Tesi sul tema "Festival for Contemporary Video Art"
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Bernardi, Donatella. "Arts festival as a global cultural product". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.
Testo completoMagagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.
Testo completoBennie, Christopher. "Video Art, Authenticity and the Spectacle of Contemporary Existence: an exegesis". Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365684.
Testo completoThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
Nogueira, Julia C. "Film and Video Festivals in South America:A Contemporary Analysis of Flourishing Cultural Phenomena". Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1230612139.
Testo completoMacindoe, Annie C. "Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119695/1/Annie_Macindoe_Thesis.pdf.
Testo completoPinaka, Anna-Maria. "Porno-graphing : 'dirty' subjectivities & self-objectification in contemporary lens-based art". Thesis, University of Roehampton, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.749383.
Testo completoZhang, Ruiqi. "Parallel Narrative: Short-Video Social Media Platforms’ Influences on Contemporary Narrative". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5935.
Testo completoAndersdotter, Sara. "Choking on the madeleine : encounters and alternative approaches to memory in a contemporary art practice". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7841/.
Testo completoCharlesworth, Amy. "The 'video-essay' in contemporary art : documenting capital and gender for the 21st century". Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6338/.
Testo completoHandran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.
Testo completoHoltsclaw, 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.
Testo completoHarmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
Testo completoIncludes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.
Vogt, Naomi. "Inventing ritual : moving images of social reality in contemporary art". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:b40ab0c1-e70a-422b-b033-d4b6e3f45881.
Testo completoStire, James B. "Armchair Tourist". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2002.
Testo completoHuttunen, Hinni. "CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO : Master essay 2018 / Hinni Huttunen". Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-368.
Testo completoJensen, Michelle. "New Media and Interactivity". Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1522.
Testo completoJensen, Michelle. "New Media and Interactivity". University of Sydney, 2006. http://hdl.handle.net/2123/1522.
Testo completoDigital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
McKewen, Daniel Luke. "The art of being a fan : complicity and criticality in contemporary art and fandom". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63778/1/Daniel_Luke_McKewen_Thesis.pdf.
Testo completoKazemimanesh, Sara. "Underground Labyrinths: Woman and Expanded Cinema in Contemporary Iran". Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1566556001982398.
Testo completoSan, Cristóbal Opazo Úrsula. "Sonido, cuerpo y música: Ubiquitous listening y espacio autobiográfico en piezas de performance y video arte". Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/670820.
Testo completoEsta tesis se ocupa del rol de los elementos sonoros y musicales en piezas que combinan los lenguajes de la performance y del video arte, y que no son consideradas arte sonoro. Propongo las nociones de espacio autobiográfico y ubiquitous listening como instrumentos para analizar obras que abordan aspectos autobiográficos haciendo uso de elementos sonoros y visuales, aportando además una revisión crítica de la bibliografía sobre el sonido y la escucha en el arte contemporáneo. Aplico estas nociones a dos casos de estudio: 1) performances y videos de Marina Abramovi, realizados entre 1971 y 1997 que permiten comprender el desarrollo de la pieza Balkan Baroque (1997); y 2) las fotografías y video instalaciones de Shirin Neshat realizadas entre 1993 y 1997 que permiten comprender la pieza Turbulent (1998). A través de una revisión crítica de la bibliografía que se ha ocupado de estas piezas, pongo en evidencia las consecuencias derivadas de la falta de atención a los elementos sonoros.
This thesis deals with the role of sound and music in artworks merging the languages of performance art and video art, which are not considered sound art. I propose the notions of autobiographical space and ubiquitous listening as tools to analyze artworks addressing autobiographical aspects through sonic and visual elements. I apply both notions to two case studies: 1) live and video performances made by Marina Abramovi, between 1971 and 1997 that allow us to understand the piece Balkan Baroque (1997); and 2) photographs and video installations made by Shirin Neshat between 1993 and 1997 that allow us to understand the piece Turbulent (1998). Through a critical review of the bibliography that has dealt with these pieces, I highlight the consequences derived from the lack of attention to sonic elements.
Avgousti, Nicoleta. "Contemporary Cypriot video art : an investigation of artistic practice and its educational implications for the visual arts curriculum". Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21231/.
Testo completoTanoai, 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.
Testo completoRosenthal, Dalia. "Do interno no tempo". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283989.
