Relevant bibliographies by topics / Dioramas

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Dioramas'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Dioramas"

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Wonders, Karen. "Habitat dioramas as ecological theatre." European Review 1, no. 3 (July 1993): 285–300. http://dx.doi.org/10.1017/s1062798700000673.

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Habitat dioramas are natural history scenarios which typically feature mounted zoological specimens arranged in a foreground that replicates their native surroundings in the wild. Ideally, the three-dimensional foreground merges imperceptibly into a painted background landscape, creating an illusion—if only for a moment—of atmospheric space and distance. More profoundly, some of the major controversies hidden in the diorama concept are: taxonomic versus ecologic understanding; art versus science; popular education versus scientific documentation; culturally biased perception versus ‘objectivity’; and ‘Omni-max’ versus diorama.
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Peselmann, Veronica. "Dioramas." Culture & musées, no. 32 (December 31, 2018): 218–21. http://dx.doi.org/10.4000/culturemusees.2705.

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Siddiqui, Igor. "Dioramas." Interiors 8, no. 3 (September 2, 2017): 169–78. http://dx.doi.org/10.1080/20419112.2018.1446464.

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Carneiro, Fernanda Maria Trentini, Alessandra Daniele da Silva Boos, and Vanessa Arlésia de Souza Ferretti. "Diorama Sensorial Interdisciplinar: uma viagem com a expedição Beagle, de Charles Darwin." Revista Educação, Artes e Inclusão 16, no. 1 (February 24, 2020): 385–407. http://dx.doi.org/10.5965/1984317816012020385.

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O artigo apresenta um projeto interdisciplinar realizado com alunos dos primeiros anos dos cursos técnicos em química e informática do IFSC-Gaspar. A atividade objetivou a construção de dioramas sensoriais resultantes de uma pesquisa sobre a expedição Beagle, da qual participou Charles Darwin entre 1831 e 1836. Diorama é um tipo de maquete que apresenta de forma artística uma situação real, ou seja, uma representação tridimensional de uma cena. O diorama foi pensando como objeto sensorial de maneira a torná-lo acessível ao público geral e público de PcD, especificamente, pessoas com deficiência visual. Este trabalho envolveu as unidades curriculares de Artes, Biologia e Português e contou com o apoio da unidade curricular de História e do grupo de trabalho de materiais adaptados da instituição. Ao todo foram realizados vinte e dois dioramas relacionados a vinte e duas localidades por onde Charles Darwin passou com a expedição. Os resultados apontam que o projeto interdisciplinar promove maior engajamento dos discentes com as práticas de pesquisa e de inclusão, bem como apropriação de conhecimentos de modo crítico e articulado às demandas sociais do tempo presente.
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Girard, Max. "Les dioramas." Social Sciences and Missions 33, no. 3-4 (September 24, 2020): 243–71. http://dx.doi.org/10.1163/18748945-bja10004.

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Résumé Le but de cet article est d’ étudier l’ utilisation des dioramas missionnaires à l’ exposition coloniale de Paris en 1931. Les dioramas y deviennent les vecteurs les plus utilisés par les missionnaires catholiques pour représenter le contact avec les populations colonisées et leur rôle dans la « mission civilisatrice ». Les différents types de dioramas qui expriment une vision paternaliste des « Autres » sont de moins en moins utilisés à partir de l’ exposition de 1937, car les organisateurs leur préfèrent des vecteurs plus dynamiques comme le cinéma ou les congrès qui montrent l’ universalité et le dynamisme de l’ Eglise.
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Tisi, Rodrigo. "Dioramas SCL2110." ARQ (Santiago), no. 80 (April 2012): 54–55. http://dx.doi.org/10.4067/s0717-69962012000100012.

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Edwards, Sarah. "Sensorial Interior: Museum Diorama as Phenomenal Space." Interiority 1, no. 2 (July 30, 2018): 173–84. http://dx.doi.org/10.7454/in.v1i2.29.

