Tesis sobre el tema "Pintura al temple"

[EN] This thesis focuses on the study and conservation of the paintings of gods made at the gates of traditional temples in Taiwan. As a relevant example, special attention to the pictorial compositions Cai Cao-Ru (1919-2007), a painter much appreciated in Taiwan for the high quality of his work is dedicated. This type of painting, to be located at the gates of the temples, are continually exposed to poor environmental conditions (especially sunlight, rain and pollution) and human factors such as the continuous ritual activities. After reviewing the technical characteristics of these paintings, their origin and iconography, the legislative and institutional framework for preserving cultural heritage of Taiwan as well as traditional views and contemporary criteria followed in the restoration of the temples is also exposed with emphasis on their paintings. To display these issues more precisely, the analytical study and the process of restoration of two paintings by Cai Cao-Ru to the door of a temple appears (although at present are in a private collection). Since preventive conservation is a key issue in the preservation of cultural heritage, some solutions that have been taken (or that could be taken) to improve the situation and expand the "life expectancy" of these paintings are exhibited. Finally, the idea of considering these works as ephemeral art arises, but at the same time trying to preserve some of the most relevant. This is something that may seem contradictory but it is a relatively common situation when living religious heritage conservation, is addressed in use. Undoubtedly, the preservation of this heritage is still raises many questions and exposes many contradictions. This thesis aims to contribute to study this fascinating subject.
[ES] La presente tesis doctoral se centra en el estudio y la conservación de las pinturas de los dioses realizadas en las puertas de los templos tradicionales de Taiwán. Como un ejemplo relevante, se dedica una especial atención a las composiciones pictóricas de Cai Cao-Ru (1919-2007), un pintor muy apreciado en Taiwán por la alta calidad de su obra. Este tipo de pinturas, al estar situadas en las puertas de los templos, se ven expuestas continuamente a las malas condiciones ambientales (en especial, luz solar, lluvia y contaminación) y a los factores antrópicos como, por ejemplo, las continuas actividades rituales. Tras revisar las características técnicas de estas pinturas, su origen e iconografía, se expone también el marco legislativo e institucional de la conservación del patrimonio cultural de Taiwán, así como las visiones tradicionales y los criterios contemporáneos seguidos en la restauración de los templos y, en especial, de sus pinturas. Para mostrar estas cuestiones de forma más precisa, se presenta el estudio analítico y el proceso de restauración de dos pinturas realizadas por Cai Cao-Ru para la puerta de un templo (aunque en la actualidad se encuentran en una colección privada). Dado que la conservación preventiva es un tema clave en la preservación del patrimonio cultural, se exponen algunas soluciones que se han adoptado (o que podrían adoptarse) para mejorar la situación y ampliar la "esperanza de vida" de estas pinturas. Por último, se plantea la idea de considerar estas obras como arte efímero, aunque al mismo tiempo se pueda pretender preservar algunas de las más relevantes. Esto es algo que puede parecer contradictorio pero se trata de una situación relativamente frecuente cuando se aborda la conservación del patrimonio religioso vivo, en uso. Sin duda, la preservación de este patrimonio es una cuestión que todavía suscita muchas preguntas y expone múltiples contradicciones. Esta tesis pretende contribuir al estudio de esta fascinante tema.
[CAT] La present tesis doctoral es centra en l'estudi i la conservació de les pintures dels déus realitzades en les portes dels temples tradicionals de Taiwan. Com a exemple relevant, es dedica una especial atenció a les composicions pictòriques de Cai Cao-Ru (1919-2007), un pintor molt apreciat en Taiwan per l'alta qualitat de la seua obra. Aquest tipus de pintures, per la seua situació a les portes dels temples, es veuen expostes continuament a les males condicions ambientals (especialment la llum solar, la plutja i la contaminació) i als factors antròpics, com per exemple, les continues activitats rituals. Tras revisar les característiques tècniques d'aquestes pintures, el seu origen i iconografia, s'exposa també el marc legislatiu e institucional de la conservació del patrimoni cultural de Taiwan, així com les visions tradicionals i els criteris contemporanis en la restauració dels temples, i en especial, de les seves pintures. Per mostrar aquestes qüestions de manera mes precissa, es presenta l'estudi analític i el proces de restauració de dos pintures realitzades per Cai Cao-Ru per a la porta d'un temple (encara que en l'actualitat es troven en una colecció privada). Tenint en compte que la conservació preventiva es un tema clau en la preservació del patrimoni cultural, s'exposen algunes solucions que s'han adoptat (o podríen adoptarse) per millorar la situació i ampliar "Esperança de vida" de les pintures. Per últim, es planteja la idea de considerar aquestes obres com art efímer, encara que al mateix temps es puga preservar algunes de les mes relevants. Axò pot pareixer contradictorí es tracta d'una situació relativament freqüent quan tracten conservació de patrimoni religiós viu, en us. Sense dubte, la preservació d'aquest patrimoni es una qüestió que encara provoca moltes preguntes i exposa múltiples contradiccions. Aquesta tesis preten contribuir a l'estudi d'aquesta fascinant tema.
Wu, W. (2016). Estudio y conservación de las Pinturas de los Dioses, realizadas por el pintor Cai Cao-Ru, en las puertas de los templos de Taiwán [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61040
TESIS

Intitulada As Pinturas do Templo de Juno e o Ciclo Troiano: imagem e memória épica na arquitetura da Eneida, esta tese aborda relações entre essa obra e o ciclo troiano a partir do episódio das pinturas do templo de Juno (I, v. 450-493). Na vastíssima bibliografia de estudos virgilianos, tal questão ocupa ainda pouco espaço. A fim de fundamentar a investigação dessas relações, efetua-se no capítulo inicial uma análise e uma reconstituição dos poemas perdidos desse ciclo (Cantos Cíprios, Etíope, Pequena Ilíada, Saque de Ílion, Retornos e Telegonia). Recorrendo-se ao capitulo I, demonstram-se quatro proposições nos capítulos II e III: as imagens desse templo evocam em especial epopéias do ciclo troiano (cap. II.1); as imagens encontram-se ordenadas conforme essa evocação (cap. II.2); na composição desse episódio, emprega-se e encena-se a teoria retórica da arte da memória (cap. II.3); a seqüência de épicos cíclicos evocados tem continuidade nos seis cantos iniciais e desse modo participa da arquitetura da Eneida (cap. III). As investigações realizadas para demonstrar essas proposições revelam um diálogo conscientemente urdido com poemas desse ciclo e assim propiciam a concretização de novos sentidos na leitura da Eneida. Com tal procedimento, Virgílio não apenas reaviva a memória da saga de Tróia, na qual insere sua epopéia, mas também reedita o ciclo troiano em função de Enéias.
Entitled The Pictures of Junos Temple and the Trojan Cycle: image and epic memory in the architecture of the Aeneid, this dissertation focus on the relations between this literary piece of work and the Trojan cycle inspired in the episode of the paintings of Junos temple (I, v. 450-493). Despite the extensive bibliography about the Virgilian studies, this issue has not been given appropriate attention throughout the years. In order to lay the foundations of these relations, the first chapter of this study presents an analysis and a reconstitution of the Trojan cycle lost poems (Cypria, Aethiopis, Little Iliad, Sack of Ilion, Returns and Telegony). The second and third chapters deal with four propositions: the pictures of Junos temple specially evoke some poems from the Trojan cycle (cap. II.1); the images are disposed in conformity with this evocation (chapter II.2); in the composition of this episode, rhetoric theory of the art of memory is used and illustrated (chapter II.3); the sequence of evoked cyclic poems is continued in the first six books and being so plays some important role in the architecture of the Aeneid (chapter III). The investigations developed to demonstrate these propositions have revealed a dialogue consciously woven with the poems of this cycle and, therefore, propitiate the conveyance of new meanings in the reading of the Aeneid. With such proceeding Virgil not only revive the memory of the saga of Troy, in which his epic is contextualized, but he also reedit the Trojan cycle, this time, revolving around Aeneas.

