Dissertations / Theses on the topic 'Abramovitz'
To see the other types of publications on this topic, follow the link: Abramovitz.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 43 dissertations / theses for your research on the topic 'Abramovitz.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Sanin, A. "Roman Abramovich." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40446.
Full text
2
Parry, Caroline. "The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.
Full textAbstract:
This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves.
3
Chen, Luciana. "Marina Abramović: modos de presença e seus sentidos." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19567.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-23T11:50:09Z
No. of bitstreams: 1
Luciana Chen.pdf: 12140738 bytes, checksum: b5180e8f08ec6325be5313d22553116f (MD5)Made available in DSpace on 2016-12-23T11:50:09Z (GMT). No. of bitstreams: 1 Luciana Chen.pdf: 12140738 bytes, checksum: b5180e8f08ec6325be5313d22553116f (MD5) Previous issue date: 2016-12-06
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work commits to the enunciation display applied by Marina Abramović, analyzing how it produces presence modes and meaning effects. With a corpus of 100 works by the artist, from the 1970s to 2015 and enunciations that provide mediatic visibility to her from 2010 to 2016, the study aims to map the enunciative devices that trigger aesthesic and pathemic meanings and to unveil the problem of how these promote the presence modes of her public to the point of changing them from observer to part of the artistic action. It takes as a first hypothesis that through the feedback of information about Abramović and her actions, her mediatic visibility strategy diversifies her audience at the same time that promotes the doing with the body and the feeling by reactive adjustment. The second one implies that Abramović Method effectiveness, developed by herself, occurs by contagion of the presences of her very audience, proponing the retaking of the body in virtual communication era, being these ones the devices applied to seduce and modalize the addressee so that it participates. Fomented by the gaps found in art history, centered on the artist process, on the artistic object and/or on the production context, this investigation is based on discursive semiotics, which considers the communicative and communicational relations between performance and audience, the interaction regimes between audience and art and the sensible lived experience. Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira and Eugênio Trivinho stand out among the authors that substantiate the investigation. The methodology comprises corpus analysis based on the meaning generative process, the mapping of Abramović’s visibility strategies and the analysis on the Method. The results point out: the self-conscience thematic and the immaterial and material values predominance, the emphasis on the body figure of the participants with Abramović Method; the effectiveness of the artist’s communicational strategy and the triggering of actions against her procedure, all of them feeding back her figure and proving the first hypothesis right; the communicative effectiveness of the Method through the presences contagion, which can be mediated by electronic devices, making feel simultaneously to the Method spread, which presents itself as condition of modalizing enunciation of alterity’s being and doing; the feeling of our time happens through reactive adjustment mediated by electronic devices and reveals itself as one more product in bunkerization era
O presente trabalho se debruça sobre o aparato da enunciação empregado por Marina Abramović, analisando como produz os modos de presença e efeitos de sentido. Com o corpus de 100 trabalhos da artista da década de 1970 a 2015 e enunciados que lhe dão visibilidade mediática de 2010 a 2016, o estudo objetiva mapear os mecanismos enunciativos desencadeadores de sentidos estésicos e patêmicos e desvelar o problema de como promovem os modos de presença de seu público a ponto de transformá-lo de observador a parte da ação artística. Toma como hipótese primeira, que a estratégia de visibilidade mediática de Abramović com a retroalimentação de informações sobre ela e suas ações diversifica seu público ao mesmo tempo que promove o fazer com o corpo e o sentir pelo ajustamento reativo. A segunda é de que a eficácia comunicativa do Método Abramović por ela desenvolvido ocorre pelo contágio das presenças do próprio público, propondo a retomada do corpo na era da comunicação virtual, sendo esses os mecanismos empregados para a sedução e modalização do destinatário para que ele participe. Fomentada pelas lacunas encontradas na história da arte, centrada no processo do artista, no objeto artístico e/ou no contexto de produção, essa investigação fundamenta-se na semiótica discursiva, que considera as relações comunicativas e comunicacionais entre a performance e público, os regimes de interação entre público e arte e a experiência sensível vivida. Dentre os autores que alicerçam a investigação, destacam-se Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira e Eugênio Trivinho. A metodologia compreende a análise do corpus com base no percurso gerativo do sentido, o mapeamento das estratégias de visibilidade de Abramović e a análise do Método. Os resultados apontam: o predomínio da temática da autoconsciência, dos valores imaterial e material e a ênfase na figura do corpo dos participantes com o Método Abramović; a eficácia da estratégia comunicacional da artista e o desencadeamento de ações contrárias ao procedimento dela, todos retroalimentadores de sua figura provando a primeira hipótese; a eficácia comunicativa do Método por meio do contágio das presenças, podendo ser mediado por dispositivos eletrônicos, fazendo sentir simultaneamente à propagação do Método, que apresenta-se como condição de enunciação modalizadora do ser e do fazer da alteridade; o sentir do nosso tempo se dá por meio do ajustamento reativo mediado pelos dispositivos eletrônicos e revela-se como mais um produto na era da bunkerização
4
Polat, Faruk. "On The Generalizations And Properties Of Abramovich-wickstead Spaces." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610166/index.pdf.
