Author(s): Batista, Juliana Vaz de Figueiredo Moreno, 1986-
Date: 2015
Persistent ID: http://hdl.handle.net/10451/20356
Origin: Repositório da Universidade de Lisboa
Subject(s): Warburg, Aby, 1866-1929; Bergson, Henri, 1859-1941; Varda, Agnès, 1928-; Hitchcock, Alfred, 1899-1980; Godard, Jean-Luc, 1930-; Cardiff, Janet, 1957-; Miller, Georges Bures; Memória; Cinema; Apropriação; Vertigem; Montagem do filme; Arte Multimédia - (Especialização em Audiovisuais)
Possui um DVD com video que apenas poderá ser consultado na Biblioteca da FBAUL, com cota CDA 177
This dissertation intends to analyze and understand the icons. Some of these icons are shape by scientific and technological cultures and others by its religious tradition and its spiritual meaning. Exploring the meaning of the sacred and profane terms or simply observing the difference between them, we will make an analysis of the meaning and justification of the social values that interacts daily with these objects. The work starts from biblical-theological grounds and continues to identify and explore the links and philosophical interpretations that demonstrate the relationship between sacred and profane in the course of human history, reaching the industrial age. In the context of the new century, a time of significant and anthropological transformations of material objects and culture expressing the social life style, this work will help to visualize several new links material or imaterial between humans and its objects. With the consolidation of design, in the last thirty years, and the contributions of other subjects such as semiotics and sociology, it is real challenge to question these matters with a more eclectic perspective, comparing spiritual and technological, sacred and profane. We conclude stressing the importance of the new paradigms and cultural changes, as well as the developing of a new dialogue between faith and technology, and new ways to expose and to communicate spiritual experiences, allowing the gathering between sacred and profane realities. The main purpose of this thesis is to highlight the paradigms that emerge from the new ways of exposing these reference objects, with a professional approach, in a museum or in the spiritual dimension of a sacred space. In particular, the context to analyze these objects will be, preferentially, exhibitions in spaces located between "art" and "architecture" and positioned between "spiritual" and "functional." We will try to identify a new exhibition identity that could be defined and implemented by architecture or design. Bearing this in mind we will show a new proposal for a conceptual exhibition, in a post-industrial era, in the context of the designer Paulo Parra collection, located in the St. Vincent´s Church, in Évora (Portugal), that promoted the memory of the "Icons of Design". The exhibition was a retrospective of times, issues and protagonists of modern industrial design, from the beginning to the present days; from here we will try to understand and illustrate the actuality and importance of the relationship between these realities