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Museum dioramas are widely recognised as historic visual tropes used to frame the grandeur of the outside world within an interior viewing space. With the development of digital technologies, data projection and soundscape have increasingly replaced diorama production as a means to transform these once static-animal-posed-in-painted- habitat with immersive interiors that engage the visual and aural senses alike. Andre Breton proposes that two modes of consciousness exist: an exterior world of facts and an interior world of emotions. These interiors and exteriors produce an interface and exchange. An invitation to respond to the interior of RMIT University’s First Site gallery provided an opportunity to experiment with the three traditional dioramic elements used to bring the exterior world into an interior employing taxidermy, model making and set painting. By engaging digital technologies in response to these three elements, I developed a sensorial interior, where the exterior world of facts was set into dialogue with the interior world of emotion. A physical encounter that expanded on ‘interior’ as an experiential, relational, phenomenal and emotive space.
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Flannery, Maura C. "Looking into Dioramas." American Biology Teacher 60, no. 5 (May 1, 1998): 379–82. http://dx.doi.org/10.2307/4450500.

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Taylor, Simon, and Ben Jones. "Tackling climate-science learning through futures thinking." Set: Research Information for Teachers, no. 3 (December 20, 2020): 23–29. http://dx.doi.org/10.18296/set.0183.

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This study examined the role of a future-oriented scenario with secondary school students using diorama construction which included climate-change knowledge and envisioning alternative futures. To explore the potential role of futures-thinking modelling, students from one class participated in a 12-week cross-curricular inquiry with their teachers. Jensen’s (2002) dimensions of action-oriented knowledge are used to examine the climate-change knowledge developed by the students. Four common images of the future (Dator, 2014) are incorporated as models to forecast alternative futures. The findings suggest the value of future-oriented dioramas for developing climate-change understanding and futures thinking.
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Dos Santos, Vinicius Rodrigues, and Martha Marandino. "Dioramas de História Natural em Museus Escolares:." Museologia & Interdisciplinaridade 8, no. 16 (October 30, 2019): 160–82. http://dx.doi.org/10.26512/museologia.v8i16.22144.

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A existência de museus nos espaços escolares está relacionada tanto a exposição das pesquisas em ciência naturais como ao ensino com base nos objetos usados na “lição das coisas”. Dentre esses objetos, encontramos os dioramas, presentes em museus de história natural desde o século XIX, sendo também encontrados nos museus escolares. Assim, neste artigo, nos apoiamos na Teoria Antropológica do Didático para estudar o potencial educativo de um dos dioramas do Museu de História Natural do Colégio Dante Alighieri (MHN-CDA). Nos resultados discutimos as implicações e apontamos o potencial e o limites dos dioramas para os processos de ensino e aprendizagem.
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Dissertations / Theses on the topic "Dioramas"

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Wonders, Karen. "Habitat dioramas : illusions of wilderness in museums of natural history /." Stockholm : Almqvist och Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb35614492v.

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Rusenova, Ina Boryana D. "Between Familiarity and Estrangement:Making Paintings From Constructed Dioramas." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460672646.

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Fletcher, Laurel. "Nostalgia and pragmatism dioramas of the Montana Historical Society /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 123 p, 2008. http://proquest.umi.com/pqdweb?did=1597631131&sid=9&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Trotignon, Marc. "Du diorama au polúplokorama : pour une poïétique réversible du modèle reduit." Paris 1, 1996. http://www.theses.fr/1996PA010533.

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Dépassant l'ambivalence du terme diorama (spectacle à travers), qui recouvre à la fois les dispositifs illusionnistes du XIXe siècle et les environnements miniatures actuels, notre recherche vise à les réconcilier dans un regard stratégique sur le modèle réduit. Nous supposons, à la suite de Lévi-Strauss, que la réduction trouve sa dimension esthétique quand elle supplée a la diminution des qualités sensibles du modelé par l'augmentation de ses qualités intelligibles, ce qui revient aussi à interroger la distance qui sépare l'espace du modèle réduit de celui du spectateur. L'élargissement de ce questionnement a la collection replace le modelé dans une perspective à rebours, puisque la génération d'un modèle second est conçue comme l'épuré du premier. Le déplacement infinitésimal que propose l'exploration du labyrinthe de ce spectacle très rusé (poluplokorama) cache un parcours initiatique du modelé en forme de retournement puisque le spectateur y est invite à se voir voyant. Délaissant la simple inclusion d'un espace miniature dans l'espace grandeur nature, l'utilisation de plusieurs media -maquettes, vidéos, images de synthèse transformé le modèle réduit analyse en un vaste réseau de liens logiques et d'imbrications complexes d'espaces, qui pose le problème de la perception dans les nouveaux modèles des mondes virtuels
Our research which goes beyond the ambivalence of the term diorama (sight through) that covers both the conjuring devices of the 19th century and the present miniature surroundings is aiming at reconciling them into a strategical look on the scale model. Following levi-strauss, we assume that reduction gets its aesthetic dimension when it makes up for the fading perceptible qualities with the increasing intelligible qualities, which also amounts to questioning about the distance that separates the space of the scale model from the spectator's. The enlargement of this questioning up to collection replaces the model into a backward perspective, since the generation of a second model has been conceived as the working drawing of the first one. The infinitesimal shifting involved in the exploration of the maze of this very crafty sight (poluplokorama) conceals an initiatory journey of the model in a reversed shape since the spectator is invited to see himself seeing. Giving up the mere inclusion of a miniature space into life-size space, the use of several media models, videos, virtual images- transrorms the analysed small-scale model into a huge network of logical bonds and complex interweavings of spaces, which poses the problem of perception in the new models of the virtual worlds
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Howie, Geraldine Marian. "The Powell-Cotton dioramas and the re-interpretation of an idyll." Thesis, University of Gloucestershire, 2011. http://eprints.glos.ac.uk/3264/.

