Construções sonoras: a espacialização do som na arte de Paulo Nenflidio
This paper aims to study the work of Paul Nenflidio, starting with the work entitled Música dos ventos, which takes place as an interface, building a connection between the man and the place through sound. The study also aims to investigate how Nenflidio’s works bring a line of thinking that walks b...
| Autor principal: | Granemann, Luciana Brandão |
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| Formato: | Trabalho de Conclusão de Curso (Especialização) |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2020
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| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/17054 |
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| Resumo: |
This paper aims to study the work of Paul Nenflidio, starting with the work entitled Música dos ventos, which takes place as an interface, building a connection between the man and the place through sound. The study also aims to investigate how Nenflidio’s works bring a line of thinking that walks between art and science, therefore making him a hybrid artist. It seems indispensable to appreciate him in the notion of Soundscape, through the concept created by R. Murray Schafer. This study aims to rebuilt the relationship between the object and the embodied space where happens these sound experiences in a futuristic designed structure and simultaneously with presentation of memories. The space materializes itself in a border relation, which is a different review of what has already been seen. The research brings a study of these interfaces between sound and space. It enters the universe of the artist who, in addition to training in visual arts, also has knowledge in electronics. This paper brings to focus some works of Paul Nenflidio as a visual artist and, more precisely, the sound works where the presence of his knowledge in electronics is clearly noticeable. The paper also aims to understand the different languages applied by the artist in his works, where objects are transformed into something different. It verifies within the hybridity concept where these inserts, in certain times invisible and other times impactful, open the possibilities in the perception of those traveling in space. It places the artist’s work in the art-historical context, inheritor of experiments in kinetic art and mechanics history of automata and its consequences regarding movement and sound sculpture, as it may be framed in a sound or visual context. This research is justified by the lack of scientific publications about the artist's work, as well as the possibility of a interpretation of the work in the light of theoretical and historical elements related to sculpture in the expanded field of Rosalind Krauss, regarding the kinetic art and the history of automatons. |
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