12 & 13 SEPTEMBER 2013

LISBON - PORTUGAL

Faculty of Fine Arts of the University of Lisbon September 12-13/ 2013

CREATIVE PROCESSES IN ART International Colloquium

KEYNOTE SPEAKERS:
Jos Augusto BRAGANA DE MIRANDA ........................... (Universidade Nova de Lisboa) Aninha DUARTE..................................................................... (Universidade Federal de Uberlndia) Jos MIRANDA JUSTO . . ....................................................... (Universidade de Lisboa) Maddalena MAZZOCUT-MIS . . .............................................. (Universit degli Studi di Milano)

SCIENTIFIC COMMITTEE:
Adriana VERSSIMO SERRO . . ............................................ (CFUL, FLUL) Ana Paula FERNANDES . . ...................................................... (NUPPE/ UFU) Aninha DUARTE .................................................................... (NUPPE/ UFU) Jos Augusto BRAGANA DE MIRANDA .......................... (CECL, FCSH/UNL) Fernando Antnio BAPTISTA PEREIRA............................... (CIEBA, FBAUL) Joo Pedro FRIS ................................................................ (CIEBA, FBAUL) Jos MIRANDA JUSTO......................................................... (CFUL, FLUL) Maddalena MAZZOCUT-MIS ................................................ (UNIMI) Maria Filomena MOLDER. . .................................................... (IFL, FCSH/UNL) Maria Margarida SILVA ROCHA. . .......................................... (IPS/ ESE)

ORGANIZATION:
CIEBA/FBAUL + NUPPE-IARTE/UFU Centro de Investigao e Estudos em Belas-Artes/ Faculdade de Belas-Artes da Universidade de Lisboa Ncleo de Pesquisa em Pintura e Ensino do Instituto de Artes da Universidade Federal de Uberlndia CONVENORS: Ana NOLASCO Ana Rita FERREIRA
NUPPE EXHIBITION COORDINATORS/ COORDENADORES DA EXPOSIO NUPPE: LOGISTICAL SUPPORT/ APOIO LOGSTICO: Isabel Nunes (FBAUL),

Aninha Duarte, Ana Paula Fernandes, Dayane Justino and Maria Jos Carvalho Ferreira
NUPPE EXHIBITION GRAPHIC PROJECT/ PROJECTO GRFICO DA EXPOSIO DO NUPPE: Ana Paula Fernandes NUPPE EXHIBITION SUPPORT/ APOIO EXPOSIO DO NUPPE:

Lurdes Santos (FBAUL), Andreia Tavares (CIEBA), Sergio Rodrigues and Vtor Marcelino AV SUPPORT/ APOIO AUDIOVISUAL: Diogo Lencio (FBAUL) PHOTOGRAPHY/FOTOGRAFIA: Toms Gouveia (FBAUL)
SOFTWARE SUPPORT/ APOIO INFORMTICO:

Paulo Santos (FBAUL)

CREATIVE DIRECTOR/ DIRECTOR CRIATIVO:

Secretaria Municipal de Cultura Cultura de Uberlndia DIFFUSION/ DIVULGAO: Jane Cbo, Afonso Leite,Talita Trizoli, Camila Moreira,Wilson Filho and Flaviane Malaquias

Paulo Seabra

HOSTS: CIEBA/ FBAUL Centro de Estudos em Belas-Artes/ Faculdade de Belas-Artes da Universidade de Lisboa

INSTITUTIONAL SPONSOR:

OTHER PARTNERS:

ABSTRACTS & BIOS

Aroni, Maria.............................................................................. Baudouin, Alexandra................................................................ Bergande, Wolfram ................................................................. Bragana de Miranda, Jos Augusto........................................ CC/SC _ Carlos M. Couto S. C. / Carlos Couto de Sequeira Costa.............................................. Cbo, Jane............................................................................... Cravo, Ana................................................................................ Cunha, Rodrigo Sobral............................................................. Duarte, Aninha.......................................................................... Elias, Tatiane de Oliveira.......................................................... Engel, Birgit.............................................................................. Farinas, Rebecca L................................................................... Ferreira, Maria Jos de Carvalho.............................................. Golob, Urska. ............................................................................ Gonzlez, Carmen.................................................................... Justino, Dayane de Souza........................................................ Justo, Jos Miranda................................................................. Korde, Urban........................................................................... Lange, Magdalena.................................................................... Lehtinen, Sanna........................................................................ Loemke, Tobias. ........................................................................ Mathieu, Olivier. ........................................................................ Mazzocut-Mis, Maddalena........................................................ Mc Laughlin, Leah.................................................................... Moreira, Camila........................................................................ Moya, Gloria Luque.................................................................. Nolasco, Ana ........................................................................... Obidzinska, Bogna J.. ............................................................... Oliveira, Susana. ....................................................................... Ortigo, Maria Joo Lello......................................................... Paas, Marge. ............................................................................. Park, So-Young. ........................................................................ Peneda, Joo. ........................................................................... Pereira Fernando Antnio Baptista.......................................... Pereira, Jos. ............................................................................ Pereira, Teresa Matos............................................................... Queiroz, Joo Paulo................................................................. Quintas, Alexandra Ai .............................................................. Rocha, Maria Margarida da Silva.............................................. Rodrigues, Ana Duarte............................................................. Sablich, Mirko. .......................................................................... Santo, Pedro Cabral................................................................. Santos, Alexandre .................................................................... Scarlett, Ashley......................................................................... Schramm, Samantha ................................................................ Siegelbaum, Sami..................................................................... Silva, Filipe Rocha da............................................................... Tavares, Cristina Azevedo........................................................ Taveira, Rogrio. ....................................................................... Vasconcelos, Antnio ngelo................................................... Vidal, Carlos............................................................................. 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 10 12 13 13 14 14 15 15 16 16 17 17 18 18 21 19 19 20 20 21 22 22 23 23 24 24 25 25 26 26 27 27 28 29

MARIA ARONI | Kingston University, Visual and Material Culture Research Centre, London, UK Maria Aroni studied History of Art in Athens University, Greece (BA) and Kingston University, London (MA). She is currently doing a PhD in Visual and Material Culture Research Centre, Kingston University, in Curatorial Aesthetics. She has published widely on art in Greek and has been a contributor to art journals such as ZingMagazine (NY) and Untitled (UK). Artistic Creativity as Entropic Process: Robert Smithson and the Aesthetics of Entropic De-differentiation Robert Smithson introduced the natural law of entropy, known as energy degradation and organization decrease within any closed system, in art. Influenced by Anton Ehrenzweigs association of entropy with de-differentiation, the suspension of boundaries between conscious and unconscious, Smithson explores the interaction between scattering and containment in the unresolved dialectics of his Site-Nonsite works (1968). In his 1967 tour to Passaic, Smithson encounters worn-out industrial sites as artworks-monuments. In the last monument, a childrens sandbox, called the Desert, Smithson discovers the possibility of entropic disintegration turned creative via art. The sandbox, simultaneously an open grave and a playground, allows for the irreversibility of entropic degradation becoming a power of creation. Smithson radically departs from the hopelessness of scientific entropy and affirms the need for the artist to embrace and collaborate with entropy for a direct intervention of art into life. Entropic creativity is best demonstrated in the Earthworks, such

as the Spiral Jetty (1970). Smithson finds in Natures entropic forces a direct expressive materialism that composes chaos into art. Entropy becomes an ontological power, creating an art experience that dissolves the boundaries between mind and matter, subject and the world within the same plane of immanence, allowing for new sensations and life to emerge. The artwork emerges out of the simultaneously destructive and constructive forces of Nature itself, pointing to a new kind of Entropic Earth-Aesthetics and a new figure of the artist: one living with chaos without getting hysterical. This paper explores the recasting of creativity as entropic process: chaos is affirmed to become art and new life as a kind of creative destruction, inseparable from Natures Expressions. The aesthetic reclamation of Natures entropy in Smithsons work points to a politics of entropic de-differentiation as a politics of viewing that amounts to the composition of new art and life out of catastrophe.

ALEXANDRA BAUDOUIN | Faculty of Fine Artes Universidade de Lisboa Born in Lisbon in 1972. Lives and works in Lisbon. Graduation in Fine Arts by ESAD Caldas da Rainha. Master Degree in Art Education by Faculty of Fine Arts Universidade de Lisboa. Presently develops work in art education investigating the creative processes and their implication in the development of children, youth and adults. Creation and implementation of workshops both formal and non-formal context. Lecture in 1st Conference on Arts-Based and Artistic Research Critical reflections on the intersection between art and research. Faculty of Fine Arts University of Barcelona. January, 2013. Programa: A brincar com a luz criei uma histria Aplicao de processos criativos This document introduces an art based education project inspired by the guidelines of Bruno Munaris pedagogic experiments and theories of human development. The projects approach developed into a program entitled Whilst playing with light I created a story consisting in workshops for a heterogeneous group of children and youth. Creative practice facilitates the ability to investigate, to identify problems, to gather relevant information, to test various solutions and to validate effective results. The program methodology seeks to develop aesthetic sensitivity, expressive capacity and problem resolution. The work developed through the use of slide and overhead projectors, based on observation of how light defines matter and on the multi sensory exploration of materials. The program experimented with the following principles: Deconstruction of conventional materials and techniques. Manipulation of materials of every day use and materials associated with visual arts.

Not utilizing drawing materials and introducing the scissors as the only tool to define outlines. Probing further knowledge about transparencies and opacities. Develop capabilities for group work and competency toward tolerance. The participants built their own slides with the available materials. The images revealed an almost surrealist and abstract visual language. The participants explored automatic drawing on large sheets of paper through the slide projectors. The transformation from produced object to projected image became magical, both due to the alterations in scale and the inversion of the axis. In some cases the effect of heat from the light source produced movement and these fantastic events captivated the participants and encouraged them to new experiments. The program enabled the construction of other forms of knowledge through cooperative learning and contributed to finding individual expressive visual languages.

Wolfram Bergande | Bauhaus-Universitt Weimar Wolfram Bergande (Dr. phil., M.A.) studied Philosophy, Romance Studies and Economics at Humboldt-University Berlin, Columbia University New York, Universit de Paris 1 Panton Sorbonne and Johann-Wolfgang-Goethe University Frankfurt/M. Since 2011 he is Assistant Professor for Aesthetics at the Faculty of Art & Design of Bauhaus-University Weimar. From 2005 until 2011 he was a lecturer in Philosophy, Cultural Theory and Aesthetics at Humboldt-University Berlin and at the University of the Arts in Berlin. Research interests: Aesthetics, Cultural theory, Art theory, Anthropology, Political Philosophy and Philosophy of history. Recent publications include topics in psychoanalysis, art theory and classical greek philosophy. Monographies: Die Logik des Unbewussten in der Kunst (2007), Lacans Psychoanalyse und die Dekonstruktion (2002). More information & contact: www.bergande.de Creative destruction. The power and powerlessness of destructivity in the arts Destruction and autodestructivity of art were major themes in the Dokumenta 13, yet aggression and destructivity are topics which are rather seldom researched in todays aesthetics and art theory. On the basis of Sigmund Freuds concept of the death drive and its later evolution in the psychoanalytic theories of Melanie Klein, Jacques Lacan and Julia Kristeva, I want to investigate in my contribution how productive or counterproductive destructivity is in the creative process in the arts. In this context, creative destruction is a rather trivial concept if it is taken as it is used in economic theory following Joseph Schumpeter. There it basically means that if any creation must build on what already exists, then strictly speaking there is no creation but only transformation. In contrast to this, Freud, in Civilization and its discontents and elsewhere, argued that there is a culturally accumulated form of internalized and introverted aggression that turns out to be destructive in a more thorough sense of the term. Whereas in natural life according to Konrad Lorenz

ethological account of aggression the species survives at the expense of the death of the individual organism, whether animal or human, in human cultural life a new quality of destructivity is reached which aims not only at natural but also at symbolic annihilation, a privileged power which until the age of Enlightenment had been attributed by scholastic theologians to the almighty god only. With the Enlightenment literate Marquis de Sade, for the first time in modernity destructivity as radical annihilation (de Sades second death) became a viable option for humans. Adorno and Horkheimer as well as Lacan refer to Sades writings as reverse side of modernity. For both Critical Theory and Lacans and Kristevas Psychoanalysis, 20th century avant-garde art remains a placeholder for a subjectivity free of the autodestructive dialectics of enlightenment. Against this theoretical background, it is thus the creative processes and the artists attitude towards his or her own destructivity in modernist and contemporary art which I want to investigate; my prime examples will be the film work of David Lynch and the figurative and abstract paintings of Gerhard Richter.

JOS AUGUSTO BRAGANA DE MIRANDA | Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa (FCSH/UNL) Born in Lisbon, 1953 is licentiate in Sociology, with a Ph. D. in Communication, is Professor at the Communications Sciences Department of New University of Lisbon, lecturing in Political Theory and Cultural Criticism. Former director of the Department and President of the CECL (Centre for Research on Communication and Languages), and responsible for the Specialisation in Culture and Communication at the same department and is editor in chief of the Review of Communication and Languages (22 issues). He is author of several essays on cultural, political and aesthetical subjects. In 1994 he published a book on Analytic of Actuality, having in print another book on Politics and Modernity. His actual research field centers mainly on culture and technology. Observaes sobre a noo de criatividade Desde o vanguardismo que as categorias estticas foram submetidas a uma crtica radical, recusando os artistas submeterem-se a critrios exteriores sua prtica, e acima de tudo os estticos. A chamada anti-arte ou artes do feio so sinal de esta recusa, que se volta contra o juzo esttico por necessidade. medida que a arte se define por uma relao ao conceito e ao pensar, num processo antecipado pela Esttica de Hegel, perde fora a necessidade de um discurso formal e crtico que anteceda ou suceda s obras. O conceito faz parte da obra, trabalhado por esta. No por acaso os artistas contemporneos, desde Duchamp, so simultaneamente pensadores profundos, sendo essencial para a contemporaneidade este pensamento que pensa com imagens. Com a crise da esttica, parece restar apenas a categoria de criatividade, que se dissemina um pouco por

todo o lado e por todas as actividades, das artes economia, dos museus pedagogia. Dada a sua natureza vaga e imprecisa a criatividade serve para tudo e para nada. Se a sua origem clara, remetendo para a maneira como o surrealismo explorou as chamadas artes primitivas, dos loucos ou das crianas, por exemplo, postulando que todo o comportamento espontneo e no controlado racionalmente, tende a ser criativo. Torna-se necessrio aprofundar as estratgias que envolvem a noo de criatividade, o que passar pela anlise das teses de Duchamp e Deleuze, e pela sua insero numa problemtica aparentemente afim, bem expressa na frase de Beuys de que Todos os homens so artistas. Esta frase que parece ser mais uma tese sobre a criatividade generalizada, de facto aponta para uma viso poltica da arte, isto , uma soberania da arte. Espera-se assim apresentar uma crtica da criatividade, pensando-a com com maior preciso.
5

CC/SC _ CARLOS M. COUTO S. C. / CARLOS COUTO DE SEQUEIRA COSTA | Faculdade de Letras da Universidade de Lisboa Professor Licenciado, Mestre e Doutor em Filosofia (1980-1985-1993 UL e UP) com Agregao em Teoria Esttica, tica, Filosofia e Cincias da Arte (Lio de Desagregao/2009 UL), iniciou o seu percurso de leccionao em 1977 e de Conferencista em 1975 . Professor, Investigador e Conferencista em vrios Institutos e Universidades, nomeadamente IADE, UCatlicaL, UNovaL , UClssicaL e FLUL, URomaTorVergata, Uvora, FBelas-Artes, FCGulbenkian, Museu Nacional Arte Antiga, Centro Arte Moderna, Centro N Cultura, Centro Gulbenkian/Paris, CCBelm, Culturgest, et al. Bolseiro da Gulbenkian, Jnict e Flad (Paris, Roma, Washington). Entre 1975 e at ao presente publicou inmeros textos, alm de 32 Livros, destacando Theatrum-Mortis, Blue & Brown Notebooks, Tpica Esttica_ _Filosofia Msica Pintura, Caderno de Demnios _Os ltimos anos de Nietzsche ou a Ilha dos mortos, Vedutismo, Aesth/Ethica, a deus , e Leibniz : Estticas & Barroco (Tese 1985 p.p.). Formao, igualmente, em Psicanlise e Romnicas. Desportista. Exps Fimlosofias, Imagens, Objectos. Trabalha o piano. Casado, tem dois filhos. Criao e Fimlosofia Persu Perseu Persona Pessoa Em rigor, apresentamos dois estudos criativivos que se entrelaam, ou 2 em 1. Abrimos com os questionamentos I e II : I_Que quer dizer Fimlosofia_Criao ?, e II_Que significa,

neste contexto, a proposio : Persu Perseu Persona Pessoa ? Procuraremos ento elucidar a noo completa (Leibniz) de ambos, bem como o pensamento medusante que lhes subjaz.