SOUSA, Francisco Edi de Oliveira. As pinturas do templo de Juno e o Ciclo troiano: imagem e memória épica na arquitetura da Eneida. 2008. 183 f. Tese (Doutorado) - Universidade de São Paulo, Programa de Pós-Graduação em Letras Clássicas e Vernáculas, São Paulo, 2008.
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Entitled "The Pictures of Juno's Temple and the Trojan Cycle: image and epic memory in the architecture of the Aeneid", this dissertation focus on the relations between this literaty piece of work and the Trojan cycle inpired in the episode of the paintings of Juno's temple (I, v. 450-493). Despite the extensive bibliography about the Virgilian studies , this issue has not been given appropriete attention throughout the years. In order to lay the foundations of Trojan cycle lost poems (Cypria, Aethiopis, Lstle Iliad, Sack of Ilian, Returns and Telegony). The second and third chapters deal with four propositions: the pictures of Juno's temple speciallyevoke some poems from the Trojan cycle (acp. II.1); the images are disposed in conformity with this evocation (Cap. II.2); in the composition of this episode, rhetoric theory of the art of memory is used and ilustrated (chapter II, 3); the sequence of evoked cyclic poems is continued in the first six books and being so plays some important role in the architecture of the Aeneid (chapter III). The investigations developed to demonstrate these propisitions heve revgealed a dialogue consciously woven with the poems of this cycle and, therefore, propitiate the conveyance of new meanings in the reading of the Aeneid. With such proceeding Virgil not only revive the memory of the saga of Troy, in which his epic is contextualized, but he also "reedit" the Trojan cycle, this time, revolving around Aeneas.
Intitulada "As pinturas do templo de Juno e o Ciclo Troiano: imagem e memória épica na arquitetura da Eneida", esta tese aborda relações entre essa obra e o ciclo troiano a partir do episódio das pinturas do templo de Juno (i, v. 450-493). Na vastíssima bibliografia de estudos virgilianos, tal questão ocupa ainda pouco espaço. A fim de fundamentar a investigação dessas relações, efetua-se no capítulo inicial uma análise e uma reconstituição dos poemas perdidos desse ciclo (Cantos Cíprios, Etíope, Pequena Ilíada, Saque de Ílion, Retornos e Telegonía). Recorrendo-se ao capítulo I, demonstram-se quatro proposições nos capítulos II e III; as imagens desse templo evocam em especial epopeias do ciclo troiano (cap. II. 1); as imagens encontram-se ordenadas conforme essa evocação (cap. II.2); na composição desse episódio, emprega-se e encena-se a teoria retórica da arte da memória (cap. II.3); a sequência de épicos cíclicos evocados tem continuidade nos seis cantos iniciais e desse modo participa da arquitetura da Eneida ( cap. III). As investigações realizadas para demonstrar essas proposições revelam um diálogo conscientemente urdido com ´poemas desse ciclo e assim propiciam a concretização de novos sentidos na leitura da Eneida. Com tal procedimento, Virgílio não apenas reaviva a memória da saga de Tróia, na qual insere sua epopeia, mas também "reedita" o ciclo troiano em função de Enéias.

Orientador: Aguinaldo José Gonçalves
Coorientador: Maria Isabel do Amaral Antunes Vaz Ponce de Leão
Banca: Susanna Busato
Banca: Orlando Nunes de Amorim
Banca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Paulo Custódio de Oliveira
Resumo: Este estudo consiste em uma investigação teórico-analítica acerca da natureza do cinema, desvelando-a a partir de similaridades estruturais de procedimentos construtivos observados nas artes vizinhas, como a pintura e a poesia, numa interrelação entre esses sistemas de linguagem distintos. Este trabalho volta-se aos primórdios de uma linguagem cinematográfica esteticamente em formação, a tomar consciência de seu próprio sistema de expressão artística. Para uma abordagem teórico-analítica do conceito de temporalidade no cinema, realiza-se o estudo sistemático de algumas filmografias decisivas, as quais consideramos determinantes em seu momento histórico e também em momentos futuros da própria história do cinema mundial. O trabalho intenciona constatar as indagações e hesitações suscitadas pela imagem-movimento das primeiras produções de cinema e promover uma investigação teórico-analítica acerca da temporalidade das imagens nos cinemas clássico e moderno, verificando a estreita relação do cinema com procedimentos estruturais próprios da pintura figurativa e da poesia lírica. Períodos fundamentais da história da arte como o Renascimento italiano e movimentos de vanguarda decisivos como o Impressionismo francês e o Expressionismo alemão tornam-se os fios de prumo ao longo do estudo, colocando-se como paradigmas estéticos fundamentais às considerações acerca da natureza do cinema
Abstract: This study consists of a theoretical-analytical investigation about the nature of cinema, revealing it from the structural similarities of constructive procedures observed in the neighboring arts, such as painting and poetry, in an interrelation between these different language systems. Our work turns to the beginnings of a cinematographic language aesthetically in formation, to become aware of its own system of artistic expression. For a theoretical-analytical approach to the concept of temporality in cinema, we systematically study some decisive filmographies, which we consider to be determinants in their historical moment and also in future moments in the history of world cinema itself. The work aimed to verify the questions and hesitations raised by the image-movement of the first film productions and to promote a theoreticalanalytical investigation about the temporality of the images in the classic and modern cinemas, verifying the close relation of the cinema with structural procedures proper to figurative painting and of lyric poetry. Fundamental periods of art history such as the Italian Renaissance and decisive avant-garde movements such as French Impressionism and German Expressionism were our plumb lines throughout the study, becoming aesthetic paradigms fundamental to considerations about the nature of cinema
Doutor

Este projeto teve por objetivo o desenvolvimento e organização de trabalhos em três linguagens visuais que considero ao mesmo tempo distintas e complementares no que se referem ao meu percurso como artista. São pinturas, gravuras e fotografias produzidas nos últimos quatro anos, dispostas de maneira orgânica e que buscam, cada qual em sua especificidade, tratar de temas relativos à concepção do espaço e suas ambiguidades. Neste sentido, procuro considerar elementos como sobreposições e recortes de planos, espelhamentos, reflexos, transparências; enfim, imagens imprecisas e difusas caracterizadas por estabelecer algum tipo de estranhamento ao espectador. De certa forma, este tema acompanha meu trabalho desde outros tempos, certamente há mais de quinze anos, o que justifica também a apresentação de obras anteriores que possibilitam uma melhor compreensão deste percurso.
This study aimed at developing and organizing my work in three visual languages which at the same time I consider to be different and complementary in relation to my journey as an artist. It consists of paintings, prints and photographs produced in the last four years, arranged in an organic way and which seek, each in its own specificity, to address issues related to the conception of space and its ambiguities. In this sense, I try to investigate elements such as overlapping and clipping planes, mirroring, reflections, and transparencies, in short, inaccurate and diffuse images characterized by having meanings which are not easily revealed by the observer. I have been dealing with this theme in my work for about 15 years. This is the reason why I have also presented earlier works which enable a better understanding of this path.

