Dissertationen: „Curator“

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O'Neill, Rebecca. „The rise of the citizen curator : participation as curation on the web“. Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16449.

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From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience. The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice. The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature.

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2

Meier, Dominicus M. „Der Curator im kanonischen Prozeßrecht /“. Essen : Ludgerus-Verl, 1998. http://www.gbv.de/dms/spk/sbb/recht/toc/274215608.pdf.

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3

Marinaki, Irini. „Nicolas Calas : critic and curator“. Thesis, Birkbeck (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600386.

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4

Black, Sarah. „Mother as curator : performance, family and ethics“. Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25913/.

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This thesis attends to the mother-artist developing a performance-based practice with her family in the home. This is a practice-as-research exploration which integrates areas of maternal ethics and the mother-artist, family and narrative enquiry, the home and sited practices. It consists of a written dissertation, three full (larger) scale installations set within the family home, Trace (2013), Reclaiming the Ritual (2014), 31 Days Old (2016), and a series of smaller works Bed Bound (2014) and Children's Practice (2014-17), plus digital documentation. The main argument focuses on the role of the mother-artist who initiates an art making practice with her family and considers the personal, professional and ethical questions that can arise. Furthermore, weaving throughout the thesis is the development of what I call, 'Mother Ethics' - emphasising a sensitive approach to art-making with children and family, and considering practices and implications of exploring the home as a site for the dissemination of an art practice. The methodology is developed from the position of the mother and uses practice-as research creative methodologies alongside narrative enquiry, and memory work. It employs sensitive approaches to documentation, and anecdotal writing modes. This thesis is situated and contextualised within theoretical fields of maternal studies, maternal ethics, narrative studies, and site-specific dance practices. The key arguments have been developed through engaging with Sara Ruddick, Lisa Baraitser, Iris Marion Young, Llangellier and Peterson, Jerome Bruner, and Mike Pearson. For the purpose of situating my own work and drawing upon the practices of others in the related worlds of maternal, family and home, I have drawn upon current practices and discourses in particular Mary Kelly, Lena Simic, Grace Surman, Lenka Clayon, Jo Spence, and The Institute for Art and Practice of Dissent at Home.

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Wilkinson, Judith. „Uncovering the legacy : Samuel Beckett : artist + curator“. Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7408/.

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6

Ostling, Susan. „The Defining and Shaping of the Contemporary Art Curator“. Thesis, Griffith University, 2013. http://hdl.handle.net/10072/368133.

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Curators have come to figure quite prominently in the cultural landscape of late, such that the concept of a curator is now applied in a wide variety of contexts from art to shopping. It is said curators are now far more linked to the internet and social networks, than to the interiors of museums; and most accounts see the contemporary art curator as caught in the flux of global cultural economies. Why should this be? It is in this volatile terrain I have situated my research on the contemporary art curator. I ask how has the role of the curator been shaped, defined and constrained by competing discourses? Were there other influences, I ask beyond the global market place that may have contributed to the defining and shaping of the contemporary curator? I undertake this study in two ways. Firstly, I conduct an historical overview to explore whether there were precedents of curatorial practice that might lead to a greater understanding of the contemporary curator. Here, following Foucault, I consider the transformations in dominant discourses that have effected the assembling and interpretation of collections of significant objects. Secondly, using interviews conducted with three ‘independent’ curators—Seth Siegelaub, Juliana Engberg and Charles Esche—I undertake discourse analyses, identifying a number of fields of discourse, which I argue have impacted and shaped their curatorial practices. What has emerged through this study has been recognition of how across time there is a duality of discourses at the core of curatorial activities. And far from undermining or weakening the curatorial practice, I suggest this duality plays a dynamic and regenerative role in forming the relationships produced between place, ideas, objects, artists, viewers and capital.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Steierhoffer, Eszter. „The rise of the curator and architecture on display“. Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1815/.

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This thesis constitutes a new approach to contemporary exhibition studies, a field of research that has until now dedicated little attention to connections between exhibitions of contemporary art and those of architecture. The late 1970s saw a 'historical turn' in the architectural discourse, which alluded to the rediscovery of history, after its abandonment by all the Modern masters, and developed in close alignment with architecture’s project of autonomy. This thesis proposes a reading of this period in relation to the formative moment for contemporary curatorial practices that brought art and architecture together in unprecedented ways. It takes its starting point from the coexisting and often contradictory spatial representations of art and architecture that occur in exhibitions, which constitute the inherently paradoxical foundations – and legacy – of today’s curatorial discourse. The timeframe of the late 1970s, which is this study’s primary focus, marks the beginning of the institutionalisation of the architecture exhibition: The opening of the Centre Pompidou in Paris (1977), the founding of ICAM in Helsinki (1979), and the first official International Architecture Biennale in Venice (1980), all of which promoted architecture within the museum. This period also saw the idealism of the social, political and artistic revolutions of 1968 finally dissipate, marking the emergence of a new conservatism. The concurrent postmodernisation of the cultural discourse, together with the post- industrial era’s changing economic climate, prompted a need to redefine the purpose and position of the architectural profession. The resulting new architecture not only developed within the space of art, but also substantially reshaped it, provoking numerous artistic and curatorial responses, which continue to this day. In order to explore and elucidate the connections between the fields of architecture, contemporary art and curatorial practices, the chapters consider the often-overlapping notions of architecture as object, concept, process, media and context through period case studies, including examples of the ‘void shows’ and artist museums, Ungers’ building of the DAM, Friedman’s Street Museum, Frankfurt’s Museumsufer, Matta-Clark’s and Kabakov’s respective practices and Portoghesi’s ‘Strada Novissima’ at the first Venice Biennale of Architecture. Surveying the separate models of architectural displays, drawn from different institutional and disciplinary contexts of the late 1970s and early 1980s, this thesis questions how these different exhibition typologies have expanded the definition of architecture. It also investigates the ways in which contemporary curatorial and art practices have been informed and shaped by architecture, and, how these curatorial representations of architecture adhere to the wider cultural, political and economic contexts. Ultimately, the thesis reconsiders the past as a way to grasp the present, and, through the analysis of the socio-political and economic contexts of the case studies, it builds a critique of the globalised hyper-acceleration of contemporary curatorial production.

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Ekman, Jan. „Gränser och passager : En analys av de curatoriska och konstnärliga subfälten“. Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15375.

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I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis. Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices. One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations. The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector.
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Beignon, Anaëlle. „Participatory Design Fiction Curator – Providing inspiration from Participatory Design fiction Research“. Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23284.

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Designers take inspiration about the future in order to shape values for their design practice, especially whennew technologies are involved. Participatory design fiction is an approach that enables designers to reflectupon futures are created by non-designers. These narratives about technologies that come from nondesignersare valuable for designers in the industry as inspirational material. Nonetheless, the distancebetween the academic research and designers in the industry makes difficult the spreading of design fictionsproduced by non-designers.This thesis project explore the following: How might we design a digital infrastructure that integrates the enduser's imaginaries about new technologies as inspiration and material for reflection in the design industrypractice?As well as: How might we enable the design research community to share results of their participatory designfiction experiments with the design industry in ways that benefit both parts?I will present an investigation in the relations between the academic design researchers and the designpractitioners by the means of co-design workshops, interviews, virtual ethnography and iterative prototyping.The outcome is an infrastructure which takes advantage of the existing practices of the design community onTwitter. By investigating these social media dynamics, I intent to create a bridge between academia anddesign industry for enabling critical inspiration from participatory design fiction outcomes. The final prototypeis a Twitter account run by a bot which enables an autonomous collection of design fictions from nondesignersshared on Twitter by design researchers with designers from the industry.

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McCartney, Laura Lee. „Unpacking Self in Clutter and Cloth: Curator as Artist/Researcher/Teacher“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.

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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

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Lederer, Robert Clarke. „Rise of the curator : archiving the self in contemporary American fiction“. Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10667.

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Concurrent with a bloom of interest in the archive within academic discourse, an intense cultural fascination with museums, archives, and memorials to the past has flourished within the United States. The ascendency of digital technologies has contributed to and magnified this “turn” by popularising and habituating the archive as a personal memory tool, a key mechanism through which the self is negotiated and fashioned. This dissertation identifies a sustained exploration of the personal archive and its place in contemporary life by American novelists in the twenty-first century. Drawing on theories of the archive and the collection, this dissertation analyses the parameters of the curated self through close-readings of recent novels by five US authors. The first two chapters read Paul Auster’s Sunset Park through trauma theory and Siri Hustvedt’s What I Loved through psychoanalysis, noting that in each the system of archiving generates moments of catharsis. The two chapters argue that, for the subject shattered by trauma, archiving activates and fulfils psychoanalytic processes that facilitate the self’s reintegration and prompts a discursive revelation about the painful past. The texts, thus, discover in the archive strategies for achieving, however provisionally, a kind of stability amongst unexpected change. The next two chapters reveal the complicity of archival formations with threats posed in the digital age and articulate alternative forms of self-curation that counteract these pernicious forces. To ward off information overload, E.L. Doctorow’s Homer and Langley advocates the ethical flexibility of “blind” narration that, wending through time, accommodates a broad range of perspectives by refusing to fantasise about its own ultimate and total claim to accuracy. Jennifer Egan’s A Visit from the Goon Squad, meanwhile, diagnoses the cultural anxiety over increasingly invasive surveillance measures. While the novel situates the digital archive, or database, at the heart of this new dataveillance, it recommends investing the self in material collections, where personal meaning is rendered in the inscrutable patois of objects that disintegrate over time. For Egan, the material archive thereby skirts the assumed readability and fixity of data on which this surveillance thrives. The conclusion analyses Dana Spiotta’s Stone Arabia, observing within it and the other novels a consistent concern with archival destruction, erosion, and stagnation. Together, the texts suggest that the personal archive is persistently stalked by disintegration and failure. Yet, within this contemporary moment in which curation has become a widespread means of self-fashioning, they also show how these hazards can be creatively circumvented or actively courted, can threaten the subject or be harnessed by it.

