Dissertations / Theses on the topic '190504 Performance and Installation Art'
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Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.
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This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. It also aims to understand the design issues surrounding the creation of these systems.
The approach used is Practice-based, integrating practice, evaluation and theoretical research.
Practice used methods from Reflection-in-action and Iterative design to create two interactive art systems: Glass Pond and +-now. Creation of +-now resulted in a novel method for instantiating emergent shapes. Both art works were also evaluated in exploratory studies. In addition, a main study with 30 participants was conducted on participant interaction with +-now. These sessions were video recorded and participants were interviewed about their experience. Recordings were transcribed and analysed using Grounded theory methods. Emergent participant experiences were identified and classified using a taxonomy of emergence in interactive art. This taxonomy draws on theoretical research.
The outcomes of this Practice-based research are summarised as follows. Two interactive art systems, where the second work clearly facilitates emergent interaction, were created. Their creation involved the development of a novel method for instantiating emergent shapes and it informed aesthetic and design issues surrounding interactive art systems for emergence. A taxonomy of emergence in interactive art was also created. Other outcomes are the evaluation findings about participant experiences, including different types of emergence experienced and the coding schemes produced during data analysis.
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Demers, Louis-Philippe. "Machine performers : Agents in a multiple ontological states." Thesis, University of Plymouth, 2015. https://eprints.qut.edu.au/128366/1/2015Demers374080PhD.pdf_sequence%3D3%26isAllowed%3Dy.
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In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into © Demers 2014 iv machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences
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Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Leong, Sau Mun Dawn-joy. "Scheherazade's sea: a mixed media, multi-sensory installation and performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47295909.
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Scheherazade’s Sea is an interdisciplinary creative work, which brings together
music, visual art, literary text, digital media, and performance art. Interdisciplinary
creativity has existed for centuries in history. In fact, the ancients of different
civilisations viewed the disciplines of science and art as inseparable. The late
nineteenth century and early twentieth century saw a resurgence of interdisciplinary
interest in the form of artistic collaborations among proponents of the different arts
forms, mainly music, visual art, theatre and dance. Today, this coalescence now
includes digital and electronic media. However, such works focus mainly on the
more dominant distal senses of sight and sound and fail to consider the
multimodality of natural sensory perception in the experience of art, and many of
these works are performed in settings where artists are separated from audience by
physical and psychological barriers. In Scheherazade’s Sea, I shall address the
limitations of prevalent approaches, by including the proximal senses, removing the
traditional physical barriers and encouraging audience participation.
On another level, Scheherazade’s Sea serves as a vehicle for exploration and
reflection of the inherent sensory and cognitive peculiarities associated with
Asperger’s Syndrome, and their possible influences upon creativity and artistic
expression. Sensory and cognitive idiosyncrasy is a common feature in Asperger’s
Syndrome. Individuals suffer from extremes of either heightened sensitivity or low
arousal to external sensory stimuli, and their innate cognitive patterns differ from that
of the typical majority. As a result, the sensory and cognitive world of a person with
Autistic Spectrum Disorder can be fragmented, disjointed and confusing. While there
exists substantial literature about famous artists with Asperger’s Syndrome and
various aspects of their creativity, there is, to date, limited documentation from the
perspective of the artist with Asperger’s Syndrome, using an original
interdisciplinary work to illustrate the possible ways in which sensory and cognitive
differences may affect and influence creative choices and outcomes. By charting and
examining the features and various processes in the creation of Scheherazade’s Sea, I
hope to discover and contribute more insights into this area of interdisciplinary study.
The purpose of this examination is not to add to the already vast body of
programmes aimed at social rehabilitation and adaptation to the neurotypical world,
but rather to open more avenues for the identification and development of innate
abilities in autistic individuals. My intention is not to ‘fix what is broken’, but to
discover and empower beauty in the unusual and the different.published_or_final_version
Music
Master
Master of Philosophy
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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
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This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
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Oen, Karin Grace. "Admonition and the academy : installation, video, and performance art in Reform Era China." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77871.
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Thesis (Ph. D. in History, Theory, and Criticism of Art and Architecture)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 201-214).