175f.
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Esta dissertação, intitulada Claustro: Abrigo de Tempo e Memória, trata de um percurso interior, uma identidade intimista permeada pelo Tempo e pela Memória.Evidencia uma atitude contemporânea de expressão e de relacionamento com o espaço e com a arte como forma de depuração e de identificação simultaneamente.Neste processo criativo, materializado nas pinturas e objetos, como linguagens contemporâneas, foram questionadas a impermanência e a brevidade da vida.APRESSA-TE LENTAMENTE! Usou-se o tempo como matéria; a pátina, que permanece como memória na superfície dos objetos – os quais incitam a imaginação – foi conservada e reverenciada como sinal de alerta e de nobreza. Oferro assumiu destaque na construção das obras, ora como matéria, ora como suporte, pontuando o seu caráter misterioso e provocador e estimulando reflexões sobre a passagem do tempo. A forma metodológica adotada foi a poiética, que se mostrou capaz de amparar e delinear o corpo teórico, além de permitir o desenvolvimento de conceitos necessários ao processo de criação e instauração das obras desta investigação.
Salvador

O estudo da poética de Mario Quintana terá por base as investigações da Literatura Comparada e da Teoria Literária, considerando o pensamento de Wellek, Ortega y Gasset, Bloon, Bakhtin, Paz, Pound, Antonio Cândido, entre outros. A primeira e a segunda partes da pesquisa se voltam às relações da literatura com a própria literatura e com outros campos do saber que têm nas relações sociais o pano de fundo para o desenvolvimento da produção artística e da visão de mundo expressa nas criações. Na parte seguinte, a dimensão simbólica do tempo é base dos estudos tanto na poesia como na pintura. Na quarta parte, é observado o processo das influências que estimulou a produção poética de Mario Quintana. Para tanto, a temática temporal, constante preocupação da lírica, foi o eixo centralizador das aproximações entre as suas poesias e as de Camões, com enfoque na problemática do carpe diem; nesta mesma parte, com relação ao tratamento da saudade, destacase a produção de Antônio Nobre, poeta português que, assim como Quintana, resgata em sua obra o passado vivido ou sonhado. Ampliando as inter-relações entre diferentes formas de expressão há, na quinta e na última parte, interesse nas analogias entre a poesia e a pintura com foco nas retomadas que Quintana faz da obra de vários pintores, privilegiando a de Van Gogh.
This paper aims at the study of Mario Quintana´s poetic, based mostly on the research and investigations carried out in Comparative Literature and Literary Theory fields, taking into consideration the thoughts and ideas of authors such as, Wellek, Ortega y Gasset, Bloon, Bakhtin, Paz, Pound, Antonio Cândido, among others. The first and second parts of the present research are concerned with the relationship the literature has to do with itself and with other knowledge areas which have the social interaction as the background for the art development and the worldview expressed in the masterpieces. In the next part, time symbolic dimension is the basis for the studies in both poetry and paintings. In the fourth part, the influential processes that would have stimulated Quintana´s poetic production are observed. For such purposes, the temporal thematic, a frequent concern of Quintana\'s poetry, was crucial to look for the similarities between Quintana\'s and Camões\' creations, focusing mostly on the carpe diem problems; in this same part, concerning with the treatment given to the feeling of missing, Antonio Nobre´s writings are highlighted, because this Portuguese poet, like Quintana, used to bring his past either experienced or dreamt to his verses. In the fifth and last part, making inter-relationships between different kinds of expression, there are interests in analogies between poetries and paintings, with focus on some painters recalling undertaken by Quintana, special and mostly on Van Gogh´s ones.

Esta tese expõem a produção artística da autora por meio de uma caixa de fotografias e de relatos escritos. Casas de arquitetura vernacular do Brasil são o ponto de partida para o desenvolvimento de uma linguagem fotográfica particular sobre a luz, a cor e o tempo. O recorte aqui apresentado mapeia a experiência visual da artista e investiga as origens e o desenvolvimento de sua poética, realizada com filmes fotográficos coloridos 35mm.
This Ph.D. thesis exposes the author\'s artistic production through a box of photographs and written accounts. Brazil\'s houses of vernacular architecture are the starting point for the evelopment of a particular photographic language about light, color and time. The outline presented here maps the visual experience of the artist and investigates the origins and development of her poetry, made with a 35mm color film.