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12

Chye, Carissa Ern Ai. „Curating the Curator: The (Self-)Construction of Frank O’Hara as Myth“. Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20459.

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My thesis seeks to examine what I identify as the ‘Frank O’Hara phenomenon,’ the way in which Frank O’Hara – not only his poetry, but his image, his body and his biography – has been seized upon by the culture of both his own milieu and today’s popular culture. I am interested in the way O’Hara, poet and curator at the Museum of Modern Art in New York, has himself been curated, commodified and consumed. Within this framework, I attend to O’Hara as a bio-icon, borrowing from Bishnupriya Ghosh’s coinage of the term in her book Global Icons. In examining how O’Hara has become a widely-circulating icon of exceptional symbolic density, the term ‘bio-icon’ is particularly germane. It encapsulates both the bio element (the ‘life-story’ of O’Hara, a poet characterised by an aesthetic of flux, movement, spontaneity and flamboyant flâneurism), and the icon element (the cultural ‘framing’ of O’Hara as an artefact, transforming him into a familiar sign laden with symbolic density). My investigation into the material narratives surrounding O’Hara is grounded by the underlying theme of myth, which I argue is a social narrative act, highly mutable and subject to reappropriation; but importantly for O’Hara, also a strategy for self-construction. Chapter One sets out the historiographical problem that my thesis seeks to address: the insistent tangling of biography, constructed myth and poetry that often characterises any account of O’Hara’s literary merit and his legacy. The chapter introduces the mechanics of mythologisation, setting up the theoretical and historical frameworks that govern my examination of O’Hara as a bio-icon. In the next three chapters, I examine three crucial strands of the O’Hara mythology, arguing that each is constructed around a motif or trope upon which the mythologising of O’Hara depends: the telephone, the city of New York, and death of the poet. Each of these three mythemes garners its affective power through the combination of a photographic or artistic image that echoes the motifs in the poet’s own work and is reiterated in the stories told about him. Yet, these very tropes and techniques which O’Hara uses to sustain his image and narrative operate brilliantly, at the same time, as an undercurrent that perturbs the glossy surface of ‘Frank O’Hara’ as he is most well-known. Thus, O’Hara’s poetry ultimately works to unravel the threads of his own reputation, and it is this subversive dissonance that imbues his poetry with its unique resonance. The process of mythopoiesis itself reveals O’Hara’s poetic interventions to the inadequacies of his cultural and historical moment, in which he was embedded and to which he responded.

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Gaskill, K. „In search of the Social : toward an understanding of the Social Curator“. Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/10902/.

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Since the 1960s contemporary art has seen a paradigm shift occur that has rejected the individual perspectives of modernity and begun to consider the value of connective and participatory aesthetics. New process-led and technologically-based practices have shifted the emphasis away from the art object and onto the art process, rendering the approach to making art a much more connected and relational one. In parallel, the curatorial role has radically shifted since it was first popularised in the 1970s. With less emphasis on the archival and more on the mediation and dissemination of practices, the role has risen to the forefront of the contemporary art arena, yet the actual methods of curation have not evolved in relation to the practices they curate, revealing an acute lack of curatorial convention for exhibiting and disseminating process-led practices. Employing the term Social Practice to actively define this ever-evolving body of process-led works, this research is situated at the juncture between the social outputs of reciprocal artworks and the curator’s role in exhibiting them. In establishing curation as a practice and situating it at a well-founded and clear point of perspective, this thesis argues that a clearer understanding of curatorial practice will in turn formulate an active and more integrated way of working. Focussed on the curation of media and performative practices specifically, and through four practical case studies: Becoming Electric, Fast and Slow Networks, Scatter Projects and Turnstile, in curatorial and exhibition practice, a dynamic form of curatorial practice is made manifest. This Social Curation seeks to contextualise fully the potential of exhibitions as structures of communication and exchange, maximising social interaction and engagement across curatorial approach, process and outcome. This thesis engages performative and participative approaches in its development of a research bricolage, revealing through practice how curation can function in an open and relational way. It contributes to methodical innovation through its use of a real-life initiative to test and ground the research strategies, and to the fields of artistic and curatorial research through original and responsive strategies towards evolving exhibition formats. Overall it has sought and revealed the means to both situate and question new ways of thinking and methods of working within the dynamic of the everyday.

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Vincent, Frédéric. „L'artiste-curateur. Entre création, diffusion, dispositif et lieux“. Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H313/document.

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Cette thèse étudie les différents types d'artistes-curateurs qui se manifestent depuis plus de deux siècles au moment où les artistes organisateurs d'expositions sont de plus en plus présents sur la scène artistique contemporaine. Par-delà le phénomène de mode, une vue d'ensemble des artistes-curateurs est dressée, une typologie de ceux-ci proposée. L'ensemble des réflexions et des recherches porte sur les liens entre art et réception de l'art à travers l'étude de la french theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), du réalisme spéculatif (Quentin Meillassoux, Graham Harman) et de l'heccéité (Jean Duns Scot). En s'appuyant sur une étude épistémologique, les différents caractères existants de la position d'artiste-curateur sont analysés. À travers des expériences artistiques et curatoriales subjectives, la visibilité des fondements véritables de cette double pratique, assumée comme telle, est pensée. L'objectif est de rendre compte de la définition possible de l'artiste-curateur comme avant tout un créateur de lieu, de dispositifs, et d'espace d'exposition au service des autres. Les rapports qu'entretiennent les artistes avec les commissaires d'expositions sont rendus visibles, tant dans leurs relations harmonieuses que conflictuelles. Des pistes pour l'avenir se conçoivent dans le prolongement de la poétique de la relation développée par Édouard Glissant
This thesis shows that, under various guises, the artist-curator model has been operating for more two centuries when the artists who curate exhibitions are ever more visible on the artistic scene. Across the fashion phenomenon, an overview of the more prominent artist-curators is erected, a typology of these practitioners is proposed. He particularly focuses his reflections and researches on the links between art and theory, the study of the reception of French Theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), speculative realism (Quentin Meillassoux, Graham Harman) and haecceity (Jean Duns Scot). Using epistemological methodology and analyzing the state of variables, he details the various characteristics which coexist in the artist-curator position. The author uses his own artistic and curatorial experience : he founded and curates the artist-run space Immanence. He aims to bring to life the real foundations of this double practice. The thesis posits the possible definition of the artistcurator both as the author of a creative act in place visibility and display, and simultaneously as a creator at the service of the others. At the heart, are the relationships between curated artists and artist-curator : the cooperation, consensus and correspondence, as well as the dissent and conflicts. Finally, the author looks to the possible futures drawing from the poetics of relation developed by Édouard Glissant

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Marsden, Rachel E. M. „The transcultural curator : translating networked curatorial practices in the Chinese context since 1980“. Thesis, Birmingham City University, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743084.

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Initiated from discussions of key curators and exhibitions at the end of the Cultural Revolution, this thesis explores cultural translation through networked curatorial practices in the Chinese context since 1980. In response to increasing local (Chinese) to global (international) exchange, termed as ‘glocal’, I examine different curatorial practices and strategies used to translate exhibitions of avant-garde and contemporary Chinese art towards the development and definition of the role of the transcultural curator. A framework for translation is developed from Homi K. Bhabha’s three-tiered, postcolonial methodology of ‘Third Space’ in parallel with Ray Oldenburg’s theory of third place, whilst rooted in the development of social and cultural networks within Fei Xiaotong’s concept of Chineseness. From these perspectives, it is argued that guanxi self-reflexively provides a basis through which networked curatorial practices can be understood. As a non-Chinese curator and researcher, this thesis is crucially informed by a practice-led component to the research methodology. Responding to China’s unique moment of “museumification”, I establish The Temporary to actively and explicitly reflect on my curatorial practice in relation to research findings. This platform functions as a site of “research curating” (based on the construction of networks of practice) and “curating research” (mapping the action archive), to test and evaluate curatorial strategies, whilst revealing a new internal logic of cultural translation in the Chinese context. This nexus of research explored through theory, concept and practice aims to create a unique set of definitions and arguments to define the role of the transcultural curator. In turn, it presents a series of considerations to be implemented when curating exhibitions of contemporary Chinese art in an international context whilst contributing to the ongoing debate in the field.

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Oprea, Corina. „The end of the curator : on curatorial acts as collective production of knowledge“. Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25605.