Testo completoAcompanha DVD - Videos: Travessia e Crepusculos Ato I,II e III
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A Tese de doutoramento em Poéticas Visuais intitulada Do interno no tempo apresenta 8 conjuntos de trabalhos realizados entre os anos de 2007 e 2009. As séries Paisagem de Contagem, UM, Travessia, Horizontes, Broto, Estâncias, Crepúsculos e Madonas investigam por meio da fotografia, do vídeo e da pintura, a paisagem sob três eixos principais: internalidade, substancialidade e percepção temporal. Como linha de base, as obras produzidas buscam trabalhar com a idéia de um registro visual da paisagem externa pela lente interna ao tempo do vivido aqui investigado nas naturezas de sua formação e organização visual. Este trabalho está organizado em três partes ATO I, ENTREATOS E ATO II que se afirmam como núcleos de conhecimento complementares: Em Ato I, o núcleo visual é exposto em grupos de imagens que revelam as obras aqui produzidas nas séries de trabalhos indicados. Em ENTREATOS exponho meus diários pessoais de criação na intenção de tornar visível os alicerces internos que compõem cada concepção. Já em Ato II apresento o núcleo teórico reflexivo que se organiza a partir de cada trabalho. Neste os autores e artistas escolhidos para construção do corpo teórico objetivam explicitar os trilhos por onde cada trabalho caminhou para tecer em conjunto a malha reflexiva que permeia o olhar criador
Abstract:The PhD thesis in Visual Poetics entitled The Internal of Time has 8 sets of work undertaken between the years 2007 and 2009. The series Contagem Landscape, UM, Crossing, Horizons, Broto, Estancias, Sunsets and Madonnas investigate through photography, video and painting the landscape in three main areas: internality, substantiality and time perception. As the baseline, these works seek the idea of a visual record of the external landscape through the inner lens of the time lived, here investigated in the nature of their visual creation and organization. This work is organized in three parts: ACT I, ENTRACTE and ACT II, which claim to be complementary knowledge centers: In Act I, the visual center is shown in groups of images that reveal the series of works displayed. In Entracte I expose my personal diaries with the intention of making visible the internal foundations that make up each conception. In Act II I present the reflexive theoretical center that is constructed from each work. The authors and artists chosen for the theoretical framework aim to show the path that each work walked through and collectively they create the reflexive fabric that permeates the creator's eye
Doutorado
Doutor em Artes
Bertelli, Anita Presser. "Perform yourself: a performance art no youtube". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122015-095523/.
Testo completoThis work explores YouTube as a field for contemporary performance art creation. Firstly, the research approaches the website focusing in its cultural implications, investigating specific literature about YouTube as well as authors that reflect upon contemporary subjectivities, highlighting in them aspects that relate to the website users\' practices. Then, it analyses a selection of works by performers of various nationalities, gathering them in five vectors: #camgirls-attwhores, which deals with women and feminismo on the internet, relying mainly on Erica Scourti\'s work; #persona-irony, which is based on Renato Cohen theories on the performative persona; #anti-confession, which addresses the practice of confession making use of concepts by Michel Foucault, Óscar Cornago and Christopher Lasch; #body-effects, in which the main reference is the work of N. Katherine Hayles on post-humanism and #prank, which relies on writings by V. Vale and Fábio Salvatti. Finally, practical artistic experiments on YouTube are carried out, inspired by the ideas of Joseph Beuys and the artistic practices of Petra Cortright. Therefore, the research has articulated multiple cultural and artistic perspectives, both theoretical and practical, to seize the object of study, advocating a new kind of art, one that overflows traditional categories and the art market and proposing an unartistic and playful use of current technologies.
Beyrouthy, Damien. "Corps peuplés d'images, corps peuplant l'image : interrogation par l'art vidéo d'un entremêlement à l'ère dite postmoderne". Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20001.
Testo completoThis thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body
Dauget, Stéphanie. "Au seuil du visible : pour un dispositif critique de l'installation vidéo". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30060.
Testo completoAt the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel
Monteiro, Ticiano Pereira 1982. "Chão de estrelas : modos de subjetivação produzidos em uma investigação artística sobre os videokês em Fortaleza". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284479.
Testo completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente investigação parte de um processo de criação artística videográfica experimental, na qual foram filmados cantores de videokê da cidade de Fortaleza, capital do Ceará. Das inúmeras apresentações gravadas, algumas se destacavam, trazendo o problema: o que faz essas imagens mais intensas que outras? Como alguns poucos sujeitos conseguem, com o corpo, provocar sensações tão intensas no tempo de suas encenações? Do conjunto das gravações, oito foram escolhidas para compor o objeto deste estudo. A análise dessas imagens levanta como principais conceitos as ideias de dispositivo e processos de subjetivação, teorizadas principalmente por Michel Foucault e Gilles Deleuze, e a proposição da câmera como ferramenta de relação, defendida por Jean-Louis Comolli. Os conceitos são aprofundados e colocados em diálogo com outros