[EN] ABSTRACT The traditional Taiwan polychrome include a wide range of materials, with very different behaviors showing problems of different nature that sometimes requires the application of appropriate adherence and/or consolidation treatment. From this, a study has been conducted aimed to identify these materials and their behaviors as well as, the proposal of a proper adhesive/consolidant with physico-chemical stability and low toxicity. The identification of the materials confirms the use of porcine blood as binder in the preparation layer and tung oil as the binder in the paint layer. Besides, the multi-technical approach by using FTIR, GC-MS and VMP allow the dating of the polychrome under study. The application of a proper treatment on paintings will depends on the adherent/consolidant properties that could appear during and/or post the treatment as: i) mechanical properties (strength, flexibility); ii) hydric (permeability to water vapor and other gases); iii) the physico-chemical stability one the adhesive/consolidant has been apply. Here we propose, the use of an andhesive/consolidant based on technical gelatin, in combination with the correct concentration of additives: glycerol as plasticizer and citronella as natural fungicide, for the conservation and restoration of the polychrome decoration present on different places in the architectural complex of the Longshan Temple in Lukang, Taiwan belonging to the XVIII century. In a second step the study of the chemical and morphological changes demonstrate that the use of glicerol and citronella as additives improves the physic-mechanical properties and slows the ageing process of the adhesive/consolidant. Moreover, the citronella oil inhibits proliferation of fungi Aspergillus niger (CECT-2088), Chaetomium globosum (CECT-2701), Fusarium oxysporum (CECT-2154), Mucor rouxii (CECT-2655), Penicillium chrysogenum (CECT-2655) y Trichoderma pseudokoningii. (CECT-2937).
[ES] RESUMEN Los materiales que componen la policromía tradicional en Taiwán, son muy diversos y además presentan problemas de diferente naturaleza que requieren la aplicación de tratamientos de adhesión y consolidación adecuados para cada caso. El estudio llevado a cabo incluye la identificación de sangre porcina como el aglutinante en la capa de preparación y el aceite de tung como el aglutinante en la capa pictórica. Además, combinando las técnicas analíticas (FTIR, GC-MS y VMP) se ha logrado la datación de las policromías analizadas. Los tratamientos de intervención de obra pictórica dependen de múltiples factores, tales como las propiedades adherentes/consolidantes que se ponen de manifiesto durante el tratamiento y seguidamente, las propiedades mecánicas (resistencia mecánica, flexibilidad), hídricas (permeabilidad al vapor de agua y otros gases) y la estabilidad físico-química una vez el adhesivo/consolidante ha sido aplicado. A ellas hay que sumar otros aspectos tales como toxicidad, impacto medioambiental, coste económico y disponibilidad. El presente estudio, propone un adhesivo/consolidante obtenido de la gelatina técnica, y se adiciona unos aditivos, el glicerol (plastificante) y la citronela (fungicida natural), para la conservación y restauración de la decoración polícroma aplicada en diferentes partes del complejo arquitectónico del Templo Longshan en Lukang (siglo XVIII, Taiwán). Finalmente, se ha demostrado que la adicción de glicerol y aceite de citronela mejora las propiedades físico-mecánicas y ralentizan el proceso de envejecimiento del adhesivo/consolidante. Además, el aceite de citronela inhibe la proliferación de los hongos Aspergillus niger (CECT-2088), Chaetomium globosum (CECT-2701), Fusarium oxysporum (CECT-2154), Mucor rouxii (CECT-2655), Penicillium chrysogenum (CECT-2655) y Trichoderma pseudokoningii. (CECT-2937).
[CAT] RESUM Els materials que componen la policromía tradicional a Taiwan, són molt diversos i a més presenten problemes de diferent naturalesa que requereixen l'aplicació de tractaments d'adhesió i consolidació adequats per a cada cas. L'estudi dut a terme inclou la identificació de sang porcina com l'aglutinant a la capa de preparació i l'oli de tung com l'aglutinant a la capa pictòrica. A més, combinant les tècniques analítiques (FTIR, GC-MS i VMP) s'ha aconseguit la datació de les policromies analitzades. Els tractaments d'intervenció d'obra pictòrica depenen de múltiples factors, tals com les propietats adherents / consolidants que es posen de manifest durant el tractament i seguidament, les propietats mecàniques (resistència mecànica, flexibilitat), hídriques (permeabilitat al vapor d'aigua i altres gasos ) i l'estabilitat fisicoquímica un cop l'adhesiu / consolidant ha estat aplicat. A tot aixo, cal sumar altres aspectes com ara toxicitat, impacte mediambiental, cost econòmic i disponibilitat. El present estudi, proposa un adhesiu / consolidant obtingut de la gelatina tècnica, i s'addiciona uns additius, el glicerol (plastificant) i la citronela (fungicida natural), per a la conservació i restauració de la decoració polícroma aplicada en diferents parts del complex arquitectònic del Temple Longshan a Lukang (segle XVIII, Taiwan). Finalment, s'ha demostrat que l'addicció de glicerol i oli de citronella millora les propietats físico-mecàniques i ralenteixen el procés d'envelliment de l'adhesiu / consolidant. A més, l'oli de citronella inhibeix la proliferació dels fongs Aspergillus niger (CECT-2088), Chaetomium globosum (CECT-2701), Fusarium oxysporum (CECT-2154), Mucor rouxii (CECT-2655), Penicillium chrysogenum (CECT-2655) i Trichoderma pseudokoningii. (CECT-2937).
Lee, Y. (2015). La técnica de la policromía en los artesonados de templos budistas en Taiwán: caracterización científica y estudio de la aplicabilidad de consolidantes biocompatibles para su conservación [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59465
TESIS

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Universidade do Estado do Rio de Janeiro, Centro de Educação e Humanidades, Instituto de Letras, Rio de Janeiro, RJ
Este trabalho se dedica a refletir sobre a relação espaço-temporal nas obras da pintora Maria Helena Vieira da Silva e da escritora Agustina Bessa-Luís. O diálogo entre as duas, pintora e escritora, que tem como argumento inicial a maneira como ambas evidenciam a necessidade de uma investigação da relação espaço-temporal na pintura e na literatura, se confirma por meio de temas que foram desenvolvidos no decorrer da produção de ambas. O primeiro, é a biblioteca. Apesar de não estar descrita de maneira expressiva nas narrativas agustinianas, a forma como Vieira da Silva compreende e pinta quadros cujos temas são as bibliotecas dialoga com uma visão peculiar construída pela escrita de Agustina Bessa-Luís, sobretudo por meio da ideia de livros que contêm outros livros. O segundo, o jogo, insistentemente um tema que fora inserido na obra de Vieira da Silva, também está presente nos romances agustinianos. O último se refere à casa e ao ateliê. Assim, a biblioteca, o jogo e a casa/ateliê são mais do que temas que aproximam pintora e escritora, são maneiras de entendimento e de uma construção de visões sobre a relação espaço-temporal contidas na pintura e na literatura
The aim of this thesis is to reflect on the relationship between space and time in the works of the painter Maria Helena Vieira da Silva, and the writer Agustina Bessa-Luis. The dialog between the painter and writer, which first argument is to discuss how both of them highlight the need of an investigation of the mentioned relationship, confirms itself trough themes which were developed along both artists production. The first one is the library. In spite of not being clearly described in Agustina's narratives, the way Vieira da Silva understands and creates library-themed paintings dialogs with a peculiar view, built by Bessa-Luis' writing, especially through the idea that books contain other books. The game, second elected theme, has been persistently included in Vieira da Silva's work and also in Agustinian novels. At last, the third theme refers to the house and the art studio. Therefore, the library, the game and the house/ art studio are not only relating themes between the painter and the writer, but also ways of understanding and of interpreting possibilities for the space-time relationship that painting and literature contain

La presente investigación comienza con la recopilación de datos, fuentes arqueológicas y escritas clásicas, análisis físico-químicos, y teoría de la plástica antigua, además de un análisis simultáneo de imágenes, para después elaborar una teoría sobre la pintura de la Antigüedad, y poner en práctica dichos conocimientos mediante pruebas y ensayos. Por último, estos conocimientos, aplicando metodologías de la didáctica de la plástica, y la museología didáctica, los he utilizado para elaborar unos talleres de pintura greco-romana en el ámbito de las jornadas de divulgación de época romana “Tarraco Viva”, organizadas por el Museu d’Història de Tarragona, como estudio de caso. Las conclusiones fundamentales tras la evaluación de los talleres fueron la importancia de separar los conceptos de técnica y procedimientos pictóricos para investigar y explicar tanto unos como otros, relacionados o no, para entender las prácticas pictóricas, todo ello dirigido a la educación de la mirada a través del conocimiento del Patrimonio.
This research is divided into two parts: It begins with a data collection of classical archaeological and written sources, physical-chemical analysis of original paintings, and plastic theory of classical antiquity, and a simultaneous analysis of images, with all of this, develop a theory about the painting of antiquity, and implement that knowledge through practical tests and trials. Finally, this knowledge, applying plastic teaching, didactic museology and experimental archaeology methodologies, I've used to make a Greco- Roman painting workshops in the field of divulgation events of Roman heritage "Tarraco Viva", organized by the Museu d’Història of Tarragona, as a case study. The key conclusions after the evaluation of the workshops were the importance of separating the concepts of technical and pictorial procedures to investigate and explain both categories, related or not, to understand pictorial practices. All this led to the education of looked through knowledge Heritage

