Dissertations / Theses: 'Transdisciplinarity and Arts'

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Cachao, Rita. "An ontology of space : methodological recursiveness and the diagram." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3411.

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Current debates on space reveal a dichotomy between two apparently conflicting understandings of space: on the one hand, space is understood as a physical, tangible entity that has an impact on how we perceive, feel and emotionally inhabit the world, and on the other hand, space is conceived as an abstract entity, suggesting that space has no active role (a productivity) within everyday life, being solely a conceptual product of intellectual reasoning. As a result, the commonly used word: ‘space’, will be discussed as an ontologically paradoxical, ambiguous and elusive concept; a concept that cannot be captured within a single definition. This thesis consequently researches the ontology of space by informing a framework that embraces the complexity of space as an ambiguous and unrepresentable entity. It aims to reconcile the multiple understandings of space, liberating it from the binary thinking that opposes the abstract to the physical, disclosing its potential productivity. This thesis thus proposes a methodology departing from a transdisciplinary approach that addresses the variability, multiplicity, paradoxicality and ambiguity of space through a ‘bastard’ epistemology that defies binary logic by considering what falls out of order and norm. To research an ontology through a bastard epistemology is to work outside of (but in combination with) the intelligible and sensible realms, through a framework that is non-representational, but instead enactive and performative, driven by experience, affect and aesthetics; thus allowing access to an entity that is both ambiguous and also unrepresentable. In doing so, this thesis argues that space is diversely implicated in the constitution of research methodologies through its interactions with order and structures, as well as agential in the constitution of understandings of human interactions with the world; and therefore, it will be argued, space has methodological purchase. The consequence of this methodological purchase is that space can reveal itself if a research strategy is implemented that works through the multiple dimensions of space. Within this context the diagram will be introduced as a productive path because enables a bastard epistemology to work through the multiplicity of space, since the diagram, is a performed, materialised outcome of multiple experiences of the making of order through the interaction between physical and conceptual dimensions. In synthesis, the diagram is used to recursively research an ontology of space, showing the main contribution of this thesis: of how without negating its complexity and multiplicity, space can be useful, constructive and productive within contemporary contexts of research methodologies.

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Abderhalden, Cortés Rolf. "Mapamundi : Plurivers poïétique : (Mapa Teatro 1984-2014)." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080019/document.

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Mapamundi (du latin mappa mundi, « carte du monde », représentation de toute la superficie de la planète.)La Mapamundi, que je présente dans le cadre de cette thèse doctorale, est un essai de configuration poétique de l’étendue du « plurivers » artistique de Mapa Teatro pendant ses trente ans d’existence (1984-2014). Elle est imprimée sur papier et en même temps sur ma peau, inscrite dans la mémoire du corps. Trace physique d’une histoire, marque géographique d’un affect : à la fois pensée du corps et corps d’une pensée.Les cartes qui représentent la superficie de la Terre utilisent une « projection », une manière de traduire la superficie réelle tridimensionnelle d’un géoïde en un dessin bidimensionnel. Une Mapamundi « projetée » en une forme sensible, réflexive, pluriaxiale, qui se distinguerait d’un type d’analyse taxonomique purement « extérieur », mais aussi de tout catalogue intimiste, exclusivement « intérieur », et même de toute archive supposée intégrale, tel est le défi que je tenterai à présent dans la forme Atlas, « projection » conceptuelle et affective, théorique et poétique, de la Mapamundi de Mapa Teatro.L’Atlas est une forme visuelle du savoir, une forme savante du voir (Didi-Huberman).Une cartographie autant chronographique que chronogénétique, parce qu’elle trace un devenir, parce qu’elle ouvre des possibles. La carte (un espace, un dispositif), le témoin (un point de vue, une subjectivité) et le triptyque (un temps, un événement) constituent les trois axes de projection et d’analyse réflexive choisis pour la configuration de cet Atlas : carte (chapitre I), témoin (chapitre II) et triptyque (chapitre III) réunissent et problématisent un ensemble de figures qui traversent la cartographie poïétique de Mapa Teatro depuis sa création jusqu’à ce jour. Une forme de pensée-montage
Mapamundi (from latin mappa mundi, « world’s map» a representation (a map) of the entire surface of the planet). The Mapamundi, that I here present, under the frame of this doctoral research, is an attempt to draw a poetical configuration of Mapa Teatro’s artistic «plurivers», built up during its thirty years of existence (1984-2014). It is printed on paper, and at the same time on my skin, engraved in my body’s memory. Physical trace of a history, geographical affectionate token: both the thinking of a body and a body of thought. Maps that represent the surface of the earth make use of a « projection », as a way of translating the real three-dimensional surface of a geoids into a two-dimensional basin. This is a «projected» Mapamundi in a sensible, reflective, pluriaxial form, that distinguishes itself not only from a taxonomic analysis, but also from any type of intimate catalogue, exclusively interior, or of any kind of a presumably overall archive. This is the challenge that I have risked in this Atlas form, a conceptual and affective « projection », both theoretical and poetic, of Mapa Teatro’s Mapamundi. An Atlas is a visual form of knowledge, a savant form of seeing (Didi-Huberman).A cartography in as much as it is both chronographic and chronogenetic, because it draws a becoming, because it opens to the possibles. The map (a space, a device), the witness ( a point of view, a subjectivity ) and the triptych ( a time, an event ) have been the three axis of projection and of reflective analysis chosen to shape this Atlas. Map (Chapter I), Witness (Chapter II) and Tryptique (Chapter III) gather and problematize a group of figures that traverse Mapa Teatro’s since its creation to our days. A form of montage-thought

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Trey, Flavie. ""Homo Fugiens" via les arts de la fugue : trajectoires du sujet, espaces de fugue. Vers une théorie musicale du sujet." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31522.

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L’hypothèse d’une théorie musicale du sujet postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la fugue musicale, et inversement. A partir du sens technique et musical du «sujet» de fugue, nous opérons dans la première partie une relecture (étymologique, sémantique et historique) de la fugue et du fait musical en lien avec l’émergence de la conscience européenne moderne, au tournant du 16ème siècle. En retour, les enjeux culturels, psychologiques et sociaux de la fugue s’éclairent grâce à l’injonction éthique de faire de sa vie une œuvre d’art – une fugue, dans la vie comme dans l’art. Cette hypothèse, énoncée au terme de la première partie, est explorée dans la troisième partie. La deuxième partie est consacrée à une esthétique comparée des arts de la fugue visant à faire apparaître la transversalité des enjeux et des principes de cette forme particulière. La prégnance de ces manifestations artistiques renforce l’hypothèse selon laquelle la subjectivité de fugue peut fonctionner comme un modèle de compréhension du sujet humain. La troisième partie s’ouvre sur une analyse de la psychopathologie de fugue. Ainsi la description de l’Homo Fugiens, figure anthropologique de l’homme en fugue, s’adosse in fine à une axiologie du sujet : le sujet humain, aux sens psychologique, social et éthique, évolue entre le sens positif (esthétique) de la fugue (œuvre d’un sujet absolu, créateur, en quête de lui-même) et le sens passif (voire pathologique) de la fuite (appauvrissement du sujet, qui peut aller jusqu’à la perte). The hypothesis of a musical theory of the subject postulates that the musical fugue partly explains human existence, and conversely. Considering the technical and musical significations of the fugue «subject», in the first part we reassess the musical fugue (through etymology, semantics and history) in its relation to the emergence of modern consciousness in Europe, at the turn of the sixteenth century. On the other hand, what is at stake with the cultural, psychological and social aspects of the fugue can be explained through the ethical injunction of making your life a work of art – a fugue, in life, as in art. This hypothesis emerges at the end of the first part and is directly addressed in the third part. The second part is dedicated to a comparative aesthetics of the arts of the fugue aimed at underlining the transversality of the principles specific to this artform. The omnipresent manifestations of the fugue in art reinforce the idea that the subjectivity of / in the fugue can operate as a model of understanding of the human subject. The third part develops from an analysis of the psychopathology of fugue. Accordingly, we show that the description of the Homo Fugiens (the anthropological figure of « man in (the) fugue ») rests on an axiology of the subject : the human subject, psychological, social and ethical, evolves between the positive (aesthetic) meaning of the fugue (the human subject, absolute, in quest of himself, creating his life) and the passive meaning of fugue-as-flight (ranking from the impoverishment to the loss of the subject, which is the pathology of the fugue).

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Nunes, Sandra Conceição. "Inter-relações entre linguagens no ensino de arte." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/779.

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This research aims at investigating the possibilities of an interrelation between different approaches in Arts education, particularly between Drama, Visual Arts and Music. Although the Brazilian curricular Parameters emphasize the importance of students having access to distinct artistic approaches, only few schools actually have teachers of different Art subjects; and even when that is the case, the interrelations are hardly established. This is a theoretical study that analyzes epistemological and methodological aspects and the results of three stages of the Transdisciplinaridade e intersemioses no ensino de Arte ( Transdisciplinarity and Intersemiosis in Arts Education ) research, the TRANSARTE Project: experiences with the same goals, performed in different institutions and periods of time. Participating in the second stage of this Project, TRANSARTE II, and experiencing as a teacher the amazing results were determining aspects for carrying out this research. The possibility of joining distinct kinds of knowledge enabled the search for theoretical foundations related to interdisciplinarity and transdisciplinarity, as well as Discursive Semiotics. It was possible to observe that the students were able to interrelate approaches when provided with proper conditions to do so. It was likewise verified that the teacher is the main actor in this process, for their actions are decisive in forming a study group as well as in the actual classes, as the interrelating approaches at school mean group work, along with at least one teacher of each area. According to the data analysis of the three stages of the Project, it is pertinent to suggest it as an alternative to Arts education in City schools in Florianópolis, including the school where the TRANSARTE II Project took place
Esta pesquisa tem por objetivo verificar possibilidades de inter-relação entre diferentes linguagens no ensino de Arte, mais especificamente, entre Artes Cênicas, Artes Visuais e Música. Embora os Parâmetros Curriculares Nacionais destaquem a importância de o estudante ter acesso a diferentes linguagens artísticas, na prática são poucas as escolas que têm professores das distintas áreas da Arte; e mesmo que isto se dá, dificilmente as inter-relações são estabelecidas. Trata-se de uma pesquisa teórica, que analisa aspectos epistemológicos, metodológicos e os resultados de três etapas da pesquisa Transdisciplinaridade e intersemioses no ensino de Arte , o Projeto TRANSARTE: experiências com os mesmos propósitos, realizadas em instituições e tempos distintos. Ter participado da segunda etapa do Projeto, o TRANSARTE II, e vivenciado, como professora, seus surpreendentes resultados foram determinantes para a realização desta investigação. Diante das possibilidades de aproximação de saberes, foram buscadas bases teóricas voltadas à inter e à transdisciplinaridade, bem como à Semiótica Discursiva. Constatou-se que os estudantes conseguem inter-relacionar linguagens quando lhes são dadas condições para tal. Igualmente, percebeu-se que o professor é o principal ator no processo, pois suas ações são decisivas, tanto na constituição do grupo de estudo, como nas aulas propriamente ditas, pois inter-relacionar linguagens na escola significa trabalho coletivo, com ao menos um professor de cada linguagem. A partir da análise dos dados das três etapas do Projeto, entende-se como pertinente sugeri-lo como alternativa para o ensino de Arte na Rede Municipal de Florianópolis, à qual pertence a escola onde se desenvolveu o TRANSARTE II

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Caissy, Sandra. "La Suicidée : quand la transdisciplinarité devient un récit tragique." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25416.

