Relevant bibliographies by topics / Poetics of space

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetics of space'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Poetics of space"

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Ude, I. "Poetics of Space." Nka Journal of Contemporary African Art 1994, no. 1 (September 1, 1994): 29–33. http://dx.doi.org/10.1215/10757163-1-1-29.

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Sha, Xin Wei. "Poetics of performative space." AI & SOCIETY 21, no. 4 (April 27, 2007): 607–24. http://dx.doi.org/10.1007/s00146-007-0097-2.

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Davis, Megan. "Exiled Poetics." Art/Research International: A Transdisciplinary Journal 7, no. 2 (December 4, 2022): 351–68. http://dx.doi.org/10.18432/ari29676.

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Taking up the writings of Louise Glück and Mahmoud Darwish, this essay (re)searches the place and potential of a transnational, Edenic imagination as a vision of belonging amidst the alienation of modern life. Where a transnational poetics rejects ossified borders and boundaries, seeking porosity and imaginative possibilities that work across, around, through, and in-between, an Edenic imagination embraces a consciousness that simultaneously holds holy memory alongside longing for transcendence; so too do these ways of reading and seeing refract in the art-making I attempt as I seek the invisible web of connective, human tissue present in the poetic renderings of Eden by Glück and Darwish. As forces of modernity, colonization, and globalization maim and sever, a transnational, Edenic imagination gives language and location to our thirst for sacred inhabitance. As a method of inquiry, such a reading invites both researcher and reader to dwell in the liminal space of poetics. Guided by the poetic explorations of Eden and exile by Glück and Darwish, I work to consider how poetry itself becomes a hybrid site of belonging. The hope is that, through a deep (re)reading of the verses in which Glück and Darwish employ Eden as a metaphor, poetic inquiry might provide a way for us to more fully traverse categories of life, death, time, longing, space, and culture, exploring the complex matrices of our human experience and pursuit of home.
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Rhee, Beau La. "Emily Dickinson’s Poetics of Space." Studies in English Language & Literature 36, no. 3 (August 2010): 133–49. http://dx.doi.org/10.21559/aellk.2010.36.3.008.

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Manovich, Lev. "The poetics of augmented space." Visual Communication 5, no. 2 (June 2006): 219–40. http://dx.doi.org/10.1177/1470357206065527.

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Schafer, William J. "The Poetics of Appalachian Space." Appalachian Heritage 20, no. 1 (1992): 63–65. http://dx.doi.org/10.1353/aph.1992.0004.

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Binte Abdullah Sani, Hanisah. "Corporeal Poetics of Sacred Space." Space and Culture 18, no. 3 (June 29, 2015): 298–310. http://dx.doi.org/10.1177/1206331215579750.

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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (May 1, 2022): 292–315. http://dx.doi.org/10.5325/complitstudies.59.2.0292.

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ABSTRACT In Production of Presence: What Meaning Can’t Convey (2003), Hans Ulrich Gumbrecht suggests that through their unremitting emphasis on hermeneutics, modern critics have ignored the ineffable, bodily aspect of aesthetic experience that he calls “presence.” In the realm of poetics, such a theory implies a dissociation between the hermeneutic activity of a poem and a reader’s emotional response to it. Two aestheticians from medieval Kashmir, Ānandavardhana, c. ninth century CE, and his tenth-century commentator Abhinavagupta, propose a cause of poetic beauty and aesthetic effect that is still grounded in meaning: dhvani. They delineate how, in certain poetic conditions, dhvani leads to rasa, roughly “aesthetic enjoyment,” an experience at once mental and visceral. Whereas the poetic forms the Indian aestheticians discuss go beyond the lyric per se, this paper brings some of the most critical aspects of their poetics in conversation with current critical overtures as well as resonant poetry we might be more familiar with today in order to inspire further work on comparative literary aesthetics and “world criticism.”
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Waite, Clea T. "Somatic poetics." Technoetic Arts 18, no. 2-3 (October 1, 2020): 267–77. http://dx.doi.org/10.1386/tear_00044_1.