autores, assim como com as imagens das quais emergiram. São destacados dois dispositivos essenciais às análises dos modos de subjetivação em jogo nas imagens: a câmera e o videokê. A partir daí evidenciam-se: as linhas de sedimentação, ligadas ao aspecto molar do dispositivo, presentes nas performances como reproduções dos espetáculos da cultura de massa; e as linhas de fratura, ligadas às apropriações criativas do dispositivo. Nelas são revelados como certos indivíduos realizam apropriações dos dispositivos e dos espetáculos midiáticos para produzir um conhecimento de si, sobre as formas como o corpo se põe em cena e produz momentos de intensidade na tomada. Conclui-se que são os processos de subjetivação como autoafecção que são capazes de produzir as imagens intensas. Por fim, como resultado deste processo, que transita entre a prática artística e a teoria, é realizada uma instalação audiovisual
Abstract: This research is based on an videographic experimental artistic process, in which footage of videoke's singers were made, in the city of Fortaleza, Ceara state's capital. Among the numerous recorded performances, some stood out, raising the problem: what makes these images more intense than others? How can a few individuals provoque, with their bodies, such intense sensations in their performances? Eight recordings were selected, from the entire set, to compose this study's object. From the analysis of these images emerges, as most important concepts, the ideas of device and process of subjectivation, mainly theorized by Michel Foucault and Gilles Deleuze, and the proposition of the camera as a tool for relationship, defended by Jean-Lous Comolli. Those concepts are examined in depth and put into dialogue with other authors, as well as with the images from which they emerged. Two devices are highlighted as essential to the analysis: the camera and the videoke. Based upon that, becomes evident: the lines of sedimentation, related to the devices' molar aspects, visible in performances as a reproduction of mass culture's spectacles; and the lines of fracture, linked to creative appropriation of the devices. Those cases reveals how certain individuals are appropriating the devices and midiatic spectacles in order to produce a knowledge about themselves, on the manners to impose the body on the scene and produce such intense performances. In conclusion, it is the processes of subjectivation as selfaffection that are capable of producing the intense images. Finally, as a result of this process, which, from the beginning, is both theoretical and artistic practical, an audiovisual installation is assembled
Mestrado
Multimeios
Mestre em Multimeios
Huerta, Jiménez Mayra. "Video espacios/ posibles. Una aproximación geográfica del lenguaje audiovisual en la Frontera Norte de México". Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/63453.
Testo completo[ES] Vídeo espacios/posibles. Una aproximación geográfica del lenguaje audiovisual de la Frontera Norte de México. El propósito de esta tesis es evidenciar la práctica artística que se desarrolla en un contexto específico, la ciudad de Tijuana al Norte de la frontera en México. Está práctica delimita al vídeo como medio de creación, y también a los artistas, pero sobre todo la relación de estos con el vídeo. El énfasis del cuerpo de trabajo está planteado desde la experiencia de los artistas para producir audiovisuales y construir un lenguaje artístico con una condición que hemos denominado nómada. Esta condición nómada nos permite entablar el diálogo con el contexto fronterizo. Al pensar en una cultura relacionada con los conceptos que Nicólas Borriaud promueve en su libro Radicante, se evidencia un arte contemporáneo bajo los actos de traducción. Conceptos como migración y nomadismo aparecen relacionados con la fluidez y movimientos que la cultura ha desarrollado a partir de la modernidad. Desde la perspectiva de la geografía y la antropología experimental nos dan la posibilidad de enmarcar el concepto de espacio, al direccionarlo a la frontera integrándolo a los espacios de representación (Lefebvre, experimentado, percibido e imaginado). Nos apoyamos en el método cualitativo al realizar una serie de entrevistas a diez artistas: Marcos Ramírez "Erre"; Julio Orozco, Salvador Ricalde "Sal", Aldo Guerra, Adriana Trujillo, Omar Pimienta, Michelle Romero, Mayra Huerta, Abraham Ávila y Karina Álvarez. Se han identificado tres clasificaciones que derivan de lo siguiente; el origen del que proviene al artista; el uso del medio (el vídeo) y los temas que los artistas desarrollan en sus propuestas creativas. De esta forma la investigación muestra un panorama del lenguaje audiovisual que se conecta con ciertos momentos históricos del arte, de los cuales el vídeo ha estado relacionado de alguna manera. Pensamos en el desplazamiento del vídeo así como el de los artistas seleccionados para crear clasificaciones que pueden modificarse en cualquier momento. Ya sea por los aspectos técnicos, discursivos o interdisciplinarios con los que se produce en este medio. El resultado de este estudio muestra la relación del vídeo de creación y los artistas seleccionados que producen en el contexto fronterizo; proporcionando una práctica artística vinculada al aspecto móvil de una sociedad contemporánea. Esta posibilidad permite evidenciar diez condiciones nómadas en los audiovisuales analizados. Incluyendo, entre ellas la definición generalizada de cómo se produce en vídeo, y partiendo de las diversas formas de trabajar entre ellos. El vídeo demuestra su facilidad de adquirir esta condición nómada, pues en los géneros que tenemos, algunos de los artistas comparten la producción en ambos géneros (el vídeo monocanal y la vídeo instalación). La propuesta puede continuar y modificarse de acuerdo a las necesidades de los audiovisuales que se analicen.