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Tableau d'honneur de la Faculté des études supérieures et postdorales, 2014-2015
La Suicidée est un projet d'exposition transdisciplinaire en arts visuels conçu à partir d'installations multi-, pluri- et inter-disciplinaires cherchant à générer du sens et de la signification par la mise en espace d'un récit tragique mettant en scène ma propre image au cœur de la représentation de l'idée de mort volontaire. Ces installations sont disposées dans un ordre logique de séquences de façon à suggérer qu'il existe des étapes dans le processus menant à l'idée de mort volontaire. En cherchant à tendre vers une meilleure compréhension du phénomène du suicide, je choisis d'utiliser comme matière première mon propre vécu avec la mise en place d'une multiplicité de points de vue. C'est dans un contexte d'auto-observation de mes propres pensées et de mes états d'âme douloureux causés par des symptômes dus à un syndrome de stress post-traumatique polytraumatique que j'ai utilisé l'art comme lieu d'amplification de la réalité pour la transformer en une histoire tragique inventée. C'est alors par le dessin, l'écriture, la vidéo, le son, la peinture, la sculpture, la photographie et la danse que je choisis de mettre en relation le désir de mort et le désir de vie. Ces autoportraits seront jumelés à la lenteur, à l'aspect fantomatique, à la beauté de la nature, à la violence des mots et aux sonorités dramatiques pour imager la détérioration de l'âme.

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Burrows, James. "Rhizo-Memetic art : the production & curation of transdisciplinary performance." Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/10044/.

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Contemporary discourse in the field of Memetics offers potential new insights upon the ways and means of producing and curating contemporary Performance beyond the limits of discipline specific Performance taxonomies. Alongside the rise of Internet Culture and the rapid adoption of social media, it is argued that contemporary artistic practice is becoming ‘more fluid, elastic, and dispersed’ (Cornell, 2014: online). Given this circumstance, the researcher acknowledges that notions of disciplinarity, performative agency and materiality remain in a state of flux and in need of reconsideration. Utilising a Practice-as-Research (PaR) framework, and based upon the above context, the researcher initiated an innovative three-phase methodological approach focused on the application of insights drawn from the concept of the ‘Meme’ (Dawkins, 1974) alongside a primarily Deleuze & Guattarian philosophy upon methods of artistic production, and the curation of transdisciplinary performance. The resulting praxis: ‘Rhizo-Memetic Art’ produced three major artworks including the hypertextual assemblage - Corpus 1 (2012-13), produced collaboratively online with users of Twitter and Facebook; the Florilegium: Exhibition (3rd -24th November, 2014): produced and curated alongside an invited group of contributing artists; and Florilegium: Remix (24th April 2015): an intermedial Live Art lecture. Each of these elements plugs into the following exegetic writing, and alongside the documentation of its artefacts (available on the project website), these elements produce the thesis. The outcomes of this PaR are twofold. The first outcome is a new theoretical understanding of the mechanisms of interdisciplinary creative practice emerging out of the synthesis of meme and rhizome. This outcome can be further developed to reveal insights relevant to the production of transdisciplinary performance and archival/curatorial discourses. The second outcome can be identified as the Rhizo-Memetic Artwork itself, or, rather the multiple creative artefacts and actions that combine to produce its assemblage. The implications of this research suggest that the functioning of Rhizo-Memetic Art raises permanent questions about the status of Performance in terms of its materiality and efficacy outside of the limitations of disciplinarity.

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Kagan, Sacha Jerome [Verfasser]. "Exploring artful possibilities: a transdisciplinary research on culture, arts and sustainability / Sacha Jerome Kagan." Lüneburg : Leuphana Universität Lüneburg, 2021. http://nbn-resolving.de/urn:nbn:de:gbv:luen4-opus4-11737.

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Ballengée, Brandon. "Ecological understanding through transdisciplinary art and participatory biology." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3254.

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In this study evidence is presented that suggests transdisciplinary art practices and participatory biology programs may successfully increase public understanding of ecological phenomenon. As today’s environmental issues are often complex and large-scale, finding effective strategies that encourage public awareness and stewardship are paramount for long-term conservation of species and ecosystems. Although artists and biologists tend to stay confined to their professional boundaries, and their discourses largely remain inaccessible to larger audiences, arguments here are presented for a combined approach, which may disseminate knowledge about ecology to non-specialists through novel art-science participatory research and exhibitions. Moreover, historically several scientists utilized varied creative art forms to disseminate scientific insights to a larger populace of non-specialists, such strategies as engaging writings and visually provocative artworks may still be effective to captivate contemporary audiences. In addition such historic hybrid science-art practitioners may have laid a conceptual terrain for some of today’s transdisciplinary art and citizen science practices. Furthermore, seminal ecological artworks from the 20th Century by Joseph Beuys, Patricia Johanson and Hans Haacke utilized novel strategies to reach audiences with a message of wetland conservation, blurring boundaries between art, ecology and activism. More recently artists like Cornelia Hesse-Honegger, Helen and Newton Harrison and others have integrated biological research into their art practices, which resulted in new scientific discoveries. Through my own transdisciplinary artwork about frogs, data suggests that the visual strategies I employ were effective to increase non-specialist understanding of the ecological phenomenon of amphibian declines and deformations. In addition through my participatory biology programs, Public Bio-Art Laboratories and Eco-Actions, evidence suggests that non-specialists achieved an increased awareness of the challenges amphibians and ecosystems currently face. Likewise, that through such participatory citizen science research new scientific insights about the proximate causes for deformities in anuran amphibians at select localities in middle England and Quebec were achieved. Here laboratory and field evidence, generated with the aid of public volunteers, found that non-lethal predatory injury to tadpoles from odonate nymphs and some fishes resulted in permanent limb deformities in post-metamorphic anurans. From an environmental-education and larger conservation standpoint, these findings are very relevant as they offer novel strategies for experientially engaging non-specialist audiences while generating important insights into biological communities and wetland ecosystems.

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Costa, Wanderson Moura. "Cantar: um desafio complexo e transdisciplinar." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8113.

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The study of singing, for a long time, has been compartmentalized in several areas of knowledge. Since voice is a complex phenomenon, an approach that prioritizes the phenomena complexity becomes necessary. This work, through a bibliographical review, discusses the inherent complexity of singing, from the point of view of transdisciplinarity, proposed by Barasab Nicolescu, and Edgar Morin's Theory of Complexity. The aim of this study was to study the singing voice in a complex and transdisciplinary way. Based on the methodological assumptions of transdisciplinarity - level of reality, principle of the third included term and theory of complexity - we attempted to establish correlations between transcomplex theory and its effective contribution to the pedagogical practices of singing teachers. Despite the complexity of the singing voice, it was evident that the mere awareness of singing as a complex phenomenon is not sufficient for a resignification of teaching practices. Such a resignification will only occur if the teacher proposes to adopt a new posture in his teaching practice, a position that is followed by a transdisciplinary attitude.
O estudo do canto, por muito tempo, esteve compartimentado em diversas áreas do conhecimento. Uma vez que a voz é um fenômeno complexo, uma abordagem que priorize a complexidade dos fenômenos se faz necessária. Este trabalho, mediante uma revisão bibliográfica, discute a complexidade inerente ao canto, sob a ótica da transdisciplinaridade, proposta por Barasab Nicolescu, e da Teoria da Complexidade, de Edgar Morin. Objetivou-se realizar um estudo sobre a voz cantada de maneira complexa e transdisciplinar. Baseado nos pressupostos metodológicos da transdisciplinaridade - nível de realidade, princípio do terceiro termo incluso e teoria da complexidade - buscou-se estabelecer correlações entre a teoria transcomplexa e sua efetiva contribuição às práticas pedagógicas dos professores de canto. Apesar da constatação da complexidade inerente à voz cantada, evidenciou-se o fato de que a mera conscientização do canto como um fenômeno complexo não é suficiente para que uma ressignificação das práticas docentes aconteça. Tal ressignificação somente ocorrerá caso o professor se proponha a adotar uma nova postura em sua prática docente, postura essa que perpasse por uma atitude transdisciplinar.

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Schiffler, Andreas. "New game physics : added value for transdisciplinary teams." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/923.

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This study focused on game physics, an area of computer game design where physics is applied in interactive computer software. The purpose of the research was a fresh analysis of game physics in order to prove that its current usage is limited and requires advancement. The investigations presented in this dissertation establish constructive principles to advance game physics design. The main premise was that transdisciplinary approaches provide significant value. The resulting designs reflected combined goals of game developers, artists and physicists and provide novel ways to incorporate physics into games. The applicability and user impact of such new game physics across several target audiences was thoroughly examined. In order to explore the transdisciplinary nature of the premise, valid evidence was gathered using a broad range of theoretical and practical methodologies. The research established a clear definition of game physics within the context of historical, technological, practical, scientific, and artistic considerations. Game analysis, literature reviews and seminal surveys of game players, game developers and scientists were conducted. A heuristic categorization of game types was defined to create an extensive database of computer games and carry out a statistical analysis of game physics usage. Results were then combined to define core principles for the design of unconventional new game physics elements. Software implementations of several elements were developed to examine the practical feasibility of the proposed principles. This research prototype was exposed to practitioners (artists, game developers and scientists) in field studies, documented on video and subsequently analyzed to evaluate the effectiveness of the elements on the audiences. The findings from this research demonstrated that standard game physics is a common but limited design element in computer games. It was discovered that the entertainment driven design goals of game developers interfere with the needs of educators and scientists. Game reviews exemplified the exaggerated and incorrect physics present in many commercial computer games. This “pseudo physics” was shown to have potentially undesired effects on game players. Art reviews also indicated that game physics technology remains largely inaccessible to artists. The principal conclusion drawn from this study was that the proposed new game physics advances game design and creates value by expanding the choices available to game developers and designers, enabling artists to create more scientifically robust artworks, and encouraging scientists to consider games as a viable tool for education and research. The practical portion generated tangible evidence that the isolated “silos” of engineering, art and science can be bridged when game physics is designed in a transdisciplinary way. This dissertation recommends that scientific and artistic perspectives should always be considered when game physics is used in computer-based media, because significant value for a broad range of practitioners in succinctly different fields can be achieved. The study has thereby established a state of the art research into game physics, which not only offers other researchers constructive principles for future investigations, but also provides much-needed new material to address the observed discrepancies in game theory and digital media design.