China's Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated "Chinese modernism" comprised of elements of both Confucian and Western philosophy and aesthetics. As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China's socio-political climate - a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an "art of admonition" utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the "middle hermit" - a scholar who admonishes official policy subtly and indirectly. The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools' libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist's role as "middle hermit."
by Karin Grace Oen.
Ph.D.in History, Theory, and Criticism of Art and Architecture
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pettersson, pontus. "an ecology of things/thinking." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6254.
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An ecology of things/thinking is a textual work, a document of my thinking and the things Ihave created during my master studies in fine arts at Konstfack. As the title and word suggests‘ecology’, it is a material practice. I have called it a choreographic step entering thiseducation. With several motives and desires and with a ten-year background in dance andchoreography, the main thread has been to look into the object and installation work I havebeen doing. in which objects, clothes and larger sculptures have been ways for me tounderstand choreography not only entangled in dance but in everything. Concepts/words likehospitality, temporality and context are reoccurring topics of my inquiries, as I understand thehuman with great plastic qualities and potential. In my work I always need to consider thecontext, pre-conditions and conditions for a dance to emerge.I see the body as both reading and writing machine, we cannot only producetext, dance and objects, but we also read and write the movement in between things, the largerchoreography and the interwoven parts. Doing dance and choreography, my artistic practiceblends these notions in both making objects or exhibitions, dancing for others or myself,writing poetry and curating events. For my master studies I needed to leave the morespectacle-like parts of dance and performance out of my palette of expressions. I wanted to letthe objects and installation work have more agency, still working with choreography. Thesituation/context – Konstfack became my field of study and from where I could speak/createfrom.
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Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateursMixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
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Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
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I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multiâ€media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multiâ€media installations.
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Winter, Sarah J. "The monadic environment : evoking emotion and memory in participatory performance." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78684/2/Sarah%20Winter%20Exegesis.pdf.
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This practice-led research project examined the audience experience of immersive environments in participatory performance. Drawing upon the work of artist Ilya Kabakov, Gaston Bachelard's Poetics of Space (1964) and Leibniz's theory of the monad, the study investigated how an immersive space can be constructed to evoke emotion and memory recall in participants. The research consisted of two cycles of creative experimentation resulting in the presentation of a final piece entitled Dulcet. The research contributes new terminology to the discourse surrounding the participant experience in immersive environments, specifically space-as-memory, the role of ambiguity in spatial design and the construct of the monadic environment.
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Sadeghi, Seyedeh Tara. "De la violence dans l'art contemporain à partir des oeuvres de Valie Export, Marie-Jo Lafontaine, Ana Mendieta et quelques autres." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0670.
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A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentesFrom the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works
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Holtsclaw, Anita. "To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76536/1/Anita_Holtsclaw_Thesis.pdf.
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To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.
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Bacon, Julie Louise. "Recollecting the poetry and politics of archival spaces : an exploration of performance and installation art in the museum." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431003.
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Rye, Caroline. "Living cameras : a study of live bodies and mediatized images in multi-media performance and installation art practice." Thesis, Edinburgh Napier University, 2000. http://researchrepository.napier.ac.uk/Output/5886.
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This thesis is concerned with multi-media performance and installation art practices which foreground the live body in combination with mediatized images. The research is conducted through the making and examination of a number of the researcher's own art works. Practical multi-media performance and installation projects are analysed within the context of specific performance and visual cultural theories in order to advance their contribution to critical and cultural fields. The research champions a symbiotic relationship between theory and practice. Practical works were undertaken and exhibited as solo or collaborative art projects. These works then formed the basis for individual ‘case studies' and were subjected to a critical review informed by a variety of theoretical frameworks including feminist, psychoanalytic and poststructuralist philosophy. This practice-based methodology is contextualised by the mapping of historical and contemporary critical discourses for the field of multi-media performance. The ‘reflection-on-action' results in an understanding of the mechanisms and effects of multi-media performance as a cultural practice. Specifically this thesis aims to answer the question as to whether multimedia performance can form the basis for an ‘interrogation' of our contemporary media dominated society? Through a practice-led enquiry it unpacks the dynamics between a meeting of live bodies and mediatized images, concentrating on the differences and similarities of their experiential sensory qualities. The research then extends these findings into social and political contexts through a comparison with other ‘reality' and ‘identity' re/producing cultural practices. The study concludes that cameras and recorded images used within live and/or time based art contexts can counteract the conventional constitution of mediatized images. To the extent that mediatized images can also be said to reflect and in turn constitute human subjectivity, multi-media performance, therefore, can provoke a re-evaluation of culture and its associated human activities and behaviours.
