Contemporary discourse in the field of Memetics offers potential new insights upon the ways and means of producing and curating contemporary Performance beyond the limits of discipline specific Performance taxonomies. Alongside the rise of Internet Culture and the rapid adoption of social media, it is argued that contemporary artistic practice is becoming ‘more fluid, elastic, and dispersed’ (Cornell, 2014: online). Given this circumstance, the researcher acknowledges that notions of disciplinarity, performative agency and materiality remain in a state of flux and in need of reconsideration. Utilising a Practice-as-Research (PaR) framework, and based upon the above context, the researcher initiated an innovative three-phase methodological approach focused on the application of insights drawn from the concept of the ‘Meme’ (Dawkins, 1974) alongside a primarily Deleuze & Guattarian philosophy upon methods of artistic production, and the curation of transdisciplinary performance. The resulting praxis: ‘Rhizo-Memetic Art’ produced three major artworks including the hypertextual assemblage - Corpus 1 (2012-13), produced collaboratively online with users of Twitter and Facebook; the Florilegium: Exhibition (3rd -24th November, 2014): produced and curated alongside an invited group of contributing artists; and Florilegium: Remix (24th April 2015): an intermedial Live Art lecture. Each of these elements plugs into the following exegetic writing, and alongside the documentation of its artefacts (available on the project website), these elements produce the thesis. The outcomes of this PaR are twofold. The first outcome is a new theoretical understanding of the mechanisms of interdisciplinary creative practice emerging out of the synthesis of meme and rhizome. This outcome can be further developed to reveal insights relevant to the production of transdisciplinary performance and archival/curatorial discourses. The second outcome can be identified as the Rhizo-Memetic Artwork itself, or, rather the multiple creative artefacts and actions that combine to produce its assemblage. The implications of this research suggest that the functioning of Rhizo-Memetic Art raises permanent questions about the status of Performance in terms of its materiality and efficacy outside of the limitations of disciplinarity.

Machine Space is an essay film that explores the city of Detroit as a space of movement and circulation. This city is negotiated in the moving image as a palimpsest of maps, spatial metrics and automotive infrastructure; illustrating the material and discursive layers that have constructed this now post-industrial metropolis. This is a city where, in the words of the urban thinker Henri Lefebvre, 'the production of space itself replaces - or, rather, is superimposed upon - the production of things in space.' (Lefebvre 1991, p.62) This practice-as-research doctoral project explores an interface of Lefebvre's 'production of space' with the cinema; as visual artefact, a phenomenological document; and as media exhibited in a screening space. The result is a productive discourse of 'Spatial Cinema'.

Orientador: Pelópidas Cypriano de Oliveira / Banca: João Cardoso Palma Filho / Banca: Silvia Barros de Held / v.1: O laboratório do artistas - cientista:relatório circunstanciado apresentado como trabalho equivalente ; v.2: Proposta de Projeto Pedagógico: criação do curso superior de tecnologia em gestão artistica e cultural / Resumo: Atualmente, pensar em uma Instituição de Ensino Superior formadora de artistas visuais sem estar amparada nas transformações que a revolução tecnológica proporciona, bem como as mudanças ocorridas no mercado seria o mesmo que criar uma empresa fadada ao fracasso. Vistas sob o mesmo ponto de vista coorporativo, as faculdades tem buscado diferenciais e a atrativos para conquistar mais alunos e consolidar qualidade sem perder a quantidade. Pensar a formação do artista sob métodos quantitativos mais do que qualitativos não é uma tarefa fácil, visto que se trata de um curso de nicho, em que há um grande investimento na parte estrutural, como laboratórios diferenciados, ambientes individualizados e equipamentos específicos, o que gera gastos e não receitas imediatas. Há ainda o agravante de ser um curso não muito procurado, baseado na Instituição a qual trabalho enquanto coordenadora do Curso de Licenciatura em Artes Visuais e nem com o custo alto da mensalidade. Há uma saturação sazonal no mercado de trabalho com estes profissionais na área da Educação, o que faz com que muitos acabem por não investir em uma área sem retorno financeiro imediato. Vivenciando todas estas situações, a presente pesquisa nasceu de uma preocupação em formatar o curso de Artes Visuais dentro das necessidades contemporâneas, agradando principalmente o órgão avaliador e determinador da existência do curso: o MEC. Nasceu então, o espaço produtor de estudos na área e fomentador da Arte no mercado, o qual deu o título a esta dissertação, o Laboratório do artista - cientista, preocupado com o ambiente criativo e propulsor da criação do artista, voltado ao estudo, produção da arte midiática e inserção mercadológica. Trata-se de estudo de caso que se utilizará do conceito de laboratório, ao invés da palavra ateliê, para vir ao encontro dos anseios em experimentos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Currently, think of a higher education institution-forming visual artists without being supported by the transformations of the technological revolution provides, as well as changes in the market would be the same as creating a contract doomed to failure. Views from the same point of view corporate keynote, colleges have sought to win attractive spreads and more students and consolidate without losing quality for quantity. Think the formation of the artist in quantitative methods rather than qualitative is not an easy task, since it is a course of niche, there is a large investment in the structural part, as different laboratories, environments, individualized and specific equipment, which generates no immediate revenue and spending. There's still aggravating to be a very popular course is not based on the Institution to which work as coordinator of the Bachelor of Visual Arts, nor with the high cost of tuition. . There is a saturation in the market for seasonal work with these professionals in the field of education, which means that many end up not investing in an area without immediate financial return. Experiencing all these situations, this research was born of a concern in the course format Visual Arts within the contemporary needs, especially pleasing to the national evaluator and determiner of the existence of the course: the MEC. Starded then, the space producer of studies in the field of Art and developers in the market, which gave the title to this dissertation, the Laboratory of the artist - scientist, concerned with the creative environment and pushing the creation of the artist, devoted to the study, production art media and marketing integration. This is a case study that uses the concept of the lab, instead of the word studio, to come out to meet the expectations in technological experiments in the XXI century... (Complete abstract click electronic access below) / Mestre

Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialisation process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The musical score often goes unnoticed, but may also contain emotional qualities. It can make an audience laugh, cry or alter their perception of the narrative. The three countries of East, West and reunified Germany have each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This thesis combines three key existing fields of academia: film music theory, Holocaust representation in film, and German politics, history and culture. Through comparative textual analyses of six film case studies, two each from East, West and reunified Germany, this thesis examines whether there are examples of similarities or inherent, reoccurring musical characteristics which define the Holocaust on screen. Furthermore, the six analyses will be supported by contextual examinations of the respective countries, directors and composers in order to ascertain whether there were political, cultural and/or social considerations which impacted upon the film scores. The original contribution to knowledge to which this thesis lays claim is that it forms the first significant scholarly engagement with not only the film music of German Holocaust cinema specifically, but, on a broader scale, the ongoing theoretical discourse surrounding film music and representation. This new contribution to Holocaust knowledge also extends to a continued development of the understanding of and engagement with the event and its audio-visual representations.

This thesis draws on psychoanalytic theories of trauma to interrogate works produced by Polish photographers after the Second World War. The aim of this thesis is to excavate traces of trauma latently embedded in post-war Polish art photography. By closely analysing a selection of photographs produced between the years 1945 and 1970, I argue that the events of the war cast a shadow over the lives of Polish artists. Rather than looking at photographs which directly visualise these traumatic events, I explore the ways in which these experiences manifest themselves indirectly or obliquely in the art of the period, through abstraction, a tendency towards ‘dark realism,’ and an interest in traces of human presence. Drawing on the photographs of Zbigniew Dłubak, Zdzisław Beksiński, Jerzy Lewczyński, Bronisław Schlabs, Andrzej Różycki, Józef Robakowski and other post-war photographers, I argue that the events of the war were not the only traumas to cast their shadow on the Polish psyche. Between 1945 and 1970, Poland underwent a series of transitions and changes in leadership, population and Party politics. Periods of optimism and leniency oscillated with phases of repression and social unrest. In my analysis, I suggest that multiple traumas can be discerned in these decades. What is at stake in this thesis is the proposition that a photograph can bear imperceptible traces of events that have wounded the psyche, which could not be articulated at the time, but which were made visible at a later date. Photographs made in the post-war years provided a space to belatedly return to encrypted traumas, to relay ideas that could not otherwise be articulated, and to acknowledge events that had been disavowed.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T19:21:47Z No. of bitstreams: 1 jose.pdf: 6402528 bytes, checksum: 2177bb838e6f461ea31cc3129870a076 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:08:48Z (GMT) No. of bitstreams: 1 jose.pdf: 6402528 bytes, checksum: 2177bb838e6f461ea31cc3129870a076 (MD5) / Made available in DSpace on 2013-04-18T12:08:48Z (GMT). No. of bitstreams: 1 jose.pdf: 6402528 bytes, checksum: 2177bb838e6f461ea31cc3129870a076 (MD5) Previous issue date: 2011-12-12 / A presente dissertação aborda o potencial poético da linguagem videográfica na influência das relações de visibilidade surgidas da percepção do espaço, em um contexto de intervenções mediadas por projeções de vídeo, na construção de paisagens fílmicas, tendo como suporte, três espaços específicos, na cidade de Salvador: o Museu de Arte Sacra -MAS, Pavilhão de Aulas da Federação -PAF e o Museu de Arte Moderna -MAM. Proponho assim, através de pesquisas práticoteoricas apresentar em abordagens híbridas de expressão artística a relação da videoarte com a paisagem em um diálogo possível entre corpo, tempo e espaço. Esses estudos a respeito do vídeo como processo artístico estão ancorados aos escritos de Gene Youngblood, que em 1970 cunhou o termo Expanded Cinema (Cinema Expandido), no que diz respeito a uma visão alternativa da linguagem audiovisual a partir do seu entendimento como um sistema aberto, junto às reflexões de outros autores como os Professores Doutores Arlindo Machado, Maria Amélia Bulhões e Christine Mello. As apresentações das ações interventivas visam analisar e discutir também as potencialidades expressivas das matrizes digitais em estruturar uma abordagem alternativa da videoarte. / Salvador