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This research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality that draws on architectural space; it then considers the three dimensional representation of the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist behind large glass screens their purpose follows an aesthetic relationship with the emergence of the natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The potential for this practice-based research was to explore the possibility of developing an aesthetic for sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and viewer 'activates' this space with their presence, they bring their own recollection of landscape and by assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the unknown and uncharted can refute reality, memory is dependent on what is known both formally and informally, it places the natural habitat diorama in a visual system that is both constructive and destructive. Therefore the research methodology examines the historical context of the diorama through a doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick. Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the diorama's position in relation to film and film archaeology, which ultimately the diorama and natural habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the relationship of this practice based research project. Whereupon the research diary forms the basis of a contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and installations. By challenging Bal's analysis this research practice would investigate natural and projected light and the visual language of transparency, translucency and opacity in the representation of landscape and landscape as motif, and progressing to the structural implications of 2D and 3D work.
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Oliveira, Adriano Dias de. "Biodiversidade e museus de ciências: um estudo sobre transposição museográfica nos dioramas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/81/81133/tde-20072010-161201/.

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O estudo em questão teve como principal objetivo analisar como o tema biodiversidade, no que diz respeito à forma em como é conceituado e a valores a ele atribuído, aparece nos dioramas de exposições de museus de ciências. Para tal, a pesquisa visou à compreensão dos processos de transformação do discurso científico para o discurso expositivo, tendo como referencial teórico o conceito de transposição didática, aqui entendida como transposição museográfica. O foco em biodiversidade deve-se as proporções que o termo ganhou nas últimas décadas, em que o mesmo sobrepujou os limites científicos, sendo incorporados novos significados a ele, e que por sua vez vem exigindo estratégias educacionais diferenciadas dos locais que objetivam utilizá-lo como instrumento de articulação em educação para ciência. Os motivos que nos conduziram a delinear este trabalho encontram-se nos questionamentos sobre o tema biodiversidade e de como um espaço educativo, em especial os museus, abordam-no fazendo uso de um dos seus objetos expositivos mais tradicionais, os dioramas. Foram selecionados para esta pesquisa dois museus nacionais - Museu de História Natural Capão da Imbuia e Museu de Ciências e Tecnologia da PUC/RS - onde foram analisados dois dioramas de cada um. Por se configurar como uma pesquisa qualitativa a coleta de dados se deu por meio de entrevistas a cientistas que investigam a biodiversidade e a um responsável de cada museu estudado, observação dos dioramas e análise documental. Para a fundamentação da análise foram criadas, a partir do referencial teórico sobre biodiversidade e transposição museográfica, as seguintes categorias divididas em dois grupos: níveis de biodiversidade: genética, de espécies e de ecossistemas; valores de biodiversidade: econômico, ecológico e de conservação. Em termos gerais identificamos que os dioramas e seus textos apresentam similaridades ao abordar a biodiversidade. As categorias de níveis de espécies e de ecossistemas predominam nessas montagens, provavelmente decorrente da histórica relação dos dioramas com a ecologia. Contudo, é importante destacar que os textos centralizam suas informações apenas nos animais, e que nenhuma espécie de planta é mencionada neles. Em um dos dioramas foi identificado elementos referentes as categorias de valores de biodiversidade. A partir da fala dos entrevistados dos museus e do que foi observado nos dioramas, verificamos que os fatores que implicam para que algumas de nossas categorias não tenham sido encontradas esteja relacionado a questões museológicas e museográficas. Dados como esses revelam a existência de diferentes campos de conhecimentos, na noosfera museal, presentes no processo de elaboração dos dioramas. Por fim, entendemos que este trabalho reforça a eficiência dos dioramas em retratar a biodiversidade ao público dos museus de ciências, além de contribuir com um método de descrição desses objetos expositivos para futuras pesquisas.