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Ljubec, Ziva. "Polyphibianism : evolving transdisciplinarity into an imaginary organism of living knowledge." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3510.

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Transdisciplinarity emerged from the urge to grasp the elusive knowledge in the most fertile zone in between and beyond disciplines that escapes even the most elaborate interdisciplinary operations. While interdisciplinary protocol enables experts to operate within foreign disciplines, in the extreme case as diverse as art and science (by inviting artists into scientific departments and vice versa), the production of knowledge remains confined to particular domains. To transcend these confinements and access the knowledge that evades institutionalisation Basarab Nicolescu’s Manifesto of Transdisciplinarity sets up conditions for an open structure to be grown outside the current compartmentalisation into a living knowledge. This thesis imagines a possible evolution of transdisciplinarity into knowledge to be lived internally rather than learnt externally in order to overcome the anxiety in transcending the established culture of disciplinary research. By entering the transdisciplinary zone, the identity of experts-specialists dissolves, even the crudest separation into artists and scientists becomes obsolete. From the illusion of losing control over knowledge arises the fear of a return to archaic, mystic or even shamanic ways of knowing. Far from proposing a return to shamanism in its ancient forms this thesis imagines the way of polyphibianism – an imaginary solution to navigate efficiently the protoplasmic state of knowledge that would be indigenous to culture of disciplinary researchers. With every significant discovery the disciplinary researchers already intuitively trespass into the very zone that the Manifesto of Transdisciplinarity invites them to enter intentionally. From examination of documented introspective inquiries into their act of discovery the thesis infers the necessary sensibilities and adaptabilities of the individuals to cross the borders of their disciplines. Their seemingly lost identity is temporarily restored with the term polyphibian (analogous to amphibian) designating their ability to survive and explore multiple environments. With each change of circumstances in research a polyphibian adapts by swiftly reinventing its instinctive instruments, mutating its organs of knowing, indifferently to conventional habits of thought. Through their introspective writings this thesis investigates the polyphibic aptitude of Henri Poincaré, Henri Bergson and Marcel Duchamp to scout at the periphery of physics, metaphysics and ‘pataphysics, to intuitively anticipate the role of chance, chaos and complexity in both arts and sciences. A threshold of complexity has to be surpassed in order to bring the current apparatus of knowledge to life. Bergson’s insight on laughter and dreams suggests how intellect could transcend itself. The thesis proposes to consider laughter as faculty that could induce self-awareness in the intellectual apparatus while dreams are considered to facilitate self-organisation of intellect on higher orders of awareness. In Deleuzian manner of mutating Bergson’s work into Bergsonism, polyphibianism is a mutation in transcribing the code of Creative Evolution where Bergson insisted on interdependency between the theory of knowledge and the theory of evolution. The scholarly dispute on Bergsonian and anti-Bergsonian tendencies present in Marcel Duchamp’s work is revisited in the thesis by interpreting the higher dimensional Bride as a polyphibic organism of living knowledge with access to higher orders of awareness, able to guide the Bachelor’s apparatus of mechanical production and preservation of knowledge out of its predicament. Informed by peculiar Duchampian experiments that challenged both the domain of art and science the research projects in this thesis consist of an intervention at CERN that tested the impenetrability of institutionalised art-science collaborations and installation of the Interval of Suspended Judgement with high mathematical precision at the threshold between physics and ‘pataphysics. With these projects the problems of categorising researchers into artists and scientists are revealed. As Deleuze suggested, to effectively formulate the problem, to realize it in multiplicity of contexts, a new concept must be invented, a new organism must be conceived. This thesis gave birth to an imaginary organism of living knowledge in order to relieve the unnecessary anxieties and to fully engage in transdisciplinary research.

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Zacharias, Kari. "The Transdisciplinary Dilemma: Making SEAD in the Contemporary Research University." Diss., Virginia Tech, 2018. http://hdl.handle.net/10919/86168.

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Over the past two decades, many American universities have created transdisciplinary institutes devoted to science, engineering, art, and design (SEAD). These organizations promote research, teaching, and engagement across technoscientific and artistic disciplines, and seek to cultivate creativity and innovation. Their proponents argue that this particular type of transdisciplinary knowledge-making has the potential to transform research universities. However, making and maintaining SEAD institutions is difficult work for the researchers and administrators involved. Practitioners struggle to define the broader goals of their transdisciplinary research; to demonstrate its value; to receive appropriate credit from their peers; and to feel that they belong in their institutions. I argue that these issues result from a fundamental “transdisciplinary dilemma”: the challenge of institutionalizing an ideal of transdisciplinarity that is actually a complex and contradictory set of different actors and motivations. In my dissertation I examine SEAD and transdisciplinarity through an ethnographic study of Virginia Tech’s Institute for Creativity, Arts, and Technology, a research institute that aspires to work “at the nexus of science, engineering, art, and design.” I identify three significant “matters of concern” for SEAD practitioners, each of which is a tension that reveals an aspect of the transdisciplinary dilemma and the challenges of institutionalizing art and technology research. Sponsored collaboration contrasts the idea of transdisciplinarity as an idealized stage of creative knowledge production with the notion of transdisciplinarity as an economic driver for higher education. Value and belonging highlights researchers’ simultaneous desire to exist outside of traditional disciplines and to enjoy the comforts of a disciplinary home. Measurable impact describes the balancing act between institutions’ need for resources and status, and the nature of researchers’ everyday work. Ultimately, I argue, these tensions are irresolvable aspects of SEAD as it exists within the contemporary research university. The persistence of the transdisciplinary dilemma leaves practitioners in a perpetual state of striving to belong, and SEAD institutions continually seeking to (re-)define themselves.
Ph. D.
Over the past two decades, many American universities have created transdisciplinary institutes devoted to science, engineering, art, and design (SEAD). These organizations promote research, teaching, and engagement across technical, scientific, and artistic disciplines, and seek to cultivate creativity and innovation. Their proponents argue that this particular type of transdisciplinary research and education has the potential to transform universities. However, making and maintaining SEAD institutions is difficult work for the researchers and administrators involved. Practitioners struggle to define the broader goals of their transdisciplinary research; to demonstrate its value; to receive appropriate credit from their peers; and to feel that they belong in their institutions. I argue that these issues result from a fundamental “transdisciplinary dilemma”: the challenge of institutionalizing an ideal of transdisciplinarity that is actually a complex and contradictory set of different actors and motivations. In my dissertation I examine SEAD and transdisciplinarity through a study of Virginia Tech’s Institute for Creativity, Arts, and Technology, a research institute that aspires to work “at the nexus of science, engineering, art, and design.” I identify three significant “matters of concern” for SEAD practitioners, each of which is an issue that reveals an aspect of the transdisciplinary dilemma and the challenges of institutionalizing art and technology research. Ultimately, I argue, these tensions are irresolvable aspects of SEAD as it exists within the contemporary research university. The persistence of the transdisciplinary dilemma leaves practitioners in a perpetual state of striving to belong, and SEAD institutions continually seeking to (re-) define themselves.

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Custy, Liliana Alicia. "Transdisciplinary teams and aging in place design : the interior designer's role." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2701.

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This study examined factors influencing participatory research team effectiveness in aging in place (AIP) design (Stokols, et al„, 2008). Although research on AIP design characterizes AIP as collaborative process, there are few studies on the factors that affect collaboration in participatory research applied to AIP. This study used a qualitative narrative strategy in a multiple case-study analysis conducted from a transdisciplinary research (TR) perspective. The case-study focused on the factors that enhanced and constrained Open n Prototype Initiative (OPI) team effectiveness. TR is a precise type of teamwork of integrative endeavors, focused on the science and society interface, and aimed at knowledge-based contribution to life-world problems (Wiesmann et al., 2008). This study found that TR team (TRT) effectiveness in OPI was contingent on six factors that constrained and eight others that enhanced collaboration (Stokols, et al., 2008). The conclusions provide a foundation for developing guidelines for designing, managing and evaluating successful TR (Stokols, et al., 2008) in AIP.

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Godoi, Vagner. "Funcionamento da obra de pesquisa." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20032019-111504/.

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Entre os anos 2000 e 2010, são intensificadas e renovadas mundialmente as discussões sobre produções artísticas que se relacionam com o conhecimento, a universidade, a pesquisa, a teoria, a reflexão, a educação e os outros campos do conhecimento. Um dos ângulos desse fenômeno multifacetado, e que é motivo de interesse crescente dos artistas e demais profissionais da Arte, pode ser resumido com a expressão pesquisa artística. Uma das contribuições desta tese é relacionar o pioneirismo da criação dos programas de pós-graduação em Artes Visuais no Brasil, com trajetória consistente de estabelecimento e definição desde a década de 1970, a esse fenômeno recente, que aconteceu sobretudo na Europa, disparado pela transformação das academias de arte em universidades por lá, seguida de um debate intenso sobre os significados da pesquisa do artista. Além disso, este estudo percorre as produções artísticas, discursivas, pedagógicas e teóricas dos artistas brasileiros Jorge Menna Barreto e Ricardo Basbaum em busca da linha poética da pesquisa, contextualizando-os tanto como herdeiros da pesquisa em arte no Brasil quanto associados a essa movimentação internacional sobre a pesquisa artística. Parte-se da incerteza sobre a multiplicidade dos significados e das nomenclaturas que a pesquisa do artista provoca, não como uma indagação ontológica, mas com o propósito de entendimento sobre o seu lugar, uma questão institucional da arte inserida no ambiente universitário e, sobretudo, um problema que se encontra na própria obra de arte, agora considerada de pesquisa.
From the years 2000 to 2010, discussions on artistic productions that are related to knowledge, university, research, theory, reflection, education and other fields of knowledge are intensified and renovated. One of the angles of this multifaceted phenomenon, and a reason for the rising interest in it by artists and other art professionals, can be summarized by the expression artistic research. One of the contributions of this thesis is correlating the pioneering creation of postgraduate programs in Visual Arts in Brazil, consistently established and defined since the 1970s, to this recent phenomenon, that took place specially in Europe, initiated by the transformation of art academies into universities, followed by an intense debate on the meanings of artist research. Moreover, this study examines artistic, discursive, pedagogical and theoretical productions by Brazilian artists Jorge Menna Barreto and Ricardo Basbaum in order to find the poetic line of research, contextualizing both as heirs of research in art in Brazil and affiliates of these international shifts on artistic research. The starting point is the uncertainty regarding the multiplicity of meanings and nomenclatures that artist research provokes, not as an ontological enquiry, but with the purpose of understanding their place, an institutional matter of art inserted in the university environment, and, particularly, a problem found in the work of art itself, now considered research.