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Citrus Black Spot (CBS) caused by Guignardia citricarpa is classified as quarantine disease, imposing restrictions to fresh fruits shipping to the European Union countries. In the state of Goiás, despite systematic phytosanitary surveys, its distribution and occurrence are unknown due to lack of available technologies for diagnosis. The occurrence of latent infections, the presence of an endophytic species morphologically similar to G. citricarpa, as well as time consuming for diagnosis through conventional methods require the validation of fast, efficient, reproducible, safe and sensitive methods of diagnosis to provide reliability of diagnosis and disease surveys for its detection and delimitation. Modifications of the “Cationic hexadecyl trimethyl ammonium bromide” method (CTAB) to extract DNA of G. citricarpafrom symptomatic tissues with validation of chemical purity, structural integrity, and absence of DNA inhibiting substances, for further use in diagnosis by PCR were tested. There was no difference in the average of DNA extracted for hygienized and non-hygienized tissues (328.62 ng µL -1 and 322.79 ng µL -1 , respectively), with low concentration of proteinsin the DNA solution. The extractor of DNA in amount (>300 ng µL -1 ) and quality (structural integrity) was sufficient to perform the conventional and real-time PCR analyses. The absence of inhibitors was demonstrated by real-time PCR, adding 0.1 % genetically modified standard corn DNA (event MON 810 standard ERM®-BF413b), with the amplification of the specific region of this event in all test samples. The modified CTAB method sowed repeatability and partial reproducibility among the limits acceptablein the methodology with coefficient of variability lower than 30 %. To comply with the ISO/TEC 17025:2005 norm, the method for the diagnosis of the fungus G. citricarpaby PCR conventional and real time PCR was validated with the specific evaluation of the limitof detection. Conventional and real time PCR methods were specificity and adequacy to detect G. citricarpa. Conventional PCR presented detecting limit of 10 ng µL -1 of the fungus DNA, with repeatability. Real time PCR presented higher sensitivity, having the detecting limit determined for the technique with repeatability, at the concentration of 10 fg of DNA of the fungus. In two farms 24 external asymptomatic leaves from orange trees variety Pera Rio were collected; eight from each third (lower, medium and upper); totaling twent plants. The modified CTAB method for DNA extraction was used. The presence of the fungus in very low concentrations was detected in the asymptomatic leaves, which made it impossible when we used the conventional PCR technique. In those conditions, the real-time PCR proved to be feasible, reproducible and highly sensitive for G. citricarpa detection, amplifying between 232 and 232 x 10 2 DNA copies of the fungus from asymptomatic leaf samples; being an excellent option for the diagnosis of thispathogen in asymptomatic orchards.
A pinta preta dos citros (PPC), causada pelo fungo Guignardia citricarpa, é considerada uma doença quarentenária, que impõe restrições ao transporte de frutas frescas para países da União Europeia. Em Goiás, apesar dos sistemáticos levantamentos fitossanitários, ainda não se conhece a real distribuição da ocorrência da PPC em função da tecnologia disponível para o diagnóstico. A ocorrência de infecção latente, a presença de uma espécie endofítica muito semelhante morfologicamente à G. citricarpae o tempo para o diagnóstico por métodos convencionais levam à necessidade de validar métodos moleculares rápidos, eficientes, reprodutíveis, seguros e sensíveis de diagnóstico, que garantem confiabilidade dos diagnósticos e dos levantamentos de detecção e delimitação da distribuição dessa doença. Foram testadas modificações do método “Cationic hexadecyl trimethyl ammonium bromide” (CTAB) para extração de DNA de G. citricarpaem tecidos de frutos cítricos sintomáticos, com a avaliação dapureza química, integridade estrutural e ausência de substâncias inibidoras na solução de DNA, para posterior uso em diagnóstico por reação em cadeia da polimerase (PCR). Não houve diferença significativa na quantidade média de DNA extraído para tecidos higienizados e não higienizados (328,62 ng µL -1 e 322,79 ng µL -1 , respectivamente), com baixa concentração de proteínas na suspensão de DNA. A obtenção de DNA em quantidade (>300 ng µL -1 ) e qualidade (integridade estrutural) foi suficiente para realização das análises de PCR convencional e PCR em tempo real. A ausência de compostos inibidores foi demostrada por PCR em tempo real pela adição de DNA padrão de milho, geneticamente modificado 0,1 % (evento MON 810 padrão ERM®-BF413b), com a amplificação da região específica desse evento em todas as amostras teste. O método CTAB modificado apresentou repetitividade e reprodutibilidade parcial dentro dos limites aceitáveis para a metodologia, apresentando coeficientes de variação inferiores a 30 %. Em atendimento à norma ISO/IEC 17025:2005, foi validado o método para diagnóstico do fungo G. citricarpa por PCR convencional e PCR em tempo real com a avaliação da especificidadee do limite de detecção. Os métodos de PCR convencional e PCR em tempo real demonstraram serem específicos e adequados para a detecção de G. citricarpa. A PCR convencional apresentou o limite de detecção de 10 ng µL -1 de DNA do fungo, com repetitividade. A PCR em tempo real apresentou maior sensibilidade, sendo o limite de detecção determinado para a técnica, com repetitividade, na concentração 10 fg de DNA do fungo. Em duas propriedades foram coletadas 24 folhas externas assintomáticas de laranja-pera rio, sendo oito em cada terço (inferior, médio e superior) da planta, em um total de vinte plantas. Para a extração do DNA, foi utilizado o método CTAB modificado. Em folhas assintomáticas, apresença do fungo foi detectada em baixíssimas concentrações, o que inviabiliza a utilização da técnica PCR convencional. Nessas condições, a PCR em tempo real demonstrou ser viável, reprodutível e altamente sensível para a detecção de G. citricarpa, sendo detectado na concentração de 232 a 232 x 10² números de cópia do DNA do fungo em amostras de folhas assintomáticas, constituindo uma excelente opção para o diagnóstico desse patógeno em pomares assintomáticos.

Esta tesis es una apuesta por la pintura en una Escuela de Artes que no siempre la valora con los criterios adecuados. No obstante, aquí no insistimos en sostener una defensa ciega en nombre de los mitos del gran arte, sino un desarrollo crítico (en sentido práctico y teórico) que confía –aún hoy- en la fuerza de la reflexión de ciertas prácticas. En este caso se trata de una serie de pinturas realizadas con encáustica y temple.