This study had as main objective to analyze how the theme of biodiversity, as regards the way in which it is worthy and the values assigned to it, appears in dioramas of exhibitions at science museums. To this end, the research aimed to understand the processes of transformation of scientific discourse to the expository speech, and the theoretical concept of didactic transposition, understood here as museographic transposition. The focus on biodiversity due to the proportions that the term has in recent decades, in which it surpassed the limits scientific, and incorporated into new meanings to it, and that in turn has required different educational strategies of the sites that aim to use it as an instrument of coordination in science education. The reasons that led us to delineate this work are the questions on the topic of biodiversity and as an educational area, in particular museums, deal-making in the use of one of its objects more traditional exhibition, the dioramas. Were selected for this research two national museums - Museu de História Natural do Capão da Imbuia and Museu de Ciências e Tecnologia da PUC/RG Museum of Natural History Capon of Imbuia and Museum of Science and Technology of the PUC / RS - where analyzed two dioramas of each. Up becoming configured as a qualitative data collection occurred through interviews with scientists investigating biodiversity and one charge of each museum studied, dioramas of observation and document analysis. For reasons of analysis were created from the theoretical about biodiversity and museographic transposition the following categories divided into two groups: levels of biodiversity: genetic, species and ecosystems, biodiversity values: economic, ecological and conservation. Overall we found that the dioramas and their texts have similarities to address biodiversity. The categories of levels of species and ecosystems dominated these assemblies, probably due to the historical relationship of dioramas with ecology. However, it is important to note that the texts centralize your information only in animals, and that no species of plant is mentioned in them. In one of the dioramas was identified information concerning the categories of biodiversity values. From their statements of interviewed museums and what was observed in the dioramas, we found that the factors that imply that some of our categories have not been found to be related to museum issues and frequently overlap. Such data reveal the existence of different fields of knowledge, the noosphere museum, present in the drafting of dioramas. Finally, we believe that this work reinforces the efficiency of dioramas to portray the diversity of the public science museums, which also provides a method of expository description of these objects for future research.
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Mifsud, Edward. "The visualization of natural history museum habitat dioramas by Maltese primary school children." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021923/.

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The thesis addresses a relatively under-explored area in this field of study within the socio-constructivist paradigm. The main aim is to investigate how 9-year-old school children visualize habitat dioramas to build a mental model, how they make sense of the dioramas to understand local flora and fauna, and how previous knowledge influences the way they visualise habitat dioramas. Data collected included a first drawing done in class, a second drawing done at the Natural History Museum before and a third following the viewing of the habitat dioramas. Each pupil was interviewed after the respective task to allow for a comprehensive description of the content of the drawings. The children we also asked to produce a web (mind map) and they were also observed as they interacted with the dioramas. Data was mainly analysed qualitatively through direct examination of the drawings and with the aid of the computer package Atlas.ti. Some general trends emerge in the findings such as animals being more present in drawings than plants. Animal diversity ranks in decreasing order from birds, mammals, arthropods and fish to reptiles, while plants are mainly seeded and ornamental. Generally drawings progress from imaginative in class and before seeing the diorama, to increasingly drawing from observation in the diorama drawings. More significantly, pupils undergo a transformation through their drawings, which may show a change from isolated organisms on a sheet of paper to greater elaboration or better accuracy in placing organisms in habitat. However, others show an opposite transformation or no significant change at all. To a certain extent, children seem to interpret the diorama through the lens of their previously held mental model. What children already know partly influences what they choose to represent, but they also accommodate new knowledge they obtain from the diorama. Dioramas that help recall familiar environments are more likely to capture attention and afford a longer viewing time, thus imparting new knowledge and moulding the child’s mental model. Habitat dioramas have the potential to serve as models for learning in Biology and Environmental Education at primary level. An interpretative model for museum settings is proposed, while its potential applications in other areas of science education and limitations are considered.
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Silva, Wagner Alexandre. "Comunicação, consumo e colecionismo: produção de memórias e práticas identitárias do fã-colecionador de estátuas e dioramas bishoujo." Associação Escola Superior de Propaganda e Marketing, 2015. http://tede2.espm.br/handle/tede/63.