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Trentin, Mauricio Penteado. "Montanhas portáteis. reflexões sobre arte, design e narrativa." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-07072017-105313/.

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A pesquisa visa estabelecer que os campos definidos como ARTE, DESIGN e NARRATIVA têm limites muito mais fluidos, mutáveis e permeáveis do que, de fato, reconhecemos atualmente, e pretende fazer isso problematizando suas fronteiras. Parte-se da hipótese de que a categorização desses campos em áreas estanques, aparentemente estabelecidas e claras, é rasa, artificial, arbitrária, não dá conta de uma visão diagramática da produção contemporânea nos três campos referidos, em suas fronteiras e intersecções, nem alcança a profundidade de relações de origem e de influência cruzada entre os campos. Através de análise e revisão teórica, partindo da própria estrutura das narrativas formativas e das narrativas críticas nas três áreas e em áreas de fronteira, decorrem potenciais revisões internas dos campos e de suas intersecções, uma visão atualizada da complexidade das relações entre os três campos e novas possibilidades formativas, além de uma visão crítica dos discursos acessórios e de proposições metodológicas. Do ponto de vista metodológico, de fato, a investigação apoia-se em pesquisa bibliográfica, discussão de dispositivos de exemplo e análise teórica baseada em teorias-chave dos campos descritos, ARTE, DESIGN, NARRATIVA e suas hibridizações potenciais. Também através da apresentação de dispositivos próprios que expandem as questões centrais da investigação em outros suportes e interfaces, a discussão, que tem origem prática, poética e empírica, e toma uma forma teórica, linear, analítica, mas tem também conclusões, ou possibilidades, novamente práticas, poéticas e empíricas. O intuito é a tradução de um pensamento cuja origem é prática e poética, mas também bibliográfica, em uma análise teórica, transdisciplinar, com um possível desdobramento metodológico, a proposição de uma metodologia abdutiva. Apresentada por meio de dois discursos, teórico/analítico e criativo/artístico, a pesquisa trata das possibilidades formativas em campos próximos, ARTE, DESIGN e NARRATIVA, suas potenciais influências, cruzamentos, e de como é crítica para a atividade formativa e teórica nesses campos a diferença entre discursos prescritivos/propositivos e discursos descritivos/analíticos. Do ponto de vista teórico, a discussão baseia-se nos conceitos de Praxis e Poiesis de Agamben, na noção de estética de Pareyson e de arte contemporânea de C. Cauquelin, na semiótica Peirciana, partindo da leitura de L. Santaella, e de conceitos específicos de Danto, Pross e Belting sobre Arte; Cardoso, Dune, Raby e Coles sobre Design; e Caillois e Campos aplicados sobre Narrativa.
The research aims to establish that the fields defined as ART, DESIGN and NARRATIVE have limits that are much more fluid, changeable and permeable than we actually recognize today, and intends to do so by problematizing their borders. It is based on the hypothesis that the categorization of these fields into watertight areas, apparently established and clear, is shallow, artificial, arbitrary, does not account for a diagrammatic view of contemporary production in the three fields mentioned, in their borders and intersections, nor does it reach the depth of relations of origin and cross-influence between fields. Through theoretical analysis and revision, starting from the very structure of the formative narratives and the critical narratives in the three areas and in frontier areas, not only potential internal revisions of the fields and their intersections take place, but an updated view of the complexity of the relations between the three fields and new formative possibilities, as well as a critical view of the accessory discourses and methodological propositions. From a methodological point of view, the research is based on bibliographic research, discussion of example devices and theoretical analysis based on the key theories of the fields described, ART, DESIGN, NARRATIVE and their potential hybridizations. Also, through the presentation of original devices/artwork that expand the central questions of research in other supports and interfaces, the discussion, which has practical, poetic and empirical origins, and takes a theoretical, linear, analytical form, but also has conclusions, or possibilities, again practical, poetic and empirical. The intention is the translation of a thought whose origin is practical and poetic, but also bibliographical, in a theoretical and artistic transdisciplinary analysis, with a possible methodological unfolding, the proposition of an abductive methodology. Presented through two discourses, theoretical/analytical and creative/artistic, the research deals with the formative possibilities in nearby fields, ART, DESIGN and NARRATIVE, their potential influences, crossings, and how critical it is for the formative and theoretical activity in these fields the difference between prescriptive/propositional discourses and descriptive/analytical discourses. From a theoretical point of view, the discussion is based on the concepts of Agamben\'s Praxis and Poiesis, on the notion of Pareyson aesthetics and contemporary art by C. Cauquelin, on the Peircean Semiotics, based on the reading of L. Santaella, and specific concepts from Danto, Pross and Belting on ART; Cardoso, Dune, Raby and Coles on DESIGN; and Caillois and Campos applied on NARRATIVE.

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Rahmani, Aviva A. "Trigger point theory as aesthetic activism : a transdisciplinary approach to environmental restoration." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/9326.

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This dissertation presents a new approach to addressing environmental degradation based on transdisciplinary ecological art. Transdisciplinarity is defined here as merging art and science to discover new insights. Ecological art is defined as an aesthetic practice that promotes environmental resilience. This writing will describe why those approaches are essential to restoring resilient bioregionalism. It introduces the author’s own heuristic perspectives and methodologies and demonstrates how they may be integrated with technology and science. The problems of accelerated loss of coastal (littoral) zone biodiversity, degraded water quality, and habitat fragmentation need critical attention. The author’s research goal was to present a replicable set of guidelines for identifying small points of restoration for wetland littoral zones (the coastal region between terrestrial and marine life) based on a case study called Ghost Nets, scaled to a second case study, Fish Story. Her novel approach included establishing relevant parallels from quantum physics and acupuncture to energetic systems. Additional specific analogies were explored from visual arts, theatre, music, dance, and performance art, to discover a holistic and integrated point of view. Parallels and analogies were drawn by interrogating the two case studies. An important aim of the study was to examine how certain restoration practices could be scaled up to the bioregional level and integrated with a special theory, Trigger Point Theory, to reinforce healthy ecosystems. This included an analysis of how restored upland ecotones and a different relationship to other species could contribute to restoration in the littoral zone. The analysis critiqued how anthropocentric considerations often fail to protect vulnerable water systems. The role of environmental justice for vulnerable human populations and ethical concerns for other animal species was included in that analysis. The author also claims that when artists work with Geographic Information Systems (GIS) mapping, that may propel a new transdiscourse and eventually make heuristic information scientifically useful. Insight from the Ghost Nets case study informed data collections and GIS mapping for the Southern Gulf of Maine. Those insights and the mapping were used to analyze relationships between finfish abundance, eelgrass, and invasive, predatory green crabs. Conclusions were drawn that are relevant to coastal and fisheries management practices. The author used performative approaches to contribute expert witnessing to her conclusions. Questionnaires were used to determine how much community awareness was accomplished with the case studies, and assess effects on future behavior. By combining art and science methodologies, the author revealed insights that could help small restored sites act as trigger points towards restoration of healthy bioregional systems more efficiently than would be possible through restoration science alone. In scaling up (applying small models to larger systems) and applying these practices for landscape ecology, the author assembled a set of recommendations for other researchers to implement these ideas in the future. Those recommendations included the formal engagement of ecological artists as equal partners on environmental restoration teams.

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Marshall, John James. "An exploration of hybrid art and design practice using computer-based design and fabrication tools." Thesis, Robert Gordon University, 2008. http://hdl.handle.net/10059/387.

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The researcher’s previous experience suggested the use of computer-based design and fabrication tools might enable new models of practice that yield a greater integration between the 3D art and design disciplines. A critical, contextual review was conducted to assess what kinds of objects are being produced by art and design practitioners; what the significant characteristics of these objects might be; and what technological, theoretical and contextual frameworks support their making. A survey of international practitioners was undertaken to establish how practitioners use these tools and engage with other art and design disciplines. From these a formalised system of analysis was developed to derive evaluative criteria for these objects. The researcher developed a curatorial framework for a public exhibition and symposium that explored the direction that art and design practitioners are taking in relation to computer-based tools. These events allowed the researcher to survey existing works, explore future trends, gather audience and peer response and engage the broader community of interest around the field of enquiry. Interviews were conducted with practitioners whose work was included in this exhibition and project stakeholders to reveal patterns and themes relevant to the theoretical framework of this study. A model of the phases that practitioners go through when they integrate computer-based tools into their practice was derived from an existing technology adoption model. Also, a contemporary version of R. Krauss’s ‘Klein Group’ was developed that considers developments in the field from the use of digital technologies. This was used to model the context within which the researcher’s practice is located. The research identifies a form of ‘technologyled- practice’ and an increased capacity for a ‘transdisciplinary discourse’ at the intersection of disciplinary domains. This study will be of interest to practitioners from across the 3D art and design disciplines that use computerbased tools.

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Goñi, Morgan Maria Teresa. "Propuesta metodológica para la conformación de grupos de trabajo transdisciplinario en base al Enfoque Triangular en educación artística." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/14435.