Full textAbstract:
In this thesis, we study two problems. The first problem is to introduce the general version of Abramovich-Wickstead type spaces and investigate its order properties. In particular, we study the ideals, order bounded sets, disjointness properties, Dedekind completion and the norm properties of this Riesz space. We also define a new concrete example of Riesz space-valued uniformly continuous functions, denoted by CDr0 which generalizes the original Abramovich-Wickstead space. It is also shown that similar spaces CD0 and CDw introduced earlier by Alpay and Ercan are decomposable lattice-normed spaces. The second problem is related to analytic representations of different classes of dominated operators on these spaces. Our main representation theorems say that regular linear operators on CDr0 or linear dominated operators on CD0 may be represented as the sum of integration with respect to operator-valued measure and summation operation. In the case when the operator is order continuous or bo-continuous, then these representations reduce to discrete parts.
5
Radonjic, Vladimir. "Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7462.
Full textAbstract:
In this thesis several aspects of the theory of integrated analysis of musical works of Lev Abramovich Mazel' (1907-) are presented and explicated. These aspects are dimensions of thematic structures, dynamics, timbre and texture, and melody. Mazel' segments his theory into different elements of music, presenting conceptions of each element in light of his integrated analytical method. The examination of these aspects affords a good cross-section of the entire theory of integrated analysis. The aspect of dimensions of thematic structures, in some ways the most original, reflects the structural and analytical tendencies of the theory of integrated analysis. Mazel' thinspace's discussion of dynamics, timbre, and texture is mainly concerned with perception and reflects those tendencies in the theory which examine the very nature of music as one of the arts. The treatment of melody combines both speculative and analytical tendencies. For Mazel' melody represents one of the most important elements of music. Integrated analysis represents an important achievement of Soviet theoretical thought in music. This thesis puts Mazel's theory of integrated analysis into historical perspective, indicating its origins, its context in Soviet music theory, and its place in Mazel' thinspace's overall output. Mazel' thinspace's formulation of the theory of integrated analysis represents only one of his contributions to Soviet musicological-theoretical thought. He is perhaps the most important living Soviet music theorist, and this makes a study of his works in the West all the more relevant.
6
Kozo, Abramovic Dunja [Verfasser]. "Role of age in epithelial ovarian cancer / Dunja Kozo Abramovic." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2014. http://d-nb.info/1062536436/34.
Full text
7
Lacis, Indra K. "Fame, Celebrity and Performance: Marina Abramović--Contemporary Art Star." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396625700.
Full text
8
Vigeland, Anne. "Marina Abramović på Moderna Museet : En fenomenologisk analys av re-performance som utställningsmetod." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151830.
Full textAbstract:
Uppsatsens ämne berör re-performance som utställningsmetod och den fysiska kroppen som utställningsobjekt. Materialet består av Marina Abramovićs retrospektiva utställningen The Cleaner (2017) på Moderna Museet och tre re-performanceverk som framförs av tränade aktörer inne på utställningsområdet. Uppsatsens syfte och frågeställningar består av att undersöka vilka egenskaper re-performance som utställningsmetod har och hur det upplevs att betrakta fysiska kroppar som utställningsobjekt. För att besvara detta används Maurice Merleau-Pontys Phenomenology of Perception (1945) och hans fenomenologiska syn på ett förkroppsligat varande. Varje re-performanceverk analyseras utifrån några utvalda fenomenologiska verktyg presenterade av Merleau-Ponty och utvecklas med hjälp av tidigare forskning som berör relationen mellan fenomenologi och performancekonst. Ur de fenomenologiska verksanalyserna framträder resultat som jag anser är talande för betraktandet av fysiska kroppar som utställningsobjekt och performance i stort, som exempelvis en förståelse av performance som ett sätt iscensätta fenomenologi genom praktik och handling. Betraktandet av performance är beroende av ett performativt assemblage som bildas, samt av empati och intersubjektivitet. Resultatet visar även att re- performance inte enbart kan benämnas som en form av konstdokumentation, utan att betraktandet av dessa även innebär ett betraktande av självständiga performanceverk.
9
Goulart, José Ricardo. "A artista (ainda) está presente? : performance e aura, reprodutibilidade e reperformance em Marina Abramovic." Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2573.
Full textAbstract:
Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-16T16:26:10Z
No. of bitstreams: 1
JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5)Made available in DSpace on 2018-03-16T16:26:10Z (GMT). No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) Previous issue date: 2016-02-18
The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura.
A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.
10
Orr, Meital. "God and the Devil in the Human Heart: The Dialogic Vision of Abramovitch and Dostoevsky." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10091.
Full textAbstract:
Scholarship on the founder of modern Jewish literature, Sholem Abramovitch (1836-1917), is a rich field of study, yet it has been largely abandoned today, and the author has hardly been studied at all in nineteenth-century comparative European context. This study uses an unprecedented comparison between Abramovitch and his contemporary, Fyodor Dostoevsky (1821-1881), to reveal the complexity with which Abramovitch pioneered the integration of European and Russian literary trends into Jewish literature. These writers came from very different cultures and literary situations; however, they also shared many of the same influences due to their shared location in Tsarist Russia in the mid nineteenth century. During this time, the cultural sources and social preoccupations of their intelligentsias increasingly converged, producing a shared zeitgeist which – in combination with their similar early experiences and tendencies for dialogism (contradictory duality) – led to their many literary intersections. A comparison of their oeuvres reveals similar replacements of Gogol’s condescension toward poor protagonists with compassion, subversions of the feuilleton in the service of social critique, unprecedented uses of the “dialogic word,” new variations on the European theme of the “fantastic city,” applications of contemporary concepts such as “necessary egoism” and “free will” to the psyche of the downtrodden, enlistments of the Devil to warn against the dangers of Utilitarianism, and literary efforts to bridge the gap between the classes which include a convergence between romanticism and religion. Though Abramovitch has been designated as a satirist and realist, this study shows how he also pioneered the integration of romanticism into Jewish literature through, psychological penetration of the poor, and themes such as: the truth inherent in emotion, the subconscious and folklore, the transcendent wisdom of the people, and the divine meaning of nature. Abramovitch has been compared on isolated themes with other Russian writers, such as Turgenev, Shchedrin and Gogol; however, only a comparison with Dostoevsky can reveal the nuance and complexity of his many formal and thematic achievements.Near Eastern Languages and Civilizations
11
Krukowski, Samantha Henriette. "Performing history : walking along Ulay and Abramovic's The lovers /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
12
Wiklund, Jessica. "Museibesökare i konstnärens närvaro : Performativitet och det ritualiserande i Marina Abramović verk The Artist is Present." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18534.