JANE CBO | NUPPE (Ncleo de Pesquisa em Pintura e Ensino) / Instituto de Artes da Universidade Federal de Uberlndia Artista Plstica graduada em Artes pela Universidade Federal de Uberlndia (UFU). Desenvolve pesquisa terica e prtica sobre poticas visuais na linguagem da Pintura, Pintura e Objeto e Pintura-objeto. Tem participado de exposies de arte coletivas e individuais. Possui publicaes em anais de eventos cientficos e participao em seminrios no Brasil e no exterior. Atualmente membro do NUPPE (Ncleo de Pesquisa em Pintura e Ensino) / Instituto de Artes Visuais da Universidade Federal de Uberlndia, na linha de pesquisa Pintura Matrica. Currculo Lattes: http://lattes.cnpq.br/4848932007014912 A Flor como smbolo no meu processo de criao Neste trabalho apresento alguns entendimentos sobre o meu processo de criao em Artes Visuais. Minha pesquisa desenvolvida principalmente na linguagem da pintura, pintura e objeto, pintura-objeto, e alguns formatos e experimentos com plotagens. Os trabalhos so apresentados em montagens variadas de acordo com o espao arquitetnico. O procedimento construtivo das pinturas est articulado, pensado e fundamentado no fazer artesanal, no gosto pelo ornamental e no fascnio pela manipulao da matria. A utilizao de suportes ocorre de maneira intermitente, os materiais expressivos so a tinta acrlica, pigmentos para serigrafia, gesso cr, material de bordados, fazendas de algodo estampadas, aglutinantes variados e fotografias. Dentre as ferramentas para utilizao desses materiais esto pincis, formas plsticas, moldes vazados, estncils e programas de computadores para manipulao de imagens fotogrficas. A motivao temtica envolve pontos do meu interesse a cerca de algumas peculiaridades sobre o universo feminino. Utilizo da imagem da flor elegendo-a como smbolo desse feminino. The Flower as a symbol in my creative process In this work I present some insights into my creative process in Visual Arts. My research is mainly developed in the language of painting, painting and object, painting-object, and some shapes, and experiments with plots. The works are presented in varied assemblages according to the architectural space. The constructive procedure is connected, thought and founded on craftsmanship, on the taste for ornamental works and fascination with the manipulation of matter. The use of props occurs intermittently. Expressive materials are acrylic paint, pigments for screen printing, plaster, embroidery material, patterned cotton fabric, various binders and photographs. Among the tools to use these materials are brushes, plastic forms, die casting mold, stencils and computer programs for manipulating photographic images. The thematic motivation involves points of my interest about some peculiarities on the feminine universe. I use the image of the flower electing it as a symbol of feminine.

ANA CRAVO | Escola Superior de Educao de Portalegre Lives in Vila Viosa and has a degree in Painting by E.S.B.A. L (Higher School of Fine Arts, Lisbon), a masters degree in Aesthetics and Philosophy of Art by the Faculdade de Letras da Universidade de Lisboa (Humanities Faculty, Lisbon University), currently working on a doctorate thesis in Aesthetics and Philosophy of Art with the title Painting as Drama: Mythical-Poetics Tension in the Contemplation of Contemporary Beauty and Tragic. She collaborates in the Project Philosophy and Architecture of the Landscape and is Researcher at the Philosophy Centre of F.L.U.L. (Humanities Faculty, Lisbon University), in the Ethics and Philosophy of Values group. She develops artistic work since 1982, having participated in several collective exhibitions, individual and co-authored, highlighting the latest: RIO/SEDE with the Painter Henrique Esteban Jimenz, in 2008; De Corpo I Alma, in 2012, with the Poet and Visual Artist Antonio Srgio Silva; (both at the Municipal Library of Portalegre), and O vo dos pssaros, in April 2013, at Frum Transfronteirio of Alandroal. She is Assistant Professor in the Portalegre Higher School of Education where she teaches subjects in the fields of Visual Arts and Art Theory. A Revoluo da arte e A Co-Criao Artstica. A arte, por excelncia, no um acto solitrio Ao crermos que a arte um acto solitrio requeremos para o criador um ponto de vista singular e para a criao a sua anuidade a um constructo de aces que se potenciam desde a concentrao individual e a credibilidade e confiana no em si mesmo dessa necessidade de escuta interior. Na medida em que a obra de arte se desenvolve como um entusiasmo em torno de uma intuio potica, esse isolamento reconhece-se como uma doao de estados, sucesses de emoes, de sentimentos e de ideias para a concretizao de algo de valor intrnseco ao ser nico. Assim, o ser seria suficiente e a sua solido necessria para o melhor entendimento dessa relao entre si e o acrescer consigo numa criao artstica. Contudo toda a criao artstica requerer um sentido verdadeiramente necessrio para se desenvolver a recolocao de uma imagoria criativa pela metamorfose daquilo que se expande ou resplandece sobre o mundo, incluindo a de a arte e a sua sombra velarem um

princpio de transcendncia espcio-temporal. Sobre a criatividade artstica na sua prodigalidade de aprendizagem, tomamos conscincia dum crescente valor duma cosmicidade, ou da nossa possibilidade de, ainda que pretensamente aliengenas, nos congregarmos ao todo e cosmicidade, sem um prejuzo sobre aquele outro, porque no h um s revolucionrio num poster duma revoluo. Em contnuo, e sentindo no agora um atopos de unicidade criativa espaciotemporal, aprendemos a dizer co-criatividade - tomamos conscincia da complementaridade da intuio criativa que sempre se gerou nessa combusto de unir o que aparentemente excomungvel e irredutvel num tropo. O que exponencia a mestria dos artistas, num modo de seguir a geratriz duma revoluo, vale como exemplo duma clareza potica acerca duma universalidade inaudita e ressoa para alm duma reverberao plena de complexos negativos sobre princpios de valncia de unicidade/criao/universalidade.

Rodrigo Sobral Cunha | IADE U Instituto de Arte, design e Empresa Universitrio Ps-Doutorado em Ritmanlise pela Universidade de Lisboa, Doutorado em Filosofia pela Universidade de vora, Mestre e licenciado em Filosofia (via cientfica) pela Universidade Catlica Portuguesa (Lisboa), Professor Associado das Escolas Superiores do IADE Instituto de Artes Visuais, Design e Marketing e Editor do IADE, escritor, tradutor, vive em Sintra. Algumas publicaes: O Essencial sobre Ritmanlise (Lisboa, Imprensa Nacional-Casa da Moeda, 2010), Filosofia do Ritmo Portuguesa (1 ed. 2008, Serra dOssa Edies, Vila Viosa; 2 ed. 2010, Zfiro Edies, Coleco Nova guia, Sintra), A Filosofia do Ritmo Portuguesa: da Monadologia Rtmica de Leonardo Coimbra a Lcio Pinheiro dos Santos e a Ritmanlise, in Philosophica, Revista do Departamento de Filosofia da Faculdade de Letras da Universidade de Lisboa/ Colibri, Lisboa, n. 31, Abril de 2008; e in O Pensamento Luso-Galaico-Brasileiro (1850-2000). Actas do I Congresso Internacional, Vol. III, Lisboa, Imprensa Nacional-Casa da Moeda, 2009, pp. 575-592; A ritmanlise - Documento [traduo de um texto em francs de Gaston Bachelard, La rythmanalyse, integrado na obra La dialectique de la dure, Paris, Boivin, 1936], in Philosophica, Revista do Departamento de Filosofia da Faculdade de Letras da Universidade de Lisboa/ Colibri, Lisboa, n. 31, Abril de 2008.

A Ritmanlise A filosofia do ritmo portuguesa onde se insere a ritmanlise apresenta-se como um inovador modelo de conhecimento para o qual o ritmo a prpria energia de existncia e bem assim o princpio unificador das cincias naturais e das cincias humanas e do esprito. Tambm o convvio, a arte e a aco so decerto rtmicos. O universo manifesta-se na sua plena actualidade como um concerto de ritmos sobrepostos, desde o florescimento da luz, passando pelo pulsar vital dos seres,

at ao esprito criador de Bach. Como reconciliar os homens da nossa poca com os ritmos csmicos e estruturantes da vida? Nascida em Portugal, pelo gnio do filsofo, matemtico e poltico Lcio Pinheiro dos Santos, a ritmanlise penetrou no pensamento contemporneo atravs da obra do filsofo francs Gaston Bachelard sob a forma de uma nova compreenso do movimento, da vida e do esprito. Cincia e potica conjugamse nesta modalidade do pensamento atlntico, na qual um neopitagorismo criacionista procura reintroduzir o homem no corao do mundo.

ANINHA DUARTE | NUPPE (Ncleo de Pesquisa em Pintura e Ensino) / Instituto de Artes da Universidade Federal de Uberlndia Visual artist and Professor at the Federal University of Uberlndia IARTE/UFU/MG/ Brazil. PhD. in Social History by the Pontifical Catholic University of So Paulo ( PUC/SP), with an internship at the University of vora (UE). Master degree in History by the Federal University of Uberlndia (UFU); B.Sc.in Plastic Arts by UFMG. Researcher at several academic institutions, such as NUPPE (UFU), GREC (UFBA), NEHSC (PUC/SP) (NEHSC Uberlndia). Her AOS is Art Education. She coordinates the research group NUPPE (Ncleo de Pesquisa em Pintura e Ensino) and the Laboratory of Painting at the Institute of Arts of the Federal University of Uberlndia (IARTE/UFU). She is also a Faculty member of the Postgraduate taught course in Arts at UFU. Detailed CV and record of publications: http://lattes.cnpq.br/2979644366089603 Memrias, Vestgios, Resduos e Inventrios: o processo de criao por trs das imagens Esta uma comunicao que traz cena alguns momentosde meu processo de criaoem Artes Visuais, mais especificamente nos trabalhos desenvolvidos nas linguagens da Pintura e do Objeto. Aborda as etapas, as experincias, o repertrio, as motivaes, as apropriaes, as materialidades, as mutaes e os trajetos perseguidos e percorridos durante a elaborao da obra. Nesse percurso sensvel,enfatizoos conflitos, o previsvel, o imprevisvel, o conhecido, o estranho, os enfrentamentos, os deslocamentos e os dilogosmultidisciplinares traados comreas do conhecimento alm dasArtes Visuais. Tal pesquisa consubstanciada poruma investigao sobre smbolos e signos presentes naiconografica da f catlica popular e sobre a circularidade cultural entre Artes: arte popular e arte instituida. O objetivo reflexionar sobre alguns sentidos das memrias individual e coletiva, derepresentaes/ simulacros, apropriaes/re-significaes, da dor, da morte e da fragilidade da vida. Memories, Traces, and Waste Inventories: the creative process behind the images This is a communication that brings forward some moments of my own creative process in Visual Arts, especially the work developed within the languages of painting and object-making. It discusses the steps, the experiences, the repertoire, the motivations, appropriations, the materiality, mutations and paths pursued and traversed during the elaboration of the work. Through that sensitive path, I emphasize the conflicts, the predictable, the unpredictable, the familiar, the strange, the challenging, the displacements and multidisciplinary dialogues with areas of knowledge beyond the Visual Arts. Such research is substantiated by an investigation into symbols and signs that are present in the iconography of the popular Catholic faith and into the circularity between cultural arts: popular art and institutional art. The goal is to reflect on the meaning of individual and collective memories, representations / simulations, appropriation / re-significations, pain, death and the fragility of life.

TATIANE DE OLIVEIRA ELIAS | Staatliche Akademie der Bildenden Knste Stuttgart Tatiane de Oliveira Elias is an Art History PhD candidate at Stuttgart State Academy of Art and Design, in the Art Science Department. She is currently in her fifth year of study. Her research examines the work of the Brazilian Avant-garde artist Hlio Oiticica focusing on his films. In 2003 she received her M.A in Art History from UNICAMP University. Her specialist field is Art, theory and criticism of late modernism with a historical focus on the 1960s and 1970s, particularly Brazil. A dana como criao na obra de Hlio Oiticica A dana tem uma funo importantssima na vida e na obra de Hlio Oiticica. O artista brasileiro trabalhou com as mais diferentes reas artsticas, da abstrao, performance, happenings, instalao aos filmes, sempre buscando novas formas de experincias de criao. Inicialmente, Oiticica frequentou a escola de samba da Mangueira, no Rio de Janeiro, nos anos sessenta. A partir do contato com o samba e com a favela carioca, inspirado nas idias de arte mais voltada para o social e participao coletiva, o artista cria os seus parangols, capas para vestir e danar com os sambistas da Mangueira. Os parangols so feitos dos mais diferentes materiais, tecidos, plsticos, carto - alguns com mensagens polticas - confeccionados para serem usados

pelos passistas de escola de samba. Segundo Oiticica, a dana veio junto com o parangol, porque tanto um quanto o outro permitiu a descoberta do corpo. O mais importante no parangol a dana: enquanto alguns participantes ainda vestem suas capas, observam outros j vestidos, danando, todos ao som do samba, movimentando os parangols. A obra s existe assim com o participador que a incorpora e dana. Para Oiticica era muito importante que cada um tivesse sua experincia, no como expectador mas como participador na obra. O participador cria os seus prprios movimentos e os seus passos de samba, numa dana dionisaca. importante aqui ser ressaltado o processo artstico do artista ao romper com as fronteiras artsticas entre arte, dana, performances e participao coletiva.