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Igreja, Paulo Antonio Pereira. "Da contemplação à imersão e subjetividade: estéticas dos museus de arte contemporânea e centros culturais." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5761.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O estudo desenvolvido nesta Tese de Doutorado trata da análise crítica da estética dos conceitos: forma, tectônica, funcionalidade, semiótica e afetuosidade, no âmbito da arquitetura, no programa de museus de arte contemporânea e centros culturais. Os museus de arte contemporânea e centros culturais, estudos de caso, selecionados para nossa Tese de Doutorado foram inaugurados na década de 1990. Como segue: Centro Cultural Jean-Marie Tijibaou (Nova Caledônia, França), de Renzo Piano; Museu de Arte Contemporânea de Naoshima (Japão), de Tadao Ando; Museu Guggenheim Bilbao (Espanha), de Frank O. Gehry; Museu de Arte Contemporânea Fundação Serralves (Portugal), de Álvaro Siza Vieira; Museu de Arte Contemporânea de Niterói (Brasil), de Oscar Niemeyer; Fundació Museu d'Art Contemporani de Barcelona (Espanha), de Richard Meier; Museu de Arte Contemporânea Carré d'Art de Nimes (França), de Norman Foster; Museu de Arte Contemporânea de Lyon (França), de Renzo Piano; Centro Cultural Consonni (Espanha), ausência de um arquiteto autor do projeto. Tanto os estudos de caso como os arquitetos, autores dos projetos, são considerados de destaque no panorama da arquitetura internacional erudita contemporânea. Os teóricos que forneceram a fundamentação conceitual deste estudo multidisciplinar são, em primeiro lugar, o Professor Catedrático Luiz Felipe Baêta Neves Flores (Transdisciplinaridade) além da Professora Catedrática Maria Luisa Amigo Fernández de Arroyabe (Ócio Estético) e ainda, os também importantes, Manuel Cuenca Cabeza (Ócio Humanista), Charles Jencks e Gonçalo Miguel Furtado Cardoso Lopes (Crítica de Arquitetura), Jesús Pedro Lorente, Chris van Uffelen e Roberto Segre (Museus de Arte Contemporânea).
The study developed in this Thesis Doctoral presents a critical and aesthetics analysis of the concepts: form, tectonic, functionality, semiotic and affectivity, in view the rchitecture, in the contemporary art museums and cultural centers program. The contemporany art museums and cultural centers, case's studies, selected for our Thesis Doctoral were opened during the years ninety, as follows: Jean-Marie Tijibaou's Cultural Center (New Caledony, France), of Renzo Piano; Naoshima's Contemporary Art Museum (Japan), of Tadao Ando; Bilbao's Museum Guggenheim (Spain), of Frank O. Gehry; Foundation Serralves' Contemporary Art Museum (Portugal), of Álvaro Siza Vieira; Niterói's Contemporary Art Museum (Brazil), of Oscar Niemeyer; Barcelona's Fundació Museu d'Art Contemporani (Spain), of Richard Meier; Nimes' Contemporary Art Museum Carré d'Art (France), of Norman Foster; Lyon's Contemporary Art Museum (France), of Renzo Piano; Consonni's Cultural Center (Spain), absent an architect author of project. The case's studies as well as the architects, authors of the projects, are outstanding in the international theoretical panorama of contemporary architecture. The theorists who have offered the fundamental conceptual for this multidisciplinary study are mainly the Full Professor Luiz Felipe Baêta Neves Flores (Transdisciplinarity), the Full Professor Maria Luisa Amigo Fernández de Arroyabe (Aesthetics Leisure) and also the equally important Manuel Cuenca Cabeza (Humanist Leasure), Charles Jencks and Gonçalo Miguel Furtado Cardoso Lopes (Critical Architecture), Jesús Pedro Lorente, Chris van Uffelen and Roberto Segre (Contemporary Art Museums).

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XAVIER, Maria do Carmo da Silveira. "A contribuição das artes plásticas na aprendizagem de conceitos científicos." Universidade Federal Rural de Pernambuco, 2008. http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/5927.

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In this research we investigate the construction of concepts, through technological material of artistic production of Conceptual Art, a transdisciplinary procedure with Science. It is confirmed the potential of continuing towards art, and its contribution to the learning of scientific concepts for students in high school. As expressive materials for the conceptual artistic productions, it is mentioned: the PET (Ethylene Politereftalate) and a bioplastics (made by students). These materials support the discussions and conceptual constructions about the curriculum content of high school to the Chemistry of Materials, to Biology and Ecology (environment), with the themes: polymers, synthetic and natural biopolymer, and transversal issues as: garbage, recycling, reuse, sustainability, environmental aesthetics and new technologies. As theoretical and methodological we have Kelly’s, Theory of Personal Constructs with emphasis on the Cycle of Experience is had. The hermeneutic-dialectic methodology the research’s methodology, seek refuge alteration of CHD and enables the structuring of interactive methodology/constructive, new learning tool, from proposed changes of CHD, allows you a closer cross between areas of knowledge, Art and Science. Personal Constructs that allows the simultaneous participation of all involved in the project and it grants primordial speech of freedom for the students through the spoken language and the conceptual constructions of art;collected data and allowing following the attitude and cognitive process of students. The project involves a group of 10 students from 1st year grade of high school of CODAI, institution associated to UFRPE, in the City of SAO LOURENCO DA MATA, State of Pernambuco, Brazil. The research results presents a satisfactory development from the participants and it also presents in the consensus final constructions, a very approach of the formal definition that could be found in the sciences literature as well as in the conceptual art.
Nesta pesquisa investiga-se a construção de conceitos através do material tecnológico da produção artística de Arte conceitual, em procedimento transdisciplinar com a Ciência. Verifica-se a potencialidade do material expressivo utilizado na produção conceitual da arte e na sua contribuição para a aprendizagem de conceitos científicos de alunos do ensino médio. Como materiais expressivos têm-se: o PET (Politereftalato de etileno) e um bioplástico (confeccionado pelos alunos). Esses materiais auxiliam nas discussões e construções conceituais sobre conteúdos curriculares do Ensino Médio relativos à Química dos Materiais, à Biologia e à Ecologia (meio ambiente), com o tema: polímero (sintético, naturais e biopolímero), e abordagens transversais como: lixo, reciclagem, reaproveitamento, sustentabilidade, estética ambiental e novas tecnologias. Como aporte teórico e metodológico tem-se a Teoria dos Construtos Pessoais de Kelly, com destaque para o Ciclo da Experiência. A metodologia hermenêutica-dialética fundamenta a metodologia da pesquisa. Também ampara as modificações efetivadas no círculo hermenêutico-dialético (CHD) e viabiliza a estruturação da metodologia interativo/construtiva como um novo instrumento pedagógico, eficiente tanto para construir dados em pesquisa qualitativa, quanto, como ferramenta pedagógica para construção da aprendizagem. O novo instrumento proposto a partir das modificações do CHD facilitou a aproximação transdisciplinar entre as áreas do conhecimento, Arte e Ciência, e possibilitou a participação simultânea de todos os pesquisados na mostra. Assim, envolveu: entrevistados e observadores, privilegiando a liberdade de expressão dos envolvidos através da fala e das construções e reconstruções conceituais durante as fases do instrumento. O CHD modificado viabilizou a construção dos dados da pesquisa e também facilitou acompanhar os processos atitudinais e cognitivos dos envolvidos durante a construção da aprendizagem. Foram pesquisados 10 alunos do 1º Ano do Ensino Médio do CODAI, Instituição vinculada a UFRPE situada no Município de São Lourenço da Mata, PE. Os resultados da pesquisa indicaram satisfatório desenvolvimento das construções conceituais dos participantes e mostraram nos resultados consensuais finais, muita proximidade às definições formais encontradas na literatura da área de Ciência, bem como da Arte Conceitual.

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Schlaepfer-Miller, Juanita. "Defining new knowledge produced by collaborative art-science research." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6500.

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This thesis takes a theoretical framework constructed for transdisciplinary research within different natural science disciplines and investigates what kind of new knowledge is produced when this framework is applied to projects at the interface of art and natural science. The main case study is “Sauti ya Wakulima – The Voice of the Farmers”, which involves collaboration with another intervention artist, and with natural scientists and farmers. This is a collaborative knowledge project with small-scale urban as well as rural farmers in Tanzania who have created an online community archive of their farming practices by using mobile phones to upload images and sounds onto a website. The research uses an open-ended participatory methodology that gives the participants as much creative agency as possible within the given power structures and practical and technical parameters. A second work examined is the Climate Hope Garden, an installation by the author in collaboration with ecologists and climate scientists at the Swiss Federal Institute of Technology, Zürich (ETHZ). The installation consisted of a garden grown in climate-controlled chambers based on the climatic conditions proposed by IPCC climate scenarios. The project aimed to enact these scenarios on a spatial and temporal scale to which visitors could relate. Transdisciplinary research has become a key reference point in funding proposals. Despite many references in the literature, and calls for research involving both the natural sciences and humanities to solve complex world problems such as adaptation to climate change, there seems to be little consensus about exactly what kind of knowledge might be produced from such projects, and how transdisciplinary research proposals might be evaluated, especially those at the interface of art and the natural sciences. Several theoretical frameworks have been suggested for designing transdisciplinary research between and within scientific disciplines, or between the natural and social sciences and humanities. The present study applies the framework proposed by Christian Pohl and Gertrude Hirsch Hadorn (2007) to a real-world transdisciplinary art-science project in a development context in order to examine the balance between the collective, locally embodied experience and the nomothetic knowledge that arises from it. This thesis found that transdisciplinarity is a different question from that of types of knowledge on the nomothetic-idiographic scale. Transdisciplinarity is a pragmatic question of definitions and inherited boundaries of disciplines. The framework categories do not differentiate between nomothetic and idiographic, just to which part of the problem-solving puzzle they fit. This is perfectly valid for goal-oriented, problem-solving research and can be applied to art-science research, but there are other ways of describing this work, such as using a philosophical description of the knowing process which comes closer to encompassing the richness of the knowledge produced. It is in this sense that the new type of knowledge generated by the transdisciplinary projects required an expansion of the given theoretical framework.

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Camarós, Pérez Edgard. "Hominin-carnivore interaction during the pleistocene: development of new methods for the study of human behavior through a transdisciplinary and evolutionary approach." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/386440.