Full textAbstract:
In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration. In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist. How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?
13
Dias, Leandro De Bona. "Que raio de professoras são essas?: a representação da identidade docente nas obras de Fanny Abramovich e Ziraldo." reponame:Repositório Institucional da UNESC, 2017. http://repositorio.unesc.net/handle/1/5223.
Full textAbstract:
Dissertação apresentada ao Programa de Pós-Graduação em Educação da Universidade do Extremo Sul Catarinense - UNESC, como requisito parcial para a obtenção do título de Mestre em Educação.Meu trabalho de pesquisa buscou investigar nos livros Que raio de professora sou eu? (1990), de Fanny Abramovich, e Uma professora muito maluquinha (1995), de Ziraldo, como estão representadas as identidades docentes das personagens protagonistas das obras, respectivamente, Laura e Maluquinha. Utilizando uma abordagem que se inscreve dentro da perspectiva dos Estudos Culturais, minha investigação partiu do pressuposto de que as identidades são (re)construídas social e culturalmente de modo dialógico, constituindo-se como um espaço de constante negociação entre sujeito, sociedade e o outro. Considerando que a linguagem desempenha um papel fundamental para que façamos sentido de nossas identidades, entendo que a representação, como marca material, visível, figura como elemento chave para a significação e atuação das identidades. Dentro desse quadro teórico, o estudo que desenvolvi tomou a análise dos discursos literários de Ziraldo e Abramovich como objetos a fim de investigar as representações das identidades docentes. Para responder a essa pergunta, meu estudo procurou analisar as conexões entre as práticas pedagógicas e o currículo escolar na construção das identidades docentes dessas personagens; averiguar de que modo a linguagem, por meio dos discursos com os quais elas têm contato, atuam na construção das suas identidades, e, por fim, verificar como se dão as relações entre as identidades profissional e pessoal dessas professoras. Como resultado da leitura e análise das obras, pude verificar que ambas as personagens manifestam seu desconforto e discordância quanto ao currículo oficial, compreendendo que ele prega um conhecimento estático, que não combina com a visão educacional que possuem. No entanto, ao contrário de Maluquinha, que segue com suas práticas desviantes com relação ao esperado até ser despedida, Laura vê maiores dificuldades em pôr em ação um modelo de ensino diferente daquele pregado pelo discurso curricular. O papel da linguagem e da representação também demonstrou ser fundamental na construção das identidades docentes das duas personagens, sendo os discursos com os quais lidam fundamentais na construção de suas subjetividades, constituindo assim suas identidades pessoais e agindo sobre suas práticas em sala de aula. Além disso, pude constatar a presença da identidade de gênero, que as compõem como professoras e mulheres e que vêm à tona quando elas lidam com as relações de amizade com as alunas e com os desejos que provocam nos alunos e nas demais personagens, reconhecendo que possuem um corpo marcado também pela sexualidade. A análise fez ver ainda que ambas as personagens lidam com questões políticas, seja de forma textualmente explícita ou por meio de suas ações, demonstrando que todo o ato pedagógico é também um ato político. A conclusão de meu estudo indica a importância dos discursos quanto ao poder de representação que possuem, sendo, também por meio deles, que significamos nossa profissão docente. Dessa forma, as identidades docentes representadas nessas duas narrativas são, assim como os resultados de minha análise, possibilidades de significar e de ressignificar a profissão docente, sendo necessário sempre manter atual a pergunta presente no título da obra de Abramovich: Que raio de professora sou eu?
14
Dang, Hoang Bao [Verfasser], Michael [Gutachter] Abramovici, and Katja [Gutachter] Laurischkat. "Erweiterung des Product Lifecycle Managements für industrielle Produkt-Service Systeme / Hoang Bao Dang ; Gutachter: Michael Abramovici, Katja Laurischkat." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1136131477/34.
Full text
15
Hjelm, Zara. "Konsten att uppträda : En studie i Marina Abramović och Ulays performance ur ett performativt och psykoanalytiskt perspektiv." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-145078.
Full textAbstract:
Denna studie avser att utforska identitetsskapandet inom den komplexa konstformen performance. Genom att fokusera på Marina Abramovićs och Frank Uwe Laysipens (Ulay) liv och kollaborativa performance ur ett performativt och psykoanalytiskt perspektiv angrips handlingarnas tyngdpunkt i skapandet av jaget under diverse omständigheter och sammanhang.This study aims to investigates the creation of identity within the complex artform performance. By observing the life’s and collaborative performance of Marina Abramović and Frank Uwe Laysiepen (Ulay) though a performative and psychoanalytic perspective focuses the act in the creation of self in different circumstances and contexts.
