method can identify individuals with hands up and lying down with accuracy rates up to 85%. We believe that the detection of potentially risky situations in real-time is a crucial tool in the fighting against crime.
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Vitória Abrahão Cabral, Marina, and Valdir Júnio dos Santos. "Restorative justice and the resolution of judicial conflicts: na analysis of the restorative justice Program of the General Department of Social and Education Actions (DEGASE –RJ)." In 7th International Congress on Scientific Knowledge. Perspectivas Online: Humanas e Sociais Aplicadas, 2021. http://dx.doi.org/10.25242/8876113220212436.
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The analytical and practical field of restorative justice is linked to the debates on the new social conflict management that challenge the institutional design of criminal justice and the Brazilian legal system. When starting from the problematization of the Brazilian criminal justice, we assume that the penalty under neoliberalism presents itself as a societal project that is sustained by the paradox of the potentiation of the police and penitentiary State and the minimization of the economic and social areas of action of the State. Thus, restorative justice emerges as an efficient conflict resolution mechanism, mainly because its criminal approach is based on equating relationships and repairing the damage caused to individuals and communities. In this context, this research aims at analyzing the impact of the implementation of the Restorative Justice Program of the General Department of Social and Education Actions (DEGASE, abbreviation in Portuguese) established by Ordinance 441 of September 13, 2017, within the scope of the social and education units, as well as the challenges presented to those responsible for implementing the law in the state of Rio de Janeiro, Brazil (judges, public defenders, members of the Public Prosecution Service and the DEGASE System) inthe management of restorative practices directed at juvenile offenders deprived of freedom. This problematization raises questions about the limits of the definition of crime and punishment; the relationship between criminal law; and the protection of human rights. The research is structured in three stages: systematic review of the academic field of restorative justice and the Brazilian criminal justice system; elaboration of a framework of the experiences of policies developed in the field of restorativejustice in the state of Rio de Janeiro; and the elaboration of the sociodemographic profile of adolescents and their family structure –analyzing the variables:gender, infraction, age group, monthly family income, education, family structure, and territoriality. It is expected to obtain a critical view of the state of the art of literature on restorative justice in the Brazilian criminal justice system and the debate in the field of conflict resolution criminalized by juvenile offenders served by the Restorative Justice Program of the General Department of Social and Education Actions (DEGASE).
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Ponciano, Marcos, Luis Claudio C. Chad, Marcelo Jose B. Teixeira, Vinicius R. de Abreu Lima, Helder Heleno Ferreira, and Monica C. Riccio Ribeiro. "High Toughness API 5L X70MS Pipe Grade Development for Deep and Ultradeep Water Application." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83491.
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The offshore deep and ultra deep water explorations summed to the distant points of the Brazilian coast bring to national industry important technological challenges. Considering production and transportation need of large volumes of natural gas and oil in a safe condition from offshore installations, the use of large diameter steel pipes produced by UOE-SAWL process is an important alternative and already applied in some important projects. However, due to the hostile environment in which the new fields are placed, it is necessary to develop new products in order to meet the rigorous mechanical properties and Sulfide Stress Cracking (SSC) and Hydrogen Induced Cracking (HIC) resistance requirements. This work presents the evaluation of mechanical properties and SSC resistance of OD 20 inches, WT 25,4 mm APL 5L X70MS line pipe, for both pipe material and girth weld joints. For this work, plates were produced with very restrict metallurgical control, including chemical control and state of art rolling as Thermo-Mechanical Controlled Process with Accelerated Cooling — TMCP-ACC. Very good CHARPY and CTOD values were achieved at −20°C and −40°C respectively, in both conditions, and the pipes presented good (SSC and HIC) resistance even for the girth weld joint performed with a low and high heat inputs simulating the range of conditions that an operator would find in offshore welding operations.