Browsing by Author "Sousa, Ana Matilde, 1984-"
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- Beauty is in the eye of the "produser" : japan’s virtual idol Hatsune Miku from software, to network, to stageusaPublication . Sousa, Ana Matilde, 1984-
- Bukimi-Tan : sobre o conceito de Kawaii na produção artística contemporânea japonesa (um roteiro)Publication . Sousa, Ana Matilde, 1984-; Vidal, Carlos, 1964-Although both the sensibility to kinderschema (baby schema) and the nurturing instinct are biologically innate, the formulation of the concept of “cute”, and its first cultural manifestations, are relatively new: they date back to the beginning of the 20th century, along with a subtle, yet significant, reformulation of the social role of the child and infancy. With the emergence of the kawaii culture in Japan, in the early 70s, the concept gains a newfound vigor, rising to the status of a national obsession that reveals the intrinsic relation between cuteness and the traumas that shaped the post-war Japanese identity. In Bukimi-tan, I design a personal itinerary whose goal is to compile some aesthetic categories and plastic strategies through which the concept of kawaii becomes an operational model in contemporary artistic production. This “itinerary” – a series of observations, notes, examples, brief considerations, hints, memos, impressions, and small comments – reflects my own preferences and interests at the time the text was written. It aims at outlining affinities and links between the fine arts (focusing mainly on Japanese artists), and Japanse pop (sub)culture(s) – a manga and anime such as Neon Genesis Evangelion or Puella Magika Madoka Magika, subcultures like otaku or rorikon, street fashion like kogyaru and roriita, etc. – based on the connection between cuteness and concepts like “ignoble” (Sianne Ngai), “formless” (Yve-Alain Bois and Rosalind Krauss), “abject” (Julia Kristeva), “uncanny” (Freud, Lacan), “queerness” (Lee Edelman), “kyara” and “database” (Azuma Hiroki). On the other hand, in applying the poetical principles analyzed throughout the text to the dissertation’s own material and conceptual structure, I attempt at a convergence of the artistic praxis and the theoretical investigation in the same physical support, thus integrating this project in a larger reflection on the methodological specificities of a thesis in the field of Painting
- A colaboração massiva de Hatsune MikuPublication . Sousa, Ana Matilde, 1984-
- Imagens do mosh pit flutuante : intervenções de Yoshitomo Nara sobre gravuras japonesas oitocentistasPublication . Sousa, Ana Matilde, 1984-
- It girl : o problema lolicon no videoclipe de Mr. para Pharrell WilliamsPublication . Sousa, Ana Matilde, 1984-
- Miudas do PixivPublication . Sousa, Ana Matilde, 1984-
- Moe-Kei : notas sobre o conceito de moe como sistema compositivo na cultura cute japonesaPublication . Sousa, Ana Matilde, 1984-
- Painting superflat : post-painterly figuration, commodity-life and spectral return in japanese contemporary paintingPublication . Sousa, Ana Matilde, 1984-
- Porque sou imperfeita : the end, a ópera vocaloid "sem" humanosPublication . Sousa, Ana Matilde, 1984-Promoted as the “first humanless opera”, THE END is a new media performance by Keiichiro Shibuya, starring the Japanese virtual idol Hatsune Miku. Fruit of a collaboration between renown creators from various fields, the physical disavowal on stage emphasizes the “thickness” and vitality of the new media, including their ephemeral and complex networks of relationality. Far from an empty shell with no agency, Miku is presented as an imperfect entity, serving as ambassador for the “weird materialities” of contemporary digital culture
- Revolução das Flores : uma introdução ao Grupo do Ano 24 na vanguarda do shojo mangaPublication . Sousa, Ana Matilde, 1984-