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Made available in DSpace on 2016-10-13T14:10:22Z (GMT). No. of bitstreams: 1 Wagner Alexandre Silva.pdf: 3888345 bytes, checksum: edc97b19e24930dc64474d55a9e1598b (MD5) Previous issue date: 2015-03-27
This thesis analyzes the sign production of bishoujo statues and dioramas, under the perspective of Communication, Consumption and Memory in the current context, and how important is its collecting for the maintenance of the records of the fans memory. This thesisrefers to the hybridization of pop culture and highlights its hybridization with the Japanese pop culture, allowing the conception of a socioeconomic and cultural individual emerged in this context, named as fan-collector. Through the testimonials of fans and collectors and the analysis of images and illustrations, also grounded by the studies of the theories of the concepts of intellectuals and mass culture presented by Edgar Morin (2002); of fans, brought by Cornell Sandvoss (2005); of collectors and collecting, discussed by Walter Benjamin (2009) and Jean Baudrillard (2008); of memory, conceived by Iuri Lotman (1981) and Andreas Huyssen (2000); of shôjo mangá and Japanese pop culture, established by Sônia Luyten (2015), Yuji Gushiken (2013) and Michiko Okano (2015); of cosplay, developed by Mônica Nunes (2014;2015); of communication and consumption, conceived by Grant McCracken (2003); of identity, proposed by Manuel Castells (2000); and hybrid cultures, presented by Néstor García Canclini (2013), and other authors related to the study developed by this thesis, we sought to assess how the consumption of bishoujo statues and dioramas has contributed in fan and collector memories operation, in the cosplay scene recoding and in the identity construction of the fan-collector.
Esta dissertação analisa a produção sígnica das estátuas e dioramas bishoujo, sob a ótica do campo da Comunicação, do Consumo e da Memória no contexto atual, e o quão importante é o seu colecionismo para a manutenção dos registros de memória do fã e do colecionador. O trabalho se refere à hibridização da cultura pop e destaca a ocorrida com a cultura pop japonesa, de modo a permitir conceituar um ator sócio-econômico-social surgido, neste contexto, denominado como fã-colecionador. Por intermédio de depoimentos de fãs e colecionadores e da análise de imagens e ilustrações, e fundamentado teoricamente pelos conceitos de cultura de massa e imaginários apresentados por Edgar Morin (2002); de fãs, trazidos por Cornell Sandvoss (2005); de colecionador e coleção, discutidos por Walter Benjamin (2009) e Jean Baudrillard (2008), de memória, concebidos por Iuri Lotman (1981) e por Andreas Huyssen (2000), de shôjo mangá e cultura pop japonesa, demonstrados por Sônia Luyten (2005), Yuji Gushiken (2013) e Michiko Okano (2015), de cena cosplay, desenvolvido por Mônica Nunes (2014; 2015); de comunicação e consumo, elaborados por Grant McCracken (2003); de identidade, proposto por Manuel Castells (2000); e culturas híbridas, apresentados por Néstor García Canclini (2013), e demais autores ligados ao estudo desenvolvido, buscou-se avaliar como o consumo das estátuas e dioramas bishoujo tem contribuído na operação de memórias do fã e do colecionador, na recodificação da cena cosplay e na construção identitária do fã-colecionador.
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González, Leiva Camilo. "Diseño museográfico representaciones (post) naturalistas de la vida animal. Gabinetes, dioramas y estaciones en el Museo de Historia Natural, Chile." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130536.