BIRGIT ENGEL | Kunstakademie Mnster Germany - Chair of Didactics of Art Education Prof. Dr. Birgit Engel is teaching at the Chair of Didactics of Art Education, Academy of Fine Arts Muenster/Germany since 2011. She taught and researched many years as a teacher in a comprehensive school and in the field of (inter)cultural education at the University of Bielefeld. In her book Sprbare Bildung (Sensible Awareness in Pedagogical Processes) she has developed a participatory approach, working with images of remembering based on Gadamers philosophical and zur Lippes aesthetic hermeneutics. Her current research is motivated by the goal to make the artistic experience useful for qualitative research and transferable to (art)teaching to establish an attitude of awareness and sensitivity as a professional disposition. Common Creative Potentialities in Art and Pedagogy Developing an artistic disposition is a matter of evolving an openness of mind, soul and body, and being prepared to have new experiences in time and space, this means connecting in a self-developing relationship with things, materials and the others. This process needs planning and decisions, knowledge and particularly a sensible awareness of presence and movement. However, this process is not totally at ones own disposal, the otherness included. Unexpected and unknown developments together with things, materials and the others will provoke inquiry into finding suitable new creative answers inside and outside. Grounded on a deep experience, they still remain in certain indeterminacy. This characterizes a kind of a reflexive-mimetic disposition, which can develop in an artistic study. But it seems to have a fundamental relevance not only for the development of the artistic processes, but also for the professionalism arranging pedagogical and classroom situations. If we focus on an educational formation, that supports a wide field of potentialities the subjects are able and willing to develop, this disposition can prepare the sensibility to arrange the pedagogical conditions for a lived experience. Mimesis and Enigma are central terms of the Aesthetic Theory of Theodor W. Adorno, Mimesis and Performativity are furthermore foundational orientations of the pedagogical anthropology, that Christoph Wulf has developed in a wide field. If we focus on their relevance in Art and Pedagogy, they enable us not only to understand the central importance of a certain kind of consciousness, sensibility and awareness in both of the fields, but we also understand the relevance of cultivating self-reflexive creative processes in the teacher education. This paper will present and reflect some central common creative potentialities of art and pedagogy, based on qualitative case studies of teacher education at the Academy of Fine Arts Mnster (Germany).

Rebecca L Farinas | Southern Illinois University Carbondale

Rebecca L Farinas is scholar and curator on a Kosciusko Fellowship at the University of Warsaw, Poland. She is MA in fine and decorative arts from the University of Manchester and Sothebys London Institute, MA in philosophy from the University of Plymouth, post-graduate in American Art at the Sothebys Institute in New York and PhD (ABD) in philosophy at the University of Southern Illinois. She is currently researching global and regional cultural applications of individual aesthetic agency. She has recently curated a major exhibition and catalogue on the woodblock prints of Arthur C. Danto.
Intersubjectivity: Art and Ideas in Film Practice John Dewey (1859-1952) wrote in Art as Experience, the idea of art as a conscious idea is the greatest intellectual achievement in the history of humanity. This quote can be read as a statement that leads to mere philosophical idealization. Dewey, however, was a practice-oriented philosopher of art and aesthetician, and his influence in exposing and solving the dualistic problems of modern thinking has resonated from his influence as one of the creators of the original curriculum of Black Mountain College to his contemporary influence on relational aesthetics. Dewey fuses what is conceptual with practice by understanding art as having aesthetically relational meanings that are unifying through a process or summation of sense, need, impulse and action. Resulting in a tentative, but meaningful and sometimes long-lasting idea of what it means to be involved in the world, this process of practice/idea is proof that people are capable of restoring themselves consciously to a sense of community.

By way of this process aesthetic, changes in community, and society in general, are best done through art. I find this a sociological aesthetic comparable to Pierre Bourdieus thoughts on photography and film. I look to contemporary conceptual film practice, in the work of Phillip Parreno, to disclose how these ideas can activate social change through dynamics of intersubjectivity involving personal and community experiences of art practice and reception. In our contemporary times of global diversity which often leads to unfulfilled personal and social struggles, realizing the dynamic aspects of art conceptualization not only inspires community building but renews an inspirational spirit among people to pursue political activity through art practice.

MARIA JOS CARVALHO FERREIRA | NUPPE / IARTE / UFU Ncleo de Pesquisa em Pintura e Ensino do Curso de Artes Visuais da Universidade Federal de Uberlndia Minas Gerais / Brasil Maria Jos de Carvalho Ferreira professora de cermica do Curso de Artes Visuais da Universidade Federal de Uberlndia, bacharel em arte com habilitao em desenho, pela EBA/UFMG; especialista em Ensino de Arte e mestre em Teoria Literria. Integra o Ncleo de Pesquisa em Pintura e Ensino / NUPPE, vinculada s linhas de pesquisa Pintura e interfaces com outras linguagens e Cidade, arte, memria e cultura: da antiguidade clssica contemporaneidade. Como artista atua nas reas de expresso bi e tridimensional. Potica da transitoriedade: Reflexes sobre um processo criativo Este artigo aborda as reflexes sobre o processo de criao e as relaes que se estabelecem na construo de uma potica visual que transita entre as linguagens da cermica e da fotografia. Objetiva compreender uma prtica na qual est implcito o reconhecimento de um elo entre o passado e o presente, dentro de uma estrutura que se organiza em pares de oposies que articulam categorias espaciais e temporais, tais como: ontem/hoje, antes/agora, presena/ausncia. A noo de transitoriedade permeia todo o processo, refletindo a elaborao de um confronto com a perda, em relao direta com as reflexes e inquietaes acerca das transformaes contnuas impostas pela impermanncia do homem e das coisas, isto , a inelutvel finitude qual tudo na vida se condiciona. Finitude que o jogo da memria, no movimento contra o esquecimento, tenta burlar atravs de artifcios imagticos que possam sustentar a crena no poder de retomar o tempo. Dentro dessa perspectiva, a potica desenvolvida busca, no plano formal, organizar-se por meio de uma recorrente fragmentao, no sentido de tecer analogia com a caracterstica igualmente fragmentria da memria, determinada pela impossibilidade de resgatar o passado em sua totalidade. Nesse processo, memria e transformao se entrecruzam, tecendo um componente indispensvel para se pensar a efemeridade do sujeito e das coisas. Poetic of transience: Reflections about a creative process This article discusses the reflections about the creation process and the relationships established in the construction of a visual poetic that moves between the ceramics and photography languages. It aims to understand a practice in which is implicit the recognition of a link between past and present, within a structure that is organized into pairs of opposites that articulate spatial and temporal categories such as: yesterday / today, before / now, presence / absence. The notion of transience pervades the entire process, reflecting the development of a confrontation with the loss in direct relation with the thoughts and concerns about the continuous transformations imposed by the impermanence of man and things, that is, the inescapable finitude to which everything in life conditions. Finitude that the memory game, in the movement against oblivion, attempts to circumvent through imagistic artifices that can sustain a belief in the power of resuming the time. Within this perspective, the developed poetic seeks, formally, organize itself through a recurring fragmentation, to weave analogy with the equally fragmented characteristic of memory, determined by the impossibility of recovering the past in its entirety. In this process, memory and processing intertwine, weaving an indispensable component for thinking about the ephemerality of the subject and things.

URBAN KORDE | Faculty of Cognitive Science at the University of Ljubljana URSKA GOLOB | Faculty of Natural Sciences and Engineeringmat the University of Ljubljana URBAN KORDE is professor of cognitive science at the University of Ljubljana. He holds a degree in mathematical physics, masters and doctorate in philosophy and cognitive science. He currently serves as head of Cognitive Science program at the University of Ljubljana and as visiting professor at the Sigmund Freud University, Vienna, University of Zagreb, the Nan Tien Institute, Wollongong, Australia, and as a regular guest lecturer at the University of Vienna. His main area of interest is research of lived human experience, which includes experience of thought processes, experience of communication, learning, and research of user experience in its broadest meaning. URSKA GOLOB is a PhD student of Faculty of Natural Sciences and Engineering at the University of Ljubljana. She is curently working on a thesis The Influence of Digital Media on Creative Process in Fine Arts, for which she got the Inovative sheme scholarship from the European funds. The main purpose of the thesis is to make comprative research between digital and analog media interaction in the creative process of an artist. The research has interdisciplinary nature; it combines fields of phenomenology, fine arts and digital technology. Based on findings of the research, it would appear what are the potentials of digital technology in the creative process, what our limits and potentials for development and opportunities for improvement. Moody Media In the paper we are going to present research, which intervenes on the field of digital technology, fine arts and phenomenology. In this interdisciplinary research there will be presented the results of comparison between the digital and the analog media and their influence on creative process in fine arts. We were dealing with the problem that digital media and software was developed by engineers or programmers and their thinking is diverse from artists thinking. Their principles of use of digital media are based on fast, easy and effective use, which means greater automatization and simplification of functions, while artists stream to complexity and uniqueness. Digital system for professional use is devised in sense of problem solving, while the artistic in sense of creative process. In art, which is associated with creativity, expressiveness, emotional expression and subjectivity, the practice becomes diametrical opposite from technology itself. Besides technical aspects, digital media also differs from analog media in its complexity of use, going from our daily basis to creative process and back again. Digital media present evocative tools, which are not only important because of its functionality, but also from the point of view how they affect
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us emotionally. Understanding how digital media affects artists experience presents the key ingredient in understanding of contemporary fine arts, from which depends the formation and development of art piece.

In this paper we will discuss the experience aspects of fine artist in creative process. We are interested in investigation of artist interaction in comparison to analog media and what is experiential role of digital media in formation of fine arts.

CARMEN GONZLEZ | Facultad de Bellas Artes, Universidad de Salamanca PhD Professor of Painting at the University of Salamanca, Spain. Her mayor research interests include meaning of materials used by contemporary artists, specially ephemeral materials, and the democratic and educational functions of art practices in society. On these topics she has publised articles in several academic and artistic journals and books since 2003, the most recent: Contemporary Art Practices and Scientific Environments in GONZLEZ, Isabel, Fronteras de la ciencia. Hibridaciones, Ed. Biblioteca Nueva, 2012. She has been visiting artist at the Center for Interdisciplinary Research in the Arts, Northwestern University (USA, 2003-2004) and Changdong National Art Studio (South Korea, 2007). Symbolic Models in the Creative Process This paper examines different approaches to a symbolic model in order to see how the archetypical images are acting within the work of art. Focused on the house archetype as a powerful symbolic model in contemporary art we will see how the archetypical house isa recurring image in contemporary art. As an effective symbolic model that has a strong evocative capacity, it is able to display multiplicity of meanings, among them metaphoric meanings regarding different individual and collective spaces, feelings and experiences of the lifetime, and places of the memory. Moreover, the image of the archetypical house

offers an adaptable model susceptible of being reworked and developed from a wide range of creative disciplines. This paper will explore different approaches to this meaning loaded model taking into account works of renowned contemporary artists as Louise Bourgeois, Per Barclay, Doris Salcedo, but also architects as Herzog and De Meuron and designers. We will find the possibility of using the transforming power of symbolic models associated to all kind of materials in such a way that the model is constantly maintained in process and it and becomes an active and creative component.

DAYANE DE SOUZA JUSTINO | NUPPE / NUPEA/ IARTE / UFU Universidade Federal de Uberlndia Minas Gerais / Brasil Graduada em Artes Plsticas (Licenciatura e Bacharelado) pela Universidade Federal de Uberlndia (UFU). Mestre pelo Programa de Ps Graduao em Artes na linha Fundamentos e Reflexes (UFU) com a dissertao Runas da cor: poticas pictricas do tempo. Desenvolve pesquisa terica e prtica, sobretudo obras pictricas e processo de formao e transformao da matria. Membro-pesquisadora do NUPEA- Ncleo de Pesquisa Ensino de Arte e do NUPPE - Ncleo de Pesquisa em Pintura e Ensino, ambos os ncleos vinculados ao Instituto de Artes na Universidade Federal de Uberlndia. Acmulos e Oxidaes: Uma reflexo sobre a natureza matrica sob a ao do tempo Esta comunicao centra-se nos processos de pesquisa que envolvem uma potica visual da temporalidade no mbito da pintura e do processo criativo artstico em geral, sobretudo no que toca ao dilogo entre a expressividade matrica e a criao de uma iconografia pessoal influenciada pelo contexto arquitectnico, que a minha obra tem vindo a traduzir. A minha produo plstica explora o potencial expressivo alcanado pelo recurso a suportes bidimensionais como a tela e o vidro, que servem de base a processos experimentais de transformao de materiais como limalhas de ferro, cimento, areia, entre outros. Trata-se de uma abordagem

formal e iconolgica relativa fragmentao de elementos arquitectnicos como o arco ou a voluta e relao representacional e figurativa da transitoriedade com base em imagens de ruina arquitectnica, aqui considerada como uma expresso pictrica da passagem do tempo. Procurarei articular referncias ao passado, para l dos sistemas tradicionais de representao pictrica, num contexto alargado de apropriaes, deterioraes, acmulos, perdas e traos, no mbito da anlise prpria natureza pictrica que levo a cabo na minha obra, como tambm no mbito da anlise de obras de outros artistas, exemplificativas da potica do tempo na cultura visual contempornea.

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JOS MIRANDA JUSTO | Universidade de Lisboa Jos Miranda Justo, b. 1951. PhD, University of Lisbon, 1990. Associate Professor at the Faculty of Humanities of the University of Lisbon. Member of the Research Centre for Philosophy at the University of Lisbon (CFUL), where he is main researcher in a project concerning the philosophy of Sren Kierkegaard. Research areas: Philosophy of Language, Esthetics and Philosophy of Art, Hermeneutics, Literary Theory, Translation Studies. Author of several studies in the abovementioned research areas. Among other authors he translated Wilhelm von Humboldt, Schleiermacher, Kierkegaard, Wagner, Nietzsche, Marx, Rancire and Deleuze. Artistic Creativity: Knowledge, Affects, Imagination and Language The singularity of esthetical experience is present not only in the reception of the artwork by the receiver, but also in everything that takes place on the side of the subject who executes the artwork. Singularity is to be distinguished from generality and universality, but it is also fundamentally different from the particularity of many other types of experience. When Gilles Deleuze puts forward the distinction between concepts, affects and percepts, he places himself at a level in which the conceptual singularity, on one hand, and the esthetical singularity, on the other, play an active and constitutive role. This will be the topic that the first part of my paper tries to examine. Esthetical singularity however, is a process which involves various types of mediation, particularly concerning the functions of imagination, the role of pathos, and of poiesis, and consequently of language, even in artworks of strict visual or musical nature. The analysis of this conglomerate in its complexity will be the kernel of the second part of my paper, and will take me to revisit some specific moments in the tradition of reflection on esthetical matters, concerning particularly its connection sometimes more explicit, some other times more potential with a few topics of the Philosophy of Language. Criatividade artstica: conhecimento, afectos, imaginao e linguagem A singularidade da experincia esttica diz respeito no s recepo da obra por parte do espectador, mas tambm a tudo aquilo que acontece do lado do sujeito produtor da obra. A singularidade distingue-se da generalidade e da universalidade, mas tambm fundamentalmente diferente da particularidade que caracteriza muitas outras experincias. Quando Gilles Deleuze introduz a distino entre conceitos, afectos e perceptos, situa-se num plano em que a singularidade conceptual, por um lado, e a singularidade esttica, por outro, desempenham um papel activo e configurador que a primeira parte desta comunicao procurar examinar. A singularidade esttica, porm, um processo que implica instncias de mediao vrias, designadamente no que toca s funes da imaginao e participao do pathos, da poiesis e, consequentemente, tambm da linguagem, mesmo nas obras de carcter eminentemente visual ou na criao musical. A elucidao desta constelao complexa ocupar-me- na segunda parte da comunicao e levar-me- a revisitar alguns momentos mais relevantes da tradio da reflexo esttica, designadamente na respectiva articulao umas vezes mais explcita, outras mais potencial com certos tpicos da filosofia da linguagem.