[CAT] Vídeo: espais/possibles. Una aproximació geogràfica del llenguatge audiovisual de la Frontera Nord de Mèxic. El propòsit d'aquesta tesis és evidenciar la pràctica artística que es desenvolupa en un contexte específic, la ciutat de Tijuana, al Nord de la frontera de Mèxic. La pràctica està delimitada al video com a mitjà de creació i als artistes, però, sobretot, a la relació del artistes amb el video. L'èmfasi del cos de treball està plantejat des de l'experiència dels artistes per produir audiovisuals i construir un llenguatge artístic com una condició que hem denominat nòmada. Aquesta condició nòmada ens permet entaular el diàleg amb el contexte fronterer. Al pensar en una cultura relacionada amb els conceptes que Nicólas Borriaud promou al seu llibre Radicante, s'evidencia un art contemporani sota els actes de traducció. Els conceptes com de migració i nomadisme en relació a la fluïdesa i els moviments que la cultura ha desenvolupat a partir de la modernitat. Desde la perspectiva de la geografia i l'antropologia experimental que ens donen la possibilitat d'emmarcar el concepte d'espai al redireccionar-lo a la frontera com els espais de representació (Lefebvre, experimentat, percebut i imaginat). Ens recolzem d'un mètode qualitatiu al realitzar una sèrie d'entrevistes a deu artistes: Marcos Ramírez "Erre", Julio Orozco, Salvador Ricalde "Sal", Aldo Guerra, Adriana Trujillo, Omar Pimienta, Michelle Romero, Mayra Huerta, Abraham Ávila y Karina Álvarez. S'han d'identificat tres classificacions que deriven del següent: l'origen del qual prové l'artista; l'ús del medi (el video) i els temes que els artistes desenvolupen en les seues propostes creatives. D'aquesta forma, l'investigació mostra un panorama del llenguatge audiovisual que es conecta amb certs moments històrics de l'art, dels quals el video ha estat relacionat d'alguna manera. Pensem en el desplaçament del video així com el dels artistes seleccionats per a crear classificacions que poden ser modificades en qualsevol moment, siga pels aspectes tècnics, discursius o interdisciplinaris amb els quals es produeix aquest medi. El resultat d'aquest estudi mostra la relació del video de creació amb els artistes seleccionats, que produeixen en el contexte fronterer; proporcionant una pràctica artística vinculada a l'aspecte mòbil d'una societar contemporània. Aquesta possibilitat permet evidenciar deu condicions nòmades en els audiovisuals analitzats. Incloent, entre elles, la definició generalitzada de cóm es produeix en video, i partint de les diverses formes de treballar entre ells. El video demostra la seua facilitat d'adquirir aquesta condició nòmada, ja que en els gèneres que tenim, alguns dels artistes comparteixen la producció en ambdós gèneres (el video monocanal i la video instalació). La proposta pot continuar i modificar-se d'acord amb les necessitats dels audiovisuals que s'analitzen.
Huerta Jiménez, M. (2016). Video espacios/ posibles. Una aproximación geográfica del lenguaje audiovisual en la Frontera Norte de México [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63453
TESIS
Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
Testo completoAlmeida, Thamara Venâncio de. "A videoarte no Brasil: uma perspectiva histórica - O Festival Videobrasil e a trajetória de Eder Santos como estudos de caso". Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6586.
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Em um contexto de ampliação do mundo da arte e das atividades artísticas, percebemos a necessidade em trabalhar o uso do vídeo pelos artistas, que originou na criação de um novo segmento artístico, a videoarte. Pretendemos explorar a conceituação do termo no contexto em que estava envolvido de forma a apresentar a história dessa atividade no Brasil. O estudo, dividido em três capítulos, estabelece no primeiro, um recorte mais amplo, explorando a produção dos pioneiros da videoarte no Brasil e elucidando questões que a rodeavam enquanto atividade artística nos anos 1970. Na segunda e terceira partes, realizamos recortes mais específicos partindo do contexto dos anos 1980. No segundo capítulo é explorada a presença da videoarte no Festival Videobrasil, trabalhando as edições de 1983 a 2001. Durante a análise desse recorte, mapeamos as transformações ocorridas nesse universo que se encontram organizadas em três etapas: 1ª Etapa (1983-1985); 2ª Etapa (1986-1990); 3ª Etapa (1992-2001). No capítulo três apresentamos um estudo de caso da trajetória artística e da produção estética de Eder Santos, apontando as mudanças de sua carreira em perspectiva com as transformações ocorridas no Festival Videobrasil e no contexto da arte contemporânea em geral.
In a context of expansion of the world of art and artistic activities, we realized the need to analyse the use of video by artists, which originated the creation of a new artistic segment, the videoart. We intend to explore the conceptualization of the term in the context in which it was involved in order to present the history of this activity in Brazil. The study, divided into three chapters, establishes, in the first one, a wider view exploring the production of videoart pioneers in Brazil and clarifying issues surrounding it as an artistic activity in the 1970s. In the second and third parts, we carry out more specific cuts starting from the 1980s context. The second chapter explored the presence of videoart in the Videobrasil Festival, focusing the editions from 1983 to 2001. During this view’s analysis, we map the changes which occurred in this universe and that are organized in three stages: Stage 1 (1983-1985); Stage 2 (1986-1990); Stage 3 (1992-2001). In chapter three we present a study case of the artistic career and aesthetic production of Eder Santos, pointing out the change of his career through perspective with the transformations occurred on Videobrasil Festival and in the context of contemporary art in general.
Gao, Yi. "Bursting bubbles a moving image exploration of contemporary Chinese individuality : an thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2008 /". Click here to access this resource online, 2008. http://hdl.handle.net/10292/485.