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Memoria para optar al título de Diseñador Gráfico
La presente investigación reside en un estudio visual, historiográfico y documental sobre el diseño museográfico, abordando específicamente la representación naturalista del animal dentro del contexto del Museo Nacional de Historia Natural de Chile, desde los modelos de exhibición naturalistas decimonónicos hasta los trabajos de diseño contemporáneos. Considerando como antecedente inicial las ilustraciones naturalistas introducidas por el científico francés Claude Gay desde 1828, que guardan relación con la primera formación museal en Chile, se categorizaron y estudiaron tres modelos museográficos desarrollados en el transcurso histórico, que tienen como objeto nuclear al animal taxidermizado: Gabinetes (1850), Dioramas (1980) y Estaciones de Trabajo o Laboratorios (2012). A partir de lo observado, la tesis plantea que las decisiones de diseño museográfico naturalista, que giran en torno a la representación del animal, se enmarcarían contemporáneamente en una derivación post-naturalista, desde la que diseñadores, artistas y otras profesiones afines, han generado importantes giros museográficos sobre el problema de la mirada.
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Guerreiro, Cláudia Pereira da Cruz Carvalho. "A escultura ao serviço da ilustração científica. E a sua importância na comunicação das ciências." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/16311.

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Em Portugal, o conceito de escultura científica é ainda ignorado, e embora a ilustração científica portuguesa seja já uma referência a nível mundial, a escultura científica tem ainda um longo caminho a percorrer. A dificuldade e os custos que a escultura acarreta provocam, nas artes plásticas, uma menor produção nesta área do que nas áreas de expressão bidimensional. Na vertente científica as razões não serão diferentes, sendo ainda acrescidas das dificuldades próprias desta técnica e de aquisição de materiais específicos, que têm muitas vezes que ser importados. Numa lógica de tridimensionalidade, vigente nos museus mais importantes do mundo, urge um despertar para a escultura também nos museus portugueses. Pensar a escultura científica como uma disciplina, será pois, objectivo desta tese. Hoje em dia a escultura científica está muito próxima das técnicas utilizadas no hiperrealismo, no entanto as preocupações são as mesmas da ilustração científica, ao contrário do hiper-realismo que apenas se dedica a fins artísticos. Por seu lado, a escultura científica deverá/poderá ser encontrada em museus de conhecimento científico, sejam de história natural, ciências naturais ou de outra ordem, servindo, tal como a ilustração científica para comunicar ciência, mas mais do que esta, que pretende em primeira instância comunicar a uma comunidade científica (como são exemplo as ilustrações para artigos científicos), a escultura tem em primeiro plano a comunicação com um público mais vasto, menos informado. Continua a estar mais ligada à educação e nesse sentido terá que ser um ponto-chave nas preocupações dos museus científicos. Ao contrário da ilustração científica, por definição bidimensional e por isso feita para livros e publicações científicas, e não obstante a sua vertente expositiva, é na escultura que podemos encontrar o expoente máximo do conceito de exposição. Os museus, espaços tridimensionais, vivem da ocupação do espaço pelos visitantes e, cada vez mais, faz sentido um investimento em dioramas em vez de objectos dispersos, cada vez mais se procura uma relação do espaço com o corpo do visitante, cada vez mais a interactividade é uma preocupação, e a escultura é um veículo com imensas possibilidades para servir este propósito. Arte também é comunicação, e, aliada à área científica, o resultado só pode ser melhorado para os dois lados; ABSTRACT: In Portugal, the concept of scientific sculpture is still mostly ignored, and although Portuguese scientific illustration is already a worldwide reference, scientific sculpture still has a long way to go. The difficulty and high costs sculpture entails result in its lower production, in comparison with two-dimensional art forms. On the scientific side, the reasons for this disregard of sculpture are not so different, being nonetheless enhanced by the specific complexities inherent to this technique and by the difficulty in the acquisition of specific materials, which often have to be imported. Following the logic of three-dimensionality, present in all major museums in the world, there is an urge to finally awake Portuguese museums to sculpture. Therefore, thinking scientific sculpture as a discipline will be the aim of this thesis. Nowadays scientific sculpture is, in terms of its techniques, very close to hyper-realism, however its concerns are the same as scientific illustration’s, in the sense that, unlike hyper-realism, it isn’t solely dedicated to artistic purposes. Scientific sculpture can (or at least, should) be found in museums of scientific knowledge, whether of natural history, natural sciences or others, serving, as does scientific illustration, the purpose of communicating science. However, unlike the latest, which aims, in a first instance to communicate to the scientific community (as exemplified by the illustrations made for scientific papers), sculpture intends mainly to reach a wider and less informed audience. Thus, scientific sculpture is more closely linked to education, and thus this has to be a key-concept into scientific museums' concerns. Furthermore, in opposition to scientific illustration, which is, by definition, bi-dimensional, and thus especially suitable for books and scientific publications, and notwithstanding its expository side, it is in sculpture that we can find the maximum exponent of the concept of exhibition. And because museums, in their quality of tridimensional spaces, live off of the occupation of its space by its visitors, there has been an increased investment in dioramas instead of scattered objects, as well as a desire to deepen the relation between the physical space and the visitor’s body, making interactivity an increasingly significant concern. Thus, sculpture is a means offering enormous possibilities to serve these purposes. Art is also communication and combining it with the scientific field can only improve both áreas.
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Books on the topic "Dioramas"