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'The End of The Curator: On Curatorial Acts as Collective Production of Knowledge' explores the convoluted liaison between knowledge production, collectivity and curating, through practices that have been neglected by mainstream curatorial platforms and art history. Bearing in mind the extensive usage of the notion knowledge production, my practice based research is guided by the question what forms of collective knowledge can curatorial practice produce?

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Larsson, Camilla. „Curatorns ordning : En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar“. Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18473.

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This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital. Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.

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Ramnerö, David. „Semi-automatic Training Data Generation for Cell Segmentation Network Using an Intermediary Curator Net“. Thesis, Uppsala universitet, Bildanalys och människa-datorinteraktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-332724.

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In this work we create an image analysis pipeline to segment cells from microscopy image data. A portion of the segmented images are manually curated and this curated data is used to train a Curator network to filter the whole dataset. The curated data is used to train a separate segmentation network to improve the cell segmentation. This technique can be easily applied to different types of microscopy object segmentation.

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Chubb, Shirley Jane. „Intervention, location and cultural positioning : working as a contemporary artist curator in British museums“. Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.

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Groff, Fábio de Carvalho. „Contribuição ao estudo da curadoria de bens na execução: o Curator Bonorum da Bonorum Venditio“. Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-13122010-160122/.

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Dentre os personagens históricos ligados à execução, o curator bonorum é talvez o mais desconhecido, ou o menos estudado. Mas esse aparente \"desinteresse\" acerca da figura é incompatível com sua importância. Diversos são os textos doutrinários que apontam o curator como o antecessor histórico do síndico da falência, no direito anterior, e, nos dias atuais, do administrador judicial. No presente trabalho, apresenta-se a trajetória do curator bonorum e a influência que a curadoria teve no desenvolvimento dos meios de execução. Abordam-se, nesse sentido, a visão peculiar do romano sobre seu patrimônio, a importância da formação dos fundos de propriedade e os antecedentes da execução patrimonial. Demonstra-se também que o procedimento da bonorum venditio, costumeiramente ligado ao período clássico do direito romano, não foi exatamente substituído pela bonorum distractio, pois esta fazia, de certa forma, parte daquela. Com isso se procura comprovar que a atuação do curator, especialmente a que tinha por fim evitar a ruína do devedor, modificou os rumos da execução e do concurso de credores, inclusive de como se os conhecem ainda hoje. Em proposição aparentemente inédita, demonstrar-se-á que a mudança de enfoque dos modelos executivos posteriores às implicações de cunho fisico contra a pessoa, pelos quais se deixou de buscar a totalidade do patrimônio e se passou a preferir a alienação apenas de quanto fosse necessário ao pagamento do débito, está intrinsecamente ligada à atuação do curador do patrimônio. o trabalho se divide em três partes: na primeira, analisa-se o momento histórico da suposta origem do curator bonorum e os primórdios da execução patrimonial; na segunda, o âmbito de atuação e as características do curador; por fim, na terceira e última parte, estuda-se a evolução da figura até o âmbito do Direito Justinianeu. Apresenta-se, também, em apêndice, singela contribuição ao direito moderno.
Among the historical figures associated with bankruptcy, the curator bonorum is perhaps the most unknown, or the least studied. But this apparent indifference about the figure is not compatible with its importance, for there are several doctrinal texts that indicate the curator as the historical predecessor of the trustee in bankruptcy. In this paper, the trajectory of the curator bonorum and the influence that its actions had on the development of means of foreclosure are presented. It addresses, in this sense, the peculiar vision of the Roman about his estate, the importance of property funds, and the background of bankruptcy proceedings. It is also demonstrated that the bonorum venditio procedure, usually connected to the classical period of Roman law, was not exactly replaced by bonorum distractio, as this was, somehow, part of that. The paper also seeks to show that the performance of the curator, especially the one that was to prevent the ruin of the debtor, changed the course of bankruptcy proceedings and concurrent creditors, including how they are known nowadays. In an apparently unprecedented proposition a change of focus from the executive models will be shown, for which the fact that they no longer get the entire assets of the debtor, and happened to prefer a sale of just what was needed so the debt could be paid, is intrinsically linked to the work of the curator bonorum. The paper is divided in three parts: in the first the historical moment of the supposed origin of the curator bonorum and the beginnings of foreclosure are analyzed; in the second, the scope of acting and features of the curator. Finally in the third and final part, the evolution of the figure to the right under Justinian is studied. In Appendix, a simple contribution to modern law is presented.

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Schuppert, Mirjami. „Archive play : on the role of the curator in mediating artistic interventions into photographic archives“. Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701057.

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Without mediation archives are chaotic, and overwhelming. Archives need to be interpreted in order to be understood. However, the interpretations often conform to dominant cultural norms, and produce hegemonic readings. The aim of this PhD with practice was to establish methods whereby the contents of photographic archives can be made alive in the present and the future, and investigate the role the curator has in such an endeavour. This addresses the selective nature of the use of archives by initiating a collaborative practice with artists. In doing so, it explores how critical curatorial practice can contest the hegemony of the archive. The thesis analyses the practice element of the research project, which consists of commissioning artists to produce new works as a response to a photographic archive as an alternative means of interrogating photographic archives. The objective of the written element is to contextualise my practice and analyse the practice based research process. This was done by deploying the concept of hegemony as developed by Ernesto Laclau and Chantal Mouffe as the underpinning of the argument. This argument was further supported by considering the curator as an organic intellectual after Oliver Marchart. The practice was reflected against a postmodern archive theory and particularly Jacques Derrida's conceptualisation of the archive. The thesis draws a picture of the archive as an open work, after Umberto Echo. Eventually, the term longue duree [Braudel], is used to investigate the longue duration of the research and exhibition process, which leads into building an argument that in the commissioning process that curator eventually has to let go. The practice element of the thesis entailed developing a curatorial practice. Here, I commissioned artists Hertta Kiiski and Niina Vatanen to produce new works as a response to the archive at the Finnish Museum of Photography. The works have been exhibited at the Finnish Museum of Photography (Helsinki) Golden Thread Gallery (Belfast) and published in a book format as Archive Play, (Kehrer Verlag).

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Motta, Gustavo de Moura Valença. „Discursos de Contrainformação - coletivos de artistas e curadores-autores no Brasil (2000-2015)“. Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-13092018-150702/.

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Este trabalhou tomou como ponto de partida a presença, no meio artístico brasileiro, entre 2000 e 2015, dos assim chamados coletivos de artistas. Ele procurou circunscrever histórica e conceitualmente as \"práticas artísticas colaborativas\" e as \"estratégias de visibilidade\" desenvolvidas por esses agrupamentos de artistas \"emergentes\" - no contexto de seu envolvimento, entre 1999 e 2001, com os movimentos altermundialistas e antiglobalização, e, a partir de 2003, com movimentos sociais de luta por moradia - alinhando-se, ao menos discursivamente, com a perspectiva dos \"de baixo\". De outro lado, o trabalho também identificou o desenvolvimento simultâneo, \"pelo alto\", de um complexo de procedimentos curatoriais pautados por novos modos de apresentação (displays) de objetos artísticos em exposições de \"arte contemporânea\". Por meio dos novos procedimentos curatoriais, tanto a 27ª Bienal de São Paulo (2006) quanto as mostras de \"arte contemporânea\" do Museu de Arte do Rio (2013-2015) foram capazes de absorver e canalizar, em seus discursos, parte das demandas \"subalternas\" associadas à produção dos coletivos. Para refletir criticamente sobre esse complexo de fenômenos do campo artístico, a pesquisa procurou articular uma discussão atualizada em torno dos conceitos gramscianos de \"hegemonia\" e de \"revolução passiva\". Tais conceitos, formulados originalmente pelo pensador italiano Antonio Gramsci (1891-1937), têm sido reprocessados teoricamente, no debate da sociologia brasileira de extração marxista, para pensar o ciclo dito \"lulista\" do Brasil contemporâneo. Em síntese, uma vez verificada a absorção das práticas \"emergentes\" e \"colaborativas\" pelo circuito artístico local, este trabalho procurou estabelecer e questionar historicamente as contradições e possíveis confluências das \"estratégias de visibilidade\", associadas às demandas dos \"de baixo\", com o desenvolvimento combinado dos novos procedimentos curatoriais, operados \"pelo alto\".
This research was motivated by the raising of the so-called artist collectives in Brazilian art field, particularly between the years 2000 and 2015. The thesis aims to delineate conceptually and historically the \"collaborative artistic practices\" and the \"strategies of visibility\" carried out seemingly \"from below\" by these \"emerging\" groups of artists - engaged mainly with the alter-mundialization and anti-globalization movements between 1999 and 2001, and, since 2003, with social struggles for housing. Furthermore, this survey also realized the simultaneous development of a complex of curatorial proceedings \"from the top\", based on new modes of display artistic objects in \"contemporary art\" exhibitions. Through these new curatorial practices, both the 27th Sao Paulo Bienal (2006) and the \"contemporary art\" exhibitions held by the Art Museum of Rio (2013-2015) managed to absorb and convey, in its discourses, part of the \"subaltern\" demands brought forward in the work produced by the artist collectives. In order to critically reflect about this complex of phenomena in the art field, the research articulates a debate operating the Gramscian concepts of \"hegemony\" and \"passive revolution\". These concepts, originally formulated by the Italian thinker Antonio Gramsci (1891-1937), had been theoretically reenacted in the Brazilian sociological debate derived from a Marxist background, to think the so-called \"lulist\" cycle in contemporary Brazil. Finally, after verifying the absorption of the \"emergent\" and \"collaborative\" practices by the local art circuit, this research aims to delineate and problematize the contradictions, and possible confluences, between the \"visibility strategies\" coming \"from below\" and the combined development of the new curatorial proceedings \"from the top\".