Tese de mestrado, Pintura, Univedrsidade de Lisboa, Faculdade de Belas Artes, 2014
This investigation presents the experience of time as in the core of artistic creation. However, time will not be analised directly — but, instead, through some of its effects: the most pertinent effects to the artist, starting with the relation between matter and form. It's that inseparable character of these two elements that is going to require our atention: the creator tries to present time as visible, precisely through the inseparability of matter and form. It will then be a matter of understanding different — and contradictory — conceptions of the pair form-matter, to elucidate the profound confront in which permanence conflicts with the flow, with the continuous imposed to us by the sensible perception. Finally, approaching that flow, we propose the notion of rythm (or metamorphosis), so that we can get closer to the experience of time in painting

碩士
國立屏東大學
中國語文學系碩士班
103
Some researchers indicate that phoenix halls are a branch of Confucianism; others claim that phoenix halls are an independent religion; still others consider that phoenix halls are a place where the Confucian ideology is enhanced and exalted. It is also said that phoenix halls are simply a location on which the spirit writing (fu-luan) is conducted. No matter which definition is adopted; the only thing is ascertained that phoenix halls are a location on which the spirit writing (fu-luan) is conducted. The temples constructed with phoenix halls can be found through Taiwan. Most of them are not registered as Confucianism. Thus, more phoenix halls have been waiting for being discovered. There are only a small number of researchers who study phoenix halls due to the fact that phoenix halls are normally hiding in Taoist temples. Nevertheless, phoenix books (luan-shu) still issued to every temple have been taken and read by the public. This phenomenon proves that phoenix halls have indeed existed and continuously educated ordinary people to regain conscience and virtues. The Tong-pu Zhen-an Temple in Checheng Township, Pingtung and the Da-tan Bao-an Temple in Donggang Township, Pingtung, both of which I have visited, are registered as Taoist organizations. The spirit writing (fu-luan) of Zhen-an Temple was once ceased for a while; fortunately, it was restored in July, 2014 and the procedures of the ritual were also revealed. This thesis begins with the history of temples, then looks further into each temple’s spirit writing (fu-luan) rituals and phoenix books, and concludes the differences or features of these studied objects in the end.

Dissertação de Mestrado Integrado em Engenharia Mecânica apresentada à Faculdade de Ciências e Tecnologia
O presente trabalho desenvolvido em ambiente empresarial tem como objetivo principal a melhoria do processo de pintura do interior do pneu agrícola através da otimização dos seus sistemas de transporte. Pelo facto de a divisão de fabrico de pneus agrícolas se apresentar em fase de arranque, prevê-se que os fluxos presentes na máquina de pintura não irão ser capazes de acompanhar o nível de produção antecipado e desejado no futuro. No sentido do crescimento da unidade fabril, o estudo tem em conta a existência futura de um sistema de armazenamento automático que comunicará com a máquina de pintura.Com recurso à estratégia Define, Analyze, Measure, Improve and Control (DMAIC), para a resolução de problemas, a primeira fase do projeto consiste no estudo de tempos e fluxos presentes no sistema, permitindo uma consciencialização da capacidade inicial de trabalho do sistema global, evidenciado que de facto, o sistema tal como se encontrava não conseguiria ir de encontro às metas da empresa. Com vista à redução dos tempos presentes no ciclo, o estudo passa pela elaboração de uma estimativa de tempo de ciclo global e pela divisão do sistema em três grandes blocos: estação de entrada, interior da cabine e estação de saída. Com cada um a necessitar de melhorias específicas e detalhadas, estudam-se as possibilidades de melhoria em cada um deles e por fim, interligam-se as várias soluções de todos os blocos, soluções essas que resultam de uma avaliação criteriosa de cenários para o layout da estação de entrada da máquina, modificações ao ciclo automático no interior da cabine bem como componentes da máquina e comunicação da estação de saída com o futuro armazém automático.A análise realizada permite considerar que o projeto apresenta indicadores de que o sistema irá corresponder às expetativas de produção, onde alcançará uma maior produtividade com a otimização dos sistemas de transporte. Com o estudo realizado, os mesmos funcionarão em simultâneo com o processo de pintura, ao invés de contabilizar cerca de 58% do tempo de total de um ciclo completo, como verificado para a situação inicial
The main goal of this work is the improvement of the process of spraying the interior of an agriculture tire, through its transportation systems. Because the division of production of agriculture tires is in its initial stage, it’s foreseen that the systems installed in the spray painting machine will not be able to catch up with the level of production predicted in the future. With this said, as a result of the constant growth, natural to a factory in its early days, the anticipation of some elements need to be part of the study. For this reason, the upgrade study has to contemplate the future existence of an automatic warehouse, which will have to communicate with the spray painting machine.By applying the Define, Measure, Analyze, Improve and Control (DMAIC) strategy of problem solving, the first phase of the project consists in the study of the system flows and its operating times, allowing to recognize the initial level of productivity, demonstrating that without any change in the system, the levels of production desired cannot be matched. With the aim of cut backing the time of the systems actions, the study undergoes an estimation of a global time cycle and the partition of the machine in three parts: infeed, spray cabin and outfeed. With each block needing specific improvements, different possibilities were analysed individually and then connected to make a complete solution for the system as one. These solutions result from a meticulous evaluation of layout scenarios for the machines infeed station, changes in the automatic cycle that occur in the interior of the machine as well as its components and also the communication that will need to exist with the future automatic warehouse.The analysis and comparison with the initial terms makes it able to consider that the project presents indicators that the machine will correspond to the expectations, where it reaches a higher productivity from the optimization of its transportation systems. These systems will operate simultaneously with the spraying process, instead of counting approximately 58% of a whole cycle, as in the initial state of the system where they were considered to be the bottleneck of the process.

The present dissertation aims to develop an Artistic Project based on the exploration of a process where the gesture is seen as a time and a body register and, in parallel, a Theoretical Study that focuses on these three terms and which also underlines the strong importance of repetition, using texts from authors as diverse as Júlio Pomar, Robert Morris, Louise Bourgeois, Sigmund Freud, Roland Barthes, Mia Couto, José Gil, Giorgio Agamben, Hal Foster and Antonio Damásio, among many others. This research has as main objective to analyze my modus operandi and to reflect on two times: the first one, related to the creative process and the second referring to the product resulting from it. A brief historical context is then made about the origin of Process Art, Action Painting, and Soft Sculpture. The intimate (and infinite) time of the artistic ritual freedom is addressed, as well as of the repetitive, unproductive and quasi-unconscious gesture present in it. It also addresses the archival nature of art, the power of memory and the relevance given to improvisation and the tactility of the materials used. It is latter affirmed the importance of the body as an instrument of time, as well as the beauty of the performative rhythm between artist and object. It announces the value given to oblivion and an automatism that enables a full commitment of body and spirit. And the intentions of the artist who desires to transform and suspend the time so the observer remembers his perishable condition and the latent fragility in everything that surrounds him are set forth. The relevance of the organicity and the manuality, both in my project and the artists mentioned, as well as the weight of the expression Memento Mori, is also stated. Finally, art is thought of as a fragment resulting from a set of primordial gestures, and the importance of starting each project without knowing its end is emphasized

碩士
國立屏東大學
中國語文學系碩士班
106
Supreme Emperor of the Dark Heaven is one of the most important Taoism gods in Taiwan. There are numerous temples worshiping it. The researcher aims to figure out the history, character and localization of this religious belief. The cases in this study are Jian Long Temple and Wan Quan Temple. Jian Long Temple in Cai Liao is a temple worshiping Supreme Emperor of the Dark Heaven. As the society develops, it is not merely a religious center any more, but also a cultural base which connects to the community. It is now a community care center and a part of urban and rural development plan. Wan Quan Temple in Wandan is a temple standing over a hundred years, and it is both Taoism and Buddhism. In addition to Supreme Emperor of the Dark Heaven, it also worships Guan Yin, Ksitigarbha Bodhisattva and Sannai Furen. It was destroyed due to wars and natural disasters. Few things are now preserved, such as four stone monument, drums and incense burners. It is now where villagers do qigong and volunteer for gods. 　　Unique religious celebration and activities preserve folk custom and traditional culture in Wandan. They present the reality of villagers. Local cultural and religious beliefs are important characters in Wandan. They also pass on regional and humanity characteristics.