MAGDALENA LANGE | Department of Aesthetics, Institute of Philosophy, Jagiellonian University Krakow, Poland Magdalena Lange, PhD candidate conducting research on the bio art in the Philosophy Department at the Jagiellonian University in Krakow. She is gratuated art historian and biotechnologist, studied medicine and literature. Participated in international conferences concerning bioethics and genetics. Publication: Werner syndrome and mutations of the WRN and LMNA genes in France. Uhrhammer NA, Lafarge L, Dos Santos L, Domaszewska A, Lange M, Yang Y, Aractingi S, Bessis D, Bignon YJ., Hum Mutat. 2006 Jul;27(7):718-9. How does a semi - living sculpture grow? Biotech - art A wide array of life-science discoveries make a stimulation for creating visions and mysterious imaginative pictures. Biotech art/tissue culture art starts from a concept of stem cells which can give a rise to some tissues. Culturing of cells being directed to some tissues formation is a very creative process triggering an emotional feedback from the viewer. Cells expand to colonies with color and shape. Australian artists: Oron Catts and Ionat Zurr brought up an idea to create some sculptures which are composed from both the artificial skeleton and living cells. The living part overgrows the scaffold. The artists created hybrids of dead materials and living cells which amazingly need to be fed and have to breath. Observers admire shape and colors from different viewing perspectives having a strong feeling of seeing alive form. The mystery of the presentation is the location of sculptures in incubators and bioreactors to sustain the life. Described

above approach opens a new avenue in art biotech art. Living, growing cells are contributing to the final shape. In the past people were used to admire the pictures formed by growing molds or bacteria. Nowadays Australian colleagues employ living animal and human cells. The knowledge of the biotechnology is an indispensable part of artistic creation and perception. Knowledgeable bio-artist can provide conditions to direct the cells to differentiate into tissue-like structures. As an effect of that living cells having an opportunity to differentiate to different tissues can change the final image directed by a scaffold contributing to the final shape. The understanding by the viewers some technological aspects of semi-living sculptures creation facilitates the perception which becomes more full and rich. Some protocols employed by tissueculture artists will be shown to better understanding of some contemporary biotechnological tools.

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SANNA LEHTINEN | University of Helsinki Sanna Lehtinen is a doctoral student in Aesthetics at the University of Helsinki in Finland. She is currently based at the International Institute of Applied Aesthetics (IIAA) which is part of the Universitys Palmenia Centre in the city of Lahti. Sanna is writing her PhD dissertation on the relation between spatial experience, personal space, and aesthetic experience. Her work at the Institute also includes organizing an annual seminar which brings together professionals on environmental aesthetics, ecology, and other environmental fields. Sanna has worked previously as a curator of contemporary art at the Amos Anderson Art Museum in Helsinki. Falling Trees Contemporary Artistic Interpretations of Nature How nature is represented in contemporary art strongly reflects societys ongoing pondering on the state of nature. The current ecological crises have permanently affected the relation with nature and also the multiple ways artists use nature as a source, material, and motivation for their work. Here I present works of art by two Finnish artists, Terike Haapoja and Antti Laitinen. Comparing the two very different approaches they have, I show how the conception of and relation to nature reflects the dark and justified concerns but also the ever- present artistic introspection which takes place inside the boundaries of artistic practices. The experience of nature the works of Haapoja and Laitinen transmit is strongly fragmented and mediated by their chosen work methods. From the point of view of environmental aesthetics, artistic vision

and its result through creative process can lead sometimes to even questionable stance towards nature when the individuals experience overshadows the grander ecological scheme. By applying Arnold Berleants notion of aesthetic engagement to the way these works of art enrich the experience of nature, I show how they reaffirm the need of engagement on many levels. With their presented end results, the artists seem to show a deep concern for nature and yet also give their personal and artistic interpretation of it. Regardless of the response these works ultimately get, they exhibit a commitment to their deeply entrenched relation to nature. This is how they can be seen to challenge the traditional concepts of disinterestedness on different levels and to also confirm a new kind of dynamic conception of the role of the artist.

TOBIAS LOEMKE | Friedrich-Alexander-University Erlangen-Nuremberg Tobias Loemke was born in Augsburg, Germany, in 1974. Since 2008 he is teaching as senior lecturer (Akademischer Rat) at the Chair of Art Education of the Friedrich-Alexander-University in Erlangen-Nuremberg. Before that he taught art at the Burghausen Kurfrst-Maximilian-Gymnasium. He studied painting and art education at the Nuremberg Academy of Fine Arts and the University of Arts and Design (HfG) in Karlsruhe. A qualitative, empirical study of the artistic development of students in Art Education My research focusses on the artistic development of students in art education. I am interested in the students orientation toward the art world, especially in the changes in their minds and attitudes evidenced through their artworks. I am interested in shifts in their creative processes, which could either be described as converging (by connecting, for example, with experiences [1] collected in contexts external to the arts) or diverging (as a break in Bernhard Waldenfels[2] sense, when unexpected events generate new directions). How do students come to terms with these experiences of limits or breaks? How do they succeed in developing these unexpected skills in other areas? When do they begin to identify existentially with their own art work? I have occasionally witnessed these shifts, which have been transformative for students. My art teaching is not based on fixed targets, but on works that individual student have already made, as well on their ideas and biographies. Together with my students, I search for traces revealing hidden resources that might enrich their creative processes. By interviewing my students before portfolios of work spanning from their application to the present, I try to get more information on changes in their orientational framework. My methodology is based on Ralf Bohnsacks ideas [3], which were developed in the social sciences. My data will be comparatively triangulated on one hand with an analysis of the students most significant artworks, and on the other with my own observation [4] of the processes. Birgit
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Engels work [5] on sense awareness in the educational process is an important basis for my research, as is Susanne Liebmann-Wurmer, who explored the relation between design and social activity [6]. Methodologically, my project is a challenge to my professional identity, as artist, teacher and researcher. My own studies in the arts and my experience in different creative processes are keystones in my research.
[1] Compare to the item Syntopie created by Ernst Pppel: In Pppel 2002, 21f. [2] Waldenfels 20072, 175. [3] Bohnsack 20112. [4] Ellis et al. 2010, 345f. [5] Engel 2004. [6] Liebmann-Wurmer 2000.

Literature: Bohnsack, Ralf. Qualitative Bild- und Videointerpretation. Die dokumentarische Methode. Opladen und Farmington Hills 20112. Ellis, Carolyn / Adams, Tony E. / Bochner, Arthur E. Authoethnographie In: Mey, G. / Mruck, K. (Hrsg.). Handbuch Qualitative Forschung in der Psychologie. Wiesbaden 2010. (S. 345-353) Engel, Birgit. Sprbare Bildung. ber den Sinn des sthetischen im Unterricht. Mnster, New York, Mnchen, Berlin 2004. Liebmann-Wurmer, Susanne. Der Mensch im Spiegel seiner Gestaltung. Bestndigkeit und Wandel in Gestaltung, Handlung und Biographie bei Kindern und Jugendlichen. Nrnberg 2000. Pppel, Ernst. Wo ist Syntopia? - Where ist Syntopia? In: Sacharow-Ross, Igor / Pppel, Ernst (Hrsg.). Sapiens sapiens. Kln 2002. (S. 21-22) Waldenfels, Bernhard. Bruchlinien der Erfahrung. Phnomenologie, Psychoanalyse, Phnomenotechnik. Frankfurt am Main 20072.

OLIVIER MATHIEU | Universit de Montral I have recently successfully defended my doctoral dissertation, Crativit artistique; une approche phnomnologique, at the philosophy department of McGill University. For the last five years, I have been teaching philosophy of art and aesthetics of literature for the department of philosophy at Universit de Montral. From 2008 to 2011, I have created and organised the Montreal Reflections on Art and Aesthetics Workshop (MRAAW), a series of conferences by regional and international figures from various academic fields. I am currently working on identifying the role and impacts of subjectivity in the determination of historical normative frameworks such as the artworld. What Does Artistic Creativity Describe? My aim in this paper is to provide a model of the phenomenon described by artistic creativity. In the first part of the presentation, I distinguish between the evaluative and descriptive sense of creativity. Arguing that the evaluative usage of this property rests on historical considerations and judgments not specific to our practices and appreciation of artworks, I show that it is only as a descriptive property that we can talk of artistic creativity as such. I then show, in the second part of the paper, that artistic creativity thus understood describes a feature of the genetic processes specific to the accomplishment of an artwork. I here appeal to Edward Young and Martin Heideggers thoughts

bearing on the necessary conditions to the possibility of a novel artworks phenomenon. I show that, though their philosophical endeavours were radically different, they nonetheless describe in strikingly similar fashion the modalities of the artists intentional mobilization of relevant normative frameworks or horizons. On the basis of those similarities, I develop a model of artistic creativity that highlights the necessary intentional features of an artworks accomplishment. In the final portion of this paper, I provide reasons to think that institutional theories of art ought to integrate this model as a necessary, yet insufficient, condition to something being interpreted and appreciated as an artwork.

MADDALENA MAZZOCUT-MIS | Universit degli Studi di Milano Maddalena Mazzocut-Mis is an essayist and a leading scholar in her field. She is Professor of Esthetics and the Esthetics of the Performing Arts at Milan University (Universita degli Studi di Milano). She has published, amongst other things, Forma come destino (Firenze, 1998), Deformazioni fantastiche (Milano, 1999), Voyeurismo Tattile. Unestetica dei valori tattili e visivi (Genova, 2002), Animalita. Idee estetiche sullanima degli animali (Firenze, 2003), Gli enigmi della forma (Milano, 1995 and reprint: Milano, 2005), Estetica. Temi e problemi (Firenze, 2006), Corpo e voce della passione. Lestetica attoriale di Jean-Baptiste Du Bos (Milano, 2010), Estetica, with Elio Franzini (2nd edition: Milano, 2010), Il gonzo sublime. Dal patetico al kitsch (Milano, 2005; French translation: Paris, 2010), Mostro. Lanomalia e il deforme nella natura e nellarte (2nd edition: Milano, 2013), Il senso del limite (Firenze, 2009; French translation: Paris, 2012; English translation: Newcastle upon Tyne 2012). A ideia do fazer O operar do artista sempre se constituiu como uma questo de relevncia incontornvel para a prpria definio do objecto de arte e para a sua demarcao face a outros produtos da aco humana, como por exemplo o artesanato. Escapando sempre a frmulas, o fazer artstico dever ser concebido numa acepo que se furte polarizao idealista/ materialista, em prol de um entendimento mais pleno e integrado da arte e dos seus processos. Nesta senda, o conceito de tcnica revela-se bastante adequado para abordar a complexidade do processo criativo artstico, abrindo caminho para uma compreenso fenomenolgica avessa ideia de uma genialidade ou expressividade puras, desligadas daquilo que na vida no se limita ao intelecto.

Esta comunicao aborda justamente a temtica do fazer artstico, centrando-se no conceito de tcnica e salientando aquilo que nas suas especificidades a permite distinguir-se do virtuosismo ou do mester. A tcnica ser aqui tida na sua dimenso processual e na sua plenitude sensvel, racional e funcional. Para tal, revisitam-se vrios perodos histricos e autores como Diderot, Batteux, Croce, Antonio Banfi e Dino Formaggio, traando o percurso da legitimao da tcnica artstica, no qual se cruzam temticas como a expressividade, a imaginao, o gosto, o gnio, a natureza ou a ausncia de uma finalidade intrnseca na arte. Tal percurso culmina nas ideias da dimenso orgnica da obra de arte e do carcter processual e totalizante da tcnica artstica, cuja aco construtiva e comunicativa comporta tanto a razo, quanto o acaso, impedindo um controle total do seu operar e fazendo da obra de arte uma entidade com vida prpria.

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LEAH MC LAUGHLIN | Cardiff Metropolitan University, School of Art and Design I studied Fine Art (Ceramics) at Galway-Mayo Institute of technology, Ireland (2001-2005). There I became interested in the ways material and the processes involved in the forming of artworks, created tensions with my conceptual ideas. An MA Ceramics in Cardiff School of Art and Design (2007-2008) allowed me to locate my practice within debates that focused on thinking through practice, and specifically to develop visual methods which could reveal these relationships. This grounded my current PhD project, The ways moving-images can reveal the interaction between ceramicists and their materials at Cardiff School of Art and Design (2008-present). I am in the process of developing findings and applying them to related areas of research as a research assistant under CARIAD (Centre for Applied Research In Inclusive Art and Design)

In with Flynn: the ways moving-images can reveal the interaction between ceramic artists and their materials The human figures which Michael Flynn brings vibrantly to life through the medium of ceramics emerge out of the artists ways of interacting with his materials. The characters portrayed by Flynn are powerful, disturbing and dynamic and they reflect aspects of the artists own personality. It is argued that insufficient account is taken of these factors when describing and interpreting the conceptual development of the ceramicists ideas and the artworks which result from this process. It is further argued that it is through the development of effective documentary methods that the important mediating role of these factors on the outcomes (artworks), can be more fully analyzed, understood and articulated. Documentary filmmakers who claim to illuminate aspects of artistic engagements with materials (Clouzet; 1956, Steinberg; 2009) often reveal little evidence of examination or interpretation. Nevertheless selectively drawing upon documentary film theory and practice, the researcher developed a series of strategies and methods through carrying out case studies, where a range of

artists were interviewed and recorded on video, working in their studios. The combination of sound and moving-image provides a far more effective means of illuminating and disseminating artists artistic engagements in new and interesting ways compared to simple still photography and written text. Moreover movingimages contain crucial information in a form that is more easily assimilated, leading to a greater understanding of the artist, what they have achieved and why. This paper will describe using fully edited moving-images, and importantly terms associated with aesthetics and empiricism, the ways some of the key stages of Michael Flynns artistic engagements are revealed which would have otherwise remained hidden and implicit. It will also situate the development of these strategies of recording creative engagements within a wider theoretical framework and include a detailed checklist available for use by researchers in related projects.