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Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.
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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.
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Hannan, Holis. "Transcendence." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1316.
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This thesis is a description and critical analysis of the processes, concepts and imagery of my artwork. I am interested in creating visual narratives, often figurative, in the form of sculpture, collage, and installation. In my work I attempt to call attention to the human condition, specifically addressing sexuality, mortality, psychological issues and power struggles. I incorporate both cultural and personal references and use traditional and non traditional materials and processes that are intended to conceptually inform the viewer further. My intention is to create distinct embodiments that provoke contemplative emotion and in which the object and the aesthetic experience allow us to consider and reconsider who we are and how we progress as a culture.
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Yes, Melissa R. "Space Program." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494286481799127.
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Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.
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Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.
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Fuelling, Christopher J. "The Ariadne project : a companion paper to the creative thesis 698 composition and performance of the opera/installation, Ariadne." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845926.
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The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process.Department of Art
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Tsuda, Carlos Eduardo. "Arte sonora e espaço: estética e novas possibilidades poéticas." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18142.
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Previous issue date: 2014-03-13Sound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sound Art. (Theoretical and Methodological Aspects) By dealing with changes in the ways of understanding sound, both in the world of contemporary music and in visual arts, the research describes different formats of the relationship between sound and space, which acquired new meanings in art installation after more recent experiments with sound. Moreover, it examines the forms of perception of sound and how they differ from other languages, since they imply specificities in their ways of spatialization. The concepts discussed here are applied in the analysis of relevant examples for the historical understanding of sound art and the relation between space and sound. (Results) These analysis serve as a theoretical basis for more in-‐ depth case studies, in which the author reflects about his creativive process in different works, such as the sound creation and composition for the contemporary dance spetacle Branco and the sound installation Promenade
Arte Sonora e Espaço: Estética e Novas Possibilidades Poéticas (Objetivos) discute os processos de hibridização entre som e espaço, a partir de um percurso histórico por áreas como a música, a arquitetura, as artes visuais, a engenharia acústica e a performance. Diante da diversidade de abordagens sobre o tema, a dissertação busca relacionar as diferentes perspectivas a partir de um recorte baseado no surgimento da Arte Sonora. (Aspectos Teórico-‐Metodológicos) Tratando das mudanças referentes às diferentes maneiras como o som passa a ser entendido, tanto no universo da música contemporânea como no das artes, a pesquisa intenta demonstrar como a relação entre som e espaço ganha novos sentidos diante das formas instalativas típicas nas experiências mais recentes com som. Além disso, examina diferentes modalidades de percepção do som, e de que modo estes diferem das demais linguagens, implicando em especificidades no que tocante às formas de espacialização. Os conceitos discutidos são aplicados na análise de exemplos pertinentes para o entendimento histórico da arte sonora e das relações entre som e espaço. (Resultados) Estas análises servem como ponto de partida para estudos de caso mais aprofundados em que o autor reflete sobre seu processo no desenvolvimento de obras, tais como a composição sonora para o espetáculo de dança contemporânea Branco e a instalação sonora Promenade
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Delaporte, Marie-Laure. "L’artiste à la caméra : hybridité et transversalité artistiques (1962-2015)." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100145.
