127 research outputs found
Percentagens mínimas sobre o corpo-em-artes nas encenações contemporâneas : a massa escura, a massa cinzenta e a massa ocupa Wall Street
No final do século XX, o corpo assume uma predominância crítica e política
nas teorias contemporâneas. O corpo e suas representações ou apresentações
sociais contribuem para análises de sistemas de significação cultural e o corpo
pode demonstrar como tanto esses sistemas quanto as análises são
historicamente condicionados
Processo e desconstrução: estruturas recursivas entre cozinha e design
From the triangulation kitchen, design and process this study searches
evidence for bridging process between the fields of kitchen and design
following Buchanan’s theory of rethinking placements over categories by way
of signs, things, actions and thoughts. Kitchen and design are thus understood
as liberal arts disciplines seeking to privilege a placement-based approach to
projectual practice.
Deconstruction was instrumental for exploring and testing the presence of
recursive structures —elements carrying the essential information that
generates similar patterns visible on different fields— intersecting the two
fields, aiming to prove if and whence kitchen may contribute to expand the
knowledge of design. Pallasmaa’s conception of an architecture of the senses,
for whom the role of the body is understood as the locus of perception, thought
and consciousness, helped explore and convoke the space of kitchen visited by
artists and designers throughout recent history, as a means to establish
relations between theories, processes, and projectual methodologies in kitchen
and design. The reading of the space finds its translation through diverse
processes applied by these creators leading to an understanding of a kitchen
milieu: process as context.
The empirical work with the research sample practices allowed for a discourse
within, between and beyond individual samples to reveal the dialogical abilities
of the applied processes. From the interpretation of the empirical work it is
suggested that kitchen multiplies design (k x d). It implies that the context of
kitchen multiplies the space of the discipline of design, becoming, in
Buchanan’s term, a “quasi-subject matter of design thinking”. If so, kitchen as
other placements may offer, or are open to receive and edify, an expanded
view of the discipline of design. Considering findings of the three main
typologies (education, research, process) it suggests transversality and
integrates fundamental knowledge dimensions as the capability for negotiation
between different actors/disciplines. This is made visible through the
practices that comprise the research sample, namely curiosity, context,
scale, desire, care.
This study recommends further research into the transformative potential and
imaginary of the kitchen/canteen in liberal arts education.A partir da triangulação cozinha, design e processo, este estudo investiga a
evidência para o processo de ligação entre as áreas de cozinha e de design,
de acordo com a teoria de Buchanan de repensar mais os posicionamentos
que as categorias mediante sinais, coisas, ações e pensamentos. Assim,
cozinha e design são entendidos como disciplinas das artes liberais,
procurando privilegiar uma abordagem baseada no posicionamento em
relação à prática projectual.
A desconstrução foi fundamental para explorar e testar a presença de
estruturas recursivas —elementos que comportam a informação essencial
que gera padrões semelhantes em áreas diferentes— entrecruzando as duas
áreas, visando provar se e a partir de onde a cozinha pode contribuir para
expandir o conhecimento sobre o design. A concepção de Pallasmaa de uma
arquitetura dos sentidos, para quem o papel do corpo é entendido como o
locus da percepção, do pensamento e da consciência, ajudou a explorar e a
convocar o espaço da cozinha, visitado por artistas e designers ao longo da
história recente, como um meio de estabelecer relações entre teorias,
processos e metodologias projectuais na cozinha e no design. A leitura do
espaço encontra a sua tradução através de diversos processos aplicados por
estes criadores, levando a um entendimento de um milieu de cozinha: o
processo como contexto.
