This thesis is intended to disrupt society's social cruise control. The goal is to make people stop and think, even if only for a brief moment, about the social conventions that guide and control their daily lives. People become disconnected from one another and their environments through repetition, apathy, and a general obliviousness toward shared moments. Making people more attuned to these moments - essentially creating an opportunity to take a brief pause - as a step toward reconnection. Social conventions are unique in that they can exist without the consent of the involved parties; the existence of the convention is enough to demand conformity. While it is possible to find graphic design projects that offer some degree of interactivity to draw people into a relationship with a space, projects that encourage social relationships through acknowledgment between people are rare. This thesis will explore ways in which design acts as a catalyst for disruption, while also encouraging interaction and dialogue. / by Adriana Joyce de Alejo. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Esta dissertação de mestrado é o produto de uma reflexão sobre o construtivismo russo e sobre as inovações estéticas introduzidas por esse movimento artístico de vanguarda, aplicadas especificamente à cenografia no teatro. O trabalho é composto por três capítulos. O primeiro reúne o material teórico compilado referente às características desse movimento artístico que surgiu na Rússia no início do século XX, denominado construtivismo. O segundo capítulo trata da época construtivista do encenador Vsévolod Meyerhold. O trabalho desenvolvido por Meyerhold na década de 1920 foi pioneiro na utilização da estética construtivista em suas montagens. Por essa razão, foi escolhido para análise o espetáculo O cornudo magnífico, escrita por Fernand Crommelynck, encenada por Meyerhold em 1922. O terceiro capítulo apresenta análise desse espetáculo. O processo de análise permitiu a identificação de diversas das teorias expostas no primeiro capítulo. A partir da introdução da estética construtivista no teatro, uma significante mudança ocorreu em relação à questão da concepção do espaço cênico. As criações cenográficas de Meyerhold foram consideradas as primeiras manifestações do construtivismo no teatro. Para o entendimento dessa nova forma teatral, também foram utilizadas as pesquisas de Meyerhold relativas à biomecânica e ao grotesco. Esses estudos são essenciais para a compreensão das inovações estéticas presentes na montagem de O cornudo magnífico. À luz da teoria de Viktor Chklóvlski e das características da estética construtivista observadas no espetáculo analisado, este estudo procurou explicar de maneira didática como se estruturavam essas revolucionárias montagens construtivistas. Na análise do espetáculo escolhido, as dimensões estruturais e funcionais do cenário, figurino e movimentação dos atores foram também observadas. Desse modo, pudemos destacar características do construtivismo na encenação de O cornudo magnífico. / This dissertation consists of a reflection about Russian constructivism and the aesthetic innovations it brought to the art world, especially in regards to the theatre. It is made up of three chapters, the first one takes a closer look at the general characteristics of the movement, which emerged in early twentieth century Russia. The second chapter discusses Vsevolod Meyerhold`s constructivist period as a theatre director. He was a pioneer of the constructivist aesthetic in theatre productions and, therefore, it is one of his spectacles which shall be analyzed in the third chapter: his 1922 production of Magnificent Cuckold, written by Fernand Crommelynck. With the introduction of the constructivist aesthetic in theatre, the conception of the scenic space suffered a significant change. To better understand the characteristics of this new theatrical style, our analysis will also focus on Meyerhold`s biomechanics and his research on the grotesque, two elements which were essential for the success of the chosen play. Through the use of Viktor Shklovsky`s theories and the analysis of the afore mentioned play, this study sought to explain in a didactic manner how these revolutionary spectacles were structured and staged. The analysis of Magnificent Cuckold took into account both the structural and functional dimensions of the scenery, costume design and the actors` movements.