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A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’image du corps à travers l’objectif de la caméra, oscillant entre présentation et représentation chez Carolee Schneemann, Yvonne Rainer et Bruce Nauman. Le film d’artiste parvient également à dépasser la spécificité des médiums en exaltant sculpture et installation, en créant des formes et des espaces de l’entre-deux, en déplaçant le visiteur comme le font Robert Smihtson ou Anthony McCall, en révélant des aspects invisibles. Enfin, il s’agit de comprendre comment le film peut devenir un modèle de pensée et de réflexion pour les autres arts mais aussi pour le médium de l’exposition qui se voit récitée selon de nouveaux principes temporels et spatiaux. L’artiste à la caméra franchit ainsi les frontières de la danse et de l’opéra, met en jeu le corps et la perception du visiteur face à la redéfinition des écrans et des conditions d’exposition telles les oeuvres de Matthew Barney, Bill Viola ou Pierre HuygheSince the 1960’s the link between filmic and artistic practices has intensified. From now on artists and performers use the movie camera not only to record their practice but to transform and reveal it. Artist’s film becomes a way to discuss with the other arts and to create hybrid and transversal shapes. This dissertation aims to demonstrate that the artist with a movie camera, is a category in its own way, which goes beyond the documentary of recording the piece. It renews the body’s image through the camera’s eye, between presentation and representation with the pieces of Carolee Schneemann, Yvonne Rainer and Bruce Nauman. The artist’s film achieves to go beyond the medium’s specificity by glorifying sculpture and installation, by creating shapes and spaces of in-between, moving the visitor as did Robert Smithson or Anthony McCall, by revealing invisible aspects. We would like to understand how film can become a model of thinking for the other arts as well as for the medium of exhibition which reactivated according to new temporal and spatial principles. The artist with a movie camera goes beyond the thresholds of dance and opera, challenges the body and the perception of the visitor facing the definition of the screens et de exhibition’s condition like the ones of the pieces made by Matthew Barney, Bill Viola or Pierre Huyghe
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Edvalson, Eric John. "Cozy Mart: Convenient Aesthetics." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6207.
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Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.
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McBride, Kenneth. "Eastern European time-based art during and after Communism." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/486.
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Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.
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Jones, Rhiannon. "The artistry of conversation." Thesis, Nottingham Trent University, 2016. http://irep.ntu.ac.uk/id/eprint/31333/.
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This thesis proposes a new way of thinking about conversation as a methodology and argues that conversation itself can be considered as an art practice. The practice research has been developed through a body of five artworks produced between 2012-14, each of which directly engaged with communities and residents of the city of Nottingham, UK, and emerged in relation to the specificity of this location. The doctoral research has been presented within the international contexts of art and social science through several seminars and conferences, including the researcher's co-founding and co-curation of InDialogue (2012 – present), a biannual interdisciplinary symposium. The research engages with existing work on conversation and the dialogic by Allan Kaprow, David Bohm, Mikhail Bakhtin, Grant H. Kester and Hubert Hermans, from which it develops a socio-artistic and philosophical framework to theoretically underpin a body of dialogic practice. For the purpose of this thesis, PhD stands for Practice in High Definition: the body of work produced has been tested and analysed to develop an original methodology, which has been termed APSSL, to describe its five key features: architactics, performativity, storyteller, social activism and legacy. The thesis sets out the framework for a performative and experiential approach, providing examples of the orchestration of space and the dialogic architectures of site and body. Conversation is considered as a methodological producer and as the instigator of practice. Aesthetic in approach, the methodology is recognised for its socializing power in terms of generating the opportunity for a public presentation of self and other, and for the mobility of voices in spaces. It establishes that there can be an artistry of conversation.
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Ollestad, Dana. "Auto Tune." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2812.
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This thesis is an overview of the source material, methodologies, artistic influences, and conceptual decisions that inform my artwork and characterize my art practice. Utilizing participation (audience, community, viewer), I engineer experiences and encounters for the general public. Whether through directed physical interaction or implicit reaction, I create open-ended situations or environments that I may influence, but not fully control. The democratic cede of authorial control, as well as the heightened risk and unpredictably in my work, instigates a more positive, non-hierarchical social model in which every viewer is an “author,” who produces content and communication signals, and has a voice and a presence in society.
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Svrckova, Tatiana. "Nexus." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341527229.
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Findlay, Jules. "Mrs Gallagher, Acts of disobedience : performance and installation in rural New Zealand : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1366/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.Appendix 4 contains 2 DVDs. Includes bibliographical references. Also held in print (55 leaves : col. ill. ; 22 x 30 cm. + 2 DVDs) in City Campus Collection (T 709.93 FIN)
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Durán, Gamba Mildred. "L'expression de la violence dans l'art actuel en Amérique Latine : notamment en Colombie, à Cuba et au Chili de 1995 à 2005 (dessin, peinture, sculpture, photographie, vidéo, installation et performance)." Paris 1, 2008. http://www.theses.fr/2008PA010587.