CAMILA MOREIRA | NUPPE/ Universit Paris I- Panthon Sorbonne Camila Moreira artista plstica, nascida em 10 de agosto de 1981, em Formiga- Minas Gerais, Brasil. Sua formao acadmica Bacharelado e Licenciatura em Artes Plsticas pela Universidade Federal de Uberlndia, Brasil; seguido de mestrado em Artes Plsticas pela Universit Paris I- Panthon Sorbonne, Frana e atualmente realiza seu doutorado em Artes Plsticas pela mesma Universit Paris I, Frana. Ela vive e trabalha em Paris, aonde desenvolve uma pesquisa terica e plstica ligada sua genealogia, aos objetos de coleo e uma analise de sua alteridade intima. membro do NUPPE-UFU. Agenda de exposies: 2013 Exposiao Individual: De anima, CROUS BEAUX ARTS- Paris/ Exposioes coletivas: Galeria Juan Pardo Heeren- ICPNA, Peru / Centre Cultural Casona de San Marcos, Peru/ Espace Saint Rmi, Bordeaux, France. Creative Process. Decision, Migration And Edges When Czanne says nature is on the inside, we revisit our creative process in its depth. We see what is on the inside and will be captured with the eyesight, thus migrating to the alterity the visibility enigma. Soon, creating finds its first edge: decision, which can be both imagetic and conscious, visualized or projected. The artist inhabits the work and the work inhabits the artist. According to Merleau-Ponty, the world is around me, not in front of me.1 Thus, creating dialogs swirlingly with the innerself and the sorrounding self, in an intimate experience of secret places and transitions. The resulting work is then the encounter of the innerself of its creator, of the one who receives

it: the spectator and the intimate of itself. The edges are connected and tiednin complexity, where the creating process represents what was captured by the eyes and at the same time concentrates what the innerself has elaborated. A constant migration of large frontiers that transverse through the narrow paths of eyesight, be it contemplative, narrative or judging. To consider the process, as practice is to wish to penetrate a mysterious and secret world, which the enigmatic enchantment of visibility will persuaded or distance the inner sight of an intimate nature.
1 M. Merleau- Ponty, Lil et lesprit, Paris, Gallimard, 2012, p. 59.

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GLORIA LUQUE MOYA | Researcher at the University of Malaga/ PhD student at the University of Granada Gloria Luque Moya graduated from Malaga University with a B.A. in Philosophy. She was awarded a prize for Excellence in Academic Achievements and had a Predoctoral Research Grant in the field of Aesthetics and Art Theory. She also has a B.A. in Social and Cultural Anthropology and a M.A. in Practical Philosophy from UNED. She is currently doing her PhD thesis on John Deweys Aesthetics at the University of Granada and is also researching at the University of Mlaga, where se has a National Research Scholarship. Her areas of research are Aesthetics, Cultural Studies, Pragmatism and John Deweys Philosophy. She has published various articles, such as Everyday Aesthetics, Approach to everyday aesthetics as an intercultural meeting point, in Spanish Scientific Journals. The Pace of Aesthetic Process: a Comparative Approach Traditionally, western theory of art has been equipped with a set of dualisms such as subject-object, artistic process-artistic product, active artist-passive spectator, that has supposed a rejection of a plenary notion of the human integrated with nature and the cosmos. In this context, John Dewey, who presented his theory of art in 1934 in Art as Experience, showed how the art has been set in a remote pedestal, separated from the low activities which we realized in our ordinary lives. He refused the way aesthetics has separated the live creature from the world in which it lives, and proposes a new approach which begin from the raw, from everyday human activities. The aim of this paper is to focus interest in Deweys notion of rhythm, because this characteristic set the pace of the aesthetic process. This paper explores Deweys proposal from a comparative approach, because the rejection of art-centred discourse to

the rich aesthetic dimensions of our lives is not common in all cultural traditions. I begin defining the deweyan notion of rhythm in contrast to the vital rhythm of Taoist aesthetics. Both Dewey and Taoists postulate that Human beings are affected and participate in natures rhythms and the reality is a continually changing balance. Secondly, I would like to consider a specific classic Chinese work of aesthetics, written by Sh Tao () in the seventeenth century, which was developed fundamental aspects of rhythm in capturing the spirit resonance of the world and revealed its immensity through the method of the one-stroke. Through this papers presentation, I wish to show the importance of the rhythm in the creative process, because rhythm marks not only our interaction with the environment and with other people, but also the impulse of the aesthetic world-making process.

ANA NOLASCO | CIEBA/CFUL/ Escola Superior de Educao de Setbal Teaches Art and Aesthetics at the College of Education of Setbal. She is an integrated member of the Centre of Philosophy of the University of Lisbon and a researcher at CIEBA (Centre for Research and Studies in Fine Arts of the Faculty of Fine Arts of the University of Lisbon). She holds a PhD in Aesthetics and Philosophy of Art by the Faculty of Letters of the University of Lisbon, having published several essays in her field and delivered many oral presentations at national and international academic events. Encontros imprevistos: a ironia no processo criativo de Eduardo Nery O termo processo criativo remete para uma operao que decorre no tempo: uma atividade mental que, embora s se manifeste na sua fase final, passa por vrias etapas e est dependente de vrios fatores, internos e externos ao sujeito. Todas estas etapas pressupem uma atividade intencional, i. , dirigida para um fim que procura dar resposta a um problema inicial, a uma falha detetada que se procura ultrapassar. A peculiaridade do processo criativo nas artes reside no facto de, partida, no existir um problema definido, sendo, assim, uma atividade intencional livre, no sentido kantiano, uma finalidade sem fim. A ironia, por seu turno, no uma atividade, podendo, no entanto fazer parte do processo criativo. Ela surge, como disse Fernando Pessoa, do choque do sentimento contraditrio, sendo necessrio um largo conhecimento da linguagem utilizada, um domnio absoluto da expresso, fruto de uma cultura intensa. Neste sentido, a ironia induz a criatividade na medida em que nos faz ver novas relaes entre as coisas.

Na obra de Eduardo Nery, confluem, como o prprio reconhece, duas facetas opostas: uma, mais espontnea ora expressionista, ora romntica, e outra mais construtivista, de grande rigor formal. A ironia resulta do choque entre estas facetas contraditrias que esto na raiz da sua obra, constituindo uma caracterstica indissocivel do seu processo criativo. Se, na crise do incio dos anos 70, a ironia foi um instrumento de uma mise en question (Fernando Pernes), dos prprios meios de representao da pintura, e, nas colagens de 1975, de crtica sociedade de consumo, foi dando lugar a uma maior ambiguidade, a uma ironia mais potica, como na srie de fotografias a preto e branco, Metamorfoses, 2005, assim como em Intromisses, 2007, ou em Vida Dupla, 2010. Como procuraremos demonstrar, a subtileza da ironia na obra de Nery reflete uma elaborada e meticulosa preparao e um refinamento da lucidez atravs da agudizao do olhar. atravs do olhar irnico que, na obra de Nery, se cristaliza a abstrao intelectual naquilo que Arnheim denominou de pensamento visual.

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BOGNA J. OBIDZINSKA | Jagiellonian University, Krakw PhD in Philosophy at Warsaw University, Warsaw, Poland 2007, dissertation dedicated to the concept of the renaissance as interpreted by the Aesthetic Movement in England. Currently NCN Postdoc Scholar at the Jagiellonian University, Krakw, Poland 2012-2015. Employed permanently as Assistant Professor in the Bogdan Jaski Academy, Department of Social Science in Warsaw, from 2007. Author of Wenus w otoczeniu luster and co-author of two other books, as well as several articles and papers in the field of aesthetics. Member of the Editorial Office and Secretary at Sztuka i Filozofia [Art and Philosophy] peer reviewed journal in aesthetics. In Search of the Muse of the Visual Arts. Artistic Inspiration and its Ontological Contexts The ancient figures of the Muses metaphorically reflected the modes of operation of creative inspiration that concerned performative or poetic arts, especially different genres of poetry and music. It is remarkable that the status of the visual arts differed from that of the poetic arts through the ages as to their creative vs mimetic content. In spite of the attempts at attribution of the poetic inspiration to painting proposed by artists and thinkers of the Florentine quattrocento, the division remained, both in theory and practice, and was even deepened by the Romantic revival of theories of music and

poetry in the 19th century. The aim of the paper is to study the cognitive mechanism standing behind the phenomenon of creative inspiration in the context of painting as opposed to that of performative or poetic arts, as reflexive of the ontological nature of the work of art that is the product of each mode of creativity. Analyses are conducted with reference to selected works in phenomenology, formalism and theories of mimesis. A possibility of transgression of the chasm in the context of the 20th century avantgarde art is considered.

SUSANA OLIVEIRA | Faculdade de Arquitectura da Universidade Tcnica de Lisboa Teaches Drawing at the Faculty of Architecture - UTLisboa, and works as a freelancer illustrator. She graduated in Fine Arts Painting, has a MPHIL in Aesthetics and Philosophy of Art and a PhD in Communication Sciences. She participated in several conferences and has collaborated in curator and museum projects, namely at Museu da Cidade e Museu do Ca. She co-organized, with Pedro Gadanho, the 1st International Conference in Architecture and Fiction - Once Upon a Place, at Fundao Calouste Gulbenkian, October 2010, currently being edited as a book. Her PhD thesis Lies das Sombras was published by Fundao Calouste Gulbenkian in October 2012. She is also editor of a collection of novels and short-stories on Architecture and Literature by Abysmo publishers, currently in progress. Tales of Curiosity or the virtues of a wandering attention Inspiration, epiphany, Eureka moment, revelation and genius may captivate us as fables of the creative process but do not correspond to any sort of reality or common experience. Against these mysticisms of talent and invention, James M. Young, an American publicist, wrote in 1939 A Technique for Producing Ideas, in which he put forward two keys for creativity an idea is always a new combination, and the ability to establish new combinations depends on the ability to see and find relationships between things and different aspects. This skill largely depends on mental training, on focused attention and mindfulness but mostly on an intense individual curiosity. This proposal does not seem particularly sophisticated or enriching nowadays and was already addressed by many, from Nietzsche to Bruno Munari.But Young adds and emphasizes the importance of what he calls no effort of a direct nature, i.e. to allow a mental digestive process to operate fluidly and

unattended. Which is so very different than to wait for an external intervention of mysterious kind, but just to trust to the mind the task of establishing relationships and exclusions between materials it collected. By means of anecdotes and episodes about certain artists, scientists, designers and objects, it is our purpose to defend the possibility of a curious dispersion (or a unconcerned curiosity) as the ideal disposition for the germination of ideas.This disposition can be developed by habits of thought and mindful participation with the self and the world, searching for relationships between facts and events and things selflessly and naturally. Not so distant after all from what William James, the father of modern psychology, defined by the end of the 19th century as a wandering attention - a culture that allow us to develop this faculty would be the excellence of an education for creativity.

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MARIA JOO ORTIGO/ MARIA JOO LELLO ORTIGO DE OLIVEIRA | Faculdade de Belas-Artes da Universidade de Lisboa Professora Licenciada em Filosofia (1979 UP-Universidade do Porto), Mestre em Histria de Arte (1989 UNL-Universidade Nova de Lisboa) com uma Tese sobre o Pensamento Esttico de Ramalho Ortigo, e Doutora em Cincias da Arte pela Faculdade de Belas-Artes de Lisboa (onde lecciona e trabalha desde 1994) com uma Tese sobre Aurlia de Sousa em Contexto, defendida em 2002 e premiada pelo Grmio Literrio de Lisboa com uma Meno Honrosa. Alm desta obra, e de outras em preparao, publicou ainda O Essencial sobre Ramalho Ortigo, a par de 2 livros de Fico O Paraso Invisvel : Ramalho Ortigo e Sarah Bernard (traduzido e publicado igualmente em alemo), e O Pesadelo, conjuntamente com mltiplos textos da especialidade, articulando Arte e Literatura oitocentistas, e Histria de Arte do Renascimento ao Modernismo. Investigadora do Centro Francisco de Hollanda /Cieba, do qual foi sua coordenadora, actualmente co-directora da Revista ArteTeoria da Faculdade de Belas-Artes de Lisboa. Casada, tem dois filhos. Criao, Destruio e Gerao A partir de um apontamento sobre a histria da chamada Beat-Generation, vamos contar uma outra histria, interrogando as personagens que so a prpria arte e a literatura, no seu

movimento contnuo de criao e processo criativo. E porqu este ttulo de Criao, Destruio e Gerao ?

MARGE PAAS | Tallinn University MARGE PAAS, MA (b. 1976), doctoral student in Tallinn University. As young researcher in contemporary aesthetics, Marge Paas focus in her research into new phenomenas in aesthetics and in philosophy of art. She graduated MA in Interactive Multimedia in Tallinn Academy of Arts and has been a researcher/guest studient for 2 semesters at La Sapienza, Universit degli studi di Roma, in 2010 and 2011. She is interested in empathy, manipulation and simulation in aesthetic experience, according to contemporary art practices, and focuses in her dissertation the problems of empathy in aesthetic experience. She has been written several publications of contemporary art and culture theories. Empathy and creative expression Within the last couple of years, the problems of empathy do not belong anymore into the field of psychology and phenomenology, but it has strong focus also in art theories, theology and neuroscience. The famous work of art - Pieta by Michelangelo Buonarroti - visited by million of guests every year, is a statue of a mourning mother. The mother holds her sons lifeless body in her lap. The spectator perceives the pain and sadness from the satue and never experiences it as joyful or giving some pleasant sensations. The pain, which I became aware of, is given to me, it requires a concrete spatio-temporal being, and it appears or occurs as an embodied giveness. But what kind of awareness is it? The pain is not given to me as a thing; this masterpiece is also not given to me as a thing.

There is always the possibility to see other perspectives of this statue and sense the given pain differently from how it is presented by Michelangelo in Rome. I, as a spectator of the work of art, empathically go inside this work of art and perceive the other, and I am not any more in the content of the work of art, I will become a subject of this content in the original subjects place. My question is, how I as perceiving subject experience this given foreign other in me what appear in my consciousness from work of art. I argue that this relationship is based on empathy in creative process. In the following analysis I will bring various examples about 21th century work of art and I am interested in, how our consciousness follow to creative expression and its relationship with empathy.