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This article considers scientific data and methods taken as a vocabulary for a visual language of poetics, shaping an artistic practice exploring the liminal poetics of space, time, science and mythology, equally considered. These artworks focus on the moving image as an immersive, architectonic construct, one that makes it possible to blur the boundary between space and time. They are cinematic environments that create a space of spatial and temporal ambiguity, open to the performative role of the viewer in composing the unfolding narrative. The artworks presented here began in the crossover between art and science, technology and anthropology, exploring topics and incorporating methods from each area. Transdisciplinary processes play a critical role in this artistic research. These works reflect cinema approached as a multimodal field of possibilities in which montage motivates movement and focus through this field, creating a participatory composition of sight, sound, movement and memory that immerses viewers by actuating somatic perception. Shape, scale, immersion, interactivity, simultaneity, embodiment, implementation and the manipulation of time create concrete metaphors that echo the multivalent content of the works: a collaboration with 300 tropical spiders to create a Kino, then letting the audience walk freely among them (or the spiders freely among the audience); an immersive environment enacting the space-time of glacial ice to experience the time of a different form of matter as somatosensory experience; a journey through the human history of the Moon, transcending time, political ideologies, realities and cultures as an encompassing field of simultaneous views and sounds; performing a 2000-year-old act of Thessalian magic on the skyline of Hong Kong. Combining the technological tools available to cinema and science, contrasting magnifications and speeds of observation reveal a material poetics beyond appearance. The artworks presented here elaborate the details of cardinal subjects, diving deep into fundamental domains to unravel the cultural implications embedded within the aesthetics of their data artefacts.
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Edgar, Andrew. "Football and the Poetics of Space." Sport, Ethics and Philosophy 9, no. 2 (April 3, 2015): 153–65. http://dx.doi.org/10.1080/17511321.2015.1030439.

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Dissertations / Theses on the topic "Poetics of space"

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Terne, Clara. "Space + Poetics." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-123.

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I often ponder over the physical limitations of everyday life. The sense of my body being trapped in the here and now, in being able to imagine so much and experience so little in comparison, and the downhearted disappointment of it all. In my Master project Space + Poetics at Konstfack (2010) I have confronted these issues. I have tried to find ways to bridge the gap between the physical place and the mental space. I strive to create escapes from our rigid surroundings – to create little holes in the everyday where the void creates content.
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Mhabak, Wasfie. "Shakespeare's tragic spaces : the poetics of place and space in Shakespearean tragedy." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569246.