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Miller, Chasity Janet. „From the Seat of Authority: A Case Study in Exhibition Development“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1034.

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During the Spring 2006 semester, Virginia Commonwealth University students enrolled in the graduate Museum Studies course on exhibition development collaboratively curated an exhibition entitled From the Seat of Authority, which opened at the Anderson Gallery in June 2006. This thesis project documents the exhibition and offers an account of the deliberative and creative development process in which student-curators engaged. It is different from other case studies that focus on the technical aspects of curating an exhibition.Major components of the development process include articulating a theme, selecting artworks, writing interpretive text, and designing display techniques. This thesis project aims to characterize the development of these components in relationship to the overall creative processes. It is important to note that the previously mentioned four components were not developed independently of one another, as the exhibit development process was non-linear and organic.

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Halfpapp, Andi. „Pars pro toto: Experimental exhibition design and curatorial paradigms“. Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87097/1/Andi_Halfpapp_Thesis.pdf.

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'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between artist and curator within this paradigm, and outlines factors that assist in expanding the definition of the contemporary curatorial role.

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TÃvora, Renato Vasconcelos. „O papel do Conselho de Curadores como ÃrgÃo de controle interno da Universidade Federal do CearÃ na percepÃÃo da administraÃÃo superior da instituiÃÃo“. Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8229.

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nÃo hÃ
O desenvolvimento das tecnologias, nos seus mais variados campos, Ã alicerÃado pela pesquisa cientÃfica. Ã ela que fomenta as grandes inovaÃÃes que refletem na melhoria de vida das pessoas. No Brasil, a pesquisa Ã realizada, principalmente, pelas Universidades Federais, com recursos da UniÃo e convÃnios com organizaÃÃes privadas. Entretanto, esses grandes investimentos precisam e devem ser monitorados por mecanismos de controle interno e externo. Nas Universidades Federais, o Tribunal de Contas da UniÃo e a Controladoria Geral da UniÃo realizam o controle externo, subsidiado pelo sistema de controle interno de cada InstituiÃÃo. O Conselho de Curadores (CONCUR) da Universidade Federal do CearÃ (UFC) Ã um ÃrgÃo consultivo de deliberaÃÃo coletiva, integrante da AdministraÃÃo Superior da UFC, que tem como finalidade exercer as atribuiÃÃes de fiscalizaÃÃo econÃmico-financeira da InstituiÃÃo, acompanhando toda a sua execuÃÃo orÃamentÃria. Embora tenha sido instituÃdo para tal funÃÃo, a AdministraÃÃo Superior da UFC estuda ampliar os trabalhos do CONCUR para alcanÃar outros setores considerados importantes. Desta forma, esta dissertaÃÃo objetiva discutir a percepÃÃo que a AdministraÃÃo Superior da UFC tem acerca do novo papel do Conselho de Curadores como ÃrgÃo de controle interno, apÃs a criaÃÃo da Auditoria Interna, verificando se hÃ sobreposiÃÃo de trabalhos ou conflitos de competÃncia e investigar que alteraÃÃes sÃo planejadas para o CONCUR e como serÃo implementadas, na prÃtica, com foco na visÃo integrada dos atos de auditoria. O mÃtodo de abordagem da pesquisa foi exploratÃrio e descritivo, com tÃcnicas de pesquisa documental e bibliogrÃfica, observaÃÃo direta e entrevistas. A populaÃÃo pesquisada se limitou a integrantes da AdministraÃÃo Superior ligados direta ou indiretamente ao controle interno da UFC. MudanÃas na atuaÃÃo do Conselho de Curadores, de fato, estÃo sendo estudadas, inclusive respaldadas por modificaÃÃes substanciais no prÃprio Regimento da Curadoria. Entretanto, propor alteraÃÃes significativas para os trabalhos de um ÃrgÃo como a Curadoria nÃo Ã tarefa simples. HÃ toda uma estrutura material e humana que deve acompanhar tais mudanÃas. Desta forma, percebemos que ainda nÃo hÃ conclusÃes definitivas por parte da AdministraÃÃo Superior, sobre o novo perfil e a nova forma de atuaÃÃo deste importante ÃrgÃo deliberativo superior.
O desenvolvimento das tecnologias, nos seus mais variados campos, Ã alicerÃado pela pesquisa cientÃfica. Ã ela que fomenta as grandes inovaÃÃes que refletem na melhoria de vida das pessoas. No Brasil, a pesquisa Ã realizada, principalmente, pelas Universidades Federais, com recursos da UniÃo e convÃnios com organizaÃÃes privadas. Entretanto, esses grandes investimentos precisam e devem ser monitorados por mecanismos de controle interno e externo. Nas Universidades Federais, o Tribunal de Contas da UniÃo e a Controladoria Geral da UniÃo realizam o controle externo, subsidiado pelo sistema de controle interno de cada InstituiÃÃo. O Conselho de Curadores (CONCUR) da Universidade Federal do CearÃ (UFC) Ã um ÃrgÃo consultivo de deliberaÃÃo coletiva, integrante da AdministraÃÃo Superior da UFC, que tem como finalidade exercer as atribuiÃÃes de fiscalizaÃÃo econÃmico-financeira da InstituiÃÃo, acompanhando toda a sua execuÃÃo orÃamentÃria. Embora tenha sido instituÃdo para tal funÃÃo, a AdministraÃÃo Superior da UFC estuda ampliar os trabalhos do CONCUR para alcanÃar outros setores considerados importantes. Desta forma, esta dissertaÃÃo objetiva discutir a percepÃÃo que a AdministraÃÃo Superior da UFC tem acerca do novo papel do Conselho de Curadores como ÃrgÃo de controle interno, apÃs a criaÃÃo da Auditoria Interna, verificando se hÃ sobreposiÃÃo de trabalhos ou conflitos de competÃncia e investigar que alteraÃÃes sÃo planejadas para o CONCUR e como serÃo implementadas, na prÃtica, com foco na visÃo integrada dos atos de auditoria. O mÃtodo de abordagem da pesquisa foi exploratÃrio e descritivo, com tÃcnicas de pesquisa documental e bibliogrÃfica, observaÃÃo direta e entrevistas. A populaÃÃo pesquisada se limitou a integrantes da AdministraÃÃo Superior ligados direta ou indiretamente ao controle interno da UFC. MudanÃas na atuaÃÃo do Conselho de Curadores, de fato, estÃo sendo estudadas, inclusive respaldadas por modificaÃÃes substanciais no prÃprio Regimento da Curadoria. Entretanto, propor alteraÃÃes significativas para os trabalhos de um ÃrgÃo como a Curadoria nÃo Ã tarefa simples. HÃ toda uma estrutura material e humana que deve acompanhar tais mudanÃas. Desta forma, percebemos que ainda nÃo hÃ conclusÃes definitivas por parte da AdministraÃÃo Superior, sobre o novo perfil e a nova forma de atuaÃÃo deste importante ÃrgÃo deliberativo superior.

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DUTRA, Mariana Ratts. „Curadoria compartilhada na experiência de mediação cultural no Museu de Arte Contemporânea do Ceará“. Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/17184.

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CAPEs
A pesquisa visa compreender a prática de curadoria compartilhada e em que medida esta experiência particular pode referenciar uma reconfiguração das ações educativas no espaço museológico. A curadoria compartilhada é uma prática que articula a esfera educativa da exposição e a atividade do curador. Ela não se restringe a problematizar a obra de arte ou a esfera de atuação do artista, mas sim, toda uma rede de agentes culturais que, mesmo não sendo evidente ao público não especialista, confere sustentação à prática artística, assim como, à própria atuação dos visitantes no espaço expositivo. Para a reflexão desta prática foram escolhidas duas exposições do projeto “Obras em Destaque” realizado no Museu de Arte Contemporânea do Ceará (2005 - 2007). O referencial teórico abarca autores sobre mediação cultural, historicidade e estudos em curadoria, historicidade e dinâmica dos museus. A pesquisa é um estudo de caso, para sua realização foram utilizados fontes visuais, orais e escritas, assim como, foram realizadas entrevistas semi-estruturadas. Foram entrevistados educadores, equipe administrativa e técnica do museu. A pesquisa apresenta o desenvolvimento das atividades de mediação cultural no MAC CE (2005 a 2007), o processo formativo dos educadores, a realização das atividades no Projeto Obras em Destaque. Os resultados apontam como estas ações caracterizam uma reconfiguração no educativo do museu, reconhecendo uma formação de uma geração de educadores bem particular. Em sua maioria, a experiência na gestão elevou o interesse em dar continuidade a algum trabalho especifício no que tange o campo das artes visuais ou da museologia. Por fim, a pesquisa busca contribuir com os estudos no campo educativo museólogico, assim como, para o fortalecimento de políticas na arte-educação.
The research aims to understand the practice of curating shared and to what extent this particular experience can reference a reconfiguration of educational activities in the museum space. The shared curation is a practice that articulates the educational sphere of activity and exposure of the curator. It is not restricted to problematize the artwork or the purview of the artist, but an entire network of cultural operators, although not evident to the non-specialist public, gives support to artistic practice, as well as the performance itself of visitors in the exhibition space. To reflect this practice two exhibitions of "Featured Works" project held at the Contemporary Art Museum of Ceará (2005-2007) were chosen. The theoretical framework includes authors on cultural mediation, historicity and curatorial studies, historicity and dynamic museums. The research is a case study, to its realization visual, oral and written sources were used as well as semi-structured interviews were conducted. Educators, administrative and technical staff of the museum were interviewed. The research presents the development of cultural mediation activities in the MAC CE (2005-2007), the training process of educators conducting activities in the Works Featured Project. The results show how these actions characterize a reconfiguration of the educational museum, recognizing a formation of a generation of educators particularly well. Most of the experience in managing the increased interest in continuing some work especifício regarding the field of visual arts and museology. Finally, the research seeks to contribute to studies in museum education field, as well as to strengthen policies on art education.