Testo completoSteen, Paula Alzugaray van. "O artista como documentarista: estratégias de abordagem da alteridade". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-15072009-221515/.
Testo completoAs its object of investigation, this research looks at the appropriation of documentary narratives and strategies by the contemporary artist. It looks to trace a specific map of the actions of the artist documentarist starting from three conditions common to the fields of art and the documentary: displacement, participation and fabulation. The aim is to observe how these forces develop in works by artists active in Brazil today, among them Mauricio Dias and Walter Riedweg, Rosângela Rennó and Janaina Tschäpe. Far from covering the totality of the ethical and poetical body of these artists works, the research points to activities that combine fieldwork, invention of situations and the reinvention of documentary protocols. In analyzing and questioning the importance of the documentary image as evidence, and in adapting this image to uses that are subjective, personal, conceptual, etc., the documentary artist establishes a new platform for documentary practice, bringing about a revision of the ways of reading and representing otherness and reality.
Vatsella, Christina. "La question de l'espace dans l'installation vidéo". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.
Testo completoHaving as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
Antona, Stéphanie. "L’expérience du religieux dans l’art vidéo des années 2000 : perspective française et italienne". Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP073.
Testo completoDuring the sixties, artists chose video to try out a new medium with a new way to comprehend representation and figuration. Since the end of the nineties, video technique has changed and artists have worked new subjects. Indeed, the evolution of religion in modern society raised both political and social issues that are expressed in video art. Based on two countries with Catholic tradition, this doctoral thesis demonstrates that French and Italian videoartists create, with religious themes, a new way to observe the world of the XXIst century, giving spiritual and cultural bearings which are scattered in this era of overconsumption. Thanks to this technique related to the immaterial, video artists also show a desire to pass on rites and beliefs in order to respond to a quest of spirituality and wonder
Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
Testo completoThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
Douglas, John Anthony Art College of Fine Arts UNSW. "Aberations of self : manifestations in cinema histories". Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.
Testo completoElgoibar, Aguirrebengoa Ainara. "Vídeo y vidrio: En reflexión sobre Performer/Audience/Mirror (1975), un work study de Dan Graham por Darcy Lange". Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/668072.
Testo completoPerformer/Audience/Mirror (1977) is the title of a performance by Dan Graham that was videotaped in Video Free America (San Francisco, USA) by Darcy Lange, a good friend of Graham’s and a pioneering video artist. The videotape, also titled Performer/Audience/Mirror (1975), is distributed by Electronic Arts Intermix, where Darcy Lange is credited as the cameraman. This Phd Thesis argues that Performer/Audience/Mirror (1975) can be interpreted as a work study by Darcy Lange that portrays Dan Graham’s work while doing the performance which bears the same title. Darcy Lange’s work studies are durational video observations of people while working in very different contexts, a type of work he produced throughout his lifetime. This text is therefore an speculative exercise that explores the relationship between the work and life of both artists, just like two rays of light which traverse a glass surface from its opposing sides cross each other as their trajectories are being modified by diffraction. But all glass —no matter how transparent it may be— generates a new light trajectory, a reflection, which in the context of the present thesis refers to my own work, in particular to the project titled Gold 20 (2013), which is a video that documents the production process of a particular kind of golden colored Low-E glass. Dan Graham has used Low-E glass in many of his architectural pieces although he has consistently referred to it as two-way mirror. The first of the four chapters that make up this Phd Thesis is dedicated to the work of Darcy Lange. The second, to Dan Graham’s. The third explains why, in spite of the historiographic inconsistencies that surround Performer/Audience/Mirror (1975), I think it can be regarded as a video piece of Lange’s as well as a performance of Graham’s. This alteration in perspective triggers a fourth chapter that contains a study of the gap between video practice as it was produced, distributed and consumed in the 70s and the role that such technology plays in contemporary communication and sensitivity, which materializes in the use of glass in the corporate architecture of the Silicon Valley.
Damasceno, Lia Lopes. "Cidade/Labirinto". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-12052017-090318/.
Testo completoThis paper proposes an ethical and aesthetic analysis of urban space in search of a territory of Belonging in the city of São Paulo. It is an interdisciplinary research, that uses the method of cartography and art as an epistemological search to observe in everyday migrant author, different perspectives of being in the world and to build powerful forms of belonging to a place in the contemporary time. They were used in addition to theoretical approaches, poetical experiments that resulted in the creation of a work installation called Cidade/Labirinto that mixes video performances, sculptures, a performative act and a publication mounted with collages made above printed collected in drifts.
Vara, Sánchez Carlos. ""A cada momento un mundo nace y muere" : elementos de la temporalidad en las video instalaciones de Bill Viola, con una coda de nuerociencias". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392628.