Esta dissertação de mestrado é o produto de uma reflexão sobre o construtivismo russo e sobre as inovações estéticas introduzidas por esse movimento artístico de vanguarda, aplicadas especificamente à cenografia no teatro. O trabalho é composto por três capítulos. O primeiro reúne o material teórico compilado referente às características desse movimento artístico que surgiu na Rússia no início do século XX, denominado construtivismo. O segundo capítulo trata da época construtivista do encenador Vsévolod Meyerhold. O trabalho desenvolvido por Meyerhold na década de 1920 foi pioneiro na utilização da estética construtivista em suas montagens. Por essa razão, foi escolhido para análise o espetáculo O cornudo magnífico, escrita por Fernand Crommelynck, encenada por Meyerhold em 1922. O terceiro capítulo apresenta análise desse espetáculo. O processo de análise permitiu a identificação de diversas das teorias expostas no primeiro capítulo. A partir da introdução da estética construtivista no teatro, uma significante mudança ocorreu em relação à questão da concepção do espaço cênico. As criações cenográficas de Meyerhold foram consideradas as primeiras manifestações do construtivismo no teatro. Para o entendimento dessa nova forma teatral, também foram utilizadas as pesquisas de Meyerhold relativas à biomecânica e ao grotesco. Esses estudos são essenciais para a compreensão das inovações estéticas presentes na montagem de O cornudo magnífico. À luz da teoria de Viktor Chklóvlski e das características da estética construtivista observadas no espetáculo analisado, este estudo procurou explicar de maneira didática como se estruturavam essas revolucionárias montagens construtivistas. Na análise do espetáculo escolhido, as dimensões estruturais e funcionais do cenário, figurino e movimentação dos atores foram também observadas. Desse modo, pudemos destacar características do construtivismo na encenação de O cornudo magnífico. / This dissertation consists of a reflection about Russian constructivism and the aesthetic innovations it brought to the art world, especially in regards to the theatre. It is made up of three chapters, the first one takes a closer look at the general characteristics of the movement, which emerged in early twentieth century Russia. The second chapter discusses Vsevolod Meyerhold`s constructivist period as a theatre director. He was a pioneer of the constructivist aesthetic in theatre productions and, therefore, it is one of his spectacles which shall be analyzed in the third chapter: his 1922 production of Magnificent Cuckold, written by Fernand Crommelynck. With the introduction of the constructivist aesthetic in theatre, the conception of the scenic space suffered a significant change. To better understand the characteristics of this new theatrical style, our analysis will also focus on Meyerhold`s biomechanics and his research on the grotesque, two elements which were essential for the success of the chosen play. Through the use of Viktor Shklovsky`s theories and the analysis of the afore mentioned play, this study sought to explain in a didactic manner how these revolutionary spectacles were structured and staged. The analysis of Magnificent Cuckold took into account both the structural and functional dimensions of the scenery, costume design and the actors` movements.

Centrée sur la matérialité de la contrainte littéraire en tant que programme heuristique, cette thèse propose une analyse de cinq thèmes majeurs de La Disparition de Georges Perec : celui du travail « artisanal » régi par des règles conscientes, s’opposant aux explorations dadaïstes et surréalistes du hasard ou de l’inconscient ; celui de la dignité accordée au ludique, voire au « gratuit », dans le droit fil de la pensée pataphysique ; l’introduction volontaire d’erreurs dans l’application de la contrainte, autrement dit du « clinamen », dont il n’est pas juste de faire remonter l’origine, ainsi qu’on le dit souvent, à La Vie mode d’emploi ; la genèse de La Disparition, éclairant l’élaboration lipogrammatique à partir de l’écriture de soi ; l’application « sociologique » de la contrainte, enfin, dont la fonction heuristique se réoriente vers l’exploration du monde, dans le cadre de nouvelles tentatives de Perec étroitement liées aux recherches alphabétiques du roman sans e. Nous établirons ainsi une comparaison entre La Disparition et d’autres œuvres ou projets perecquiens, et introduirons une perspective historique fondée sur une réflexion sur plusieurs mouvements d’avant-garde du vingtième-siècle (Dada, Surréalisme, Internationale Situationniste, Tel Quel, etc.), pour démontrer l’originalité de ce roman fondé sur les principes de l’Oulipo / Focusing on materiality of literary constraint as a heuristic program, the following dissertation offers an analysis of five major themes of Georges Perec’s A Void: the notion of “craftsmanship” governed by conscious rules, as opposed to Dadaist and surrealist explorations of chance or of the unconscious; the dignity granted to playfulness, even to “gratuitousness”, in line with pataphysical thought; the voluntary introduction of errors in the application of constraints, in other words the “clinamen”, whose origin is often mistakenly located in Life A User’s Manual; the genesis of A Void, whose study will shed new light on the link between lipogrammatic constraint and the writing of the self; lastly, the “sociological” application of constraint, whose heuristic function is reoriented towards the exploration of the world, in the context of Perec’s later experiments, which derive from the alphabetical structure of the novel without e. In this way, we will compare A Void with other Perecquian works and projects and introduce a historical perspective based on a reflection on several avant-garde movements of the twentieth century (Dada, Surrealism, Situationist International, Tel Quel, etc.), in order to demonstrate the radical originality of this novel based on the principles of the Oulipo