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TÁVORA, Renato Vasconcelos. „O papel do Conselho de Curadores como órgão de controle interno da Universidade Federal do Ceará na percepção da administração superior da instituição“. http://www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/4516.

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TÁVORA, Renato Vasconcelos. O papel do Conselho de Curadores como órgão de controle interno da Universidade Federal do Ceará na percepção da administração superior da instituição. 2012. 179f. (Dissertação) - Universidade Federal do Ceará, Pro-Reitoria de Pós-Graduação, Programa de Pós-Graducação em Políticas Públicas e Gestão da Educação Superior, 2012.
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The development of technologies in their various fields is founded in scientific research. It is what fosters the great innovations that reflect the improvement of people's lives. In Brazil, research is mainly carried out by universities with funding from the Federal Union and agreements with private organizations. However, these require large investments and must be monitored by internal and external control mechanisms. In the Federal Universities, the Court of Audit and the Audit Committee General's Office conduct the external control, subsidized by the internal control system of each institution. The Board of Trustees of the UFC - CONCUR is an advisory body of collective deliberation, a member of Senior Management of the Federal University of Ceará, which aims to perform the duties of monitoring economic and financial institution, following all its budget execution. Although it has been established for this function, the senior management of the UFC is currently in study to extend the work of the CONCUR to reach other sectors considered important. Thus, this paper aims to investigate the perception that the Senior Management of the UFC has about the new role of the Board of Trustees as an organ of internal control, after the establishment of Internal Audit, checking for overlap of work or conflicts of jurisdiction and to investigate changes are being planned for the CONCUR and how they are implemented in practice, focusing on integrated view of the acts of audit. The method research approach was exploratory and descriptive techniques of archival research and literature, direct observation and interviews. The population studied was limited to members of Senior Management directly or indirectly linked to the issue of internal control of the UFC. Changes in the action of the Board of Trustees, in fact, are being studied, including backed by substantial changes in the actual Rules of the Curator. However, proposing significant changes to the work of an organ as the Curator is no simple task. Thus, we see that there is still no definitive conclusions by the Senior Management on the new profile and new form of action of this important deliberative body higher.
RESUMO O desenvolvimento das tecnologias, nos seus mais variados campos, é alicerçado pela pesquisa científica. É ela que fomenta as grandes inovações que refletem na melhoria de vida das pessoas. No Brasil, a pesquisa é realizada, principalmente, pelas Universidades Federais, com recursos da União e convênios com organizações privadas. Entretanto, esses grandes investimentos precisam e devem ser monitorados por mecanismos de controle interno e externo. Nas Universidades Federais, o Tribunal de Contas da União e a Controladoria Geral da União realizam o controle externo, subsidiado pelo sistema de controle interno de cada Instituição. O Conselho de Curadores (CONCUR) da Universidade Federal do Ceará (UFC) é um órgão consultivo de deliberação coletiva, integrante da Administração Superior da UFC, que tem como finalidade exercer as atribuições de fiscalização econômico-financeira da Instituição, acompanhando toda a sua execução orçamentária. Embora tenha sido instituído para tal função, a Administração Superior da UFC estuda ampliar os trabalhos do CONCUR para alcançar outros setores considerados importantes. Desta forma, esta dissertação objetiva discutir a percepção que a Administração Superior da UFC tem acerca do novo papel do Conselho de Curadores como órgão de controle interno, após a criação da Auditoria Interna, verificando se há sobreposição de trabalhos ou conflitos de competência e investigar que alterações são planejadas para o CONCUR e como serão implementadas, na prática, com foco na visão integrada dos atos de auditoria. O método de abordagem da pesquisa foi exploratório e descritivo, com técnicas de pesquisa documental e bibliográfica, observação direta e entrevistas. A população pesquisada se limitou a integrantes da Administração Superior ligados direta ou indiretamente ao controle interno da UFC. Mudanças na atuação do Conselho de Curadores, de fato, estão sendo estudadas, inclusive respaldadas por modificações substanciais no próprio Regimento da Curadoria. Entretanto, propor alterações significativas para os trabalhos de um órgão como a Curadoria não é tarefa simples. Há toda uma estrutura material e humana que deve acompanhar tais mudanças. Desta forma, percebemos que ainda não há conclusões definitivas por parte da Administração Superior, sobre o novo perfil e a nova forma de atuação deste importante órgão deliberativo superior.

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Warholm, Sara Christine. „Critic, negotiator and gatekeeper. : An analasis of the role and influence of the curator within the contemporary art field“. Thesis, Linköping University, Culture, Society and Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19423.

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The study examines the role of the art-curator with the focus on how it have influencedand may influence the art-scene and the concept of art. The study is based onmaterial extracted from texts involving the art-debates around the role of the curator,published in media and in literature. The study looks at the subject throughthe perspective of authorship and risk-theories in social sciences, and with a crossdisciplinarypoint of view, which takes into consideration how the debate regardingthe art-curator relates to the contemporary media landscape and the overall field ofcultural production. The study shows examples on how the role of the curator havebeen and currently is debated and defined. Through examples it shows that thecurators role have been compared to other characters within and without the fieldof cultural production. The comparisons include, among other things, the role ofthe critic and the music-DJ, but also the role of the guard-keeper and the diplomat.The most problematic comparison is where it is compared to the contemporary conceptualartist. The study shows that the role of the curator is becoming graduallycloser to the role of other producers in the cultural and medial field. This alsomeans that art is increasingly considered to be a cultural and medial product, incontrast to the classical romantic perception of art.

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Roma, Serrano Valentín. „Crosswords, problems and expectations of the curator of contemporary art exhibitions : a personal experience from the project Economy : Picasso“. Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/384638/.

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The present investigation project is an attempt to try to deepen in the vicissitudes, in the curatorial decisions and in the ways to dialogue in an exhibition carried out by Valentín Roma, with the purpose to explore critically which are the roles, the working lines and the responsibilities of a curator of contemporary art. Because its complexity and its longitude in the time, the show chosen as a study case, that was entitled Economy: Picasso and which different phases were held in the Museu Picasso of Barcelona between May 2011 and February 2013, offers an authentic panoptic of each and every one of the problems (design, managing, production, and mediation) that affect the curatorship, for what it constitutes, as well, a perfect example where we can observe the dynamics of the cultural policies and its difficulties to fit in from of the institutional frameworks until the ideological usages of the artists, audiences and curators. In order to contextualize this study we have elaborated a short chronological assay about the recent history of the curatorial practices since the seventies to our days. From another hand, and to help defining Economy: Picasso, we performed four interviews with the different agents involved in the project. Besides realising a very exhaustive analysis, this investigation work aspires to establish a certain pattern of analysis about the contemporary art exhibitions that could be extensible to other exhibition cases and to other curators.

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González, Vásquez Angélica. „Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080091.

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Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes
This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training

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Gonçalves, Eliane Pereira. „(Des)Prezado público: a disputa pelo direito à diversidade religiosa em uma empresa pública de comunicação“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8161/tde-10032017-134917/.