16
Menn, Jan Philipp [Verfasser], Günther [Akademischer Betreuer] Seliger, Günther [Gutachter] Seliger, and Michael [Gutachter] Abramovici. "Lernerzentrierte digitale Werkzeuge zur Montagetrainingsunterstützung am Beispiel des Sondermaschinenbaus / Jan Philipp Menn ; Gutachter: Günther Seliger, Michael Abramovici ; Betreuer: Günther Seliger." Berlin : Technische Universität Berlin, 2019. http://d-nb.info/1202297064/34.
Full text
17
Vattovaz, Laura <1991>. "ARCHIVI IN MOVIMENTO. Processi e dispositivi di conservazione della performance e della danza contemporanea (Marina Abramović, Boris Charmatz, La Ribot)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16246.
Full textAbstract:
La tesi analizza una selezione di mostre e di eventi di Marina Abramović, Boris Charmatz e La Ribot, incentrati sulla presenza dal vivo della danza contemporanea e della performance in musei e spazi espositivi, ponendosi l’obiettivo di approfondire le possibili strategie di archiviazione e conservazione di queste pratiche artistiche. Questo fenomeno ha contribuito ad alimentare il dibattito in corso circa le modalità di conservazione di opere d’arte solitamente ritenute impermanenti e dunque non archiviabili. Le ricerche finora condotte hanno messo in luce, al contrario, come anche il corpo possa essere considerato un archivio e le forme d’arte in esame dei processi di archiviazione. I media digitali, a loro volta sono uno strumento prezioso per la documentazione e la conservazione di un numero consistente e in continua crescita di performance e opere coreografiche rendendole accessibili a un pubblico molto ampio. Infine, il visitatore/spettatore è spesso invitato a partecipare a questi eventi coreografici e performativi trovandosi spesso co-archivista sia grazie ai supporti mediatici di cui si avvale per registrare in diretta la sua esperienza, sia tramite i processi di incorporazione che queste esperienze attivano. La tesi si conclude con una riflessione corale di un gruppo di artisti e curatori che, da prospettive geografiche e professionali differenti, intreccia pratica e teoria attorno alle questioni dell’archiviazione della performance e della danza contemporanea.
18
Kvarme, Øyvind Rongevær. "Performance: Gjenoppføring, historie og dokumentasjon : Ei analyse av The Artist is Present (2010)." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24944.
Full text
19
Jagenberg, Jan Tim [Verfasser], Reiner [Akademischer Betreuer] Anderl, and Michael [Akademischer Betreuer] Abramovici. "CoMoNo: A Communication Model and Notation Supporting the Analysis and Planning of Communication Infrastructure / Jan Tim Jagenberg. Betreuer: Reiner Anderl ; Michael Abramovici." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2014. http://d-nb.info/1108094759/34.
Full text
20
Ho, I.-Lien. "Performing Kongwu's (空無, Emptiness, Nothingness) attitude towards language, time, and self : responding to Nam June Paik, John Cage, and Marina Abramović." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15972.
Full textAbstract:
Since 1950s, the concept of Kongwu (空無, Emptiness, Nothingness) has migrated into American-European experimental performances, including those of John Cage and Cage-influenced artists who developed Happenings, Fluxus, and intermedia practices. This research-through-practice investigates how the concept of kongwu, an intercultural synthesis of Chinese Daoism and Indian Buddhism, may shape the principles underlying performance making and how performance may, in turn, elucidate Kongwu way of making sense the world. The installation-performance, Poem without Language contemplates Kongwu’s distrust of language by undermining the communicative purpose of writing and responds to Nam June Paik’s approach to media language. The research practice, One Street, Three Persons, Different Narratives, and Different Memories responds to John Cage’s use of silence to revise time and measurement, and exposes the habit, how we experience the ‘present’ as accumulations of the past, and how we order experiences as a linear continuity, which we call ‘time’. My performance, … is Present suggests different definitions of the ‘meditative mind’ and ‘being-here-and-now’ and critiques the relationship between embodiment and identity in Marina Abramović’s construction of ‘suchness’. Three works offer one response to the poetics and politics of intercultural encounters in the context of Chan/Zen in intermedia performance. My research-through-practice sheds light on Kongwu way of experiencing, particularly Kongwu’s attitude towards language, time, and self.
21
Abramovich, Igor [Verfasser], and Karin [Akademischer Betreuer] Oechsle. "Studie zur Nutzung privater und professioneller Netzwerke in Bezug auf psychologische, soziale und rechtliche Probleme bei schwer kranken Krebspatienten / Igor Abramovich ; Betreuer: Karin Oechsle." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2018. http://d-nb.info/1160382247/34.
Full text
22
Tomic, Milena. "Rituals and repetitions : the displacement of context in Marina Abramovic's Seven Easy Pieces." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2489.
Full textAbstract:
This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail.
First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.
23
Zhou, Yurong [Verfasser], Klaus [Akademischer Betreuer] Feldmann, Klaus [Gutachter] Feldmann, Michael [Gutachter] Abramovici, Manfred [Herausgeber] Geiger, and Klaus [Herausgeber] Feldmann. "Kollaboratives Engineering Management in der integrierten virtuellen Entwicklung der Anlagen für die Elektronikproduktion / Yurong Zhou ; Gutachter: Klaus Feldmann, Michael Abramovici ; Betreuer: Klaus Feldmann ; Herausgeber: Manfred Geiger, Klaus Feldmann." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2005. http://d-nb.info/119325387X/34.
Full text
24
Piñeiro, Maria Carolina de Hollanda Cavalcanti. "Estudos em reperformance: registro da prática Pina, Marina em Carolina." PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/25333.