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La present Tesi Doctoral versa sobre l’estudi de la interacció entre hominins i carnívors durant el Pleistocé. L’objectiu principal de la recerca és utilitzar aquesta interacció per a entendre i recuperar arqueològicament el comportament humà modern i complex. En aquest sentit, les diferents formes d’interacció que els humans varen desenvolupar en el passat amb els grans carnívors és analitzada mitjançant diferents enfocs i mètodes. Tot això, presentat com a una Tesi per compendi d’articles científics publicats, proporciona una visió general de la complexa relació entre hominins i carnívors durant el Pleistocé, així com una proposta metodològica per a recuperar arqueològicament el comportament humà. Les formes d’interacció analitzades, ja sigui mitjançant una aproximació experimental, actualita o arqueològica són: a) l’alternança en l’ús de les coves com a hàbitat; b) la cacera de carnívors; c) l’ús dels carnívors coma recurs àmpli; d) els hominins coma víctimes d’atacs de carnívor i e) la domesticació, així com les consequències que cada forma d’interacció implica (p.ex., accès primàri o secundàri a les carcasses animals o els hominins com a pressa dels carnívors). A nivell històric, la Tesi Doctoral aporta una visió original sobre l’evolució de la interacció entre hominins i carnívors del PaleolíticMitjà al Superior, així comla idea de com de complexe i constant és aquesta interacció i el que implica en l’evolució humana. Els diferents materials arqueològics analitzats per a la present investigació provenen de diferents jaciments de l’Europa Occidental (Espanya, França, Bèlgica, Alemanya i Grècia).
La presente Tesis Doctoral versa sobre el estudio de la interacción entre homininos y carnívoros durante el Pleistoceno. El objetivo principal de la investigación es usar dicha interacción para comprender y recuperar arqueológicamente el comportamiento humano moderno y complejo. En este sentido, las diferentes formas de interacción que los humanos desarrollaron en el pasado con los grandes carnívoros es analizada a través de distintos enfoques ymétodos. Todo ello, presentado como una Tesis por compendio de artículos científicos publicados, proporciona una visión general de la compleja relación entre homininos y carnívoros durante el Pleistoceno, así como una propuesta metodológica para recuperar arqueológicamente el comportamiento humano. Las formas de interacción analizadas, ya sea mediante una aproximación experimental, actualista o arqueológica son: a) la alternancia en el uso de las cuevas como hábitat; b) la caza de carnívoros; c) el uso de los carnívoros como recurso amplio; d) los homininos como víctimas de los ataques de carnívoro y e) la domesticación, así como las consecuencias que cada forma de interacción implica (p.ej., acceso primario o secundario a las carcasas animales o los homininos como presa de los carnívoros). A nivel histórico, la presente Tesis Doctoral aporta una visión original sobre la evolución de la interacción entre homininos y carnívoros del Paleolítico Medio al Superior, así como la idea de cuán compleja es esta constante relación y lo que implica en la evolución humana. Los diferentes materiales arqueológicos analizados para esta investigación proceden de diferentes yacimientos de Europa Occidental (España, Francia, Bélgica, Alemania y Grecia).
The aim of this Doctoral Thesis is to study the interaction between hominins and carnivores during the Pleistocene. The main research objective is to use this interaction to understand and recover modern and complex behavior from archaeological data. In this sense, several forms of past hominin-carnivore interaction are approached from different scopes and using different methods. This is presented as a Dissertation consisting of published scientific papers, to provide a general vision of the complex relation developed between hominins and carnivores during the Pleistocene. A further aim is to build a methodological framework for recovering human behavior from the archaeological record. The forms of interaction analyzed, using experimental, actualistic, and archaeological approaches, are: a) alternate use of caves; b) carnivore hunting; c) carnivores as a resource for hominins; d) hominins as victims of carnivore attacks; and e) domestication, and all consequences this form of interaction generates (e.g., primary or secondary access to animal carcasses, or hominins as carnivore prey). From a historical standpoint, this Dissertation provides an original vision of the evolution of the interaction between hominins and carnivores from the Middle to the Upper Paleolithic, and develops the idea of how complex and important this interaction is concerning human evolution. The different archaeological materials analyzed for the present research were discovered at different sites in Western Europe (Spain, France, Belgium, Germany, and Greece).

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Connelly, Heather. "Speaking through the voice of another : how can art practice be used to provoke new ways of thinking about the transformations and transitions that happen in linguistic translation?" Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17999.

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Speaking through the voice of another is a practice-based PhD that employs art practice to interrogate translation (as a textual and verbal practice). It uses linguistic translation as both the subject and the method to make multimedia artworks (text, sound, performance and events) that examine and analyse the translation process itself. The research has been conducted from my own subjective position, as an artist and monolingual speaker (a translation user rather than translation professional), investigating translation as a dialogic, subjective, embodied and performative phenomena. It adopts a self-reflexive methodology that places equal value in theoretical and experiential knowledge and proposes that an artist-led inquiry challenges assumptions, translation protocols, conventions and normative behaviour. The artists and artworks discussed in the thesis examine the translators /translation s agency and its linguistic performativity; exploiting it s creative potential as an artistic process/medium and amplifying its pivotal role within the expanding global art world. This transdisciplinary approach has resulted in the creation of translation zones - works and events devised to engage monolingual and multilingual individuals, professional translators, practitioners and public(s) in the process of translation - that offer an alternative perspective on translation (to research carried out within Translation Studies). Consequently, generating new knowledge that contributes to our understanding of translation and art and beyond both disciplines, creating a new transdisciplinary genre of art-and-translation. The artworks are an integral part of the thesis submission; samples and documentation of these are accessible within the full interactive PDF ersion. The layout of the thesis has been specifically designed to ease communication of the research, it uses various visual cues to distinguish between different types of information and to demonstrate my research praxis; the continual movement between theory and practice.

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Sabba, Claudia Georgia. "A busca pela aprendizagem além dos limites escolares." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-29072010-103236/.

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Em uma época em que o excesso de informações, técnicas e padrões parecem sufocar o indivíduo; e ao mesmo tempo, incitá-lo a questionar a si próprio e ao próximo diante de situações a serem resolvidas; torna-se imprescindível pensar nas possibilidades de compreensão e simplificação de sua rotina, isso sem causar a perda da essência do que é de fato ser humano. Surgem daí questões fundamentais para investigar a sobrevivência e o convívio harmônico da espécie, ou seja, buscar princípios correspondentes ao anseio de viver juntos e em paz. Posto dessa maneira, a pesquisa em questão tem como objetivo dialogar sobre esses assuntos por meio da educação de novas metodologias frente à aprendizagem de diversos saberes nos quais envolvam o mundo, seus objetos e, por fim, suas relações. Desse modo, a fim de entender melhor as necessidades humanas no processo de aprendizagem, realizei um estudo sobre a teoria da mente, que foi seguido de uma pesquisa de campo cuja base foi observar as novas pedagogias postas em ação, especificamente, em duas escolas: a EMEF Desembargador Amorim Lima e Escola Waldorf. Ao cumprir essa demanda, entrevistei alguns professores para analisar quais motivos que levaram à adoção dessa nova diretriz em suas práticas de ensino. Opção tomada na busca de subsidiar a formação de seus alunos, no sentido de torná-los adultos capazes de criticar e refletir sobre a sua própria realidade, permitindo, assim, a criação de mecanismos de interação com o mundo ao seu redor.
In an age where the sheer breadth of information, techniques and patterns appear to stifle the individual, but at the same time, encourage him/her to question oneself and others in situations that need a resolution, it is important to try and understand and simplify ones approach so as not to lose the essence of what it is to maintain ones \"humanity\". This leads to fundamental questions regarding the survival and harmonious coexistence of the species, i.e., in the effort to find ways and principles that lead to living together in peace. As such, this research intends to address these issues through the promotion (and via education) of newer methodologies and current knowledge (as opposed to outdated knowledge and materials) of the world, its objects and, their complex relationships using the modern marvels of technology, art and other mechanisms heretofor not considered. In the effort to better understand human needs in the learning process, I conducted a study on the theory of the mind, followed by a field study/examination, the purpose of which was to observe how new teaching methods put into action, specifically in two schools: EMEF Desembargador Amorim Lima and Waldorf Schools. Accordingly, I interviewed several teachers to learn their motivations for the adoption of this new direction in their teaching practices, after they graduated from the traditional educational system. I found that their approach took into consideration subsidizing the education of their students in order to give them the opportunity to grow into thinking adults who are able to criticize and reflect on their own reality, thus allowing the creation of mechanisms of interaction with the world around them.

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Brito, Bruna Ramires. "Relações entre design e gastronomia no cenário contemporâneo." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153751.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A alimentação se tornou um dos itens que compõe de forma significativa o estilo de vida da sociedade contemporânea. O ato de alimentar envolve aspectos muito além da nutrição, tais como as questões sensoriais, perceptivas, sociais, culturais, econômicas e ambientais. O cenário contemporâneo é composto por uma série de características e, entre elas, destacam-se as questões simbólicas, subjetivas que, a partir das ações interdisciplinares e transdisciplinares, atuam na ressignificação e, valorização da memória, da autoria, do desenvolvimento sustentável, e da inovação social. O design contemporâneo destaca as relações e inter-relações com outros campos do conhecimento, como, por exemplo, a gastronomia, que envolve o ato de comer, os equipamentos, utensílios, espaços, métodos e processos de desenvolvimento projetual, criativo e a aplicação dos conceitos advindos da estética do cotidiano que relacionam-se diretamente a esse universo. Entretanto, apesar da amplitude do tema e da divulgação midiática, suas relações são ainda pouco exploradas em termos de conceitos, aplicações e estudos científicos. Nesse sentido, o objetivo dessa pesquisa é identificar intersecções entre o design e a gastronomia no cenário contemporâneo e suas relações para com o usuário/sujeito. O método aplicado foi constituído por pesquisa bibliográfica, documental com estudos e análises de exemplos dos anos 2000. A revisão de literatura contou com referencial teórico acerca do design, da gastronomia, as expectativas de consumo do sujeito contemporâneo, bem como as características similares e as relações entre as duas disciplinas, que as tornam relevantes e influentes. A intervenção do design no campo da gastronomia ocorre há muitos anos, por meio dos utensílios, embalagens e espaços. Entretanto, na perspectiva do design, é recente e o uso do alimento como matéria-prima ou no desenvolvimento de produtos e serviços, além da estética do prato como oportunidade de inovação e da constituição de ações relacionadas à inovação social. Os conceitos e aplicações obtidos, a partir das relações entre design e gastronomia, são determinantes e valorosos para ambas as áreas.
Food has become one of the items that make up the lifestyle of contemporary society. The act of feeding involves aspects far beyond nutrition, such as social, cultural, economic and environmental issues. The contemporary scenario is composed of a series of components, such as issues related to innovation, memory, authorship, sustainability, social innovation, interdisciplinarity and transdisciplinarity. Some of the more essential features of the contemporary design are the relations and interrelationships with other fields of knowledge, such as gastronomy, which involves eating, equipment, utensils, spaces, design and creative processes and aesthetic of the dish. However, despite the amplitude of the theme and media coverage, those relations or interrelationships are little explored regarding concepts and applications. In this sense, this research aims to identify potential intersections between design and gastronomy in the contemporary scenario. From this integration, this study sought to identify benefits for both areas, and, mainly, for the contemporary subject. The applied method consisted of bibliographical and documentary research. The literature review had a theoretical reference about the design, the gastronomy, the consumptive expectations of the contemporary subject, as well as the similar characteristics and the relations between the two disciplines, which make them relevant and influential. The intervention of design in the field of gastronomy takes place for many years, through utensils, packaging and spaces. However, from a design perspective, the use of food as a raw material or the aesthetics of the dish as an opportunity for innovation is relatively recent. The concepts and applications obtained through this study, from the relations between design and gastronomy, are decisive and valuable for both areas.