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JOO PENEDA | Faculdade de Belas-Artes da Universidade de Lisboa Graduated in Philosophy in the Faculty of Social Sciences and Humanities, New University of Lisbon (1986-90). Postgraduate studies in Philosophy at the same institution. Has taught in the Fine Arts Faculty since 1992. In 1997, took the Pedagogical Aptitude and Scientific Capacity examination. Assistant Professor since 2005, with a PhD in Sciences of Arts / Aesthetics on the contribution of the psychoanalytic theory of Freud and Lacan for Aesthetics. Taught the following pre-Bologna courses: Introduction to Aesthetics, Aesthetics (3rd and 4th grade and Master in Art Theory), Psychology and Cultural Studies; postBologna: in the 1st Cycle: Aesthetics I and II, Cultural Studies I and II, Psychology; in the 2nd Cycle: Therapeutic Perspectives of Plastic Arts and Theory of Digital Libraries and E-learning (Master in Art Education) and Psychology of Art (Master in Teaching Visual Arts, UL); in the 3rd cycle: Seminar of Fine Arts I and II (lectures). Researcher of the Instituto Francisco de Holanda / Centre for Research and Studies in Fine Arts (CIEBA). Coordinator of the FBAUL e-learnings team. Translator and author of articles, reviews and publications in the area of Aesthetics and Psychoanalysis. Psychoanalyst and therapist. Criatividade e condicionamento humano Usamos a palavra arte para designar tudo aquilo que resultou da habilidade e do engenho humano, distinguindo-se pelo aprimoramento e pela novidade abstracta (Pessoa) que introduz na cultura. A arte, tal como a conhecemos, em grande medida fruto de um afastamento do homem face natureza, no deixando de ser igualmente um esforo de dilogo com tudo aquilo que nos condiciona, incluindo a prpria natureza. Alinhada com esta capacidade de desconfinamento, a criatividade permite ainda alterar para melhor a vida humana. Quem cria demonstra, atravs desse mesmo acto, que no

depende exclusivamente daquilo que lhe prescrito. Para o atestar, comearemos por expor um elenco alargado de todos aqueles factores que condicionam o homem, dos mais fsicos aos mais simblicos, a nvel individual e colectivo. Seguese uma apresentao das diversas acepes da arte, com o propsito de equacionar as possibilidades da criatividade escapar e superar os factores que condicionam o humano. Por fim, resta-nos interrogar o que seria a excelncia da arte e da criatividade.

FERNANDO ANTNIO BAPTISTA PEREIRA | Faculdade de Belas-Artes da Universidade de Lisboa Formado em Filosofia pela Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa (1986-90). Ps-graduao Lisboa, 1953. Licenciado em Histria pela Faculdade de Letras da Universidade de Lisboa, ps-graduado em Museologia pelo antigo Instituto Portugus do Patrimnio Cultural e doutorado em Cincias da Arte (Histria da Arte) pela Faculdade de Belas-Artes da Universidade de Lisboa. Ensina na Universidade de Lisboa (na Faculdade de Letras e na Faculdade de Belas-Artes) desde 1979, sendo actualmente Professor Associado na de Belas-Artes, onde desempenha as funes de Presidente do Conselho Cientfico, de Director do Centro de Investigao em Belas-Artes (CIEBA), sendo tambm o autor do Plano de Estudos da Licenciatura em Cincias da Arte e do Patrimnio dessa faculdade. Tem vasta e diversificada obra publicada nos domnios da Histria da Arte e da Cultura Portuguesas, da Crtica de Arte e da Museologia. autor do Conceito e da Programao de vrios Museus e de grandes Exposies nacionais e internacionais em Portugal, em Espanha, no Brasil e em Macau, assim como foi o responsvel pela coordenao cientfica dos respectivos catlogos, destacando-se o Museu do Trabalho de Setbal, Meno Honrosa do Prmio Museu Europeu do Ano, em 1997, e Prmio Museu do Ano, da Associao Portuguesa de Museologia, no mesmo ano, o Museu do Oriente (2008, Prmio Museu do Ano, da Associao Portuguesa de Museologia, em 2009) e o Museu Ibrico de Arqueologia e Arte de Abrantes (nomeadamente das suas exposies de Anteviso, 1, 2, 3 e 4, de 2009 a 2012). Foi tambm o Comissrio Cientfico da Exposio do Museu Hermitage de S. Petersburgo em Portugal (Arte e Cultura do Imprio Russo. De Pedro-o-Grande a Nicolau II, 2007) e o Revisor Cientfico da Nova Histria da Arte de Janson, publicada em Janeiro de 2010 pela Fundao Calouste Gulbenkian. O estudo dos Processos Criativos em Pintura Antiga como interface de investigao em Arte e Cincia Os casos de estudo dos Primivos Flamengos e Portugueses O estudo tcnico e material das obras de arte hoje um dos campos de transversalidade dos estudos artsticos, fazendo confluir metodologias e campos de anlise das cincias fsicoqumicas, das humanidades e das tecnologias artsticas, num equilbrio nem sempre fcil de alcanar mas que suscita e impe cada vez mais a realizao de trabalhos em equipas de investigao multidisciplinares. A FBAUL, ao criar nos seus trs Ciclos de Estudos (Licenciatura, Mestrado e especialidade de Doutoramento) a valncia das Cincias da Arte e do Patrimnio, com especial nfase na Conservao e Restauro e, em particular, nos problemas especficos a esse nvel que levantam as produes da Arte Contempornea, pretende contribuir para o aparecimento de
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uma nova gerao de historiadores, crticos, muselogos e curadores profundamente conscientes dos limites mas tambm das vantagens do carcter material e tcnico das obras que estudam ou apresentam fruio. Para exemplificar o estudo dos processos criativos na Pintura Antiga iremos apresentar alguns casos paradigmticos relativos aos chamados Primitivos Flamengos (sculo XV) e Portugueses (o sculo de Nuno Gonalves, 14501550), particularmente no que respeita anlise do desenho subjacente, da tcnica pictural e das fontes iconogrficas, assim como no que toca interveno da encomenda durante o processo ou s questes de recepo, aps a finalizao.

JOS PEREIRA | Escola Superior de Educao do Instituto Politcnico de Viseu Professor Adjunto do Departamento de Comunicao e Arte na Escola Superior de Educao do Instituto Politcnico de Viseu. Doutorando em Belas-Artes, na especialidade de Arte Multimdia, na Faculdade de Belas-Artes da Universidade de Lisboa. Desenvolve atividade profissional nas reas de Artes Plsticas (com particular enfse no domnio da Arte Digital), Teoria da Arte e ensasmo de arte. A aleatoriedade do discurso artstico colaborativo na esttica digital O advento da cultura digital e a forma vertiginosa como a tecnologia evolui configuram novos territrios de ao que rapidamente comeam a fazer parte do vocabulrio artstico. A explorao de tecnologias emergentes com fins artsticos, alicerada no conceito de aldeia global, do tipo previsto por Marshall McLuhan no seu livro The Gutenberg Galaxy, tem estimulado uma mentalidade tecnolgica e um intercmbio de ideias sem precedentes, conduzindo-nos a uma globalizao a que o pensamento artstico no pode ficar indiferente. Este fenmeno expande a base estruturante da tese wagneriana, a reconstruo de um medium associado a mltiplos meios e orientado para um pblico coletivo. Porm, estamos convictos de que esta assero encontra um novo nvel de significncia no axioma da globalizao, pois o pblico assume funes e um anonimato desconcertantes, plasmados numa exaltao do processo em detrimento do produto, sugestionando e relanando novas discusses acerca da obra aberta e do trabalho colaborativo.

A preocupao com as possibilidades estticas dos projetos artsticos em rede, num contexto relacional ativo, enfatiza uma participao do espetador na arquitetura da obra e na partilha do processo criativo que lhe subjaz. A interatividade da obra no s responde aos estmulos do pblico, como, em muitas circunstncias, esse pblico colabora na produo da obra, dando-lhe sentido e integridade conceptual. A ideia de espaos navegveis reivindica a participao efetiva do pblico para consumar a obra, propondo esquemas de interao subordinados a uma interface, que oculta um sistema construdo com base num pensamento multidisciplinar, alterando o paradigma autoral dessa obra. A relevncia e originalidade destas propostas de projetos colaborativos e respetivas metodologias concentram-se em questes de reflexo arrolveis prtica artstica, assumindo vrias dicotomias: imprevisibilidade ou planificao de processos, acaso ou controlo da tcnica, liberdade expressiva ou integrao de cnones, estabilidade ou inconstncia dos materiais, autoria partilhada ou incubadora criativa.

TERESA MATOS PEREIRA | Escola Superior de Educao de Setbal Licenciatura em Artes Plsticas Pintura, Mestrado em Teorias da Arte e Doutoramento em Belas artes Pintura pela Faculdade de Belas Artes de Lisboa. Membro do CIEBA seco de Ciberarte; Professora na Escola Superior de Educao de Setbal

Antnio Ole: arqueologias do quotidiano e da memria Esta comunicao procura abordar os processos de trabalho desenvolvidos pelo artista plstico angolano Antnio Ole (n.1951) com espacial destaque para uma prtica continuada de prospeo da realidade. Este procedimento em particular abrange no s a dimenso do quotidiano atravs da recolha e transfigurao de elementos residuais da sociedade como fragmentos de madeiras, chapas de zinco, ferro, ossos, conchas, mapas, textos, etc. mas estender-se- memria histrica de Angola, assumindo uma

dimenso metafrica. Aqui o artista provoca um jogo metafrico onde a obra oscila entre a revelao de estratos de sentido por detrs dos fragmentos que compem a sua gramtica, e a sugesto de novas significaes, atravs de processos de confronto, hibridao e codificao. Por fim estes processos de criao artstica espelham-se numa ampliao das possibilidades de leitura das obras - imprimindo-lhes uma feio multirreferencial ao mesmo tempo que propem uma reflexo cruzada sobre os mecanismos de apropriao pela arte.

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SO-YOUNG PARK | Goldsmiths, University of London I grew up in Korea and immigrated to Canada, where I studied photography and interactive media. Currently I am finishing my MPhil study in Visual Cultures at Goldsmiths, University of London. I have practised across a broad spectrum, including internet art, video, live visual performance, photography, and printmaking. In addition I have practised contemporary dance for the last 12 years. My current artistic interest concentrates on prehistoric belief systems, such as shamanism and animism, in relation to ritual suicide.

Action of Non-Intention for Creativity I introduce the Daoist concept of wu-wei () in relation to making art, and examine the notion of creativity. The concept of wu (: nothing or non-being), while permeating East Asian philosophies and religions, is purely parasitic and metaphysical; it indicates absence of something, and this something is merely a point of reference in anticipation, but not a real thing in the present. By comparison, the concept of wu-wei suggests the application of wu to the real world which actually exists in a positive sense. Wei () means governed or intended doing, thus wu-wei () means doing without intention or control. Wu-wei emphasises naturalness of doing, which is possible by mastery of necessary skills. East Asian scholar painting (prior to

modernisation) exemplifies this. The brush stroke itself no longer requires the painters control, but is performed instinctually at the command of the painters skilled hand. This allows the painter to concentrate on the coordination of painting at a given moment of execution. Uniqueness of the brush stroke results from this coordination whose variables are measured in relation to the fit between the particular circumstances of the moment and the singular quality of the painter. Creativity is what is naturally elicited through this meeting of the brush stroke as a unique occasion, and the painter as a unique individual.

JOO PAULO QUEIROZ | Faculdade de Belas-Artes da Universidade de Lisboa Curso de Pintura pela ESBAL. Mestre em Comunicao pelo ISCTE. Doutor em Belas-Artes pela Universidade de Lisboa. professor na Faculdade de Belas-Artes da Universidadede Lisboa(FBAUL), responsvel pelo doutoramento na rea de Arte Multimdia eprofessor nos diversos cursos de Licenciatura, Mestrado e Doutoramento. Co-autor dos programas de Desenho A e B (10 ao 12 anos) do Ensino Secundrio. Coordenador do Congresso Internacional CSO (2010, 2011, 2012, 2013) e diretor das revistas acadmicas: Estdio, Gama, e Croma. Coordenador do Congresso Matria-Prima, Prticas das Artes Visuais no Ensino Bsico e Secundrio (2012, 2013). Atualmente Subdiretor da FBAUL. Entre a ideologia e a resistncia: o caso do livro de artista O livro de artista emergiu, sobretudo a partir dos anos 60 do Sc. XX, como um lugar de resistncia ideolgica, muitas vezes encerrando propostas de discursos auto-referentes, discursos crticos dos prprios livros enquanto formato legitimador estabelecido. A este propsito revisitam-se os conceitos de produo idelgica, de gramticas de produo e gramticas de reconhecimento (Vron), e ainda os modelos de produo de contedos encoding/

decoding (Stuart Hall) e seus referenciais de leitura: leitura dominante, negociada,oposicional.A terminar prope-se uma representao tridimensional de trs polaridades presentes no tema: o livro de artistaproduzido manualmente/ ou em srie, o livro objeto nico /ou mltiplo, o livro que se assemelha fisicamente a um livro / ou apenas se refere a um livro sem se lhe assemelhar fisicamente.

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ALEXANDRA AI QUINTAS | CIAUD, Faculty of Architecture, Technical University of Lisbon Alexandra Ai Quintas (b. Lisbon, 1961), graduated in Architecture, at the Faculdade de Arquitectura Universidade Tcnica de Lisboa (1984). She has completed a Master in Architecture and Rehabilitation (FAUTL, 2001) and a post-graduation in Contemporary Art (FCSH-UN, 2004). She completed the PhD thesis in Architecture (2009) with an investigation on the Gesamtkunstwerk and the collaboration of Portuguese architects and visual artists in the 20th Century. She teaches at FAUTL since 1990 and has belonged to facultys Editorial Centre (from 2000 to 2009). Currently, she is also a researcher and a member of CIAUD, where she conducts different research projects on the issues related to drawing and the process of architectural design, and the relation between the different visual arts. A Game of Reflections The approach in this presentation aims at exploring the role of drawing as a reflexive dynamics through which the mind uses the many possibilities and choices that are offered to both the artist and the architect, developing throughout the course of creative process that is implied in the artistic activity in the field of the visual arts. If one could choose a metaphor to depict appropriately this complex reality of the systematic testing of the many configurations that the creative author may produce, we could easily recall the game of light reflections that mirrors provide. In the first stages of conceptual thinking, the intuitive use of sketching, produces a long sequence of attempts, that tend to narrow down, by the method of error and trial, the choices to the formal solutions that are approved by the experienced creative individual.We are aware that this

sequence of different trials can be achieved by the use of digital means of representation, but we are convinced that there are some advantages provided by the traditional sketching method, more precisely the gestural approach that involve a complex interaction between the abilities and skills residing in the brain, the hand and the optical perception, all of them resulting in an interactive system of operations. The above referred operations often reside in a non rational frame of thinking, a sort not only intuitive but also iterative thinking. The intermediate stages of the object to create are attained by a successive approach to a final stage that is considered to being closer to the desired configuration. Hazard can play a specific role, from time to time, introducing into this game of reflections the refreshing quality of the involuntary and thus revealing that innovative and unexpected quality in the creative process.