Testo completoIn this thesis we aim to explore the role of the temporal in the most representative video installations ellaborated by Bill Viola. We believe that, mostly, there lies the power of these works to question deep aspects of the existence of those who face them. In order to delve into this subject, this work begins by identifying the general and particular mechanisms of temporal presentation which operate in them. Hereafter, we will discuss their effect on the viewer’s temporality and the potential consequences on the conscience of facing duration: the form of time which Viola claims to offer through his works and whose experience is supposed to have a, potentially enriching, self-reflective effect. In order to study the interrelation between temporality and conscience we will employ an interdisciplinary approach. Its foundations will be those of phenomenological philosophy, however we will also consider another philosophical currents and, in lesser extent, neuroscience.
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.
Testo completoFrom 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
Andrade, Sueli Chaves. "Chris Cunningham: corpo e dejeto no vídeo contemporâneo". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19734.
Testo completoMade available in DSpace on 2017-02-22T11:43:54Z (GMT). No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) Previous issue date: 2017-02-17
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005)
Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)
Ducreux, Jessy. "La danse contemporaine à l'épreuve du cinéma et de la vidéo : quels regards pour quelles expériences ?" Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H307.
Testo completoThis research work bas for objective to put forward the meeting cinema-dance from a liberation of the metaphysical bases of the art, making it an instrument of mediation of an order upper to the artist whose activity adjusted in the light of an ethical and political ideal, a source of inspiration of the theme of somewhere else. The cinema is this new space where the dance in vents another body except a regulations of the practices and the uses, the pedagogy by means of which the affections of the body were corrected in mirror of the works of the spirit. The fact that the cinema appeared at a moment of rehabilitation of the philosophic value of the sensitive makes it collusive in a dance trying to increase its experience of the movement and to free itself from limits of the classic representation. It is this complicity towards an attitude in common that takes out a gain diverse aspects which lifts the problem of the contemporary dance in the event of the cinema and the video
Batista, Ana Luiza Dias. "Um programa". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-24042009-151004/.
Testo completoThis research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.
Kobryn, Olga. "Esthétique de la durée". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA055.
Testo completoThe main topic of this work develops from the intuition that there would be, inside the contemporary regime of art - despite the impression of extreme heterogeneity that its artistic expressions could give at first sight - a common aesthetic moment, a common moment of form and conceptual investigation, that will be defined throughout this work as the notion of Aesthetics of Duration. Such a theoretical notion refers to a certain number of installations, contemporary moving images created for museum space as well as cinematographic productions. However, it does not only involve Henri Bergson’s concept of Duration even though the theory echoes it in several ways, such as the idea of becoming as a change of quality. The approach turns out to be at the origin of a new conceptualization of the very form of works of art. Deeply influencing the development of a singular aesthetic approach, The Aesthetics of Duration defines the contemporary artistic regime as an independent regime of thought that could be qualified as conceptual
Martínez, Villegas Juan. "El videoarte expandido. Espacio de confluencia entre la Cinematografía y la Escultura". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/290271.
Testo completoIn the context of creation process occasioning video-artistic practice designed for a specific place or applied to a sculpture, the expansion broadens its meaning. It does not only suggest the light projection on a surface, but it gives as well room for a convergence of disciplines, integration of poetics, and merging of different methods into one action. The extension of an image to a movement implies an itinerary from a story possessing its own image, to the relationship which the story establishes with a place or a three-dimensional object, and through the narration resulting from the meeting of both. This point of convergence generates multiple bridges and dialectics. The thesis analyses three of possible areas: video art, sculpture, and cinematography.The framework of this theoretical and practical study on an expanded video art offers the possibility of navigation through vague territories of creation process. We thus interpret itineraries equivalent to the ours intuitively assuming that what impulses these movements in the first and last resort is a common quest for a longed for image which would reflect the profound sense of the author's vital experience and vision.The expanded video art as a medium of convergence and synthesis of creation can generate an adaptable and inclusive procedure in relation to the purpose of each undertaken project. Its practical and theoretical itinerary facilitates interdisciplinary convergences, intimate introspections, poetical expressions, and politic action. At the same time, it is an ideal framework of research in order to guide the longing which impulses the movement.
Daste, Sophie. "Expérimentations artistiques des espaces de fiction générés par les nouveaux médias issus des cultures générationnelles otaku et geek". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080042.
Testo completoIn a widespread background in which the influences of Otaku and Geek Generational Cultures have increased as regards both their cultural content and the new media created by them, we undertook to study their propensity to penetrate into the art sphere, whether within or outside contemporary art. The convergence of the media inherent to both cultures has produced new means of expression which have given rise to several types of experimental practices. In the light of these new aspects, we strove to review our referents as well as our practice. Emerging new IT systems are becoming more and more popular and they are increasingly affecting their users' daily lives. With such new items of knowledge, new relations to things have developed and they provide a foundation on which new Fantasy Realms are being built."Artistic Testings of Fantasy Realms Created by New Media derived from the Otaku and Geek Generational Cultures" is a transdisciplinary thesis. It blends art research with etymological, anthropological and sociological studies. The methodology applied relies on studies carried out by researchers and is based on the testing of the works presented which are related to contemporary art, books, comics, video games, alternate reality games etc., as well as to the convergence of all such media. As regards the domain referred to herein, we believe that testing through practising is a paramount aspect of the relevance of this thesis which is based on the study of an ever evolving cultural territory
Rodrigues, Bruno César. "Arte contemporânea, museu e arquivo: desafios da ciência da informação". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-11012018-155557/.