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La force destructrice dans tout état de violence mais aussi les énergies créatrices implicites a ce phénomène sont a l'origine de cette étude. L'analyse des phénomènes de violence, ces fameux « objets de passion» dont parle Yves Michaud, a 1'exegese de toute création nous a permis d'aborder le sujet sous un certain angle. La vie au quotidien a influence les productions latino-americaines, nous verrons comment elle rentre en interaction avec différentes violences, crée des points d'impacts, des accrocs avec le sens, et rend ces oeuvres détentrices d' expressions. Une analyse iconologique est l'outil essentiel de ce travail compose de deux parties. La première, axée sur la récuperation et la préservation de la mémoire est intitulée : Stratégies pour échapper a l 'amnésie et est divisée en trois chapitres (Le corps souillé, De la dégradation et la décomposition et Absence/Présence: la violence suspendue). La deuxième, Autres tactiques de résistance, porte sus les stratégies qui abordent autrement ces phénomènes politico-sociaux en proposant des tactiques subversives, originales et subtiles face a des contextes difficiles. A première vue, les tensions que ces oeuvres véhiculent ne sont pas très manifestes
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Buzz, Lu La. "The states and status of clay : material, metamorphic and metaphorical values." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11639.
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This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.
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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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Bach, Caroline. "Quand l’art contemporain s’intéresse à l’économie : espaces de travail et formes économiques en question." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30088.
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Dans un ouvrage intitulé Art et économie, Jean-Marc Huitorel indiquait, dans son introduction, que « l’artiste fournit des outils pour lire le monde ». Pour les artistes dont la pratique est tournée vers l’extérieur et consiste, entre autres, à fournir des outils pour lire le monde (Allan Sekula ou Alfredo Jarr, par exemple), un travail avec l’économie est inévitable, sans pour autant qu’ils en deviennent nécessairement des spécialistes. Que ce soit à travers des cartographies des flux ou des dispositifs explorant, à grande échelle, la mondialisation des échanges, ou que cela soit à une autre échelle, à travers les espaces et conditions de travail, ils s’inscrivent parfaitement dans le courant 'hétérodoxe' (qui revendique la pluralité des approches) et apportent toute sa légitimité au dialogue entre art et économieIn a book entitled Art and Economy, Jean-Marc Huitorel stated, in his introductio,n that 'artist provides tools to read the world.' For the artists whose practice is looking outward and consists, among other things, into provide tools to understand the read (Allan Sekula or Alfredo Jarr, for instance), an approach with economy is inevitable, without, however becoming necessarily specialists. Whether through flows cartography or exploring global trade mechanisms, on a large scale, or whether through a different scale, exploring spaces and working conditions, they fit perfectly into the current 'heterodox' (which claims the plurality of approaches) and give full legitimacy to the dialogue between art and economy
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Afonso, Chissangue Rebelo de Sant' Ana. "Ninhos, um sítio específico de criação e diálogo entre arte, teatro e ecologia." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29130.
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Este relatório analisa e discute o projeto em epígrafe, desenvolvido em duas fases
distintas: um exercício exploratório e a apresentação de uma performance sumário de
residências artísticas, que suscitaram a pesquisa sobre a relação do site-specific, no
processo de criação artística, performática, integrando as opções e ferramentas aplicáveis
à interpretação e direção. Estabelece diálogos simultâneos entre pressupostos da arte na
paisagem, que permitiram construir materialidades, um corpo plástico, numa ótica
sustentável, abordando novas manifestações de ecologia e processo antrópico, numa
poética ambiental e cénica. Impôs-se, por isso uma investigação transversal, que resultou
numa apresentação teatral fora do espaço convencional, complementada por uma
instalação imersiva, multidisciplinar, inserida numa paisagem sonora, física, visual onde
o processo de criação plástico e dramático são visíveis, assumidos como parte integrante
da obra e ilustrados por uma exposição fotográfica; Abstract:
This report analyses and discusses the project in question, developed in two distinct
phases: an exploratory exercise and the presentation of a summary performance of
artistic residencies, which gave rise to research on the site-specific relationship, in the
process of artistic creation, performatics integrating the options and tools applicable to
interpretation and direction. It establishes simultaneous dialogues between
presuppositions of art in the landscape, which allowed building materialities, a plastic
body, in a sustainable perspective, approaching new manifestations of ecology and
anthropic process, in an environmental and scenic poetics. Therefore, a transversal
investigation was imposed, which resulted in a theatrical presentation outside the
conventional space, complemented by an immersive, multidisciplinary installation,
inserted in a sound, physical, visual landscape where the process of plastic and dramatic
creation are visible, assumed as an integral part of the work and illustrated by a
photographic exhibition.