MARIA MARGARIDA DA SILVA ROCHA | Instituto Politcnico de Setbal Escola Superior de Educao Doutourada em Cincias da Educao pela Faculdade de Cincias e Tecnologia da Universidade Nova de Lisboa. Mestre em Cincias da Educao pela mesma Universidade. Ps-Graduada em Histria da Arte pela Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa. Licenciada em Artes Plsticas (Pintura) pela Escola Superior de Belas Artes de Lisboa (actual Faculdade de Belas Artes da Universidade de Lisboa). Professora Adjunta na Escola Superior de Educao de Setbal, onde coordena o curso de Professores do Ensino Bsico, variante de Educao Visual e Tecnolgica. Tem diversas publicaes no mbito da educao artstica. Como artista plstica, participou em diversas exposies individuais e colectivas de pintura, desenho/ pastel e gravura. Do museu escola: caminhos possveis para o desenvolvimento esttico uma experincia na formao contnua de professores A presente comunicao tem como objetivo relatar uma experincia de formao contnua de professores de Educao Visual e Educao Tecnolgica, focada na coleo do Museu Municipal Henrique e Francisco Franco, no Funchal O workshop organizou-se em torno de dois eixos: a anlise e contextualizao de algumas obras da coleo e a produo plstica que explorou tcnicas de gravura. Pretendeu-se que os professores refletissem sobre a possvel articulao de conhecimentos e novas estratgias de ensino aprendizagem e que encarassem o museu como uma sala de aula. A principal finalidade deste workshop foi envolver os professores na sua prpria aprendizagem, para que se apropriassem de determinados conceitos e metodologias que fossem geradoras

de prticas que favorecessem, nos seus alunos, a compreenso da obra de arte em contexto. Do ponto de vista do enquadramento terico de referncia, adotou-se a metodologia VTS -visual thinking strategies- (Abigail Housen e Philip Yenawine) e a abordagem triangular preconizada por Ana Mae Barbosa. A metodologia utilizada implicava que, atravs de um jogo de pistas, os professores organizados em grupo, tivessem que atribuir, em deciso unnime, as frases que poderiam caraterizar determinadas obras. A segunda parte do trabalho constou de uma atividade de explorao do conceito de ritmo visual e de tcnicas de gravura de entalhe.

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ANA DUARTE RODRIGUES | Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa Ana Duarte Rodrigues is currently Lecturer at Landscape post-graduate studies of FCSH/UNL. She has received her BA (2002) in Art History, Master (2005) and PhD (2009) in Art History of Early Modern period from the FCSH/UNL. She is an associated researcher of CHAIA/UE, IHA and of CHAM/FCSH. Her PhD on Garden Sculpture of the 17th and 18th centuries in Portugal has been published by FCT and FCG. Her Master thesis has been the base for the exhibition O Virtuoso Criador. Joaquim Machado de Castro (1731-1822) that occurred at the MNAA between the 18 May to the 30 September 2012. Baroque gardens recreate Ovids Metamorphoses In this paper I demonstrate how Ovids Metamorphoses have been re-created in the many illustrated editions published during the Early Modern period. Instead of being inspired by the text and being almost a visual translation of the text, Metamorphoses illustrated editions have obtained an independence of their own and they add information to the former text or even recreate the story through the use of settings and images inspired by contemporary visual culture. This is especially notorious in the edition La Metamorphose dOvide figure (1557) illustrated by Bernard Salomon where each episode is told by an image with a legend in Italian. Inspired by this, the edition with prints by Crispijn van de Passe (1602) and by Antonio Tempesta (1606), confirm this methodology of recreation the poem by Ovid illustrating it with renaissance and

baroque settings of pleasure gardens that have nothing to do with the original text but are influenced by real gardens that exist in Northern Europe where these editions have been prepared, printed and published. Some examples can be given on this: the maze represented to illustrate the Minotaurs episode, shown in the 1549, 1607, 1687 and 1705 editions is similar to mazes of bois in Baroque gardens; and the formal gardens that provide the scenery for Vertumno and Pomonas episode in the 1607, 1691, 1697 and 1705 editions. This research show that the illustrations add information, recreate and are in fact a creative process of images and ideas on Ovids poem, indicating that sceneries with formal gardens and natural settings are clearly inspired by real northern Europe garden and landscape.

Mirko Sablich | Composer Mirko Sablich was born in Lima, Peru. He started his involvement in music during elementary school as a member of the school band where he played various instruments by ear including the clarinet and the euphonium. Later he formed an improvisation rock band in which he sang, played guitar and wrote songs. He enrolled at the University of Lima and studied for a time, mathematics and economics. After moving to Montreal he obtained a bachelor of Commerce in Economics, a bachelor of Fine Arts in Music Composition from Concordia University and later, a masters in Music Composition from lUniversit de Montral. Numbers, patterns and labyrinths in the mind In my recent compositions, the use of numbers has changed from being an aid and decision tool to becoming the centre piece of the creative process. Indeed in many cases numbers are the piece. Unlike the traditional view of numbers and mathematics in music making I favour their direct and simple manipulation by hand avoiding as much as possible the use of the computer. Numbers are carefully sought after, observed, analyzed, used, and transformed in a most intuitive, natural, free, and open ended manner allowing my imagination to play with the labyrinths of possibilities. By accepting the emerging patterns I explore and understand my original ideas and perceptions with clarity, simplicity and without pre conceived

notions of beauty or learned musical artifacts. A process then unfolds in which the systematic or unsystematic use of numbers and my initial ideas or other types of perceptions feed each other and slowly shape a piece of music. In fact using numbers creates a paradox during the creative process, since it removes most of my musical assumptions and learned intentions while at the same time lets me guide the process and make unobtrusive decisions. Numbers attune my mind to my senses and permeate the process with a sense of wonder and a feeling of authenticity. This paper presents the creative process of my latest pieces as it pertains to the use of numbers.

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PEDRO CABRAL SANTO | Artista Plstico e curador Estudou Pintura e Escultura nas Faculdades de Belas-Artes de Lisboa e Porto, especializando-se nas reas expressivas afectas instalao e vdeo-instalao. Em paralelo, nos ltimos 20 anos, tem vindo a desenvolver as actividades de artista plstico e comissrio de exposies, destacando-se os eventos Tilt (Fundao Calouste Gulbenkian, Lisboa), O Pedro e o Lobo (Museu do Neo-realismo, Vila Franca de Xira), Il Communication (com Carlos Roque, Sala do Veado, Lisboa), X-Rated/Autores em Movimento (Galeria ZDB, Lisboa), O Imprio Contra-Ataca (co-comissariado, Galeria ZDB/Institulo La Capella (MACBA), Lisboa e Barcelona), Espao 1999 (co-organizador, Museu de Histria Natural, Lisboa), Fernando Brito 1983-2010 (Centro Cultural Vila Flor, Guimares) e Manuel Vieira - CASA (Cordoaria Nacional, Lisboa). Recentemente exps no Museu do Chiado (2012) a obra Sem D, com R (homenagem a S de Miranda), trabalho includo nas comemoraes dos painis de So Vicente de Nuno Gonaves, realizado em parceria com a artista Lula Pena. Como membro do Pogo Teatro participou em diversos espectculos levados cena pelo Grupo, atravs da produo de textos, realizao cenogrfica e tambm como performer/actor. Foi tambm fundador dos projectos artsticos Autores em Movimento (Greenhouse/Jetlag/X-Rated) e featuring (Unlovable). No plano musical, foi membro fundador do projecto musical IK-MUX e, actualmente, coordena o PROJECTO FUZIVEL, msica experimental de fuso. Impulso e Deriva na Criao Artstica Qual o momento que verdadeiramente determina o impulso, e que impele o artista, na direco da construo/produo de uma Obra de Arte? E as Ideias vm de que lugar? Tratase, pois, quando falamos de processos criativos inseridos na produo artstica, de um mero sortilgio que provem de um tempo espesso, idiossincrtico e, por isso, indecifrvel (?). No entanto, e apesar do mistrio que parte do processo encerra em si mesmo, tambm sabemos que, por vezes, estamos perante uma relao que passa, justamente, pela constatao de que existem vrias possibilidades que se afiguram (que se disponibilizam) no momento do incio da aventura da autoexpresso (?). No interesse deste argumentrio e, desde logo, porque sabemos que as obras de arte, tambm, podem ser

portadoras de sinais muitssimo elaborados, quer ao nvel da experimentao, quer da manipulao de contedos, o intuito parece ser acercar-se daqueles que melhor estiverem preparados para entender o fenmeno artstico. Ou seja, estamos a referirmo-nos efectiva necessidade de que o(s) processo criativo(s), patente em inmeros exemplos, tenha(m) como fito alvejar literalmente o espectador. Assim, se verdade que em determinados casos a Obra de Arte construda de forma a que obedea a critrios meramente formais e de contedos, ou ambos, tambm verdade que estamos perante factores outros, que so, pela sua intrnseca natureza, de difcil acesso. Estamos pois perante um dilema.

ALEXANDRE SANTOS | Universidade Federal do Rio Grande do Sul UFRGS Porto Alegre - Brasil Alexandre Santos is art critic and professor in Federal University of the Rio Grande do Sul. He is doctor in History, Theory and Critical of Art by the Program of After-Graduation in Visual Arts of the same university, where also he acts as professor and researcher. During his doctorade he passed a period of training in the Universit de Paris III - Sorbonne Nouvelle/Cinma et Audiovisuel, under orientation of Prof. Dr. Philippe Dubois. He is member of the Brazilian Committee of History of Art CBHA and International Association of Critics of Art - AICA. It develops research about photography and mecanical image in the modern and contemporary art. He has texts and essays published on its subjects of research in books and academic magazines. He collaborates, sporadical, with the magazines Teorema: Critica de Cinema and PortoArte. Dentro das imagens: a micronarrativa de espao e tempo na fotografia de Tiago Rivaldo Tiago Rivaldo (1976) nasceu em Porto Alegre, mas vive e trabalha no Rio de Janeiro desde 2001. O seu trabalho concentra-se na reflexo sobre a imagem fotogrfica e sua capacidade de constituir memria. Entretanto, a memria que interessa ao artista uma abstrao do espao e do tempo vivido e registrado em cmeras fotogrficas por ele construdas a partir do princpio da fotografia pinhole. A imagem fotogrfica, central na obra do artista, no busca a transparncia a ela imposta historicamente, mas relaciona-se opacidade legada pelos processos artsticos herdeiros da arte conceitual. Para alm de sua finalidade representacional, as fotografias de Rivaldo subordinam-se experincia do espao e do tempo, gerando situaes nas quais o artista insere tanto a sua experincia pessoal, quanto prope a transferncia desta aos espectadores, os quais participam das suas imerses na imagem, relacionadas explorao das potencialidades perceptivas da cmera obscura.
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O trabalho de Rivaldo remete a questes autobiogrficas e aos seus deslocamentos urbanos em cidades como Porto Alegre e Rio de Janeiro. A pluralidade das imagens da resultantes pode relacionarse pintura, ao desenho e constituio de arquivos pessoais. Por outro lado, o sentido de improvisao do ato artstico das suas cmeras obscuras, construdas para serem vestidas pelo artista ou por seu pblico, aproxima-o tambm da performance. Partindo da exposio Eu e Outros Ns, realizada no Instituto BrasilEstados Unidos, em 2012, na cidade do Rio de Janeiro, a proposta desta comunicao investigar algumas das estratgias poticas de Rivaldo com o uso da cmera obscura em direo a um tipo de fotografia que nega o princpio da prpria fotografia. Ao aproximarse da experincia ldica, como em um jogo de experimentaes voltado ao improviso, as provocaes do artista reavaliam conceitualmente a fotografia, remetendo s experimentaes poticas que deram origem arte contempornea.

ASHLEY SCARLETT | University of Toronto: PhD candidate; Ontario College of Art & Design University: Lecturer Originally from Edmonton, Ashley Scarlett is currently attending the University of Toronto as a PhD Candidate at the iSchool. Working in close collaboration with Semaphore, a UofT based New Media maker and research cluster, her work maps out and explores a phenomenology of digital materiality as it is expressed in contemporary new media art. When not reading philosophy or fiddling with Arduinos, she spends much of my time teaching at various post-secondary institutions around Toronto, working on curatorial collaborations with the N/A Collective, and learning to play the drums a little less poorly. Materiality & New Media Art Materials Determining the material properties of digital objects has become an increasingly pressing line of inquiry within media studies and art history alike (Kirschenbaum 2008; Graham & Cook 2010). According to Gittelman (2007), the 20th century ascent of computation and information culture gave rise to an elusive form of digital materiality, with significant conceptual, ethical and ecological implications (Bennett 2010). While a considerable amount of contemporary scholarship asserts the historical necessity of an object-oriented (re)turn to the material realm (Harman 2012; Meillasoux 2012), these projects have been unable to contend with digitality, focusing instead on the physically robust supports of computer interaction (screens, hard-drives, network wires). This struggle is indicative of both the conceptual aporia inherent to speaking of matter whatsoever (insofar as matter is no longer matter-as-such once formalized) and also the difficulty of ontologically delineating between representation (inherently immaterial) and digital, (materially articulated and constrained).

According to Joanna Drucker (2009), new media art and art-making practices have a critical contribution to make within contemporary explorations of digital materiality. While philosophical modes of inquiry have proven ill-equipped to fully navigate questions concerning matter, the practices of making that articulate new media works typically oblige artists to pry open the proverbial black-boxes built up around technologies, leaving them to contend with the materiality of the things themselves. Building on philosophical intersections of computation, representation and matter, and drawing upon material-driven interviews conducted with new media artists, the paper I am proposing reveals and explores how an engagement with new media (art) materials might aid in overcoming the conceptual aporias present within broader discourses on digital materiality. My paper tentatively introduces novel, grounded philosophical meditations, with significant implications for the discipline of New Media Art, while also further legitimizing art and making practices as rich sites for philosophical research.

SAMANTHA SCHRAMM | University of Konstanz, Germany Samantha Schramm is postdoc-researcher at the University of Konstanz, department of media studies and member of the DFG research network Media of Collective Intelligence. After her studies in art history, sociology and education at the University of Stuttgart she finished the Master of Arts at the University of Kansas with a Fulbright scholarship. She was member of the research training group Image Medium Body. An Anthropological Perspective at the Hochschule fr Gestaltung Karlsruhe und Fellow at the Terra Summer Residency in Giverny, France. In 2012 she finished her Dissertation about concepts of site and media in Land Art.
RECENT PUBLICATIONS: Zwischen Site und Non-Site. Ortskonzepte und Situierungspraktiken der Land Art, Berlin (forthcoming) Versuchsanordnungen in Echtzeit. Sich selbst sehende Zuschauer in Closed-Circuit-Videoinstallationen, in: Augenblick 51, 2012, p. 25-36. Towards a Displacement of Photography. Robert Smithsons Mirror Displacements in Yucatn, in: Linda Bez-Rubi/Emilie Carren Blaines/ Deborah Dorotinsky Alperstein (eds.), Los itinerarios de la Imagen. Prcticas, Usos y Funciones, Mexico City 2011, p. 297-312.