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Nicola, Nilton Cesar. "Um conto e vários encontros." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/2116.

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This project became real due to the researcher's interest in new approaches to teaching and in implementing a transdisciplinary teaching proposal. In this case, the proposal consisted of a reading assignment, under different perspectives, of a Machado de Assis's short story. The project was based on Edgar Morin's ideas of the complexity of knowledge of different subjects, and traditional school's simplistic approaches to learning, were questioned. Contextualizing and integrating were the objectives of the work developed by teachers of Reading and Writing Texts, Philosophy, Sociology, Psychology, History , subjects that together with Academic-Scientific and Cultural Activities, are part of the freshman year of the School of Pedagogy at "Faculdade de Ciências Aplicadas e Tecnológica do Litoral Sul/FACSUL". Transdisciplinary projects of such kind may be applicable at any school level, aiming to create a valuable dialogue between areas of knowledge, and also to achieve a more significant and contextualized learning.
O presente projeto nasceu do interesse do pesquisador por novos paradigmas para o ensino e por implementar uma proposta didático-pedagógica transdisciplinar. Neste caso a proposta consistiu na leitura crítica, através de diferentes perspectivas, de um conto de Machado de Assis. Postulou-se, com base nas ideias de Edgar Morin, a complexidade das relações entre as diferentes áreas do conhecimento e se questionaram padrões reducionistas, característicos da filosofia de ensino tradicional. Contextualizar e integrar foram os objetivos do trabalho desenvolvido com os professores de Leitura e Produção de Textos, Filosofia, Sociologia, Psicologia e História, disciplinas que compõem, juntamente com Atividades Acadêmico-Científico-Culturais (AACC), a matriz curricular do primeiro semestre do curso de Pedagogia da Faculdade de Ciências Aplicadas e Tecnológicas do Litoral Sul/FACSUL. Projetos transdisciplinares como este, aplicáveis em todos os níveis, objetivam religar as áreas do conhecimento e valorizar o diálogo entre os saberes, de forma significativa e contextualizadora.

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Araújo, Maurício Viana de. "O ensino-aprendizagem de produção textual no ensino a distância em uma perspectiva complexa e transdisciplinar." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/13733.

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This study aimed to describe and interpret the teaching-learning process of textual production, as a phenomenon of human experience, in a distance course designed to undergraduate students, from a complex and transdisciplinary perspective. The students and teacher s experiences were researched on when the teaching-learning space was shared by them in the virtual Moodle environment, seeking to gather subsidies to develop future online writing courses and/or online teacher education programs. The research is theoretically founded on complexity theory (MORIN, 2003, 2008, 2013), with relevance in its recursive, dialogic and hologramatic principles; and on transdisciplinarity (NICOLESCU, 2001,2008), by focusing on levels of reality and the included third logic. This study was methodologically grounded on the hermeneutic-phenomenological approach (FREIRE, 2007, 2010, 2012; van MANEN 1990), a methodology that aims at describing and interpreting human experience phenomena to search for their essences. To identify the hermeneutic-phenomenological themes, the interpretation procedures were undertaken through textualization, thematization (which was operationalized by means of refinement and remeaning), and validating cicle. In this research, the phenomenon interpretation revealed six hermeneutic-phenomenological themes: concern, flaming, time, fear, difficulty and recognition
O objetivo deste trabalho foi descrever e interpretar o ensino-aprendizagem da produção textual, como fenômeno da experiência humana, num curso de língua materna a distância para graduandos, em uma perspectiva complexa e transdisciplinar. Foram investigadas as vivências e experiências dos alunos e do professor, ao compartilharmos um espaço de ensinoaprendizagem textual no ambiente virtual Moodle, buscando obter subsídios para a elaboração de futuros programas de cursos de produção textual a distância e para a formação de professores para essa modalidade de ensino-aprendizagem. O trabalho foi fundamentado teoricamente na complexidade (MORIN, 2003, 2008, 2013), tendo como referência os seus princípios recursivo, dialógico e hologramático, e na transdisciplinaridade (NICOLESCU, 2001,2008), tendo em vista os níveis de realidade e a lógica do terceiro incluído. A metodologia de pesquisa adotada foi a abordagem hermenêutico-fenomenológica (FREIRE, 2007, 2010, 2012; van MANEN 1990), uma metodologia qualitativa de pesquisa, cujo objetivo é descrever e interpretar fenômenos da experiência humana, em busca de suas essências. Os procedimentos interpretativos, com vistas à identificação dos temas hermenêutico-fenomenológicos, são realizados por meio da textualização das experiências, de sua tematização (operacionalizada pelos movimentos de refinamento e ressignificação) e do ciclo de validação. Nesta pesquisa, a interpretação do fenômeno revelou seis temas hermenêutico-fenomenológicos - preocupação, flaming, tempo, medo, dificuldade e reconhecimento como constituintes do fenômeno em estudo

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Lehmann, Bianca Alves. "As aulas de oratória : um espaço de formação e de construção identitária." Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br/handle/ri/2843.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Esta dissertação analisa oratórias de acadêmicos do primeiro semestre do curso de Bacharelado em Letras, da Universidade Federal de Pelotas, a partir dos questionamentos: que posições de sujeito são ocupadas em sala de aula em um momento em que os alunos são convocados a falar? E, a partir das posições ocupadas, de que maneira os acadêmicos são subjetivados e constroem para si certos discursos de identidade? Além disso, este estudo tem como propósito entender as oratórias como uma atividade pedagógica que possibilita a ocupação de determinadas posições de sujeito – o processo de constituição identitária – e de compreender a sala de aula como um lugar privilegiado onde circulam discursos complexos e, assim, se constituem sujeitos sociais. Para fins de análise, o referencial teórico é respaldado pelos Estudos Culturais (EC) e pela Linguística Aplicada Transdisciplinar (LAT), especificamente no que tange às questões identitárias. Sob a ótica dos Estudos Culturais, é possível analisar as representações e as questões identitárias a partir dos discursos proferidos, uma vez que linguagem é entendida como constituidora de identidades. A Linguística Aplicada Transdisciplinar, por seu turno, vai ao encontro das questões identitárias, já que considera o sujeito social como sendo construído pelos sentidos produzidos a partir dos usos e das implicações sociais, políticas e econômicas. Os principais pressupostos teóricos, que entendem a linguagem como constituidora de significados, foram embasados em autores como Fabrício (2006), Hall (1997a), Moita-Lopes (2001, 2006a), dentre outros. Em relação a discussões que envolvem as questões de identidade e representação, foram utilizados autores como Hall (1997b, 2000, 2011), Silva (1995b, 2000a, 2000b), Woodward (2000), dentre outros. Dessa maneira, tendo como princípio, portanto, o fato de que a linguagem serve como um mecanismo que constitui e que exerce um papel privilegiado na construção e na circulação do significado, esta pesquisa objetiva entender a sala de aula como um espaço em que há, além do processo de ensino/aprendizagem, a produção de identidades. A partir da análise realizada, conclui-se que os alunos são subjetivados e constituem identidades, ocupando posições de sujeito em sala de aula. As posições, por exemplo, de sujeito preocupado com as questões que englobam respeito, dignidade e igualdade, bem como de um sujeito crítico, politizado e bem informado foram preenchidas não somente no momento da oratória, mas também no debate após cada apresentação, em que os alunos se posicionaram e se constituíram enquanto sujeitos sociais significando a si e ao mundo.
This dissertation analyzes the oratory of students of the first semester of the Bachelor of Arts, at Universidade Federal de Pelotas, based on the questioning: which positions of subject are taken in class in a moment of evaluation in which the youths are summoned to speak?, and based on those positions taken, how are the pupils subjectivized and build certain identity speeches for themselves? Besides that, this study aims to analyze such oratory, in a sense of understanding them as a pedagogical activity which allows the occupation of certain subject positions – the process of identity constitution – and understand the classroom as a privileged place where complex speeches circulate, and, therefore, they constitute social subjects. For analysis purposes, the theoretical framework is supported by the Cultural Studies (CS) and by the Transdisciplinary Applied Linguistics (TAL), specifically regarding identity issues. From the perspective of Cultural Studies, it is possible to analyze the representations and identity based on the speeches, since language is understood as a constructor of identity. The Transdisciplinary Applied Linguistics, in turn, meets the identity issues, as regards the social subject to be built by the senses produced from the uses and social, political and economic implications. The main theoretical assumptions, which understand the language as constitutor of meanings, were based on authors such as Fabrício (2006), Hall (1997a), Moita-Lopes (2001, 2006a), among others. Regarding discussions that involve the questions of identity and representation, authors like Hall (1997b, 2000, 2011), Silva (1995b, 2000a, 2000b), Woodward (2000), among others were used. Therefore, as a principle, the fact that the language serves as a mechanism which plays a key role in the construction and movement of meaning, this research aims to understand the classroom as a place in which there is, besides the process teaching/learning, the production of identity. Based on the analysis, it is concluded that the students are subjectivized and build identities, occupying positions of subject in the classroom. The positions, for example, a subject concerned with issues that include respect, dignity and equality, as well as a critical subject, politically aware and knowledgeable were filled not only at the time of speaking, but also in the discussion after each presentation, in which students were positioned and constituted while social subjects that were meaningful to themselves and to the world.

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Howard, Rebecca. "A Pedagogy of One’s Own: Bricolage, Differential Consciousness, and Identity in the Translexic Space of Women’s Studies, Theatre, and Early Childhood Education." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1272174018.