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House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.
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Thesis (M.M.)--University of North Texas, 2002.A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
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Lindner, Stacie M. "Janine Antoni finding a room of her own /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-133229/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Susan Richmond, committee chair; Nancy Floyd, Maria P. Gindhart, committee members. Electronic text (127 p. : iil. (mostly col.)) : digital, PDF file. Description based on contents viewed June 20, 2007. Includes bibliographical references (p. 121-127).
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Spangler, Ashley Kay. "Hon's Anatomy: The Heart of Niki de Saint Phalle's Oeuvre." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555591478935112.
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Dawes, Jason. "The Value of Everything is Nothing." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/248.
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Photography was my introduction into art. I gravitated toward portrait photography fairly quickly. I found the interaction between subject and photographer to be an intense moment in time. I began to push that intensity - through various non-traditional approaches, such as placing ads in the personals. It did not take long before I turned the camera on myself, creating self-portraits in the domestic setting. I began to play for the camera. I created various personas that placed myself in some gray area between masculinity and femininity. Shortly there after, I began working with collage. I found the formulas and rigidity sometimes found in photography had me gasping for air. Collage works had freed up my process. The mediums of photography and collage played harmoniously together as they are both paired in ideas of domesticity, gender roles, ' family dynamics and dominant and submissive figures. The collage work is compressed and stacked in a way that adds weight to the issues found inside. The stacking and overlapping of the collages, keeps all the elements fighting for space. I can tap into the subconscious and explore ideas through the re-contextualization of other images, text, and scraps of paper. The key elements of my domestic photo collages are: the home, sexual tension/hierarchy /innuendo, and gender play. Through a serious studio practice, I am able to share my sense of humor and playfulness in my work. With an Exactoknife, a few pages from a magazine, and a glue stick, I can change and rearrange the world around me.
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Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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Leal, Mariana Katona. "Pele como tinta: o corpo entre gesto e vinco." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3317.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorPele como tinta: o corpo entre gesto e vinco discute o gesto como meio sem finalidade, dentro da ideia de processo artístico, diante da relação envolvendo a prática artística do vídeo e da intervenção com experiências desenvolvidas durante o mestrado na linha de Processos Artísticos Contemporâneos, em trabalhos como Auto-retrato, Tarja, Peles institucionais e Onde fica o Galpão? Dentre os gestos trabalhados está o gesto desterritorializante, no qual a instituição de ensino é convocada como espaço onde suas fronteiras são tratadas como forma de se pensar o fazer artístico, assim como o conceito de instituição. Além desse, outro trabalho proposto é o que relaciona o vídeo e o frame em texturas temporais dinâmicas. O gesto de tinta registrado em vídeo é condicionado a uma volta da pintura fixa da tela. Em Peles a estrutura do vinco é requisitada para compor os afetos e as construções que norteiam a escrita do e no corpo
Skin as ink: the body between crease and gesture discusses the gesture as a purposeless means within the concept of the artistic process, given the relationship of artistic practice involving video and intervention experiments carried out during the author's Masters course in Contemporary Art in works such as Auto-retrato, Tarja,Peles institucionais e Onde fica o Galpão? Among the gestures discussed here is the deterritorializing gesture in which the educationall institution is evoked as a space whose borders are treated as a way of thinking about the artistic process as well as the institution as a concept. Furthermore, the other work proposed here correlates video and frame in dynamic temporal textures. The ink gesture recorded on video is conditioned to a return of the fixed painting on the screen. In Skins, the structure of the crease is required to compose the affects and constructions that guide the writing on and of the body
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McLain, Melanie. "Warm Compression – Damp Gestures." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2810.