Full textAbstract:
Submitted by Automação e Estatística (sst@bczm.ufrn.br) on 2018-06-05T22:13:05Z
No. of bitstreams: 1
MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5)Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-06-11T22:14:45Z (GMT) No. of bitstreams: 1 MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5)
Made available in DSpace on 2018-06-11T22:14:45Z (GMT). No. of bitstreams: 1 MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5) Previous issue date: 2016-07-15
Esta dissertação descreve o percurso de sete experimentos onde investiguei a possibilidade de criação através da reperformance. Para conseguir desenvolver esta prática investigo três obras de Pina Bausch, duas de Marina Abramovic e dois trabalhos autorais, a partir de laboratórios e investigações desenvolvidas no “Workshop de Estudos em Reperformance” para artistas e pesquisadores da região metropolitana do Natal, Rio Grande do Norte e em Bogotá, Colômbia. Para desenvolver tal trajetória, foi realizado um estudo reflexivo sobre a documentação de registros, que culminam nas impressões da visita à exposição de Marina Abramovic no Sesc Pompéia, assim como levantamentos bibliográficos a fim de refletir sobre o conceito de reperformance, e breve um mapeamento afetivo da história da performance em Natal no período de 2007 à 2016.
This dissertation describes the trajectory of seven experiments based on studies in which I investigate the possibility of creation through reperformance. In order to develop my practice, I analyzed three works from Pina Bausch, two from Marina Abramovic, and two of my own works from laboratories and researches developed in "Workshop de Estudos em Reperformance" in which I teach artists and researchers in, both, the metropolitan region of Natal, Rio Grande do Norte, and Bogota, Colombia. To develop such a course, not only a reflective study on records documentation was held, culminating in the impressions of the visit of Marina Abramovic's exhibition at SESC Pompeia, but also literature surveys was made in order to reflect on the concept of reperformance, in which I identify the need to develop an affective mapping of the history of performance in Natal from 2007 to 2016.
25
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.
Full textAbstract:
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).
26
Ferreira, Armando Traini. "Estudos hidráulicos em sistemas de bacias sanitárias." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/3/3147/tde-21072009-143256/.
Full textAbstract:
Atualmente a visão sistêmica na compreensão dos problemas tem sido uma poderosa ferramenta e esta Dissertação aplicou estes conhecimentos aliados à economia de água, fonte de várias pesquisas atuais devido à preocupação deste bem cada vez mais escasso. O objetivo deste trabalho foi a compreensão dos fenômenos hidráulicos em bacias sanitárias, utilizando-se o modelo proposto por Mendes, envolvendo várias áreas da engenharia: perdas de cargas em tubulações, verificações de Normas Brasileiras de produtos e sistemas prediais, aplicações de Quantidade de Movimento, estudos de jatos utilizando-se a teoria de Abramovich e o efeito Splash e as respectivas utilizações destas ferramentas nas análises do desempenho do sistema hidrossanitário. A sugestão da obtenção de informações através do hidrograma de saída da bacia sanitária estudada permitiu, utilizando-se um reservatório de descarga graduado, a variação do nível e, consequentemente, informações hidráulicas relevantes: duração da descarga, volume consumido, a força de arraste induzida pelo escoamento ( ação motriz da remoção dos sólidos) e as máxima e mínima tensões de cisalhamento. A performance do equipamento estudado foi obtida devido a vários fatores, entre eles: o formato tronco-cônico com escoamento helicoidal interno às paredes do equipamento e o sifão trompa que difere dos sistemas atuais por permitir uma menor perda de energia quando do transporte de sólidos. O modelo estudado apresentou resultados que, apesar de permitir melhoramentos, são otimistas quanto ao volume consumido (4 litros), além do fato de evitar o desconforto (dentro dos parâmetros estabelecidos) do efeito Splash aos usuários quando do ato de defecar e a remoção (simulada em softwares) dos resíduos no ramal de saída. A principal conclusão deste trabalho é que as melhorias de desempenho em bacias sanitárias necessariamente passam pelo bom uso da Mecânica dos Fluidos e da Hidráulica.Currently, the systematic approach of problems comprehension has been a powerful tool. This knowledge was used on the present work, as well as information about water saving, subject of a lot of nowadays researches, considering the concern about this natural resource (water), scarcer with each passing day. The purpose of this work was to understand the hydraulic phenomena at sanitary basins, using the model considered by Mendes, relating several engineering areas: load loss on tubings, verifications of Brazilian Norms about building products and systems, applications of motion quantity measuring, jets studies under the Abramovich theory, the \"Splash\" effect and the respective uses of these tools on the performance analysis of the hydro-sanitary system. The suggestion of the information attainment through the exit hydrogram of the studied sanitary basin allowed, by using a graduated water flush reservoir, the level variation and, consequently, relevant hydraulic information: flush duration, volume of water consumed, drag force induced by drainage and the maximum and minimum shear tensions. The performance of the studied equipment was obtained because of several factors, such as: truncated cone format with helical drainage internal to the equipment walls and the siphon tube that differs from the current ones, because it allows a smaller energy loss when transporting the solids. The studied model has presented results that, despiste possible improvements, are optimistic about the volume of water consumed (4 liters), beyond the fact that prevents the discomfort of the \"Splash\" effect on the users (according to the established parameters) and facilitates the residues removal (simulated by softwares) from the exit branch. The main conclusion of this work is that the performance improvements on sanitary basins are essentially related to good use of Fluid Mechanics and Hydraulics.
27
Gunson, Hannah Mahrii. "The Performing Female Body: The National Theatre Frankenstein as Performance Art." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/9096.
Full textAbstract:
The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.