Testo completoThis research treat about museums and we reflect on some museological processes, but based on Information Science and Documentation. Therefore, we analyze from our point of view the existing implications between the concepts of document and information, which are often distinct or even contradictory, and the contemporary art, that is ephemeral or dematerializes. There is a bond loss of the contemporary work of art with the traditional support that causes direct effects in its classification, which affects the custody systems of the institutions. It has become usual for some of the works to be perishable and even have a demarcated life cycle. Others remain \"alive\" in institutions that have preserved them, either because they have a traditional format of painting or sculpture, because their formats are similar to them, because they are objects which are possible to be stored and later re-presented, or because they persist through documentation. Thus, we try to understand how museums do to guard, organize, and preserve the memory of ephemeral works of art. We realized that they end up not fitting very well in the traditional definition and that they move towards other situations and other typologies, because there is an artistic production focused on the archives and not on the museum. Just as ephemeral works of art and their documentary condition affect artistic debates, they also incite museums and archives to rethink their modus operandis. We conclude that, in order to solve the problems addressed in this research, it is necessary to focus on a solution that comes from the junction of the superimposed knowledge of Museology and Archivology, and this is the proposal of CI.
Benetti, Liliane. "Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-18112013-163120/.
Testo completoAngles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.
Le, Calvé Maxime. "Le Parsifal de Jonathan Meese : enquête ethnographique sur un projet de mise en scène contemporaine". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH114/document.
Testo completoThis doctoral dissertation interweaves the fields of anthropology of art and that of performance studies to examine the work of Jonathan Meese around the drama Parsifal. Through several ethnographic inquiries presented as a series of narratives and analysis, this monograph addresses the singular destiny of an artistic project that I followed in participant observation between 2014 and 2017: the conception of a staging for the opera Parsifal. This event allows the telling of the story of a paradoxical encounter between a contemporary artist, Jonathan Meese, born in 1970, and an artist of the past, Richard Wagner (1813-1883), two controversial polemicist creative figures in the Germany of their own times.The show was to take place in the 2016 edition of the Bayreuth Festival. The staging, with scenography and costumes, was designed by Meese and his team, and presented to the intendants. But the affair did not turn out as planned: they were not accepted for the Festival and the breach of contract was the occasion for a lively controversy. Yet the encounter took place, as a design process, in the performance of the artist, and brought forth another opera - the Mondparsifal - presented in Vienna and Berlin in 2017.Jonathan Meese holds an important position in the contemporary art landscape in Germany. A prolific visual artist, he has made his character the central medium of his work, by a permanent mise en abime of his position as a great artist, between romantic genius and art “brut”. He is famous for his provocative speeches - he proclaims the "dictatorship of art" and performs Hitler's salutes in an aesthetic influenced by the punk movement. Playing with the ambivalences of the Richard Wagner legacy, Meese brings into his work the figure of the Bayreuth master since the beginning of Wagner’s’ career – along with pop-culture figures and fairy-tales characters. The exploration of the stakes of his engagement by the Festival shows that the association of these two characters, by the strange resonance that it produces, has the potential to update a part of the heritage of Richard Wagner: the radical and total dimension of his controversial work. However, the ethnographic survey carried out among the Wagnerians, at the Richard-Wagner Circle of Paris and the Bayreuth Festival, shows that this heritage is the subject of a complex set of tensions that make renewal difficult. Personal concerns and long-established aesthetic musical values, discourses related to musical excellence, elitist worldliness and touristic convenience, favour a stiffening of public expectations.The first-person narrative of the staging's conception depicts the professional team struggling with the requirements of this encounter between contemporary art and musical drama. Significant divergences were observed as to how to proceed together on the "path" of creation - until the final presentation. I describe how the images of the staging emerge in the discussion space, how different media is used to let them evolve or to fix them temporarily. I show the cyclical evolution of the "versions" taken up at each session, as well as the skills of the collaborators of the artist in this effort of distributed cognition.Finally, I used ethnographic drawing to relate the rehearsals of the contemporary opera Mondparsifal. Through drawings, theoretical approaches, and ethnographic narrative this dissertation stays linked with the study of atmospheres as a central element in the account of the processes of creation. This interdisciplinary inquiry highlights the singularity of Jonathan Meese as an artist and theatre producer while engaging with larger questions about polemical creative processes