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Thoughts on vulnerability, emotions, social interaction, self-awareness, skin, touching, bodily functions, and the combination of all these ideas into a confined space filled with heat and humidity just enough to leave you feeling damp and perhaps a bit sore.
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Burczykowski, Ludovic. "Par-delà l'écran : dimension physique et espace numérique." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080020.
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En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvresIn digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works
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Lidh, Josefin, and Helena Sjunnesson. "To Comment on a Social Debate by Motion Pictures as a part of a Dance Performance - A Qualitative Design Case Study." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130015.
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Denna studie är ett kandidatarbete utfört på kandidatprogrammet Grafisk design och kommunikation vid Linköpings universitet. Studien är en kvalitativ designfallstudie som genomförts i samarbete med dansgruppen Pussytiv Dance, där en installation innehållande dans och rörlig bild har utvecklats. Studien syftar till att undersöka hurvida samhällsdebatten om offentlig amning kan kommenteras genom rörlig bild som en del av denna installation. Installationen visades på Feministisk Festival i Malmö 10 juni 2016. Målet med installationen är att väcka tankar, känslor och skapa diskussion om det samtida samhällsklimatet kring offentlig amning i syfte att bidra till en attitydförändring. Debatten om amning på offentlig plats präglas av frågor som rör paradoxen kring kvinnans bröst som sexuellt objekt och matbärare. Samhällets normer leder till att kvinnor känner sig obekväma att amma på offentlig plats, där det även har skett diskriminering i samband med amning. Dessa normer var önskvärda att ifrågasätta genom installationen. Studien kom fram till att det var möjligt att kommentera samhällsdebatten om offentlig amning genom rörlig bild som en del i en dansinstallation. Det kom även fram till att installationens kommunikationsmål nåddes och att installationsformen, dans och rörlig bild, är en effektiv form för att få mottagaren att reflektera över sina egna normer, vilket öppnar upp möjligheten att ändra på invanda attityder.
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Brickman, Jacklyn E. "Experiments in Biological Planet Formation and Plants: Nourishing Bodies, Nourishing Planets." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595340630648528.
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Walling, Carl Harry III. "Exhibiting Scenographic Identities at the 2007 & 2011 Prague Quadrennials." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1419006710.
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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
Full textAbstract:
This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
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Bernex, Anne. "Dialectique de sujet et d'objet dans l'art contemporain : Erwin Wurm, Philippe Ramette, Isabelle Cornaro, Guy de Cointet." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30038/document.
Full textAbstract:
La dialectique instruit-elle les arts plastiques? C’est par la relation entre deux éléments majeurs de notre culture et de nos usages que nous proposons une réponse : sujet et objet, de tensions en renversements, font l’originalité d’oeuvres européennes et nord-américaines depuis les années soixante. Leur rencontre débute par un face à face puis glisse vers un renversement, où la chose physique transformée en un matériau vivant prend la place du sujet traditionnellement acteur de son environnement. Elle acquiert une dimension nouvelle lorsque le public y joue un rôle, d’interlocuteur à participant. L'artiste français Philippe Ramette crée des objets d’un nouveau genre pour accomplir des déplacements dignes de la quatrième dimension. L’autrichien Erwin Wurm forme le corps humain en une «sculpture d'une minute» quand un homme colle sa poitrine à un tabouret de bois. Le peintre et écrivain Guy de Cointet met en scène une histoire de sujets et d’objets à Los Angeles dans les années soixante-dix. C’est enfin une affaire de point de vue sur de précieuses choses, de décor incarné que la française Isabelle Cornaro instaure. Dans ce carré de plasticiens, la dialectique, sous diverses qualités, est en jeu : si elle est à l’origine définie comme un art de discussion ou une méthode d'interprétation, outil d’une pensée critique, nous soutenons qu’elle est ici la base d’un processus en art, capable d’éclairer un ensemble d’œuvres de notre temps et d'aborder sous un angle nouveau l’univers de ses créateursDoes the dialectic inform the visual arts? By the relation between two major elements of our culture and our uses we propose an answer : subject and object, of tensions in inversions, make the originality of European and North-American works since the sixties. Their meeting begins by face to face then slips into a twist, gaining a new dimension when the public plays a mere part. The physical thing, transformed into a living material, takes the place of the subject usualy actor of its environment. French artist Philippe Ramette creates objects of a fourth type to achieve improbable movements. Austrian sculptor Erwin Wurm transforms the human body into a « one minute sculpture » as a man sticks his chest to a wood stool. French painter and writer Guy de Cointet directs an history of subjects and objects on stage in the Los Angeles in the seventies. It is finally a work about our point of view on invaluable things, of incarnated «décor» that Isabelle Cornaro sets up. In this square of artists, the dialectic, under various qualities, is in stake : if we define it literally as an art of discussion or method for critical thought, we support that it is here the base of a process in contemporary art, able to clarify works of our time and threw new light on the world of its creators
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Brain, Tega Carly. "The politics and poetics of coexistence : experiments at the intersection of art and environmental engineering." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61027/1/Tega_Brain_Thesis.pdf.
