Regência arquetípica feminina: Método de construção de personagem

Author(s):  
Hemily Nascimento ◽  
Mônica Stein

This paper discusses the construction of one of the parameters of the method of female psyche creation for characters of the The Rotfather transmedia narrative universe, developed by students of the research group G2E [Education and Entertainment Group] of the Federal University of Santa Catarina. The creation method is based on the archetypal reasoning of Jungian theory and aims to direct the creative process of multidimensional, complex and narratively coherent characters through a composition tool combining female archetypes of Greek goddesses. In addition to the purpose of psychological construction, this research aims to improve the representation of women for social validation with their target audience.

Author(s):  
Isabel Cristina Fontão ◽  
Mônica Stein

This paper presents the creation of female characters and transmedia universes, adapting the Double Diamond Method from Design Council to create three concepts of female characters for “Medusas” story from The Rotfather Franchise. Based on the narrative and psychological profiles created by G2E [Education and Entertainment Research Group], structures the creative process in the four steps of the method - Discover, Define, Develop, and Deliver – presenting a humanized and feminist female representation that prioritizes nuances of their personalities. Within the creative process, this paper presents the alternatives created until the final visual conception of each character for the story that takes place in 1898.


2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.


Author(s):  
Оксана Александровна Абальмасова

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.


2017 ◽  
Vol 39 (2-3) ◽  
pp. 397-415 ◽  
Author(s):  
Christian Garmann Johnsen ◽  
Lena Olaison ◽  
Bent Meier Sørensen

This article uses the concept of style to rethink sustainable entrepreneurship. Our point of departure is the conceptual distinction between organization as style made durable and entrepreneurship as the disruption of style. We show that style is not simply an aesthetic category, but rather what ties different social practices together. While organization makes the connections between social practices durable, entrepreneurship disrupts such patterns. We further elucidate how organization and entrepreneurship are two intermingled processes – those of durability and disruption – that together enable the creation of new styles. In order to conceptualize this creative process, we explore how play can create disharmonies within the organization, but we also maintain that any new practice will remain marginal without a collective assemblage capable of adopting it. On this basis, we argue that sustainable entrepreneurship consists of making an environmentally friendly and socially conscious style durable, but also of disrupting such a style. In order to illustrate our argument, we use the example of the sustainable smartphone producer Fairphone. In conclusion, we argue that the concept of style may strengthen the dialogue between entrepreneurship studies and organization studies.


Biotemas ◽  
2021 ◽  
Vol 34 (3) ◽  
pp. 1-5
Author(s):  
Fernando Bittencourt de Farias ◽  
Guilherme Willrich ◽  
Guilherme Renzo Rocha Brito

The Black-capped Becard (Pachyramphus marginatus) has two geographically isolated subspecies, including the Atlantic Forest subspecies that is distributed from Pernambuco State to Paraná State. Here we report the first observation of the species in Santa Catarina State, southern Brazil. On 12 November 2019 an adult male of P. marginatus was observed in the municipality of São Francisco do Sul, on the northeastern coast of Santa Catarina, during an inventory for the creation of a protected area. The species was also observed on three other occasions in the same locality. These are the first known records for Santa Catarina and extend the known distribution range of this species 40 km southward. We also discuss some explanations for the records.


Artful Noise ◽  
2020 ◽  
pp. 97-106
Author(s):  
Thomas Siwe

The incorporation of degrees of chance in the creation and realization of music captured the imagination of composers in the late 1950s and early 1960s. Led by the American iconoclast John Cage—the most prominent champion of chance and indeterminacy—composers began to include chance operations in the creative process. In so doing, they relied upon the performer to understand each work’s compositional style and to respond to and interpret the notation used, often graphic in form. This chapter examines the percussion works of John Cage, Morton Feldman, Roman Haubenstock-Ramati, and Herbert Brün. Cage’s transition from his use of the square root formula to his relinquishing control over every aspect of the compositional process is explored through his works 27’ 10.554” and Child of Tree. Feldman’s use of “time boxes” in the percussion solo The King of Denmark and his desire to remove both pulse and attack from his music is illustrated. Brün’s early use of a computer to create music brings the chapter to a close.


2002 ◽  
Vol 27 (2) ◽  
pp. 16-17
Author(s):  
Emmanuella Saint-Denis

The importance of the creative process at Cirque du Soleil informed the establishment of its Documentation Centre nine years ago. The desire for conservation, a concern of the founding president as early as 1984, was initially related to the need to use earlier documents and materials in the creation of shows, rather than a desire to preserve history. Subsequently, the role of the archives has evolved and today Cirque du Soleil values the importance of memory and has put various tools in place to facilitate the collection and conservation of its history.


2020 ◽  
Vol 3 (1) ◽  
pp. 64-94
Author(s):  
Romy A. M. van den Heerik ◽  
Ellen Droog ◽  
Melanie Jong Tjien Fa ◽  
Christian Burgers

Abstract Metaphor production is a creative process of thinking out of the box, which can be of great communicative value to language users. In this study, we explored how metaphor production can be stimulated by different types of cues in an internet environment. Participants (N = 318) were invited to co-create a metaphorical campaign slogan in a social media setting with randomly selected sets of real campaign slogans. We measured how linguistic (metaphor markers) and social media cues (likes) prompt direct metaphor. Results show that the metaphor marker ‘so’ stimulated metaphor production. Likes for previously posted metaphorical slogans did not affect the creation of a metaphor. We found a correlation between the actual and self-perceived creativity of the co-created slogans. Besides, the co-created metaphors both echoed and deviated from previously posted campaign slogans, leading to different degrees of creativity. Co-creation in a social media setting seems a fruitful environment for metaphor production.


2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.


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