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Michel, Yves A. "Biomimicry and innovation in sustainable design : understanding its innovation supporting characteristics compared to ecodesign." Thèse, 2015. http://hdl.handle.net/1866/13011.

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Depuis la dernière décennie, le biomimétisme est une discipline en plein essor dans le monde du design durable. De plus en plus, cette stratégie prend place dans plusieurs facettes du design, que ce soit dans le design industriel, dans l’architecture ou encore dans le design urbain. Le livre de Janine Benyus intitulé Biomimétisme: Quand la Nature Inspire des Innovations Durables (1997) est largement reconnu comme étant le catalyseur de la stratégie et comme l’indique le titre du livre, le biomimétisme est très souvent associé à l’innovation. Le but principal de cette recherche est de mieux comprendre le lien entre le biomimétisme et l’innovation. Cette recherche sur le biomimétisme comprend un objectif mineur et deux objectifs majeurs. Le premier objectif cherche à comprendre le véritable lien entre le biomimétisme et l’écodesign. Le second objectif vise non seulement à valider la théorie selon laquelle le biomimétisme est une stratégie menant à des solutions de design innovantes, mais également à établir quels types d’innovations ont été générés par cette stratégie. Finalement, le troisième objectif est d’identifier les aspects du biomimétisme qui mènent à des solutions de design innovantes. Pour accomplir ces objectifs, cette recherche utilisera une approche qualitative supportée par des études de cas et une revue de littérature. Afin de contextualiser les deux derniers objectifs, cette étude établit que le biomimétisme et l’écodesign sont des stratégies complémentaires plutôt qu’en compétition. Les conclusions de cette recherche démontrent que la théorie proposant que le biomimétisme soit une stratégie d’innovation est valide et que la discipline est surtout apte à générer l’innovation radicale. Finalement, la recherche indique que l’analogie de distance et la transdisciplinarité sont les deux aspects du biomimétisme aidant à produire des solutions de design innovantes. Le biomimétisme est mieux connu dans le contexte du design durable et cette recherche permet de mieux comprendre le biomimétisme dans le contexte de l’innovation. Considérant que le biomimétisme est une discipline qui suscite beaucoup d’intérêt des milieux académiques et privés, cette recherche participe à l’expansion de la connaissance sur le sujet et propose de nouvelles pistes de recherche sur le biomimétisme et l’innovation.
Biomimicry is a growing design discipline that has gained much recognition throughout the last decade in sustainable design. The bioinspired design approach is finding its way across design disciplines from product design to architecture and urban design. The book, Biomimicry: Innovation Inspired by Nature, by Janine Benyus is credited to launch the design movement and as indicated in the title, biomimicry is often presented as a strategy for design innovation. The goal of this thesis is to gain a better understanding of biomimicry in the context of innovation. This study has two principal objectives and a minor objective. The first objective aims at understanding the correlation between biomimicry and ecodesign. The second objective is to validate the notion that biomimicry is a strategy supporting design innovation by establishing what kinds of innovation has been spawned by this approach. And finally the third objective is to identify the aspects of biomimicry that lead to innovative design solutions. To fulfill these objectives, this research will employ a qualitative approach and supported literature review and case studies. To contextualize the last two objectives, the study clarifies that the qualitative approach of biomimicry and the quantitative approach of ecodesign are actually complimentary and thus together form a more comprehensive approach to sustainable design. The findings of this study also validate that biomimicry supports innovation, specifically radical innovation. To finalize, the study demonstrates that the two aspects of biomimicry responsible for innovation are the use of distant analogy and transdisciplinarity. Biomimicry is typically observed in the context of sustainability and this thesis aims to observe and understand biomimicry in the context of innovation. Given the growing interest in biomimicry by academia and the private sector, this research also will propose new paths of research in biomimicry and innovation and thus hopefully provoke new insights on the subject.

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Héon-Morissette, Barah. "L’espace du geste-son, vers une nouvelle pratique performative." Thèse, 2016. http://hdl.handle.net/1866/19567.

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Cette thèse en recherche-création est une réflexion sur l’espace du geste-son. La dé- marche artistique de l’auteure, reposant sur six éléments : le corps, le son, le geste, l’image vidéo, l’espace physique et l’espace technologique, a été intégrée dans la conception d’un système de captation de mouvement en vision par ordinateur, le SICMAP (Système In- teractif de Captation du Mouvement en Art Performatif). Cette approche propose une nouvelle pratique performative hybride. Dans un premier temps, l’auteure situe sa démarche artistique en s’appuyant sur les trois piliers de la méthodologie transdisciplinaire : les niveaux de Réalité et de perception (le corps et l’espace-matière), la logique du tiers inclus (l’espace du geste-son) et la com- plexité (éléments du processus de création). Ces concepts transdisciplinaires sont ensuite mis en relation à travers l’analyse d’œuvres arborant un élément commun à la démarche de l’auteure, soit le corps au centre d’un univers sensoriel. L’auteure met ensuite en lumière des éléments relatifs à la pratique scénique susci- tée par cette démarche artistique innovante à travers le corps expressif. Le parcours du performeur-créateur, menant à la conception du SICMAP, est ensuite exposé en passant par une réflexion sur l’« instrument rêvé » et la réalisation de deux interfaces gestuelles pré- paratoires. Sous-entendant une nouvelle gestuelle dans un contexte d’interface sans retour haptique, la typologie du geste instrumental est revisitée dans une approche correspondant au nouveau paradigme de l’espace du geste-son. En réponse à ces recherches, les détails de la mise en œuvre du SICMAP sont ensuite présentés sous l’angle de l’espace technologique et de l’application de l’espace du geste- son. Puis, les compositions réalisées lors du développement du SICMAP sont décrites d’un point de vue artistique et poïétique à travers les éléments fondateurs du processus de création de l’auteure. La conclusion résume les objectifs de cette recherche-création ainsi que les contributions de cette nouvelle pratique performative hybride.
This research-creation thesis is a reflection on the gesture-sound space. The author’s artistic research, based on six elements: body, sound, gesture, video, physical space, and technological space, was integrated in the conception of a motion capture system based on computer vision, the SICMAP (Système Interactif de Captation du Mouvement en Art Performatif – Interactive Motion Capture System For Performative Arts). This approach proposes a new performative hybrid practice. In the first part, the author situates her artistic practice supported by the three pillars of transdisciplinary research methodology: the levels of Reality and perception (the body and space as matter), the logic of the included middle (gesture-sound space) and the com- plexity (elements of the creative process). These transdisciplinary concepts are juxtaposed through the analysis of works bearing a common element to the author’s artistic practice, the body at the center of a sensorial universe. The author then puts forth elements relative to scenic practice arisen by this innovative artistic practice through the expressive body. The path taken by the performer-creator, leading to the conception of the SICMAP, is then explained through a reflection on the “dream instrument” and the realization of two preparatory gestural interfaces. Implying a new gestural in the context of a non-haptic interface that of the free-body gesture, the topology of the instrumental gesture is revisited in response to a new paradigm of the gesture-sound space. In reply to this research, the details of the SICMAP are then presented from the angle of the technological space and then applied to the gesture-sound space. The compositions realized during the development of SICMAP are then presented. These works are discussed from an artistic and poietic point of view through the founding elements of the author’s creative process. The conclusion summarises the objectives of this research-creation as well as the contributions of this new performative hybrid practice.

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"An Inquiry into PYP Transdisciplinary Understanding in Two Remote Schools in Indonesia." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.54962.

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abstract: This research investigates teachers' understanding of and feelings about transdisciplinary education and the International Baccalaureate's Primary Years Programme (PYP) as utilized by two remote schools in the province of Papua, Indonesia on the island of New Guinea. A goal of transdisciplinary education is to make learning through inquiry authentic, broad, student-centered, and relevant to the real world. In this study I examine educators’ perspectives of how transdisciplinary education is manifested in the two different and yet related elementary schools. Both schools are supported by a multinational mining company. One school is for expatriate students and the language of instruction is English. The second school, which is for Indonesian students, follows the Indonesian National Curriculum of 2013, with instruction delivered in the Indonesian language by Indonesian teachers. A single expatriate superintendent oversees both schools. Teacher experience, teacher PYP experience, implications of the PYP framework, cultural implications of the location, and demographics of the school stakeholders were considerations of this research. To acquire data, homeroom teachers, specialist teachers (music, art, physical education, and language), administrators, and PYP coordinators completed a survey and were interviewed. Additional data were collected through document examination and observation. A broad range of experience with transdisciplinary education existed in both schools, contributing to some confusion about how to implement the PYP framework and varying conceptions of what constitutes transdisciplinary education. Principles of the PYP were evident in curriculum documents and planning and discussed by the teachers in both schools. Educators at the expatriate school identified with the international-mindedness and approaches to learning in the PYP. Educators at the national school valued to character education elements of the PYP, which they viewed as consistent with Indonesian principles of pancasila. The mission and vision statements of the schools in this study aligned with the PYP in different ways. Challenges faced by educators in these schools are acquisition of professional development, experienced teachers and teaching materials due to the remote location of the schools. While transdisciplinary education was described, it was not necessarily implemented. The findings of this study suggest that transdisciplinary education is a mindset that takes time, experience, and commitment to implement.
Dissertation/Thesis
Doctoral Dissertation Music Education 2019

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Němcová, Jana. "Výtvarná výchova jako východisko v procesu tvorby třídního vzdělávacího programu pro děti předškolního věku." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335813.

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Name Art as a starting point in the process of a class educational program for preschool children Abstract This work in its theoretical part specifies the definition of art education, work and art techniques at kindergartens. It describes both the historical and the current ideas on changes of art creation of pre-school children. It goes into the solutions, competency, preparations and the actual creation of a class curriculum for pre-school children at contemporary kindergartens. The empirical part describes experience of my colleagues in the creation of a class curriculum with a focus on the global view, motivation and integrated programmes. The practical part illustrates the class curriculum based on a year-round project which comes out of art activities. There is a motivational theme that goes through the whole project and motivates children in other spheres of education as well. There is an offer of activities and a close relation to other subjects which are based on the art creation of children or lead to the creation by art works. The whole project culminates with a theatre performance which is made by children themselves. Key Words Art activities, pre-school age, class educational program, pre-school education, art techniques, art, kindergarten, fairy tale, educational conception,...

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Dissertations / Theses on the topic 'Transdisciplinarity and Arts'

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