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This thesis examines the significance of 'place' and 'space' in seven of Shakespeare's tragedies - Romeo and Juliet, King Lear, Hamlet, Macbeth, Othello, Antony and Cleopatra, and Coriolanus - through two inter-related approaches: on the one hand, by exploring how 'space' implants what might be labelled a spatial anxiety in Shakespeare's protagonists, an anxiety that complicates a tragic hero's response to a play's physical and psychological distinctiveness, and, on the other, by reading the spatial structure of each tragedy on geographical, historical, and political levels. This thesis thus tackles 'place' /'space' as a prominent agent in influencing the construction of the Shakespearean tragic hero who comes to be, this thesis argues, spatially destined. The Shakespearean tragic protagonists' relationships with 'space' /'place' in the plays will be shown to serve as a threshold to a network of issues, from questions of interiority and sexuality, gender and nationalism, political power and cultural hegemony to those of the tragic hero's relationship with self and others. Rather than remaining merely a passive container of a play's events, 'space' for Shakespeare becomes an active agent within the tragedies, adding to the tragic discourse of any play in key ways. When the spatial framework in Othello, for instance, moves from the wide scale of the city of Venice to the narrower space of the island of Cyprus before finally ending in the confines of a single bedchamber, such a spatial arrangement enhances the suffocating mental realm of the hero in the constrictive snare of jealousy. Shakespeare, by having the scenes of Hamlet restricted to the chambers of the court in Elsinore, emphasises the claustrophobic realm of Hamlet's 'distracted globe'. The movement of the characters from one locale to another in ancient Britain similarly intensifies the menacing realm of King Lear and cements the tragic sense of human vanity in the play. Such is the spatial machinery of Shakespearean tragedy, in which spatial organisation is not accidental to the plot of the play, but rather generated by it. Space, indeed, proves to be, in each Shakespearean tragedy addressed in this thesis, the blueprint which marks the nature and the tempo of events, the tragic hero's inward struggle, and the overall tragic sense of the play. Romeo and Juliet is thus structured around a network of public places imbued with social feuding and of private spaces in which privacy is denied and invaded, rendering the lovers not just 'star-' but also 'space-crossed' figures. In these terms, King Lear becomes a tragedy in which dislocation is equated with the loss of personal and national identity and relocation paralleled with selfhood and national belonging. Hamlet comes to be a play of utter confinement, be it conceptually through Hamlet's mental 'nutshell' of 'bad dreams', or materially in the close quarters of the King's court. Shakespeare invests in Macbeth both a spatial liminality, between the realms of witchcraft and reality, and a psychic liminality in Macbeth's restless fear and eventual tyranny. Likewise, in Antony and Cleopatra, Antony's spatial identity wavers between Roman and the Egyptian sensibilities just as the play's scenes sweep us geographically from Rome to Egypt and back again. By contrast, two approaches to the concept of the 'city' prevail in Coriolanus - again, conceptual and material - as shown by the hero and the various classes represented in Shakespeare's Republican Rome: both contribute influentially to the political struggle in the play. In short, space in Shakespearean tragedy signals the topographical equivalence both of a character's inward struggles and of a play's more exterior conflicts.
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Kerlin, Patricia Ann. "Cultural poetics in the making of public space." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/22723.

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TINOCO, PATRICIA. "CITY POETICS AND THE CONCEPT OF PUBLIC SPACE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34000@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Quando Rem Koolhaas, um dos arquitetos mais paradigmáticos da atualidade, se pergunta O que aconteceu com o urbanismo?, coloca-se em evidência uma latente crise no domínio em questão. Crise de identidade? Crise formal? Crise institucional? Operando no campo de estudo e investigação sobre o meio urbano e a relação da disciplina da arquitetura com a produção de pensamentos, de espaços e políticas nas cidades, essa pesquisa mobiliza conceitos-chaves, palavras de força para articular a reflexão sobre a condição atual da arquitetura e alguns significados adotados em seus discursos. Segue-se uma linha de pensamento crítico em relação ao urbanismo funcionalista – à sua mentalidade cientificista, prognóstica, de certa moral produtivista –, e seus desdobramentos na atualidade, em contextos urbanos marcados pela hegemonia de um sistema capitalista avançado. Identifica-se tal crítica retrospectivamente com ideias veiculadas pela teoria situacionista, da década de 1960, associando-a também com conflitos apontados nos discursos de Henri Lefebvre sobre políticas do espaço – sobretudo no que toca contrapontos entre agentes presentes na prática espacial, trazendo debates entre os conceitos de espaço de representação, espaço público e o espaço cotidiano. Tais categorias, citadas acima, permeiam discursos interdisciplinares, possibilitando, a partir de investigações de casos que se entrelaçam, discussões sobre aspectos em que o campo da arquitetura poderia ser enriquecido por abordagens de usos e fenômenos urbanos - ou apropriações - que voltam a atenção para as relações sociais, comportamentais, corporais e temporais do espaço, em detrimento das fortes correntes de ordenamento funcionalista e produtivista. Coloca-se em questão o papel atribuído do arquiteto como definidor de usos e significados de espaços abordando situações que colocam em cheque o conceito tradicional de projeto como instrumento de síntese, antecipação e controle.
When Rem Koolhaas, one of the most paradigmatically architects of nowadays, questions himself Whatever happened to urbanism?, one puts in evidence a latent crises in actual domain. Identity crises? Formal crises? Institutional crises? Operating in the studies and investigations field of urban environment and the relationship between the architectural discipline with the production of thoughts, spaces and policies in the cities, this research mobilizes key-concepts, guidelines to articulate the reflection about the current condition of architecture and some of the meanings adopted in its discourse. Following a critic line of thoughts towards functionalist urbanism – towards its scientific, prognostic mentality, with a certain productivist moral – and its deployments in actuality, in urban contexts marked by the hegemony of advanced capitalist system. One may identify this critic retrospectively with the ideas addressed by the situationist theory, in the 1960 decade, also associating it with conflicts pointed out by Henri Lefebvre s discourse about space politics – especially when it comes to the oppositions between agents present in the space practices, bringing up debates about the spaces of representation, public spaces and the everyday space. Those categories, listed above, permeate interdisciplinary discourses, making possible, with a web of case studies, discussions about aspects in which the architectural field might be enriched by the approach of urban uses and phenomenon - or appropriations - that turn their attention to social relations, behavior, corporeal or temporal relations within space, instead of favoring prevailing conducts of functional and productivist planning. One questions the assigned role of the architect as the uses and meanings of space definer, by approaching situations that quarrel the traditional concept of project as an instrument of synthesis, anticipation and control.
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Piva, A. "Landscapes of the invisible : sounds, cosmologies and poetics of space." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9w796/landscapes-of-the-invisible-sounds-cosmologies-and-poetics-of-space.