碩士
國立屏東科技大學
農村規劃系
93
The temple is a part of the inhabitant lives central and the mind reposing place. The building decoration is also one of the Chinese tradition building characteristics, where it is fastidious about the cultural connotation. It was not only attributing to the unique of cultural but it had essential significance and more diversity function throughout the decoration theme of temple building research, would be able to understand the traditional culture of races and its connotation. Shanshanguangwang temple in Chiuru, Pintung was founded in the Qing Dynasty of Qianlong 43 years（1778）. It had underwent maintenance during Shiaowa forth year (1929）, but it was not involved the construction of main structure and only done partial maintenance, which is difference with new build. The current outlook of temple was preserved by Pingtung county according to the maintenance finished on the main part of building during the colonization of Japanese. Especially, the wood carving method on “four points golden pillar”, those were the four lintels of the main hall was rarely applied in Taiwan. The objective for this study was to analyze the theme of wood carving and the formation background of wood carving on four lintel at Shanshanguangwang temple, Chiuru. Throughout the analysis of wood carving theme and found that the decoration ideal was mainly taken from “The Legend of the Three Kingdoms”, ”The Legend of the DingShan Xue attacking west”, “Commenting historical of Legend Tang”, “Si You Ji” and etc as there were plenty of decoration themes. While referred at the wood carving themes like Wan-Hui temple in Pintung and Tien-Hou Temple in Lukang that decorated during the colonization of Japanese, had emphasized “The Legend of the Three Kingdoms”, ”The Legend of the DingShan Xue attacking west”, “Commenting historical of Legend Tang”, “Si You Ji” etc, were the important decoration of temple, and simultaneously it also reflected the decoration theme, which the folk artisan habitually used at that time. The wood carving decoration style on lintels of Shanshanguangwang temple, Chiuru might not as good as famous artisan’s decoration essence, but its designed outline of personage characters, appeared “young clumsy with humor” and had consecutively presented the simple and unadorned style of the folk artisan, which was worth for further analyzing. Hence, this studied could arouse the importance of architectural art of these folk artisans.

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2012
Photography being a recent form of expression has inherited a vast majority of its principles from painting. Although painters from the XIXth and the beginning of the XXth centuries mistrusted photography, it articulates and meets in painting the most part of its foundations. While, from the ‘technological’ point of view, photography has introduced other mediums, we wish to think over it as a mean of artistic expression deeply connected to painting from the perspective of its representation and composition processes and from the standpoint of the themes they address, such as the portrait. The portrait is, unquestionably, one of painting’s archetypes and it is obviously one of the most important heritages photography has received. We may ascertain that the importance of the portrait derives from the fact that the human being is built around a defining nest of affections; the portrait always shows itself as a replacement for the subject. Since the inception of photography in 1827 with Joseph Nicéphore Niépce, the “carte-de-visite”, being the basis for the portrait collections, was one of the first patented photographic processes, back in 1854 by André Adolphe-Eugène Disdéri. The importance of the portrait both in History and Art History is unquestionable. Because we are human beings, condemned by the limits of time, we hold an intrinsic desire to hold, preserve and try to retain what is not eternal; the others. Within the wide scope of portrait, the family portrait has been exploited the most by artists. This is the niche where the series Memória do Tempo wishes to fit. In light of the history of portrait in the two-dimensional surface of the picture, and relating to other artists’ work, we deeply analyse both formally and conceptually, the set of chosen photographs; specifically focusing the concepts of time, narration, series, double-representation, picture-in-picture, fragmented construction and self-representation

Art and Life: The Paradox of Object and Time it’s an investigation in which I seek to understand how the relation between the product of my artistic activity and the one who enjoys it occurs. This way, starting from concepts developed from Fernando Pessoa, Gaston Bachelard, Hannah Arendt and Henry Bergson, I try to clarify the nature of the relationship between art and life, since I believe that social relations originate from the individual activities, which is the foundation of all being. Despite the setback expressed by the word “paradox”, what I try with this thesis is to understand the moment in which the relationship between the one who enjoys it and the work occurs. A moment of conciliation of an opposition, but that does not seek balance, rather an essence, not having therefore the setback expressed by the proposed title. Existing beyond the announced "paradox", as an object of temporal nature, a work of art, that, through my activity, seeks to reveal directly and simultaneously the intellective and intuitive abilities of the artist and the one who enjoys it

The proposed theme is based on the intrigue and questioning about the multiple dimensions of the Still (Frame), its origin and intentionality, and the way it evolved from photography (video preview, performance photography) into a work of art itself. This relation, although not very direct, departs from the analysis of the Still as a return to origin and as a materialization contrary to the percussive ideals of its matrix. In this work we will speak of Frame (Still) and - preliminarily - of its role in contemporary art and in the new media, firstly, as a record, and subsequently in its transition to a work of art, an object that creates memory, and as a time suspension mechanism. Here, suspended time arises in relation to the representation that results from the process of memory, which implies "a time" (the facts are dispersed, the experiences are not real anymore, and the images have dissolved). It is, therefore, necessary to resort to the imagination, proceeding to the construction of fictitious representations, images of unstable and incapable ability to fixate themselves (in memory and in time). It intends to observe where and how a Still can be a temporal condensation of a video in its full-metaphoric fullness. Hence, it becomes a sublimation of a sequence of images and not an element of deception to the observer such is the casewhen the Still precedes the viewing of the video, becoming the object of analysis and not a preview of it. The knowledge of the extension of this object in its multiplicity of dimensions in the artistic work will be deepened, as a tool and final object, either for the public or for the artist as a process of conceptual and practical development. How long lasts a frame? How much of a gesture exists in each frame? Will it be in the void of events or in the emptiness between images that the frame lives and expands? Will it be in this interstice, in this limbo, that it creates truth or becomes apostate in the distance it generates? This work proposes to analyze the very facts on which this same object (and vice versa) is based and the way they construct history, on the one hand, assuming themselves as vestiges and on the other as a piece of time that establishes all the synapses between the phases of knowledge, assimilation, and historical reproduction

Since very early, Fernando Calhau develops a singular artistic path marked by the idea of order, rigor and construction. In a closed context, the artist is interested in the minimal proposals, namely the primacy of questions related to spatiality, the relation between scale and architecture, the refusal, or at least a certain “erasure” of the artistic gesture in his manufacturing work, as well as the concept of object and seriality as a way of understanding the artistic process itself. Calhau reveals a fascination for mechanical reproduction processes acquired in the practice of engraving which is in accordance with the repetition of manual procedures, the gesture of repeating, indicating an obsession with doing. A clear poetic dimension also emerges from his work, first with the sea images, later with the romantic poetry of the night, turning it to the monochromatic black. With this combination of interests, to which we can add the conceptual understanding of art as a tautology, Fernando Calhau demonstrates his own understanding of the plastic arts procedures