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O campo da comunicação pública no Brasil transita em uma área sombreada. Os canais de radiodifusão públicos são confundidos com aparelhos de governo e operam como tal. A criação da EBC foi uma tentativa de inflexão nessa tradição. O que a diferenciou de outros sistemas públicos foi a decisão de colocar a gestão de seus conteúdos na mão da sociedade civil, por meio de um Conselho Curador, formado em sua maioria por representantes desta. Essa pesquisa estudou como se concretizou esse processo de representação da sociedade na EBC por meio da análise de um caso debatido no âmbito desse Conselho: a disputa pela diversidade religiosa grade de programação nas emissoras da EBC, em particular a TV Brasil. A pesquisa concentrou-se no período de 2009 a 2013, quando foram analisadas notas taquigráficas, mensagens do público que integra a audiência, documentos oficiais e entrevistas de profundidade com telespectadores. Com isso foram analisados os diferentes pontos de vistas sobre o processo que recomendou a suspensão da programação religiosa das emissoras da EBC e depois o recuo a essa decisão. A decisão, tomada pelo Conselho, apesar de ser afinada com a sociedade civil organizada e minorias, o isolou de outras instâncias de poder: o legislativo, o judiciário, o executivo e as instituições religiosas e, especialmente, gerou um processo que levaria a exclusão de um público majoritário das emissoras. A decisão fragiliza o Conselho enquanto instância de representação e revela o descolamento deste em relação às demandas da sociedade. O que coloca uma questão fundamental para a discussão da comunicação pública: o quanto o público que deveria ser objeto da comunicação pública vem sendo desprezado?
The field of public communication in Brazil transits in a shadowy area. The public radio-broadcasting channels are mistaken by govenrment devices and are handled as so. The EBC creation was an attempt of breaking this tradition. What made it differ from other public sistems was the decision of placing the control of its contentes in the hand of the civil society, by a Curator Board, composed mainly by its own representatives. This research studied how the process of the society being representated in EBC took place by means of the analysis of a case discussed in the scope of that Council: the dispute about the religious diversity, scheduling the EBC station, in particular TV Brasil. The study focused between the years 2009 to 2013, when shorthand notes were reviewed, as well as messages sent from the people taken place in the audience, oficial documents and in-depth interviews with viewers. Thus it was possible to go through the different points of view about the case in which recommended the suspension of the religious progamming in the EBC broadcasting stations and then the withdrawing of the decision. The determination, taken by the Council, although being lined up with the organized civil society and minorities, isolated itself of other political power levels: the legislative, the judiciary, the excutive and religious institutions, and specially, resulted in a process in which would exclude a vast majority of the public from the transmitter. The decision weakens the Council while representative body and reveals its displacement in relationship to the societys demand. Therefore, a fundamental question is put into discussion concerning public communication: how much should the public who is object of the public communication has been despised?

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FUSCO, Angela. „La gestione dell'acqua nelle civitates dell'Italia romana. La documentazione epigrafica“. Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/90858.

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Spaid, Susan Elizabeth. „Work and World: On the Philosophy of Curatorial Practice“. Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/219943.

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Philosophy
Ph.D.
Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset.
Temple University--Theses

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Ляшенко, Ірина Володимирівна, Ирина Владимировна Ляшенко und Iryna Volodymyrivna Liashenko. „Роль кураторів СФ ХНУВС у підвищенні ефективності навчально-виховного процесу“. Thesis, Дніпро, 2012. http://essuir.sumdu.edu.ua/handle/123456789/72559.

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Розглядається підготовка і процес проведення кураторської роботи у навчальній, організаторській, виховній і науковій роботі зі студентами СФ ХНУВС.
Рассматривается подготовка и процесс проведения кураторской работы в учебной, организаторской, воспитательной и научной работе со студентами СФ ХНУВД.
The preparation and process of conducting curatorial work in educational, organizational, educational and scientific work with students of the SF KhNUVS is considered.

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Brinzová, Marianna. „EX/POZÍCIA“. Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295729.

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The diploma work titled Ex/position is a project, exhibition, intervention of space, which determined itself as the topic and object of its research (analysis and interest). The Ex/position is an exhibition about an exhibition, a project about a project and a reflection about a context. The main output of the thesis is a curatorial project created in the concept of collaborative practice. The result of it is a collective work in the form of an exhibition. The thesis as a temporary gallery installation is created on the basis of the curatorial and as well authorial concept in collaboration with other authors. They were ideologically, formally, creationally involved in the collective work. The Ex/position reflects these topics: collaboration, the essence of the particular media and their contemporary intermediality, the relation between author and author, author and curator (and their blending) and the creation process of an exhibition.

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Шинкаренко, О. Г. „Роль куратора академічної групи при впровадженні кредитно-модульної системи організації навчального процесу“. Thesis, Видавництво СумДУ, 2010. http://essuir.sumdu.edu.ua/handle/123456789/4328.

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Зміст діяльності куратора визначається його функціями як керівника виховного процесу в студентській групі; його основним завданням, як і завданням всієї професійної освіти, є формування фахівців не тільки здатних розробляти і використовувати методи і засоби праці в певних областях діяльності, але і людей, що уміють діяти і застосовувати отримані знання в нових умовах – умовах конкурентної ринкової економіки. При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/4328

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Andary, Chetana. „Curating place: Public art and city identity“. Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/202922/1/Chetana_Andary_Thesis.pdf.

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This Thesis investigates the impact and influence of the public art-curator to engender place-identity. It focuses on the connected relationship between curating, public art, and place identity to develop a contemporary understanding of the challenges, drivers, players and intersections that determine spatial and custodial narratives. Through the theories of placemaking and brand marketing and the review of the art and cultural policies of New York, Singapore, and Qatar, it draws upon the practice in curating public art.

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Cohen, Miriam Aby. „O desenho da cena como experiência: intersecções na prática artística contemporânea entre cenografia instalação expografia“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-24112015-104914/.

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Apresenta uma abordagem do cenógrafo como artista autônomo capaz de elaborar e materializar narrativas próprias, além de acercar-se daquelas já existentes. Um artista que transita por diversas áreas de linguagem, cuja produção coloca a cenografia como protagonista no contexto das Artes Visuais, das Artes Performáticas e da Museografia. Identifica e analisa as intersecções, o ENTRE, das linguagens distintas, nas quais o cenógrafo expressa-se artisticamente: cenografia, instalação e expografia, definindo o termo \'desenho da cena\' para referir-se à produção nas distintas áreas e em suas intersecções. Adota o conceito de \'desenho da cena como experiência\' para tratar da relação e impacto entre o desenho de cena e o indivíduo. Destaca a produção da autora dessa tese, seus \'desenhos de cena\', como objetos de análise, produções realizadas durante o período vigente dessa pesquisa, de 2011 a 2015; complementando, pontualmente, com produções de relevância de outros autores, que elucidam as intersecções e colaboram para análise do tema. Projetos curatoriais recentes que apresentam relevância e influência nas práticas artísticas contemporâneas no campo do desenho da cena são também selecionados para análise, destacando aqueles que aproximam a teatralidade da prática da performance no âmbito da galeria e do museu, estabelecendo distintas possibilidades de percepção e participação do público. Através da abordagem sobre o papel do curador, discute-se o valor potencial na validação dos processos artísticos, consequentemente, do reconhecimento do trabalho de designers de cena como \'obra\'. Essa tese, busca subsidiar a reflexão sobre o processo criativo alinhado com as linguagem e ferramentas da produção artística do cenógrafo na atualidade, na intenção de motivar o artista a deflagrar processos transformadores, inspiradores e que combatam à estagnação e à repetição do mesmo fazer, que provoquem a reflexão sobre a prática e seus processos continuamente, e que possivelmente apontem para aspectos relevantes de sua formação.
Brings up the performance designer\'s attitude, as an independent artist able to develop and materialize own narratives. An artist who moves through various languages areas, whose production places the design for Performance as the protagonist in the context of visual arts, performing arts and exhibition design. This research project aims to Identify and analyze the intersections, the practice In-between of distinct languages, in which the designer expresses artistically through the theatre design, art installation and exhibition design. Adopts the term \'performance design\' to redefining and to refer to the practice in different areas and the intersections, assigning forward the concept of \'performance design as experience\' to address the relationship and impact between performance design and the human being. Highlights the author\'s production of this thesis, her \'performance designs\' as objects of analysis, developed during the current period of this research project - from 2011 to 2015; complementing, punctually, with relevant productions from other authors, which collaborate for analysis of the topic. Recent curatorial projects that demonstrate relevance and influence on contemporary artistic practices in the field of performance design are also analysed, emphasising those approaching the theatricality of the practice of Performance within the gallery and the Museum, establishing distinct possibilities of perception and interactivity. Through the approach of the today curator\'s role, discusses his influence on the validation of artistic processes, therefore, the recognition of the work by performance designers as \'art\'. This thesis seeks to support thinking on how to bearing creative processes lined up with the aesthetic demands, language and tools of artistic production of the performance designers today. Especially on how to motivate the artist to trigger inspiring processes that can combat stagnation and repetition, transforming their practices and provoking a continuous development; also possibly pointing to relevant aspects of their training.

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Fay, Kellie Marie. „Curating the Abandoned School: Voices of Youth in an Alternative High School Art Class“. BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5510.

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An art teacher at an alternative high school examines how self-study and narrative influence art making in the classroom. This teacher-researcher-artist uses a/r/tography to study more deeply her role in creating curriculum that deals with students' stories as a meaning-making device. The a/r/tographer identifies herself as a type of teacher-curator of student narratives and explores the nuances of her particular research site. As the researcher more closely examined her own identity as artist, teacher, and researcher, she came to understand that this research was largely a study of self. Specifically, she more closely scrutinized her struggle with the role of artist through art production that aligned with the studies she was engaging with in the classroom. Even as student understandings shifted as a result of the curricular focus on narrative, so did that of the researcher.

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González, Vásquez Angélica. „Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions“. Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080091.

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Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes
This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training

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Bega, Carolina Brambila. „Curadoria especial: tutela da vulnerabilidade processual: análise da efetividade dessa atuação“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/2/2137/tde-18022013-105924/.