28
Barlow, Gabriel Lashley. "Confrontation: Endeavors in Futility." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/697.
Full textAbstract:
This paper is intended to compliment and describe the body of work that has been produced within the time I have been enrolled as a graduate student at Virginia Commonwealth University's Photography and Film department. The paper will include information on both my MFA candidacy presentation as well as a description of the evolution of my artistic endeavors. The main focus of this document is to discuss my formal examination of performance based video works pertaining to the absurd as described by Camus, and later expressed by Samuel Beckett, also the role of the masculine body's physicality within ritualized actions.
29
Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Full textAbstract:
This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
30
Vigeland, Anne. "Exhibiting Performing Subjects : Curating Outsourced Performance Labour in Museum Settings." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180926.
Full textAbstract:
The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.
31
Lagouarde, Clément. "Le "pour de vrai" et le "vrai" en art performance : fiction vs trace." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30017/document.
Full textAbstract:
L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performancePerformance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists
32
McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
Full textAbstract:
This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
33
Spiekermann, Geraldine. "Tränen in der modernen Kunst." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16528.
Full textAbstract:
Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien.Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.
34
Arango, Restrepo Luz. "El Alimento y la muerte en el ritual y las prácticas estéticas contemporáneas." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/460894.
Full textAbstract:
En un juego de contrapesos simbólicos, la muerte y el alimento se conjugan en el ritual de Día de Muertos y en cinco obras de artistas contemporáneos. Explorar este intersticio es el objetivo que nos hemos propuesto en esta investigación. En el ritual, indagamos sobre dos prácticas diferenciadas, la ofrenda en el altar para consumo de los muertos y el intercambio de cráneos de azúcar. En el arte contemporáneo, Joseph Beuys y Marina Abramović emplean el alimento y la materia orgánica como factores expresivos en unas obras que aspiran a vincular el ritual al arte. Además, Félix González-Torres y Jana Sterbak hacen uso de alimentos en sus trabajos, de manera que estos transfieren sus propiedades simbólicas a las obras. Todas las producciones artísticas y manifestaciones estéticas estudiadas dan una visión diferente de la muerte.In a game of history counter opposition, death and food come together in the Día de Muertos [Day of the Dead] ritual and in five works of contemporary artists. The goal set for this research is to explore this intrinsic relationship. In the ritualistic portion of this research, we explore two separate practices: the offerings on the altar for the dead’s consumption and the exchange of sugar skulls. In contemporary art, Joseph Beuys and Marina Abramović use food and organic matter as expressive factors in works aspiring to tie the ritual to art itself. Furthermore, both Félix González-Torres and Jana Sterbak have used food in their works, thus transferring their symbolic properties to the works. Every work and aesthetic manifestations studied provides a different vision of death.
35
Luu, Trieu Vy. "Revealing The Nature Of Human Characteristics Through Interaction Design." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-141054.
Full textAbstract:
Everyday we come up with new solutions for our existing problems. But the solutions of today are tomorrow’s problem. The products we create as designers are often bringing more complexity in our society than it is initially intended for. This thesis aims to give a new perspective on the design practice community. Instead of starting with a problem-solving scope, this thesis intent is to find what is truly meaningful for human life, meaning finding, and to propose how we can envision new ways of meaning making within interaction design. The two processes together of meaning finding and meaning making is how we can aim for concrete results that are relevant for our society. To better understand what truly matters for human life, I collected 14 stories through ethnographic research. These ethnographic stories reveal the nature of human characteristics when people face and overcome big challenges in life. Some of these ethnographic stories highlights the life of a WWII survivor, war refugee, leukaemia child-patient and a widow. Parallel, to the ethnographic work, I explored how I can evoke a deeper connection between people, by making them listen to each-other’s heartbeat. Inevitably, by exploring the fundamental elements of human life and observing the emotions and behaviour of my interviewees and participants, the thesis find itself often on the playground between philosophy and human life. But by taking a strong interaction design perspective, these insights were manifested in the human design manifesto booklet. This booklet proposes six expressions for designers, with the intention to embrace the fundamental elements of human life when we design: 1. Design attitudes, not solutions. 2. Design the medicine of the mind. 3. Design for relationships. 4. Design for our direct senses. 5. Design for the deep human connection. 6. Design the act of kindness Later on, for the meaning making part: one statement from the Human Design Manifesto was selected to explore in depth: Design the act of kindness. For this expression project Hidden Figures was created. Hidden Figures is a design proposal which demonstrates that a design creation can be driven by the fundamental elements of human life. In this case proposing the act of kindness as a vision on how our society could be. In overall, this master’s thesis demonstrates how our design proposals can embody and resonate well between the three levels of design philosophy, a designer’s vision and interaction design practice: How we, as designers, can use meaning-making and meaning-finding to create more relevant impact for our society. Last, I hope this work encourages other designers to think deeply about their own creations and its impact. And help designers reflect on why they create and how they could also alternatively practice design.
36
Kuhlmann, Rosl. "Die Fremde im Werk von Marina Abramovic, Lothar Baumgarten und Nikolaus Lang - Annäherungen und Transformationen." Doctoral thesis, 2012. https://repositorium.ub.uni-osnabrueck.de/handle/urn:nbn:de:gbv:700-2012091010298.