Made available in DSpace on 2016-04-26T18:15:18Z (GMT). No. of bitstreams: 1 Fernando Henrique Lacerda Stutz.pdf: 1850440 bytes, checksum: 6bf9163a71562438af833a79cb8fc8c4 (MD5) Previous issue date: 2015-07-21 / In 1969 the film critic P.A.Sitney said that, suddenly, a cinema structure "had emerged." Although imprecise, his observations were responsible for triggering a long process of discussions about a kind of cinema that, in general, was characterized by self-reflectiveness and antiillusionist processes. The exploration of the filmstrip's materiality, of the alternative projection and camera-capture methods, of the different editing processes and articulation between sound and image, as well as a number of other procedures that called attention to the cinematic structure, were taken as central features of those "structural films." In the search of a genealogical approach of the facts and building on key authors of the genealogical method, especially Nietzsche and Benjamin, alongside with the help of historicaldocumentary data, this research has made clear that the emergence of a dedicated cinematography to its own structure, had derived from a historical development marked by the emancipation of cinema as art, as well as from the development for developing alternatives to the set of cinematic codes agreed by the film industry. From the avant-garde of the 1920s to the artistic movements of the postwar 1950s, the will to acquire an "essential cinematic language have mobilized artists and filmmakers to produce experimental works that questioned such codes, giving rise to the structural films. New York, London and Vienna, altogether saw the development of a filmic production that prioritized to discuss the structural basis of cinematic experience and cinematic discourse from the visual perception phenomena, to cognitive processes during the view. Heterogeneously, the so-called structural works not only cast new light on the film practice itself, expanding its limits; but also demonstrated the possibility of using cinema as an useful instrument for philosophical speculation. Making "films about films", the structural filmmakers completed the avant-garde project of employing film as an autonomous art-form, turning its attention to its own structure, and thereby making the structure of things, the man and his thought more and more visible / Em 1969 o critico de cinema P.A.Sitney alertou para o fato de que, de súbito, um cinema da estrutura havia emergido . Apesar de imprecisas, suas observacões foram responsáveis por desencadear um longo processo de discussões acerca de um tipo de cinema que, em sintese, caracterizava-se por ser auto-reflexivo e anti-ilusionista. A exploracao da materialidade da pelicula fotoquimica, dos métodos alternativos de projecao e captacao, dos sistemas matemáticos de montagem e articulacao entre som e imagem, bem como de uma série de outros procedimentos que chamavam a atencao para a estrutura do cinematografo, foram tomados como caracteristicas centrais daqueles filmes estruturais . Buscando uma visao genealogica dos fatos e tomando como base autores fundamentais do método genealogico, especialmente Nietzsche e Benjamin, aliados a investigacao de dados historico-documentais, esta pesquisa tornou explicito que a emergencia de uma cinematografia voltada para sua propria estrutura derivou do desdobramento historico de um processo marcado pela emancipacao do cinema como arte e, consequentemente, pela elaboracao de alternativas ao conjunto de codigos convencionados pela indústria cinematográfica. Das vanguardas da década de 1920 aos movimentos artisticos do pos-guerra dos anos 1950, a vontade pela aquisicao de uma linguagem essencialmente cinematográfica mobilizou artistas e cineastas a produzirem obras experimentais que problematizaram tais codigos, fazendo emergir o cinema estrutural. A partir de Nova Iorque, Londres e Viena, desenvolveu-se um tipo de producao que priorizou discutir as bases constituintes da experiencia e do discurso cinematográfico - da percepcao visual aos processos cognitivos. De modo heterogeneo, as chamadas obras estruturais nao apenas lancaram novas luzes sobre o proprio fazer-cinema, expandindo seus limites; mas também demonstraram a possibilidade de utilizá-lo como um meio útil para a especulacao filosofica. Fazendo filmes sobre filmes , os realizadores estruturais completaram o projeto vanguardista de encarar o cinema como arte autônoma que, voltando-se para sua propria estrutura, também tornou visiveis a estrutura das coisas, do homem, e de seu pensamento

CZECH AVANT-GARDE AND BOOK ILLUSTRATION Diploma thesis deals with a book illustration creation of Czech avant-garde creators of 20's and 30's of 20th century. In the first chapter, there is defined a concept of avant- garde and it devotes itself relation of Czech avant-garde artists to book. There is emphasized a change of social function and visual form of book. Following chapters discuss book illustration creation of individual authors. At first there is analyzed an illustration work of Jan Zrzavý, Josef Čapek, František Muzika, František Tichý and Adolf Hoffmeister. Their creation is devided according to the main features to chapters devoted to modernist classicism, primitivism and expressionism, poetic figuration and simplification the figure to a sign. Seperate chapter is devoted to illustrations of children books. It defines a place of children book in Czech art between the wars and it devotes to main authors of illustration for children: Josef Čapek, Toyen, Milada Marešová, František Tichý and František Janoušek. In the next part this thesis deals with illustration creation of Karel Teige, Josef Šíma, Toyen and Jindřich Štyrský. Their illustration works are devided into chapters from the point of view of belonging to artistic tendency or according to thematic specialization. There are...