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O trabalho apresenta um estudo sistematizado da curadoria especial, focando especialmente em sua efetividade para a tutela de vulneráveis processuais. Após abordar a vulnerabilidade no âmbito do processo civil, indica que as hipóteses em que há previsão de atuação do curador especial são situações em que a parte está em condições de especial dificuldade para exercer plenamente seus direitos. É apresentado o histórico da curadoria especial até o contexto atual, em que passa a ser função institucional da Defensoria Pública. Analisa pormenorizadamente as peculiaridades da atuação do curador especial na tutela dos direitos do réu revel citado por edital ou com hora certa, do réu preso e do incapaz sem representante legal ou cujos interesses colidam com os de seu representante. A efetividade da curadoria especial é evidenciada pela forma com que a atividade é desempenhada em cada fase do processo. Além disso, apresenta análise de julgados do Supremo Tribunal Federal, do Superior Tribunal de Justiça e do Tribunal de Justiça do Estado de São Paulo que tratam da atuação do curador especial, demonstrando que, em diversas oportunidades, o exercício desta função traz resultados positivos, ainda que parcialmente, ao litigante vulnerável. Aborda, ainda, dados sobre a curadoria especial no Estado de São Paulo, apontando que a quantidade de processos em que há esta atuação é proporcionalmente pequena em relação ao movimento judiciário total, bem como que o montante empregado diretamente para seu custeio é razoável. O trabalho expõe, ademais, a percepção de defensores públicos do Estado de São Paulo que exercem a atribuição de curadores especiais, por meio de questionário a eles aplicado. Por fim, conjugando todos os dados apresentados, demonstra que a curadoria especial é efetiva para garantir a ampla defesa e o contraditório das partes em situação de vulnerabilidade processual.
This research introduces a systemized study of the special curator´s activity by emphasizing its capacity to provide protection for those in situation of procedural vulnerability. Overcoming the study of the procedural vulnerability, the research shows that the legal rules that determine the special curator´s activity are related to litigants that are in special situations which compromise the practice of its legal rights in court. After providing the special curators development history, the research leads to the allocation of the curator function on to the Public Defender´s Office. The research also analyses the capacity of such activity in order to protect the rights of the defendant in default cited by edict, of the arrested defendant, and of the minor or disable group lacking legal capacity without legal guardian or trustee. Furthermore, the research checks out how the performance of the special curator activity is able to provide a way of overcoming harmful effects from procedural vulnerability in several stages of the civil procedure. Moreover, the research verifies case-laws regarding the special curator activity in the Brazilian Supreme Court of Justice, Brazilian Federal Court of Justice and State of São Paulo´s Court of Appeals. In several opportunities the results are well-founded to the litigant in procedural vulnerability. The information presented regarding the special curator´s activity in the State of São Paulo is able to demonstrate that the legal proceeding quantity and its direct costs are reasonable. An opinion poll on the special curator activities among the Public Defenders reveals their evaluation regarding this subject. Finally, the research put together all the information provided, concluding that the special curator´s activity is able to assist and assure the full defense and the right of adversary proceedings for those in procedural vulnerability situation.

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Oliveira, Régis Costa de. „Imagem e memória: arqueologia da imagem nas aulas de Artes Visuais do Instituto Federal do Maranhão – campus Buriticupu“. Universidade Federal do Maranhão, 2016. http://tedebc.ufma.br:8080/jspui/handle/tede/1474.

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Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-23T18:04:12Z No. of bitstreams: 1 RegisCostaOliveira.pdf: 2442139 bytes, checksum: 9d55d79bf14ea8419cb9d60c93f3aff8 (MD5)
Made available in DSpace on 2017-05-23T18:04:12Z (GMT). No. of bitstreams: 1 RegisCostaOliveira.pdf: 2442139 bytes, checksum: 9d55d79bf14ea8419cb9d60c93f3aff8 (MD5) Previous issue date: 2016-06-03
The imagistic reading in visual arts classes, usually occurs from a Eurocentric tradition acquis which is strange to much of the student visuality and the curatorial process intermediated by the teacher. Given these characteristics, it is imperative to think of new methodological procedures for the practice of reading images. Thus, this article analyzes the application of the project Image and Memory in Visual Arts classes at the Federal Institute of Maranhão, Buriticupu campus to the practice of imagistic reading from the curatorial model present at the Mnemosyne Atlas by Aby Warburg and the archeology image recommended in the studies of Georges Didi-Huberman, in order to place the student as the protagonist of the curation process visual information, from his visuality and weaving the threads that articulate images from mnemonics and conceptual aspects.
A leitura imagética, nas aulas de Artes Visuais, geralmente ocorre a partir de um acervo de tradição eurocêntrica, estranho a grande parte das visualidades dos alunos e com o processo curatorial protagonizado pelo docente. Frente a estas características, torna-se imperativo pensar em novos processos metodológicos para a prática da leitura de imagens. Dessa forma, o presente artigo analisa a aplicação do projeto Imagem e Memória nas aulas de Artes Visuais do Instituto Federal do Maranhão, campus Buriticupu, para a prática da leitura imagética a partir do modelo de curadoria presente no Atlas Mnemosyne de Aby Warburg e da arqueologia da imagem preconizada nos estudos de Georges Didi-Huberman, com o intuito de situar o aluno como protagonista do processo de curadoria da informação visual, partindo de sua visualidade e tecendo as tramas que articularão as imagens a partir de aspectos mnemônicos e conceituais.

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Твердохлєбова, Наталя Євгеніївна, und Наталія Сергіївна Євтушенко. „Нові можливості викладача-тьютора дистанційного навчання“. Thesis, ГО "СФБЖДЛ", 2016. http://repository.kpi.kharkov.ua/handle/KhPI-Press/29118.

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Серед найсучасніших освітніх технологій, що активно розвиваються і поширюються, особливе місце займають дистанційні технології навчання. Завдання сучасного викладача-тьютора – не стільки надати студенту знання відповідно затвердженого навчального плану, але і забезпечити його життєво важливими навичками роботи з інформацією, умінням ефективно взаємодіяти з колегами, в тому числі через Інтернет, а також постійно розвиватися і вчитися самостійно.
Among the modern educational technologies that are being actively developed and distributed, distance learning technology take a special place. The task of the modern teacher-tutor is not only to give the student knowledge in accordance with the approved curriculum, but also to provide him vital skills information, the ability to communicate effectively with colleagues, including through the Internet, and continuously develop and study independently.

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Hilmersson, Annie, und Ludwig Willman. „Skolkuratorers arbete med barn som lider av psykisk ohälsa. : En kvalitativ studie“. Thesis, Linnéuniversitetet, Institutionen för socialt arbete (SA), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100725.

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Mental illness has rapidly increased in Sweden and today around ten procent of swedish children suffers from mental illness. The purpose of this study is to investigate how school curators work with children that suffers from mental illness and how they work preventive with this problem. The empirical material has been collected through qualitative interviews with six school curators. With the intention of analyzing the empirical data two theoretical framework has been used. Client-oriented and room for maneuver. The results indicates that school curators mainly uses different types of conversations, but also exercises and strategies around self-esteem and indefication of emotions. They also coach the teachers in order to give them tools to identify mental illness among children. It turned out that there are many ways to promote preventive work aimed at children’s mental illness. Giving lectures and performing group exercises on topics related to self-image, bullying and conflict management were common. Lastly the room for maneuver was experienced as quite big among our interviewed school curators. There were factors that could indicate that the room for maneuver is still limited in certain parts of the work. Such as lack of time, laws and governing documents.

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Velazco, Reyes Adriana Sofía. „La teoría del gatekeeper en el tratamiento informativo del periodismo digital en casos de violación y homicidio de menores. Análisis del caso “Camilita” en la versión digital del diario Ojo, entre el 02 y 04 de marzo del 2020“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653932.