1

Cunning, Sheril. Dioramas. 3rd ed. Escondido, Calif: S. Cunning, 1997.

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1951-, Cooke Lynne, Dia Art Foundation, and Hispanic Society of America, eds. Chronotopes & dioramas. New York: Dia Art Foundation, 2010.

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Tunnicliffe, Sue Dale, and Annette Scheersoi, eds. Natural History Dioramas. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9496-1.

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Paine, Sheperd. How to build dioramas. 2nd ed. Waukesha, WI: Kalmbach Books, 2000.

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Waterline dioramas: A modelbuilder's artform. Florence, Or: Seawatch Books, 2009.

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Camarata, Justin F. Waterline dioramas: A modelbuilder's artform. Florence, Or: Seawatch Books, 2009.

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Martinovich, Paul. Dioramas: A new point-of-view. Toronto: [The author], 1986.

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H, Schleicher Robert, ed. Scenery for model railroads, dioramas & miniatures. 3rd ed. Iola, WI: Krause Publications, 1999.

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H, Schleicher Robert, ed. Scenery for model railroads, dioramas & miniatures. Radnor, Pa: Chilton Book Co., 1994.

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Kamps, Toby. Small world: Dioramas in contemporary art. La Jolla, Calif: Museum of Contemporary Art, San Diego, 2000.

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Book chapters on the topic "Dioramas"

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Kamcke, Claudia, and Rainer Hutterer. "History of Dioramas." In Natural History Dioramas, 7–21. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_2.

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Tunnicliffe, Sue Dale, and Annette Scheersoi. "Introduction." In Natural History Dioramas, 1–4. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_1.

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Munsch, Mareike, Hartmut Schmiese, Aleksandra Angelov, Gunnar Riedel, and Jörn Köhler. "Conservative Restoration and Reconstruction of Historical Natural History Dioramas." In Natural History Dioramas, 115–30. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_10.

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Tunnicliffe, Sue Dale, and Annette Scheersoi. "Dioramas as Important Tools in Biological Education." In Natural History Dioramas, 133–43. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_11.

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Scheersoi, Annette. "Catching the Visitor’s Interest." In Natural History Dioramas, 145–59. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_12.

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Tunnicliffe, Sue Dale. "Naming and Narratives at Natural History Dioramas." In Natural History Dioramas, 161–86. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_13.

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Cotumaccio, Alix. "The Evolution of the Narrative at Natural History Dioramas." In Natural History Dioramas, 187–94. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_14.

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Livingstone, Phaedra. "Imaginary Places: Museum Visitor Perceptions of Habitat Dioramas." In Natural History Dioramas, 195–208. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_15.

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Garibay, Cecilia, and Eric Gyllenhaal. "Habitat Dioramas and Sense of Place: Factors Linked to Visitors’ Feelings About the Natural Places Portrayed in Dioramas." In Natural History Dioramas, 209–25. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_16.

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Tinworth, Kate. "Relics of the Past + People of the Past = Innovation for the Future: Denver Museum of Nature & Science’s Enactor Program." In Natural History Dioramas, 227–42. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_17.

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Conference papers on the topic "Dioramas"

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Raskar, Ramesh, Remo Ziegler, and Thomas Willwacher. "Cartoon dioramas in motion." In ACM SIGGRAPH 2005 Courses. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198712.

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Raskar, Ramesh, Remo Ziegler, and Thomas Willwacher. "Cartoon dioramas in motion." In ACM SIGGRAPH 2006 Courses. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185801.

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Raskar, Ramesh, Remo Ziegler, and Thomas Willwacher. "Cartoon dioramas in motion." In the second international symposium. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/508530.508532.

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Low, Kok-Lim, Greg Welch, Anselmo Lastra, and Henry Fuchs. "Life-sized projector-based dioramas." In the ACM symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/505008.505026.