The aim of the diploma thesis is to introduce the conception of art produced by major Czech art-critic Jindřich Chalupecký in relation to the movement of historical avant-garde and later manifestations of the neo-avant-garde. The thesis discusses Chalupecký within a broader contemporary context, and uses comparative method to illustrate the complexity of Chalupecký's thought together with the concept of new mythology he shared with some of his contemporaries. The thesis consists of three parts which freely correspond to the sequential progression of Chalupecký's thought and his conception of the avant-garde. The thesis stresses the originality of Chalupecký's approach to modern art, and considers its colorful manifestations.

A obra fílmica da artista plástica e cineasta Marie Menken (1909-1970) é contemplada, quase em sua totalidade, no presente trabalho, por meio de análises fílmicas que compreendem alguns aspectos da poética da realizadora norte-americana que consideramos relevantes para os estudos sobre o cinema experimental, de modo geral, e sobre a vanguarda norte-americana. Os aspectos aqui estudados correspondem aos das experimentações com a montagem cinematográfica e com a direção de fotografia, no ato de filmar, seja permeando os elementos físicos diante da câmera, seja contornando um discurso sobre a prática do cinema amador. São também investigados, por meio de aproximações com teorias sobre a arte moderna e a arte contemporânea, os aspectos formais de uma obra fílmica que pretende romper as possíveis fronteiras entre o cinema, as artes plásticas e a performance. / The film work of visual artist and filmmaker Marie Menken (1910-1970) is almost entirely contemplated in the present work, through film analysis which comprise some aspects of her poetics we consider relevant to the studies on experimental cinema, in general, as well on the American Avant-Garde. The aspects studied here correspond to the experiments with cinematographic editing and cinematography, during the act of filming, either bypassing the physical elements in front the camera, or building a discourse on amateur film practice. It\'s also engaged the investigation of the formal aspects of a filmic oeuvre which intends to surpass the possible frontiers between cinema, visual arts and performance dialoging with contemporary and modern art theories.

The poetry, prose, and personality of Walt Whitman have attained a truly global circulation, and scholarship continues to reveal his complex and lasting impact on literature, art, and politics around the world. This dissertation reveals Walt Whitman's extensive appropriation by the Latin American avant-garde, an artistic current that encompassed dozens of regional, national and transnational vanguardia movements across the Americas from roughly 1918 through the late 1930s. My work tells the story of how these pugnacious literary and artistic communities used Whitman as the raw material for a self-consciously "modern" art, as they circulated, adapted, and repurposed the US poet and his texts. The dissertation moves from south to north, beginning in Chile, proceeding to Nicaragua and Mexico, and ending with Latino writers in the United States. "Out of Place: Walt Whitman and the Latin American Avant-Gardes" argues that the literary and political appropriation of Whitman becomes a part of these movements' active participation in the hemispheric and global conversation of their day. What these aggressive avant-garde groups find useful, provocative, or generative in Whitman, then, offers us a unique perspective that cannot be left out of American literary studies. For as they wrestle with Whitman and the concept of "America," as they adapt Whitman into their notions of art, of nation and of language, and as they read him against the backdrop of globalization and modernity, a new Walt Whitman emerges, a vanguardista Whitman who sheds new light on the enduring relevance of his own radical project of making a poetry for the Americas.

This dissertation analyzes the institutionalization of avant-garde artistic practice within an American university, the University of Iowa between the years 1967 and 2000. In order to understand the development of the Intermedia program at Iowa, the institutional context of the "Iowa Idea" as it was developed on campus from the 1930s that emphasized the simultaneous instruction of art history and theory with instruction in the graphic and plastic arts. Following the success of the Iowa Writers' Workshop, the University of Iowa received a major grant from the Rockefeller Foundation in 1970 to form the Center for New Performing Arts. Following the development from Happenings to Intermedia, and gradually into specific "disciplines" of performance art and video art, this dissertation demonstrates how the institution was inseparable from these avant-garde practices which required significant resources to develop. The importance of technology is traced through the digital revolution in the arts, and the role of "intermedia" is shown to be part of a process of changing consciousness as opposed to commonly accepted definitions of "multimedia" or Gesamtkunstwerk.