Full textAbstract:
Das üppige Spektrum der künstlerischen Methoden von Marina Abramović, Nikolaus Lang und Lothar Baumgarten in ihren Herangehensweisen an die Fremde reicht von spiritueller Kommunikation über Materialexperimente zu skeptischen Worten an der Wand. In drei Kapiteln über die Künstler werden die verschiedenen inhaltlichen Ebenen der Werke und ihre Bezüge zur eigenen und zu fremden Kulturen untersucht. In den Schlussbetrachtungen werden die Strategien der künstlerischen Annäherungen an die Fremde miteinander verglichen. – Nikolaus Lang arbeitete in Japan abseits urbaner Zentren. Er bedachte Objekte von den Rändern der Zivilisation mit „Ritualen der Achtsamkeit“ und fügte sie ein in seine „Japanischen Landschaften“. In Australien spürte er zuerst einer historischen Ockerkarawane der Aborigines nach und bearbeitete dann das Gebiet der Flinders Ranges in Südaustralien in mehreren Dimensionen. Seine Arbeiten enthalten die Schichtungen von Zeit und Raum und mit seinem Werkkomplex „Nunga und Goonya“ fand er eine ganz eigene Art und Weise, „das Land zu erzählen“. – Für Marina Abramović wurde die australische Wüste zu einem „Ort der Transformation“, ihre Erfahrungen dort und ihre Einblicke in den tibetischen Buddhismus nahm die Künstlerin in den Performancezyklus „Nightsea Crossing“ auf. Während ihres „Great Wall Walk“, ihrer Begehung der Chinesischen Mauer, erfuhr sie in besonderer Weise die „Energien der Erde“ und versuchte, diese mittels der „Transitory Objects“ ihrem Publikum erfahrbar zu machen. Ihren Körper mit seinen Energielinien wiederum stellte sie großen Würgeschlangen als „Erde“ in ihrer Performancereihe „Dragon Heads“ zur Verfügung. Tibetische Lamas und Aborigines lud sie für mehrere Werke zur Zusammenarbeit ein, sie fungierten dort als Träger spiritueller Kräfte. – Ein Schlüsselerlebnis in Leben und Werk von Lothar Baumgarten war sein 18-monatiger Aufenthalt bei den Yanomami am oberen Orinoco. Handelten seine davor entstandenen Arbeiten von westlichen Vorstellungen von der Fremde, so thematisierte er nun erlebte Nähe und unüberbrückbare Distanz, zuerst in seiner Anthologie „Die Namen der Bäume.“. Mehrere Arbeiten handelten von schriftlosen Kulturen und mit „Accès aux Quais“ eröffnete er in der Pariser Metro Gleise zu verdrängten Kontinenten. Gegenstand von „Carbon“ waren historische Schichtungen und Prozesse der Landnahme in Nordamerika. – In den Schlussbetrachtungen wird die Auseinandersetzung der drei Künstler mit der Fremde in systematischer Weise zusammengefasst und verglichen. Ergebnis dieser Untersuchung ist die Formulierung gemeinsamer Themen und Handlungsweisen, trotz aller Unterschiede der künstlerischen Ausdrucksformen: Von Vertrautem ausgehen - Vorstellungen von der Fremde / Erkundung und Orientierung / Sammeln und Ordnen / Mythen und Rituale / Die fremden Menschen - Begegnung und Zusammenarbeit.
37
Senior, A., and Simon Kelly. "On the Dialectics of Charisma in Marina Abramović’s 'The Artist is Present'." 2016. http://hdl.handle.net/10454/8420.
Full textAbstract:
YesWhile ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. Here Abramović uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. By examining the performance and its documentary traces in terms of dialectics we consider the political and ethical implications for how we think about power relations between artist/spectator in a neoliberal, market-driven art context. Here an alternative approach to conceiving of and facilitating a charismatic space is proposed which instead foregrounds what Bracha L. Ettinger calls a ‘matrixial encounter-event’: A relation of coexistence and compassion rather than dominance of self over other; performer over spectator; leader over follower. By illustrating the dialectical tensions in The Artist is Present, we consider the potential of the charismatic space not as generated through the seductive power or charm of an individual whose authority is tied to his/her ‘presence’, but as something co-produced within an ethical and relational space of trans-subjectivity.
38
Tang, Cheong Wai Acty. "Gazing at horror : body performance in the wake of mass social trauma /." 2005. http://eprints.ru.ac.za/207/.
Full text
39
Werier, Leah. "From Vitrine to Screen: Art and the Architecture of Commodity Display." Thesis, 2021. https://doi.org/10.7916/d8-jgd0-7f97.
Full textAbstract:
This dissertation is a study of the architecture of commodity capital: the display window. Taking as a starting point the work of Henri Lefebvre and Goerg Simmel, this dissertation understands the shop window to be a mode of display, what I define as “the logic of the vitrine,” that has shaped the way the world appears. Tracing a genealogy from the Parisian Arcades to the twentieth-century department store, this project explores the relationships between gender, sexuality, race, and architecture. Feminist critiques of commodity desire and display illuminate how the shop window is as important to our understandings of capitalism as is the commodity.
Through feminist, queer, postcolonial, and anti-racist readings of material and commodity culture, this dissertation considers the shop window to be a site of subject formation. This dissertation also examines how designers, artists, and architects have explored the display of the shop window through a series of case studies, including Marina Abramovic’s Role Exchange, Gene Moore’s “drag” in Bonwit Teller’s shop windows, the making of a black mannequin, and Lynn Hershman Leeson’s site-specific installation 25 Windows. This dissertation concludes with a consideration of the architectural role reversals of the shop window and the gallery; the work of Silvia Kolbowski and Elmgreen and Dragset’s Prada Marfa ground this analysis. Artists have disrupted the display of the shop window, transforming the architecture of commodity capital into a space for resistance and critique.