O trabalho empírico com as práticas da amostra de investigação permitiu um
discurso dentro, entre e para além das amostras individuais para revelar as
capacidades dialógicas dos processos aplicados. A partir da interpretação do
trabalho empírico, sugere-se que a cozinha multiplica o design (k x d). Isto
implica que o contexto da cozinha multiplica o espaço da disciplina de design,
tornando-se, na terminologia de Buchanan, uma “matéria de quase-sujeito de
design thinking”. Se assim for, a cozinha, tal como outros posicionamentos,
pode oferecer ou estar aberta a receber e a edificar uma visão alargada da
disciplina de design. Considerando os resultados das três principais tipologias
(educação, investigação, processo), sugere transversalidade e integra
dimensões de conhecimento fundamentais como a capacidade de negociação
entre diferentes actores/disciplinas. Isto torna-se visível através das práticas
que incluem amostra de investigação, nomeadamente curiosidade, contexto,
escala, desejo, cuidado.
Este estudo recomenda desenvolver investigação sobre o potencial e o
imaginário transformadores da cozinha/cantina na educação das artes liberais.Programa Doutoral em Desig
Duchamp Meets Turing: Art, Modernism, Posthuman
In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996).
For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995).
In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious.
All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large
Video Installation Design: Appropriation and Assemblage As Projection Surface Geometry
This area of research focuses on the use of video projections in the context of fine art. Emphasis is placed on creating a unique video installation work that incorporates assemblage and appropriation as a means to develop multiple complex geometrical surfaces for video projection. The purpose of this research is to document a working process within a pre-defined set of guidelines that is influenced from my past work and the study of other artist?s prior work. Research includes the demonstration of the entire working process to create this original work and recommendations for future artists who wish to work in this medium
Critical reflection in a digital media artwork - Playas: homeland mirage
The introduction of digital media into the working practice of artists has produced challenges previously unknown to the field of art. This inquiry follows an atypical model of artist-driven research derived from disciplines such as social science and education. Here, an artwork functions as a model that is self-reflective, integrating methodologies in a form that benefits art and science. Using Naturalistic Inquiry, including semi-structured interviews of fifteen participants, the work illustrates a process of creation, analysis and evaluation that places the values of the artist on equal footing with the needs of science. Recently, artists have begun using video game engines as a tool to produce 3D navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as a case study, this research examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Based on participant evaluation and observation, the interface was altered in response to its effect on critical reflection, illustrating how choices in this area impact aesthetic experience. Those with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. By repurposing a video game in this manner, we learn about the nature of the video game and the nature of art. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment. Ultimately, more fully understanding critical reflection in virtual environments will enable us to create enriched experiences that transcend space to create “real” or “virtual” place
Space-Time Experience in the Meta-Environment: A Cybersemiotic Analysis
Space-time Experience in the Meta-environment: A Cybersemiotic Analysis
Written from the perspective of a reflective technoetic art practitioner, this thesis investigates Human-Computer Interactions in interactive hybrid environments and their influences on mediated consciousness. It argues that practices established during the advent of computer graphic interfaces have limited the interactive potential of such environments. It examines interactive processes among user, information, and interface; proposes a closer look at representational paradigms of space and time; suggests potentially illuminating parallels with complex adaptive systems; and explores their theoretical and practical co-implications.
Influenced by Marcel Duchamp’s conceptual-interactive art experiments, Brazil’s syncretic Tropicalismo movement, and Roy Ascott’s technoetic art, this thesis deploys Søren Brier’s Cybersemiotic framework to bridge practice and theory. It presents the interactive hybrid installation Mixing Realities (2009, 2014) as contemporary example, analyzing its physical and digital components, aesthetic and conceptual goals, and reception by various users.
This thesis suggests that, as products of the mechanical age, space-time representational paradigms emphasizing embodiment rely on linear visualization and episodic memory, thereby restricting digital information’s potential and preventing more balanced integration among user, information, and interface--a triadic relationship identified as “meta-environment.”
This thesis observes that current theoretical frameworks have dissonant understandings of information, communication, process, perception, and meaning, which impedes integration of user-information-interface in a manner that accords them equal weight and acknowledges their mutual influences. The current understanding is that information is either exclusively human perception or computer interface process.