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This research project explores how interdisciplinary art practices can provide ways for questioning and envisaging alternative modes of coexistence between humans and the non-humans who together, make up the environment. As a practiceled project, it combines a body of creative work (50%) and this exegesis (50%). My interdisciplinary artistic practice appropriates methods and processes from science and engineering and merges them into artistic contexts for critical and poetic ends.
By blending pseudo-scientific experimentation with creative strategies like visual fiction, humour, absurd public performance and scripted audience participation, my work engages with a range of debates around ecology. This exegesis details the interplay between critical theory relating to these debates, the work of other creative practitioners and my own evolving artistic practice. Through utilising methods and processes drawn from my prior career in water engineering, I present an interdisciplinary synthesis that seeks to promote improved understandings of the causes and consequences of our ecological actions and inactions.
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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Coliac, Nadia. "Lumière vivante : théorie et pratique de la bioluminescence d'après Raphaël Dubois." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0147/document.
Full textAbstract:
C’est une recherche qui s’articule sur une double démarche Art et Science. Elle met en scène une bactérie bioluminescente. Ma réflexion présente la bioluminescence comme une construction intellectuelle et phénoménologique, où la dimension ontologique de la lumière prend tout son sens dans l’idée d’u Contenant Lumière Vivante.La thèse retrace aussi un parcours artistique ponctué de lumière et faite de rencontres humaines et littéraires comme le Petit Prince de Saint-Exupéry. Elle met aussi en lumière ma rencontre d’outre-tombe avec le savant et philosophe Raphaël Dubois 1849-1929, qui m’a ouvert les pistes de recherche sur ses traces de biologiste, sur sa philosophie du Protéon et de la Mémoire en général.Ma réflexion sous-tend une double éthique : celle qui concerne l’honnêteté scientifique par rapport à la mémoire de Dubois et celle liée au droit de réserve, attachée à la pratique du vivant et à la responsabilité qui incombe à tout un chacun. Je pose aussi un regard critique sur la lumière vivante comme phénomène de mode. On peut être séduit par sa qualité esthétique, sa nature intrinsèque de lumière froide et sa finalité, supposée écologique, mais la « pratique » dans la réalité soulève de nombreux problèmesThis research work is based on a dual approach of art and science. It features a bioluminescent bacterium. My reflection presents bioluminescence as an intellectual and phenomenological construction where the ontological dimension of light takes on its full meaning from the idea of living light container.The thesis also traces my artistic career punctuated by light and human encounters as well as books such as the Little Prince by Saint-Exupéry. It also highlights my meeting from beyond the grave with the scientist and philosopher Raphael Dubois 1849-1929 who opened for me a track of research following his steps as a biologist and a field of reflection on his philosophy of Protéon and on memory in general. My reflection underlies a double ethics, that of scientific honesty in relation to Dubois' memory, and that related to the right of reserve linked to the practice of living and to the responsibility that falls to everyone. I also cast a critical look at this living light as a fashion phenomenon, one may probably be attracted by its aesthetic quality, its intrinsic nature of cold light, and its supposed ecological end, but in fact its « practice » raises many problems
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Armstrong, Keith. "Towards an ecosophical praxis of new media space design." Thesis, Queensland University of Technology, 2002.
Find full textAbstract:
This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', ' Public Relations' and 'transit lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.