Shared knowledge and distributed creativity in early television and video art The paper will address media based processes of knowledge production and forms of distributed creativity in artistic practices of the 1960s and 1970s. Some of the key questions are: Are there new ways of collectively producing and sharing artistic knowledge which would transcend earlier practices by which artist groups and artistic media were able to overcome the ideals of single authorship? How does the use of media like television or video change artistic production towards models of distributed creativity? To address the different modes of distributed creativity as media based processes allows to focus on collaborations not as product oriented, rational actions, but as processes shaped by different media and to analyze artistic experiments, in which possibilities of participation are offered. The term distributed creativity seems paradigmatic for the

shift towards shared models or production, allowing different agents not only to participate in different actions, but also to shape the outcome of a work of art. Therefore, it is important to not merely to look at artistic research as aesthetic practices, in which the aestheticization of artistic knowledge production and distributed creativity is addressed, but also to analyze at the ways in which collectives are produced and shaped by media. While addressing first the theoretical context of collective creativity in art, the paper will also focus on case studies of the art of the 1960s and 1970s, like early activist television art by Ant Farm or Raindance Corporation, in which the audience begins to produce their own television program or closed-circuitinstallations in which viewers become creative participants of the art, analyzing the creative processes involved.

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SAMI SIEGELBAUM | DePaul University, Chicago, IL I specialize in the history of Modern and Contemporary art with a focus on the cultural politics of 1960s France. I have published articles in journals such as Oxford Art Journal and Kunstlicht and am preparing a book manuscript, titled The Avant-Garde of Presence, on the work of artists involved in the May 1968 events in France. Office Casual: Creativity as Problem-Solving in Contemporary Performance Art My paper examines the ways in which performance art has become a model for contemporary corporate labor. Since the dismantling of Fordist systems of production in advanced economies in the 1970s, firms and organizations have placed increasing stress on creativity as a work value. Though the sort of creativity demanded of a corporate office worker may seem to have little in common with the creativity associated with artistic production, I track the ways in which changes in both fields since the 1960s have resulted in their possible confluence today. In particular I focus on two specific encounters between contemporary art and corporate labor within the auspices of the multinational professional services firm, Deloitte. The first is a video installation by the Finnish artist, Pilvi Takla, called The Trainee, which documents her month-long stint working in the

marketing division of Deloitte Helsinki. The work proposes both parallels and distinctions between different forms of immaterial labor. The second encounter is a program launched at Deloitte Consulting in New York City that invites young artists to discuss their practice with Deloitte staff. These artists processes are presented as examples of a creative approach to problem solving that is analogous to the work of financial consultants. In various ways, the Deloitte program stresses the parallels between contemporary artistic labor and corporate labor. A comparison of these two examples, I argue, demonstrates why contemporary performance art is such a compelling resource for post-Fordist corporate management as well as where the fissures and tensions between art and labor may be articulated.

FILIPE ROCHA DA SILVA | Universidade de vora Pintor. Licenciado em Pintura pelas Belas Artes de Lisboa, MFA pelo Pratt Institute em Nova Iorque, Doutorado em Artes Visuais pela Universidade de vora, onde Professor Auxiliar com Agregao. Expe frequentemente em Portugal e no estrangeiro.

O novo no existe A criao um momento que compartilha o carcter inefvel e efmero, mesmo inexistente, do presente, ou seja, passa da condio de futuro de passado numa penada, num simples momento de evidncia. O que existe e persiste o labor, o processo, a oficina, que se estende do recndito passado do artista, at s consequncias ltimas das consequncias da obra na sociedade, um percurso igualmente impondervel e anacrnico, porque muito complexo e dilatado. Independentemente da sua localizao, ou no, num dos cantos do crebro, a criatividade no ; ou ento uma sequncia de verdades e consequncias que no tem um princpio nem fim, e portanto muito difcil de medir. O romance de Jos Saramago Manual sobre a Pintura e a Caligrafia fala-nos desse mundo turvo da criatividade artstica, flor que nasce do lodaal das vidas em sociedade.

James Elkins descreveu tambm atravs da mtafora alqumica este mundo pantanoso, na sua obra What Painting Is. A obra de Saramago constituir o centro da minha comunicao. Nesta obra a Pintura apresentada biograficamente como um labor difcil e desonesto, o oposto do que geralmente se pensa sobre a criatividade. Mas ao mesmo tempo infiltram-se no texto ideias sobre a prpria Pintura como actividade universal enquanto especfica, comunicando com todos os outros autores que, com intervalos seculares, foram escrevendo outros Manuais sobre a Pintura . A mitificao da criao artstica e sua substituio pela criatividade, excessivamente psicologizada e reificada, o afastamento em relao ao autor e tecnologia utilizada, tende a esvazi-la da sua verdadeira dimenso, social, humana e, mesmo, individual.

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CRISTINA AZEVEDO TAVARES | Faculdade de Belas-Artes da Universidade de Lisboa Cristina de Sousa Azevedo Tavares licenciada em Filosofia pela Faculdade de Letras da Universidade de Lisboa (1980). Realizou o Mestrado em Histria de Arte pela Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa (1984) e doutorou-se em Histria de Arte Contempornea na mesma Universidade (2000). Professora Associada da Faculdade de BelasArtes de Lisboa onde lecciona as reas de esttica, teoria de arte e histria de arte contempornea (licenciaturas e mestrados). membro integrado do CFCUL e colaboradora do Projecto FCT A Imagem na Cincia e na Arte. Criatividade e Imaginao no Domnio Daesttica e sua Articulao com a Prtica Artstica Relacionamento entre as concepes de criatividade e imaginao no domnio da esttica e filosofia e na sua articulao com as artes, estabelecendo-se o fio condutor

entre elas desde antiguidade,mas pontuando-se em J.F. Pico de la Mirandola com o seu texto De Imaginatione,em Kant na Crtica da Faculdadede Julgar e na poticas de Bachelard.

ROGRIO TAVEIRA | Faculdade de Belas-Artes da Universidade de Lisboa Born in 1966 in Lisbon. Works and lives in Mafra, Lisbon. Graduated in Architecture by the Faculty of Architecture of the Technical University of Lisbon. Co-founder of production and publishing company Insectos, Cinema e Multimedia. Since 2006 teaches in the Multimedia Art Department at the Faculty of Fine Arts of the University of Lisbon, where he is a researcher at the Investigation Centre of Multimedia Art, focusing on photography, moving image and digital media in contemporary art. In 2011 he obtained his PhD degree by the Faculty of Fine Arts of the Polytechnic University of Valencia with the thesis: The sculpted trees of Alberto Carneiro: Material and landscape in the confluence between Gaston Bachelard and a Taoist inspiration. Instalao imersiva interativa Ps-Paisagem: um processo criativo no coletivo A instalao Ps-Paisagem teve a sua gnese num workshop integrado no projeto de investigao Multidimensional Interactivity. Este estudo pretendia aprofundar as diferentes dimenses da interatividade. Deste modo planeei um workshop que teria o seu incio num dia de campo e culminaria, se possvel, com um objeto construdo (instalao, filme, ou outra qualquer forma de expresso que se enquadrasse com os participantes). A instalao interativa final resultou do esforo de 9 pessoas com formaes e idades distintas que conseguiram levar as referidas premissas at s ltimas consequncias, prolongando o trabalho por mais dois meses de modo a poder apresentar na Cisterna da Faculdade de Belas-Artes uma instalao interativa que emanou das feridas do primeiro dia de campo. Pretendemos aferir os princpios bachelardianos do conhecimento da matria como forma de produo potica em conjunto com a deformao das imagens e no a construo

destas como forma imaginante. Daqui a necessidade de um dia caminhado por campos lavrados e poucas referncias humanas. A experincia vivida pelos corpos acabou por ser o fio condutor de todo o trabalho. O vento cortou-nos a todos da mesma forma, o cho calcou com a mesma fora os ps de todos ns. A dor dor, mesmo que no a recordemos cerebralmente, ela foi dor. Uma ferida nos sentidos, sempre aberta, a partir da qual trabalhmos em absoluta sintonia. A montanha inclina-se para todos, s a vontade pode aplan-la. Este trabalho permitiu-nos aferir a validade da experincia do movimento como forma de despoletar o processo artstico, neste caso, conjunto. A especificidade daquilo que procurvamos atingir, a interatividade multidimensional, levou-nos a questionamentos de diversa ordem, depois de escolhido o local para a instalao. Para alm do trabalho com o material captado no local do nosso percurso, havia que trabalhar com as condicionantes da Cisterna: uma gruta onde as paredes s tm um lado.

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ANTNIO NGELO VASCONCELOS | Instituto Politcnico de Setbal Escola Superior de Educao Natural de Vagos, distrito de Aveiro, estudou msica no Conservatrio de Msica de Calouste Gulbenkian de Aveiro e licenciado em Cincias Musicais - Ramo de Formao Educacional - pela Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa. Mestre em Cincias da Educao rea de Administrao Educacional - pela Faculdade de Psicologia e Cincias da Educao da Universidade de Lisboa. doutorado em Educao pelo Instituto de Educao da Universidade de Lisboa com a tese intitulada Educao artsticomusical: cenas, atores e polticas. Sob o ponto de vista cientfico tem participado em diferentes encontros, congressos e seminrios nacionais e internacionais em domnios diferenciados da educao e da cultura, tendo publicado vrios tipos de trabalhos. Em termos profissionais trabalhou como professor de msica em vrios nveis de ensino, do pr-escolar ao ensino superior. Presentemente desempenha as funes de Professor-Adjunto no Departamento de Artes da Escola Superior de Educao do Instituto Politcnico de Setbal Educao artstica e criatividade: procura de um novo senso comum poltico e formativo As relaes entre as artes, a cultura, a educao e a criatividade apresentam-se, no contexto das sociedades contemporneas, como contraditrias e paradoxais. A par da afirmao retrica da sua pertinncia na formao das crianas, dos jovens e dos adultos na promoo de uma sociedade mais sensvel, criativa e culta, constata-se a no s a dificuldade na construo de polticas pblicas que deem corpo e cidadania sua relevncia prtica e como forma de conhecimento dos diferentes mundos. Por outro lado, a mercadorizao das artes, da cultura e da formao, a par do reforo de tendncias centradas na funcionalizao e na competio interpelam a educao artstica e a criatividade de mltiplas formas. Em particular, a importncia de potenciar e de desenvolver as capacidades criativas num quadro multimodal e plurissectorial de desenvolvimento de competncias complexas, atendendo

a que a educao e formao artstica, sendo um campo compsito, no se joga apenas nos espaos e nos tempos das instituies formais mas em territrios multipolares em que interagem uma diversidade de atores em redes diferenciadas de sentidos e onde se confrontam e complementam olhares, saberes e experincias. Neste contexto, esta comunicao pretende, por um lado, desconstruir a perspetiva funcionalista e utilitria da educao artstica e da criatividade e, por outro, contribuir para a criao de um novo senso comum poltico baseado na ideia de se pensar a relao entre a educao artstica e a criatividade centrada em lgicas no lineares mas antes em modalidades diferenciadas assentes num quadro que potenciem gerir o desconhecido, o imprevisvel, o risco, a experimentao e a complexidade de modo a desenvolver uma sociedade mais culta, inventiva e democrtica.

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CARLOS VIDAL | Faculdade de Belas-Artes da Universidade de Lisboa Artista, crtico e professor. Licenciado em Pintura pela Faculdade de Belas-Artes da Universidade de Lisboa, onde lecciona Pintura, Composio, Instalao, Crtica de Arte e Media (Mestrado de Pintura), Temas de Arte Contempornea (Mestrado de Pintura) e seminrios de doutoramento. doutorado em Belas-Artes/Pintura com a tese Invisualidade da Pintura: Histria de uma Obsesso (de Caravaggio a Bruce Nauman) (FBAUL, 2009). Participou em algumas das mais significativas exposies da dcada de 90: Imagens para os Anos 90 (Serralves, 1993), Espectculo, Disseminao, Deriva, Exlio: um Projecto em Torno de Guy Debord (Beja, 1995), Anatomias Contemporneas: o Corpo na Arte Portuguesa dos Anos 90 (Oeiras, 1998), vrias edies dos Encontros de Fotografia de Coimbra, entre outros eventos, colectiva e individualmente. Representado em coleces particulares e institucionais (Museu de Arte Contempornea-Serralves, Porto; MEIAC, Badajoz; CAV, Coimbra, etc). desde 1992 correspondente de Lapiz (Madrid), colaborando ainda noutras publicaes nacionais e estrangeiras. Entre vrias participaes em livros colectivos, destacar-se-: En Tiempo Real, Fundacin Lus Seoane, A Curua, 2001; Del Arte Impuro, Generalitat Velenciana, 1997; Over Here, volume 6 de Documentary Sources in Contemporary Art do New Museum of Contemporary Art de Nova Iorque (The MIT Press, 2004, com 2 edio 2007). Publicou vrios livros, sendo o mais recente Deus e Caravaggio: A Negao do Claro-Escuro e a Inveno dos Corpos Compactos (2011). Lispector, Llansol, Despossesso, Criao O Que Um Medium? Partamos do princpio de que a arte e a criao artstica provm de uma querela em torno dos limites e possibilidades de representao do irrepresentvel. Apesar de todas as suspeies, desde a rejeio do saber que nasce da imagem (eidolon) em Plato, passando pela concupiscncia ocular de S. Agostinho, at Reforma de Lutero, a representao do irrepresentvel chega at hoje triunfante, o que quer dizer que a arte existe, existir e existiu. E se a arte existiu e existir tal se deve a uma declarao da vontade, ao mesmo tempo racional a transcendente. Portanto, como representar este irrepresentvel? Ser ento necessrio averiguar o que se entende por irrepresentvel, da espiritualidade objectividade. Em primeiro lugar, irrepresentvel a prpria criao artstica, nomeadamente os seus media. Outra questo: podemos ver numa obra literria ou pictrica, ao mesmo tempo a obra terminada e o seu medium? Ou, desde que conduziu obra, que nela se dissolveu, no mais o medium pode ser avistado (pois apenas acedemos obra)? Entretanto, o irrepresentvel

prende-se com temticas de origem: origem do mundo e do universo, o motor imvel de Aristteles, o Big Bang... Depois do iconoclasmo bizantino (sc. VIII), temos o problema resolvido nesta declarao de Teodoro de Studium: Se engolimos o corpo de Cristo e bebemos o seu sangue vertido em vida, porque no haveremos de o mostrar em pintura? E em que medium? Ou o que um medium? Uma entidade pura (medialidade pura, no dizer de Agamben) ou imaterial? Pode o artista representar o seu medium? Ser esse o sentido das obras de Llansol e de Clarice Lispector? Llansol: Eu escrevo, depois leio o que escrevo como se no o tivesse escrito. Lispector: Estou atrs do que fica atrs do pensamento, ainda no estou vendo bem o fio da meada do que estou te escrevendo. Acho que nunca verei. Ser esta despossesso fruto da aco do medium? O medium est, naturalmente, atrs da obra e do pensamento. Como o representar ento na obra e no pensamento? Perdendo-nos nele? Descriando a criao? (Simone Weil)?

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