Søren Brier’s cybersemiotics integrates phenomenological perceptions and feedback processes, thereby enabling study of the meta-environment with focus on how individual elements influence one another in dynamic triadic relationships. Visual representations of this analysis suggest that each element at some point works as mediator of interactive processes. The possibility of understanding these interactions as dynamic complex adaptive systems creates the potential of expanding how humans interact, perceive space and time, and mediate consciousness
SYS.TE/M FAIL.U+RE: Revelations of the Interface
SYS.TE/M FAIL.U+RE: Revelations of the Interface is an exhibition of glitch video works that deconstruct the digital objects that have become fully integrated into the contemporary technological landscape. In this curated show through the mobilization of technological error artists, Nick Briz (Chicago), Jennifer Chan (New York), Adrienne Crossman (Toronto) and Ezra Hanson-White (Seattle) individually respond to the premise that to examine the effects of the technology that surrounds we must first render it visible. The featured works reflect on the conditions of contemporary digital culture and the pervasive presence of digital interfaces. By purposefully revealing the constitutional elements of digital information, glitch art acts as a resistive form that combats the transparency of digital media and the passive engagement it enables
European Avant-Garde: Art, Borders and Culture in Relationship to Mainstream Cinema and New Media
This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media.
It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media.
The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation.
The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives
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Words Matter: The Work of Lawrence Weiner
This dissertation explores the practice of contemporary artist Lawrence Weiner. From 1968 onwards, Weiner has presented his work using language and, as such, the artist is historically regarded as one of the pioneering practitioners of Conceptual art. The artist himself categorically refuses that designation, preferring to focus on the material aspects of his work. Nevertheless, his oeuvre has been largely received in terms of a predominantly linguistic intervention. Craig Dworkin encapsulates this position, when in discussing the Conceptual wager of Weiner's statements he writes: "Having tested the propositions that the art object might be nominal, linguistic, invisible, and on a par with its abstract initial description, the next step was to venture that it could be dispensed with altogether." By focusing equally on the linguistic and material aspects of Weiner's practice, this dissertation argues, conversely, that Weiner's work is primarily an object strategy, and not a dematerialized linguistic presentation. The first part of this discussion deals with Weiner's ground-breaking work from the mid 1960s to the early 1970s, analyzing the full implications of Weiner's extraordinary decision to present materials through language. Close comparisons are drawn with the profoundly materialist practices of contemporary artists such as Robert Rauschenberg, Carl Andre, Richard Serra and Robert Smithson. Weiner's use of language is also distinguished from the text-based works of Conceptual artists Joseph Kosuth and Douglas Huebler, problematizing the degree to which Weiner's statements can stand as an exemplar of postmodern textuality, inasmuch as their referential content remains of primary consequence. Several chapters of the dissertation focus on drawings, and in particular the artist's notebooks, an aspect of Weiner's practice that has remained largely unstudied. Crucially, the notebooks present a model of thinking which is wholly corporeal as opposed to purely analytical. Furthermore, they raise the problem of the visual in relation to a body of work that has been credited with the suppression of a traditional (optical) aesthetic. In being conceived by the artist as "maps," Weiner's drawings also invite an analysis of spatial considerations, and are thus linked to the artist's own designation of his work, not as art in general, but specifically as sculpture. Finally, the notebooks, like Weiner's films, practically dissolve the categories of reality and fiction. Indeed, Weiner himself would insist that every presentation of his essentially "realist" work is nonetheless inherently "theatrical." One of the long-standing criticisms of Conceptual art was that while it made aspects of circulation and distribution part of the work - thereby testing the limits of institutional constraint and expanding art's potential to engage in collective reception - it failed to achieve truly democratic access, in large part by neglecting issues of desire. Thus, Conceptual art's promise of collective accessibility was purportedly foreclosed by an art whose theoretical propositions lacked a democratic content. In closely considering the generic content of Weiner's work, this dissertation develops a picture not only of the concrete relationship between word and thing, but of the ways in which Weiner uses signs (drawings, text, films) to "objectify" desire, demonstrating that his "sculptures" must be seen as both conceptual and sensual, fully immersed in politicized questions of imaginary and bodily experience
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