Publicação
A força do implícito e o tempo do meio : ressignificações e experimentação na criação artística
| Resumo: | This thesis investigates the power of the implicit inside the experience of artistic creation and it was made in an analytic way, as it verifies artists’ productions which works with an emphasis in the subject that resides in the work of art; these creation processes are here known as tempo do meio (time of the middle). This time is considered in this analysis in a wide-ranging manner, since the moment in the idea of the artist’s spirit until the process of making of the work of art while it exists. The analysis takes Robert Rauschenberg’s production at the same time it has John Cage’s music works as contrasting juxtaposition in the production of both. It takes as well Anselm Kiefer’s collection, as it makes some connections with my own artistic practice in some aspects here debated. My own work do participates in this investigation, in a visceral way, accompanied with many volumes of Almanaque do Tempo Comum, title given to my collection which its poetic analysis is not reported, but it was experienced as well. This being said, all meaning and its remaking of concepts and materials, reported situations in this verification, were experienced with quality and fidelity in the report. This thesis admits the implicit “continuous” in the “truth of the work”, in its continuous becoming, as a knowledge. It includes the artistic creation process as a distinct one system of creative rituals in other areas of human knowledge. The implicit is present in this proposal of acknowledgement in the artistic world when it accepts to live together with silence, with nothingness, with the void and covering and crossing of vectors (chiasm), considered as autonomous supply in this enigmatic creative practice. Theoretical scope references Martin Heidegger’s work (1969, 1987, 2014), Georges Didi-Huberman (2013, 2015), Maurice Merlau-Ponty (1964), Henri Bergson (1990), among others. |
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| Autores principais: | Mello, Suzana Maranhão de Azevedo |
| Assunto: | Criação artística Obras de arte Autonomia Continuidade Implícito Tempo do meio |
| Ano: | 2023 |
| País: | Portugal |
| Tipo de documento: | tese de doutoramento |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | This thesis investigates the power of the implicit inside the experience of artistic creation and it was made in an analytic way, as it verifies artists’ productions which works with an emphasis in the subject that resides in the work of art; these creation processes are here known as tempo do meio (time of the middle). This time is considered in this analysis in a wide-ranging manner, since the moment in the idea of the artist’s spirit until the process of making of the work of art while it exists. The analysis takes Robert Rauschenberg’s production at the same time it has John Cage’s music works as contrasting juxtaposition in the production of both. It takes as well Anselm Kiefer’s collection, as it makes some connections with my own artistic practice in some aspects here debated. My own work do participates in this investigation, in a visceral way, accompanied with many volumes of Almanaque do Tempo Comum, title given to my collection which its poetic analysis is not reported, but it was experienced as well. This being said, all meaning and its remaking of concepts and materials, reported situations in this verification, were experienced with quality and fidelity in the report. This thesis admits the implicit “continuous” in the “truth of the work”, in its continuous becoming, as a knowledge. It includes the artistic creation process as a distinct one system of creative rituals in other areas of human knowledge. The implicit is present in this proposal of acknowledgement in the artistic world when it accepts to live together with silence, with nothingness, with the void and covering and crossing of vectors (chiasm), considered as autonomous supply in this enigmatic creative practice. Theoretical scope references Martin Heidegger’s work (1969, 1987, 2014), Georges Didi-Huberman (2013, 2015), Maurice Merlau-Ponty (1964), Henri Bergson (1990), among others. |
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