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Yu, Kevin, Alexander Winkler, Frieder Pankratz, Marc Lazarovici, Dirk Wilhelm, Ulrich Eck, Daniel Roth, and Nassir Navab. "Magnoramas: Magnifying Dioramas for Precise Annotations in Asymmetric 3D Teleconsultation." In 2021 IEEE Virtual Reality and 3D User Interfaces (VR). IEEE, 2021. http://dx.doi.org/10.1109/vr50410.2021.00062.

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Arntanti, Finish Weny, Fransisca Sudargo, and Lilit Rusyati. "The profile of students’ creativity through dioramas and flannel board in learning ecosystem." In MATHEMATICS, SCIENCE, AND COMPUTER SCIENCE EDUCATION (MSCEIS 2016): Proceedings of the 3rd International Seminar on Mathematics, Science, and Computer Science Education. Author(s), 2017. http://dx.doi.org/10.1063/1.4983974.

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Harrington, Maria C. R. "Virtual dioramas transform natural history museum exhibit halls & gardens to life with immersive AR." In IDC '20: Interaction Design and Children. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3397617.3402036.

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Le Fèvre, Olivier, Dario Maccagni, Stéphane Paltani, Lucien Hill, David Le Mignant, Laurence Tresse, Francisco Garzon Lopez, et al. "DIORAMAS: a wide-field visible and near-infrared imaging multi-slit spectrograph for the EELT." In SPIE Astronomical Telescopes + Instrumentation, edited by Ian S. McLean, Suzanne K. Ramsay, and Hideki Takami. SPIE, 2010. http://dx.doi.org/10.1117/12.856009.

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De Caprio, V., D. Maccagni, L. Chiappetti, L. Hill, B. Garilli, M. Jaquet, L. Martin, D. Le Mignant, S. Paltani, and O. Le Fèvre. "E-ELT Instrument study for first light: OPTIMOS-DIORAMAS: mechanical concept study for slit masks system." In SPIE Astronomical Telescopes + Instrumentation, edited by Ian S. McLean, Suzanne K. Ramsay, and Hideki Takami. SPIE, 2010. http://dx.doi.org/10.1117/12.856683.

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Karahalios, Karrie. "Diorama." In ACM SIGGRAPH 98 Conference abstracts and applications. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/280953.282422.

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Reports on the topic "Dioramas"

1

Galassi, Mark C. DIORAMA Communications. Office of Scientific and Technical Information (OSTI), May 2016. http://dx.doi.org/10.2172/1253557.

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Terry, James Russell. The DIORAMA Neutron Emitter. Office of Scientific and Technical Information (OSTI), May 2016. http://dx.doi.org/10.2172/1253506.

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Werley, Kenneth Alan. DIORAMA Earth Terrain Model. Office of Scientific and Technical Information (OSTI), March 2015. http://dx.doi.org/10.2172/1172201.

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Terry, James Russell. DIORAMA Location Type User's Guide. Office of Scientific and Technical Information (OSTI), January 2015. http://dx.doi.org/10.2172/1253486.

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Greco, Richard R., and Shawn Robert Tornga. DIORAMA Guide to Building from Source. Office of Scientific and Technical Information (OSTI), February 2016. http://dx.doi.org/10.2172/1239915.

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Werley, Kenneth Alan. DIORAMA Model of Satellite Body Orientation. Office of Scientific and Technical Information (OSTI), March 2016. http://dx.doi.org/10.2172/1240808.

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Tornga, Shawn Robert. Space Vehicle Reliability Modeling in DIORAMA. Office of Scientific and Technical Information (OSTI), July 2016. http://dx.doi.org/10.2172/1291209.

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Werley, Kenneth Alan. Solar Position Model for use in DIORAMA. Office of Scientific and Technical Information (OSTI), March 2016. http://dx.doi.org/10.2172/1239902.

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Walker, Andrew Charles. DIORAMA Nuclear Cloud Lofting Module Validity Range. Office of Scientific and Technical Information (OSTI), February 2020. http://dx.doi.org/10.2172/1599024.

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McClanahan, Tucker Caden. Trade Study for Neutron Transport at Low Earth Orbit: Adding Fidelity to DIORAMA. Office of Scientific and Technical Information (OSTI), August 2017. http://dx.doi.org/10.2172/1375138.

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