Possuiu um CD com Videos apenas consultável na Biblioteca da FBAUL, com a cota CDA 188
What light is this that makes our sight... This is a research about light and time, about the relevance of a certain way of looking and the mystery of the visible. It is about the usual way of looking (the every-day view) and the look that is inhabited (the look-that-sees). In short, it is about how visibility – and more generally, existence - can be affected by a certain look. I purpose to walk this path through the evocation of some artists that approached these issues and from it they made art. They are: Gérard Castello-Lopes, Samuel Beckett, Paul Cézanne and James Turrell. Through art I propose to inquire visibility itself asserting that there it is unveiled (and hidden) the Mystery. That the mystery at the distant stars is the heaven on earth – and the ground beneath our feet

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2014
It is in the beginning of the creative process that the work seems more detached from reality. The subject-object relationship has yet to emerge, the space is fragmented and forms are unrelated in space and time. The work at this stage is permeable to everything that comes from the exterior, even if it is ambiguous, disordered, unexpected, unintended ... This is a privileged point for the work to relate with reality, the point where the meaning is not yet done, the form available to semantic games and open to the first emotions. The space that we want to understand herein is the one in which the creative process begins. This kind of space rises at the surface of the painting since the late nineteenth century, when the space-time of painting got separated from the space-time of the observer. This question of time becomes crucial in the way that painting and observer relate with space. This space of revelation/concealment is characterized by presences in the “backstage” outside the consciousness and that marks the beginning of the creative process: the primary process, the principle of pleasure, death and atemporality. Twombly, Dubuffet and Álvaro Lapa are references in practical research that evolves around the occupation of the pictorial space and around the question on how the initial potential of the creative process, in the mentioned “backstage”, will build an extension between the artist, the work and the observer

As a visible symbol and allegory of the divine hand representing man´s attempt to understand the cosmic dimensions of the universe, to the invisible presence behind an artist´s unique style, technique, or method, the artist's hand has ultimately come down to us as the perennial subject of art. I have attempted to reflect on this idea, paying special attention to the artist's hand in its relationship to subjectivity, inter-subjectivity, and self-reflective creation. My dissertation investigates the artist's hand(s) as the self-reflective subject of art, the artist's perennial search for the “inner hand”, the “and'' in the “hand”, and the “leap of the artist's hand”, by looking at the creative act as a symbolic re-enactment of the originary leap of the human hand into self-reflective consciousness. My historical research looks closely at the transition from the figurative representation of the human hand to the birth of the invisible hand of the artist. I begin with a brief discussion of the representation of the human hand in the history of western art, citing examples of Paleolithic and Neolithic cave paintings, where I first recognize the primary subject of artistic representation to coincide with the moment of man's originary leap into self-reflective consciousness. Throughout antiquity and leading right up to the Medieval period of European history, the symbolic significance of the figurative representation of the human hand served as a key to uncovering the meaning and intent of many forms of artworks concerned with preserving religious and mythical traditions. In most cases, throughout the Ancient and Medieval periods, the human hand acted as a symbolic and allegorical referent. Consequently, it pointed away from the actual artist to a transcendental truth or vision. The anonymous hand of the artist pointed to the intended “subject” of the painting or work of art. The artist, and hence the artist's hands, were mediums of a trans-subjective message. In many religious traditions the artists themselves remained anonymous. In my thesis I cite examples from ancient Egyptian art to Minimalism, addressing how the artistic process involves reflective inter-subjectivity, challenges to the temporal/spacial limits of image reflection, and reinterpretations of the idea of spontaneity and randomization. The symbolic portrayal of the artist's hand representing the subject of art would be transformed with the emergence of Impressionist and Expressionist painting. Then, with the development of Dadaism and Surrealism we find a significant return to the symbolic neo-Expressionist representation of the conscious subject of art as the voice of the artist's hand(s), the development of the representation and expression of the artist's hand(s) in the place of the priest’s hands, and the reinstatement of the originary leap of the artist's hand(s) into randomization. The practical component of my research shows how the story of my own hand's leap into self-reflective consciousness is the story of my hands' search for transcendental interiority, inspired by the love of the one for the many and the many for the one. My dissertation moreover reveals the artist's hands' self-reflective history to be based on their relationships with their own creations, with themselves, and with the foundations upon which they ask or frame questions, which is to say, with their approaches or preparations for artistic acts. I look at the artist's hands as if everything they touched became a mirrored image of themselves. The gloved hand, the clenched hand, the open hand, the hand under water, the hands of the sun, the symbolic hand, the actual hand, the invisible hand, the and in the hand, the random hand, the loving hand, the mad hand, the detached hand, the hand of God. Above all, what we come to see is that man's hand is the subject of man's art. Artist's hands bring the outside world inside and the inside world outside, turn objects into subjects, nothing into something. The artist's hands present and represent things, grasp, squeeze, draw, write and paint the world into existence. The artist’s hands choose, shape, frame, set-up, distort,. The artist's hands are the comprehensive listeners, the sketch La proposta di investigazione che adesso presentiamo cerca di dare una risposta alla inquietudine sopra la possibilitá di un ente come la pietra, frutto della montagna, comunemente considerato inanimato, essere capace potere di elevarci sopra di noi stessi. Possono la pietra e la montagna essere veicoli di ascensione all'essere? Anche se la questione possa sembrare strana, la veritá é che la relazione intima dell’uomo con la pietra si impose dai primordi dell’umanitá, e lasció una memoria, un cammino percorso a lungo della sua storia, nella quale, come si vedrá, la pietra si fece presente nei momenti piú simbolici, siano questi del rinascimento, morte, espressione del sacro o rappresentazione del divino. Da i primordi dell'umanitá che l' uomo si confronta con la necessitá di spiegare il mondo dove vive: sia per necessitá di trovare un ordine nel caos dello sconosciuto, che gli permette una rete di referenze essenziali alla sua vita, sia, piu tardi, come forma di organizzazione razionale che dia inteleggibilitá al suo rapporto con il Cosmo e lo allontani dalle narrative mitiche anteriori. Intanto, questa ricerca dell'origine é una ricerca di se stessi, ora che conscientemente o no, contiene una impotenzia implícita, tenendo in conto che: l’uomo si sente dependente di qualcosa, egli non é l’autore della sua esistenza, tale come tutti gli enti, egli é un ex alio sistere (un essere per l’altro). La base del nostro esercizio teorico é l'intedimento sopra multiple considerazioni della relazione del uomo con la trascendenza, nella configurazione finita della sua esistenza. Niente di quello che esiste dura. Il tempo é inesorabile: la vita si espressa nel ciclo della nascita, sviluppo e morte. Tutto quello che esiste sussiste per un attraverso, dal quale aquisisce il suo essere. Ex alio sistere.Talle come una opera di arte. Ci rivolgiamo agli artisti: Giorgio Morandi, Lucio Fontana, Michael Heizer, Robert Smithson, Anish Kapoor