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Las noticias que irrumpen en lo cotidiano se encuentran dentro del fenómeno conocido como periodismo policial. Asimismo, en las últimas dos décadas, el periodismo digital se ha convertido en una de las formas más rápidas de hacer periodismo, aplicando las características de “la vieja escuela”, en los nuevos (no tan nuevos) formatos digitales y construyendo las propias sobre la marcha. En este trabajo de investigación, se decidió abordar el caso de ‘Camilita’, la niña de cuatro años, violada y asesinada por un menor de quince en la zona de Payet, en el distrito de Independencia. Este trabajo busca definir e identificar cuál es el tratamiento de la información, los criterios de jerarquización de enfoques y los mecanismos o recursos digitales que se utilizan en la construcción de noticias de violación y homicidio de menores en espacios periodísticos digitales, siendo estas, las funciones principales que cubre el rol de gatekeeper, personaje que también se conoce como curador de contenidos en el ámbito digital. Para llegar a este punto, se utilizó una metodología cualitativa y se analizó un corpus de veinte noticias, publicadas por el diario digital Ojo, entre el 02 y 04 de marzo del 2020, en relación al caso ‘Camilita’. Al finalizar la investigación, se llegó a la conclusión de que existe una jerarquización de noticias, definida no solo por enfoque, sino también por el uso de los recursos digitales del diario Ojo: ‘hipervínculos’, ‘VIDEOS RECOMENDADOS’ y ‘TE PUEDE INTERESAR’. Asimismo, se puso en evidencia que estos casos generan noticias superficiales y no se incorporan análisis más profundos sobre la realidad en la que las víctimas se encuentran. Este podría ser un enfoque más del que hace falta publicar.
The news that breaks into the everyday is inside the phenomenon known as police journalism. Also, in the last two decades, digital journalism has become one of the fastest ways of doing journalism, applying the characteristics of "the old school", in the new (not so new) digital forms and constructing one's own on the march. In this research paper, it was decided to look at the case of 'Camilita', the four-year-old girl who was raped and murdered by a fifteen-year-old boy in Payet area of Independencia district. This work seeks to define and identify the treatment of information, the criteria of hierarchization of approaches and the mechanisms or digital resources used in the construction of news of rape and murder of minors in digital journalistic spaces, being these, the main functions covered by the role of gatekeeper, a character who is also known as a curator of content in the digital environment. To reach this point, I used a qualitative methodology and analyzed a corpus of twenty news items, published by the digital newspaper Ojo, between the 2nd and 4th of March 2020, in relation to the 'Camilita' case. At the end of this research, it was concluded that there is a hierarchy of news, defined not only by focus, but also by the use of digital resources of the newspaper Ojo: 'hyperlinks', 'recommended videos' and 'you may be interested'. Likewise, it became evident that these cases generate superficial news and do not incorporate deeper analyses of the reality in which the victims find themselves. This could be one more approach than the one required to be published.
Trabajo de investigación

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Wood, Eleanor. „Displaying dress : new methodologies for historic collections“. Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/displaying-dress-new-methodologies-for-historic-collections(8ac9a65f-f153-43ca-88d5-d6e04ea5db1b).html.

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At the beginning of the twenty-first century British costume museums were failing to attract audiences; consequently, all but the Gallery of Costume, Manchester and the Fashion Museum, Bath were closed to the public. This thesis has sought to examine the traditional display methodologies of historic costume museums, using the Gallery of Costume as its primary case study of practice. This investigation problematises the theoretical assumptions upon which the gallery’s display methodologies are founded and compares its approaches to those taken in contemporary displays of historic dress. The findings of this investigation have been used to propose new approaches to the display of historic dress that aim to engage contemporary audiences. Using the research methods of participant observation, interviews and archival research the first chapter of this thesis outlines the development of the Gallery of Costume’s display methodologies, highlighting the agency of individual curators. The next two chapters explore the ways in which curators of dress reconstruct the bodies and personalities that give form to worn dress in the museum. The thesis moves on to examine both the methods by which the Gallery of Costume’s constructed history in its displays of history and the theoretical assumptions underlying its historiography. This chapter is followed by an exploration of the performance of fashion within the museum, attending to the way in which exhibitions can express dress as ‘living’ concept within accepted conservation guidelines. Finally, this thesis outlines a framework upon which reflexive exhibitions of historic dress can be built.

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Марченко, Анна Вікторівна, Анна Викторовна Марченко, Anna Viktorivna Marchenko und М. О. Ярова. „Інформаційна система підтримки діяльності куратора факультету ЕлІТ“. Thesis, Сумський державний університет, 2014. http://essuir.sumdu.edu.ua/handle/123456789/39252.

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Сучасний стан розвитку суспільної діяльності людини характеризується стійкою тенденцією інформатизації процесів управління, що призводить до підвищення якості та доступності керування процесами передачі та обробки інформації.

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Moramarco, Domenico <1984&gt. „Da artista a curatore: la mostra Slip of the tongue curata da Danh Vo a Punta della Dogana-Fondazione François Pinault“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8731.

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Danh Vo, artista danese di origine vietnamita, residente tra Berlino e Città del Messico, nato il 1975 a Bà Ria, è senza ombra di dubbio l’«artista del momento», entrato ormai a far parte “di diritto” nel sistema dell’arte contemporanea composto da artisti-divinità osannati da galleristi e collezionisti e corteggiati da tutte le più importanti istituzioni museali del mondo. Nato nel 1975 in Vietnam, a soli quattro anni è costretto a lasciare la sua terra, a causa della guerra civile, ed emigrare in Europa con tutta la sua famiglia a bordo di un’imbarcazione di fortuna.La sua produzione artistica ha innescato una considerevole attenzione a scala internazionale, con mostre individuali presso le Stedelijk Museum di Amsterdam (2008), la Kunsthalle Basel (2009), l’Art Institute di Chicago (2012), il Museo d’arte moderna della città di Parigi (2013), il Museion di Bolzano con la mostra “Fabulous Muscles” (2013), la partecipazione nello stesso anno, alla 55° Esposizione Internazionale d’Arte, presso l’Arsenale de la Biennale di Venezia intitolata “Il Palazzo Enciclopedico”, l’installazione “Autoerotic Asphyxiation” in occasione della mostra “The Illusion of Light” presso Palazzo Grassi-Fondazione François Pinault. In occasione della vittoria dello Hugo Boss Prize nel 2012, il curatore associato del Guggenheim Museum di New York, Katherine Brinson, ha definito la ricerca artistica di Danh Vo, come un lavoro che “illumina i fili intrecciati dell’esperienza privata e della storia collettiva che forma il nostro senso del sé. Emergendo da un processo di ricerca, incontri casuali e delicate trattative personali, le sue installazioni scoprono le connotazioni latenti e le memorie incorporate in forme familiari”. Il sistema dell’arte potrebbe essere rappresentato come una realtà “rigida” in cui gli attori (gli artisti, i curatori, i critici, i committenti tra cui i collezionisti, le istituzioni; i media, ecc.) giocano delle parti ben definite e difficilmente gli uni possono sostituire gli altri o intercambiarsi, anche se, come i fatti lo evidenziano, spesso gli uni si sostituiscono agli altri, da ciò nascono nuove figure come il critico-curatore, l’artista-curatore, il gallerista-artista, il critico-artista, i quali si impegnano in progetti che diventano vere e proprie sfide. Il curatore quindi, nonostante la sua figura sia in una crisi irreversibile e molti sono a dubitare ancora della sua utilità soprattutto vista la grave situazione economica di crisi finanziaria in cui versano quasi tutte le istituzioni culturali pubbliche, è colui che sceglie gli artisti e decide gli artisti da “includere” nel mondo dell’arte contemporanea e chi invece “lasciare fuori”. Cosa accade quando è l’artista che assume questo ruolo, cosa accade quando l’artista diventa curatore di una mostra? La risposta a questa domanda è la tematica principale di questo lavoro, attraverso un’attenta e approfondita indagine della mostra Slip of the tongue, co-curata da Danh Vo e Caroline Burgeois, presentata a Punta della Dogana di Venezia dal 12 aprile 2015 fino al 10 gennaio 2016. In questa occasione Danh Vo è stato il curatore della mostra scegliendo gli artisti e le opere da esporre. Il presente lavoro è suddiviso in quattro capitoli, il primo è intitolato “Da artisti a curatori: un breve excursus delle mostre curate dagli artisti”; il secondo capitolo è intitolato “La ricerca artistica di Danh Vo: il frammento tra storie di antichità, collezionismo, conflitti e guerre di religione”; il terzo capitolo è intitolato “La donna artista: storie di identità e di dissidio interiore”; il quarto capitolo è intitolato “L’identità dell’artista: tra genere, alterità e diversità”.

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Creasman, Pearce Paul. „Basic Principles And Methods Of Dendrochronological Specimen Curation“. Tree-Ring Society, 2011. http://hdl.handle.net/10150/622640.

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Dendrochronological collections include continuously expanding multi-taxon records of tree growth that encompass millennia and often offer irreplaceable sources of biological, environmental, and cultural information. Nevertheless, each departure of a scholar from the field—whether because of death, retirement, career change, shift in research priorities, or even move to a new institution—places collections in increased danger of being lost as viable resources. Without an organized and concerted effort to address outstanding and future issues of specimen curation, dendrochronology as a whole may become mired in the same trap that befalls many other scientific fields: collections apathy. Dendrochronological collections exist as a result of decades of effort and should function to support current and future scientific endeavors, education, and outreach, but cannot do so without adequate attention to their future. Intended as a ‘‘call to arms’’ this paper, focused on dendrochronology in the academic and public sector, aims to encourage discussion and, more importantly, to provide a foundation for and to instill a sense of urgency regarding long-term preservation of dendrochronological specimens.

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Glasberg, Ida. „Samverkan gällande barn och unga - Exemplet Bloton Öppenvård“. Thesis, Linnéuniversitetet, Institutionen för socialt arbete (SA), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85653.

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The aim of the study is to analyze the understanding of how curators at Bloton Open Care look at collaboration with actors linked to their work. A qualitative method was used and the data was based on semi-structured interviews with six curators from Bloton Open Care and additionally one of the managers. The findings point to that collaboration is crucial in the work with children and families if the child or family is in contact with several social service organizations. The curators emphasize the importance of being able to see their own part in collaborative work and consequently being humble while helping others. The understanding of others is grounded in transparency of the participant's shortcomings as well as the company´s. The prerequisites for collaborative work become more efficient if the purpose behind the collaboration is clear and all participants in the collaboration are familiar with the matter.

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Dissertationen zum Thema „Curator“

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