40
Bieger, Isabel Cristina 1979. "Paradigmas do feminismo e da educação pela arte." Master's thesis, 2011. http://hdl.handle.net/10451/4853.
Full textAbstract:
Tese de mestrado, Educação artística, Universidade de Lisboa, Faculdade de Belas Artes, 2011This research project is about the art work of Joana Vasconcelos, intends to challenge the issue of feminism present in many of their artistic creations, highlighting, simultaneously, in the informal context, visual education and citizenship. It’s, at one time, the assumption of the educational functionality of Art in a non-networked role controversial, challenging, mobilizing and dynamic. The Artist as a persona that moves in a single weaving, where to be it’s having in your hands the thread of the viewer's gaze, which draws crowds, influencing a new generation, a whole new stream of public. Revere here studies on the art of education by some authors who contributed to a significant change in arts education and contributed to the human being becomes more complete, gifted with sensitivity and sense. We call on gender studies, including exhortations about feminism, to explain their historical achievements such as human and who have cooperated in a social development which gained equality between men and women. Thus we talk about the merging of art and feminism by showing examples and opportunities created and achieved by women in a world dominated by men. Constant fights that have lasted to these days. Finally our thread of Ariadne, the artist Joana Vasconcelos, shows us how to take on feminine identity, a mix of attraction and retraction upon to clarify the concept. It turns out the duplicity, the duality, in short, the ambiguity in the work as much in the speech. The process of informal education, formal fascination, but rather the action of citizenship exercised by his works the viewer can go for some unseen, however they shouldn’t be ignored
41
Toscano, Marta 1975. "Imagem do tempo:os espelhos na arte contemporânea." Doctoral thesis, 2014. http://hdl.handle.net/10451/11255.
Full textAbstract:
Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014O objectivo deste trabalho é explorar o tema do espelho na arte contemporânea, e relacionar as obras analisadas com a dimensão tempo. A ideia-chave que decidimos perseguir é simples: o espelho visto como um poderoso artifício, o que em última instância trará acoplado a própria «artificialidade» do conceito identidade. Exploraremos o mito de Perseu, o espelho grego e o espelho barroco — âncoras fundamentais; tentaremos assinalar a passagem de uma época especular «dual» para uma época pós-especular, onde tudo se parece fundir. A problemática do duplo, mesmo assim, vem ao nosso encontro – e nós temos medo. Por fim, reflectimos sobre o tema do espelho na arte, onde para cada par de artistas escolhido fizemos corresponder uma determinada «ideia» de tempo. Conheceremos espelhos que evocam um perigo eminente, espelhos infinitos, espelhos glaciares, espelhos-viajantes, espelhos «controladores»... Sintetizando: são obras que têm, algures, um espelho, que fogem da auto-representação, que são impessoais, ardilosas, e que se relacionam de forma peculiar com o tempo. De certa forma, o espelho pode ser considerado como o mais «impossível» (e fascinante) dos objectos: máquina que tudo vê, mas que nunca se deixa ver. E o que é que acontece quando prevalece a inoperatividade, a falência ou a simples recusa da máquina em «ver»? A rigidez dos segundos, minutos e horas são esquecidos. Cronos deixa, apenas por breves instantes, de devorar cruelmente os filhos.
The aim of this work is to investigate the theme of the mirror in contemporary art, and to think about the way in which the examined art works can be related to the time dimension. The key-idea that we decided to follow is a very simple one: the mirror seen as a powerfull artifice, that ultimetely brings along with it the «artificiality» of the concept of identity in itself. We will explore the myth of Perseus, the greek and the baroque mirror — vital anchors; we will then try to characterize the passage from a «dual» specular epoch to a post-specular one, where everything seems to get indistinct. Still the problematic of the double runs into to us – and we are scared. Finally, we´ll think about mirrors in art, where for each pair of chosen artists we matched a particular idea of time. We will meet mirrors that recall eminent danger, infinite mirrors, glacier mirrors, travelling-mirrors, «controlling» mirrors. To summarize: the chosen works have, somewhere, a mirror, they run away from self-representation, they are inexpressive and astute, and they can be related in a fruithful manner to time. In a certain way, the mirror can be considered as the most «impossible» (and fascinating) of all objects: a machine that sees everything, but doesn´t allow to be seen. What happens when inoperativity prevails, and the machine fails or refuses to «see»? The harshness of seconds, minutes and hours are forgotten. Cronus stops, for brief instants, to cruelly devour his children.
Fundação para a Ciência e a Tecnologia (FCT)
42
Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.
Full textAbstract:
Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section
43
Oliveira, Luis Miguel Antunes 1993. "O corpo em transição." Master's thesis, 2017. http://hdl.handle.net/10451/29057.
Full textAbstract:
The main concern of the present reflection is to explore and understand the limits of human existence and of the body itself, as well as its respective transgressions. Thus, in the first place, we intend to carry out an analysis of the limits that founded the human existence and of its moments of dissolution, in order to perceive what motivated the birth of art. Then, we will examine the issues related to the construction of human identity throughout the evolutionary process of the life cycle. The topic of this dissertation was inspired by the fact that we perceive the body as an opening, a space of unlimited expression in the creation of identity. In order to apply this way of understanding the body to different forms of artistic expression, we have selected some artists who have endeavored to convey to the observers an experience of bodily transgression. For this, we decided to decompose the body into parts, conducting an analysis that goes through the different body instances. This decomposition of the body is directly related to our artistic project, in which we investigate the most varied forms of representing it, but not in order to enclose it in a recognizable structure, rather with the aim of releasing it and this through the most varied plastic interpretations