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In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.
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Thomas, P. R. "The poetics of thresholds : chair as a social portrait /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.153426/index.html.

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Cooper, David Christopher. "Staying Put : Norman Nicholson and the Poetics of Place and Space." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507062.

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Leber, Deanne. "Constellations – a space in time that’s filled with moving." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1810.

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Constellations in the sky have been a source of inspiration, in both science and literature, for aeons. Working within the constraints of the ‘official’ 88 constellations, as devised by the International Astronomical Union, this study involved researching the myths and histories of constellations, and then creating a collection of poems based upon those. Thematic connections between the eight modern constellation “families” or groups of constellations were explored and it is in these groupings that the poems work, to tie together, through experimentations with language, a somewhat cohesive fabric of poetry. Each constellation consists of three poems. The first is a dense prose poem. The poem is then reconfigured, containing elements of the old prose poem, but offering new associations and meanings as punctuation and words are removed. The third and final poem reflects the actual constellation shape, as observed in star maps. It is a movement of poetic archaeology, with new poems emerging through excavation of the first two pages. The poems challenge notions of language, such as closure, dealing with repetitions, renewal and discontinuous narrative threads. There is an element of play with the work, and the final page encourages reading beyond the left to right formation of conventional reading structures, instead making connections to be traversed in an improvised reading process. The poems are presented as four pages for each constellation. Three pages are the poems, and the fourth page, on the reverse of the final constellation shape, is the actual constellation map. The pages are clipped and folded into a black storage box. This design is to encapsulate the feeling of discovering a box of maps, with the folding and unfolding process aimed at being part of the play involved in reading and discovering the poems. Accompanying the box is a Powerpoint presentation on a USB stick. This is a ‘Twitter’ type feed, where a one sentence epigraph, derived from the beginning of each constellation, is inscribed in a continuous feed, in an attempt to illustrate the futility of trying to comprehend and keep up with an endlessly shifting landscape of words online, and in particular, in social media. The 88 phrases revolve aimlessly across the screen. It becomes a blank space, littered with odd words and phrases, recognizable but fleeting The accompanying exegesis discusses language, mapping and orienteering. It explores theoretical concerns in poetry and language, and how, by looking at constellations and the way we interpret them, that they can be seen as metaphors for the way the constellation poems have been created.
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Evans, Megan, and not supplied. "Towards a poetics of light: the conceits of light." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070418.095100.

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Towards a Poetics of Light; The Conceits of Light is a critical quest to map associations between rhetorical figures, psychological defences and spatial tropes in an attempt to conceive a poetic design that enacts conceit. Light is an emblem which echoes with an abundance of representations in literature, history, art and architecture and parallels may be drawn between their resemblances however apparently remote. Love, knowledge, hope and creative passion mark turns in the threads that knot ideas and their representations together. Return of the Immortals, the final project in a series of works exploring these parallels and representations, gathers together a cascade of tropes to structure a spatial experience which culminates in The Conceits of Light.
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Okumura, Sayaka. "The poetics of Virginia Woolf's fiction : time, space and the material world." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/9911/.