Diese Dissertation verbindet die Bereiche Anthropologie der Kunst und Performance Studies, um das Werk von Jonathan Meese um das Drama Parsifal zu untersuchen. Durch mehrere ethnografischen Untersuchungen, die als eine Reihe von Erzählungen und Analysen präsentiert werden, widmet sich die Monographie dem einzigartigen Schicksal eines künstlerischen Projekts, das ich zwischen 2014 und 2017 in teilnehmender Beobachtung verfolgt habe: die Konzeption einer Inszenierung für die Oper PARSIFAL. Dieses Ereignis ermöglicht die Narration der Geschichte einer paradoxen Begegnung zwischen einem zeitgenössischen Künstler, Jonathan Meese (Jahrgang 1970) und einem Künstler der Vergangenheit, Richard Wagner (1813-1883) - zwei umstrittene, polemische und schöpferische Figuren in Deutschland.Die Aufführung sollte 2016 im Rahmen der Bayreuther Festspiele stattfinden. Die Inszenierung mit Szenografie und Kostümen wurde von Meese und seinem Team entworfen und den Intendanten präsentiert. Aber die Sache lief nicht nach Plan: Sie wurden für das Festival nicht angenommen, der Vertragsbruch verursachte einen Skandal. Doch die Begebenheit fand als Entwurfsprozess und in einer Performance des Künstlers statt und brachte eine weitere Oper hervor - das MONDPARSIFAL -, das 2017 in Wien und Berlin aufgeführt wurde.Jonathan Meese nimmt eine wichtige Position in der zeitgenössischen Kunstlandschaft Deutschlands ein. Als bildender Künstler hat er seinen Charakter zum zentralen Medium seiner Arbeit gemacht, indem er seine Position als Künstler, zwischen romantischem Genie und der Art "brut", immer wieder hinterfragt. Er ist berühmt für seine provokanten Reden, proklamiert die "Diktatur der Kunst" und führt den Hitlergruß in einer von der Punk- Bewegung beeinflussten Ästhetik aus. Mit den Ambivalenzen des Richard-Wagner- Nachlasses spielend, bringt Meese die Figur des Bayreuther Meisters von Anfang an mit Popkulturfiguren und Märchenfiguren zusammen. Die Erforschung seines Auftrags bei den Bayreuther Festspiele zeigt, dass die Verbindung der beiden Charaktere, durch die besondere Resonanz, die sie erzeugt, das Potential hat, einen Teil des Erbes von Richard Wagner zu aktualisieren: die radikale und totale Dimension dieser kontroversen Arbeit. Die ethnografische Untersuchung der Wagnerianer, des Richard-Wagner-Verbandes in Paris und der Bayreuther Festspiele zeigt jedoch, dass dieses Erbe komplexe Spannungen erzeugt, die eine Erneuerung erschweren. Persönliche Anliegen und alteingesessene ästhetische Vorstellungen von Musik, Diskurse in Bezug auf musikalische Exzellenz, elitäre Weltläufigkeit und touristische Bequemlichkeit begünstigen eine Versteifung der öffentlichen Erwartungen.In der Erzählung des Konzeptionsprozesses wird das professionelle Team dargestellt, das sich mit der Begegnung zwischen zeitgenössischer Kunst und Musiktheater auseinandersetzt. Signifikante Konflikte wurden beobachtet, wie auf dem "Weg" der Schöpfung bis zur endgültigen Präsentation gemeinsam vorzugehen ist. Ich beschreibe, wie die Bilder der Inszenierung im Diskussionsraum entstehen, wie verschiedene Medien dazu benutzt werden, sich zu entwickeln oder temporär zu fixieren. Ich zeige die zyklische Entwicklung der "Versionen", die in jeder Sitzung aufgegriffen wurden, sowie die Fähigkeiten der Mitarbeiter des Künstlers in diesem Bemühen um verteilte Erkenntnis.Schließlich habe ich ethnografische Zeichnungen verwendet, um die Proben der zeitgenössische Oper MONDPARSIFAL zu erzählen. Durch Zeichnungen, theoretische Ansätze und ethnografische Narrationen ist die Dissertation mit dem Studium der Atmosphären als zentralem Element in der Darstellung der Schöpfungsprozesse verbunden. Diese interdisziplinäre Untersuchung beleuchtet die Einzigartigkeit von Jonathan Meese als Künstler und Theatermacher, und beschäftigt sich mit zentralen Fragen zu kreativen Prozessen
Amani, Désiré. "De la comédie vidéo performance à la "performatologie" : essai d'une théorisation de la performance en terre africaine et ailleurs". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC019.
Testo completoThis thesis deals with the aesthetic issues that guide the process of performing a performative action. It will seek to analyze and compare means of resolution and cohabitation of the elements of visual arts discourse in relation to those of the dramatic arts and music. This concern, at the research center, must lead us to understand the aim of art as an indissociable element of individual and collective practices in African society. It is to stigmatize this reflection that our thesis is titled “Field and culture of performance in Africa: the comedy video performance”. To determine the field of performance in Africa and to respond to its culture is to seek to understand this art, this science in society, which is based on an analysis of the African's daily life and habits. Responding to the concerns of such a subject is to further address the sources of knowledge, conservation and enrichment of the language of contemporary African performative art. This aim practically nourishes the markers of a socio-cultural history that delivers the forms of knowledge of video performance comedy through the force of instinctive and poetic instincts. As we understand it, the systemic analysis of performative aesthetic issues in the re-configuration of the body is a support for creativity. So how could this analysis of creativity through performance in video comedy performance participate in the enrichment of contemporary artistic language?