The Theatre of the Absurd often has been considered the reflection of a deconstructionist gesture, a negation of the existent theatrical norms, therefore an end in itself without any prospect of possible alternatives or remedies. While this may be partially true, the entropy inherent to the absurd does not adhere to a mechanically formal posture; rather, the "purposeless wandering", in Eugène Ionesco's case, points, through humor (Ce formidable bordel), toward a longing for meaning, deeply rooted in the human being. This very longing is the crux of Ionesco's humanism. For him suffering (Le Roi se meurt), as the offshoot of the human being's finite condition and the affect that bonds the community, is intertwined with an unexplained feeling of wonderment--an opening to contemplation of the infinite. The merging of suffering and wonderment that suffuses Ionesco's textual and visual works presents the field in which his vision of a metaphysical humanism must find form. Art, in Ionesco's perspective, as the expression of being and the witness of its time (Rhinocéros), can be understood as a redemptive medium, a hope for humanism. Through the interplay of text (plays, reflections and short stories), image (drawings, gouaches and lithographs) and performance, this dissertation explores themes, imagery and structures that reflect Ionesco's paradoxical view on humanism. Thus, in light of interdisciplinary readings, I identify archetypal images recurrent in Ionesco's works and his subversive interpretation of these images as revelatory of the author-painter's inner search for meaning. This quest, which is the unifying principle throughout Ionesco's work, is revealed in themes spanning from the entropy of language (La Cantatrice chauve, Les Chaises) to the sacrificial act of substituting for the other (Maximilien Kolbe). In this ultimate act of testimony, Ionesco depicts Emmanuel Lévinas' ethics wherein the self becomes a "hostage" of the other, vulnerable at the encounter with the other. My analysis of Ionesco's humanism continues beyond his works with a reading of the historicized absurd and humanism in the works of two contemporary diasporic playwrights: Matéi Visniec and Saviana Stanescu.

In order to bridge the knowledge gap noted between Western and Chinese approaches to analysis of China’s TV media, this thesis sets out to propose an alternative methodological framework for investigation of the emergence, development and significance of a distinctive television genre categorised as ‘political history TV drama’ (PHTD), produced in Mainland China since the 1980s. Situating the genre in its historical and political contexts of production, I make particular reference to the orchestrating role of the Chinese state, the political re-articulation of Confucian values, and the reinventing of Chinese national identity. The thesis is composed of three parts. Part one includes the literature review of both Chinese and Western genre theory, followed by a discussion of further useful constructs to put in place the theoretical scaffolding for the study. In part two, the historical review concerns the production and political contexts of Chinese TV and TV drama in general. The third part applies this methodological framework to PHTD when contextualised in its Chinese setting, analysing its definitions, conventions, generic and cultural verisimilitudes, and hybridity. The third part is the core of the research, which investigates its rise to maturity, utilising a cultural and discursive account that encompasses: textual analysis; the study of its political and historical contexts; Chinese moral ideology and linguistics. A number of examples and case studies are examined as evidence for my perspective on questions of nationalism and Confucianism embedded in PHTD. The significance of this genre is in its reconstructed portrayal of the revived concept of a ‘patriarchal Confucian society’. Therefore, the thesis sets out the political, social and cultural landscape in which the genre is embedded in recognition of its representation of much more than just repackaged traditional narratives. In turn, this investigation helps to achieve a fuller understanding of the relation between political and intellectual forces, and the key role of nationalism combined with Confucianism in the media strategy of the Chinese authorities up until the first ten years of the 21st century.

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This thesis identifies and analyses the function of violence in the films of screenwriter-director Pablo Trapero. It does this by examining different understandings of the concept of violence itself — with a particular emphasis placed on Slavoj Žižek’s concept of objective violence — and how it is represented on-screen in Trapero’s films. The work is divided into two parts, each consisting of two chapters. Each of the four chapters focuses on a pair of the director’s films; in each case the first film analysed introduces motifs and themes which the later film then expands upon and intensifies. Part I locates violence within the context of what Althusser defines as the State Apparatus, focusing on the diverse manifestations of the State’s power generally. Further, this section analyses the way in which Trapero’s films demonstrate the State’s manipulation of its subjects through repressive and ideological means for its own benefit. Part II tightens the thesis’s focus, examining Trapero’s representation of one specific ideological apparatus: the family unit. This section approaches different manifestations of the family and, using Deleuze and Guattari’s theories of Oedipal and rhizomatic families, considers the ways in which the family structure itself can be used as both a means of repression and, in certain cases, a means of resistance. This thesis contends that, through his representation of objective violence, Pablo Trapero has emerged as a distinctly political filmmaker. By focusing on several previously under-studied elements of Trapero’s films this thesis highlights the ways in which the director’s work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, this work examines how Trapero combines aspects of Argentina’s long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.