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Books on the topic "Poetics of space"

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Boschi, Antonello. Poetics of Underground Space. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960.

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M, Jolas, ed. The poetics of space. Boston: Beacon Press, 1994.

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1944-, Lanier Parks, ed. The Poetics of Appalachian space. Knoxville: University of Tennessee Press, 1991.

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The poetics of perspective. Ithaca: Cornell University Press, 1994.

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A, Yates Steven, ed. Poetics of space: A critical photographic anthology. Albuquerque: University of New Mexico Press, 1995.

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The space between. Quezon City, Philippines: University of the Philippines Press, 1985.

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Andrew, Sunshine, ed. The alembic space: Writings on poetics and translation. Chicago, [Ill.]: Atlantis-Centaur, 2006.

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Doina, Petrescu, ed. Altering practices: Feminist politics and poetics of space. London: Routledge, 2007.

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Repressed spaces: The poetics of agoraphobia. London: Reaktion, 2002.

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Halfway house: The poetics of Australian spaces. Crawley, W.A: UWA Pub., 2010.

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Book chapters on the topic "Poetics of space"

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Manovich, Lev. "The Poetics of Augmented Space." In Mediatecture, 304–18. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0300-5_26.

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Klein, Bernhard. "The Poetics of National Space." In Maps and the Writing of Space in Early Modern England and Ireland, 149–70. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230598119_9.

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Montgomery, Will. "The Poetics of American Space." In The Poetry of Susan Howe, 79–111. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113091_4.

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Winter, Jay. "The Poetics of Jewish Space." In Schtetl, Stadt, Staat, 9–12. Wien: Böhlau Verlag, 2017. http://dx.doi.org/10.7767/9783205206927.9.

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Boschi, Antonello. "Huddling." In Poetics of Underground Space, 1–14. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-1.

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Boschi, Antonello. "The city other." In Poetics of Underground Space, 29–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-3.

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Boschi, Antonello. "Novelty is but oblivion." In Poetics of Underground Space, 56–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-5.

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Boschi, Antonello. "Sensations." In Poetics of Underground Space, 80–94. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-7.

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Boschi, Antonello. "Buried high-rises." In Poetics of Underground Space, 107–17. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-9.

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Boschi, Antonello. "Stone skies." In Poetics of Underground Space, 67–79. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214960-6.

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Conference papers on the topic "Poetics of space"

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Lingel, Jessica. "The Poetics of Socio-Technical Space." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2858036.2858399.

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Osipova, N. I., and L. I. Rumyanceva. "Poetics of artistic space in the work of V.G. Korolenko "Lights"." In XXI All-Russian Scientific and Practical Conference young scientists, graduate students and students in Neryungri, with international participation. Tekhnicheskogo instituta (f) SVFU, 2020. http://dx.doi.org/10.18411/tifsvfu-2020-c2-157-93.

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Frances Dias, Sarah, and Maria João Durão. "Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.612.

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Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612
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Gurevich, P. "The poetics of plastic arts images in canonical art world of Russian classicism." In XX International scientific and practical conference "Russian cultural space: language – mentality – understanding". LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1446.rcs_xx-2019/179-184.

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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Dudareva, Marianna, Marina Shtanko, Olga Murashova, and Denis Bronnikov. "Creativity of M.I. Tsvetaeva and E.T.A. Hoffmann in the Space of World Culture: Folk Tradition in Poetics*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.192.

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"Practice in Space Poetics of “Home Consciousness” and “Urban Writing”——A Study on the Text Interpretation and Creation Techniques of Poems." In 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000707.

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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Shyqeriu, Banush, and Kushtrim Hajdari. "Symbolism and Poetics of Autogenic Space and Structures – The New Design Approach on Mosque as Representative Building (Design Proposal for the Central Mosque of Prishtina as Case Study)." In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2013. http://dx.doi.org/10.33107/ubt-ic.2013.1.

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