Este é um estudo sobre um certo impensado da arte que se associa à presença do acaso e da indeterminação. O seu assunto é portanto o instante em que a vontade do artista e a precisão dos seus instrumentos deixam de definir a previsibilidade das suas acções - ainda que apenas como gesto de enunciação ou artificialização do acaso. Tomaram-se como ponto de partida os regimes das artes plásticas onde se combinam elementos aleatórios e acções planeadas, imprevisibilidade e determinismo, acaso e controlo, para assim se questionar o carácter aporético de um jogo estético que conjuga a surpresa absoluta com a sua antecipação metodológica e processual. Como enfrentar então os resultados daquilo que é impensado e inesperado no pensamento da arte? Quais os elementos distintivos, na prática artística actual, da presença do acaso e do indeterminado nos mecanismos processuais da arte? Assumindo que a arte é coisa feita do seu próprio fazer, começamos por propor a noção de jogo quase-ideal - a partir de uma releitura de Deleuze - para definir o acaso da arte como operativo, articulando a plasticidade, a experimentação e a imaginação como seus motores. A imaginação cega surge assim apenas como um outro nome para a experimentação tacteante através da qual se acede ao próprio impensado da arte. Como a cegueira operativa da arte resulta da imprevisibilidade dos seus media, das suas máquinas, os mecanismos de indeterminação da prática artística acabam por coincidir com os específicos processos maquínicos da experimentação estética. Sugere-se depois, de acordo com Agamben, que só na era da ubiquidade da técnica pode a arte pensar radicalmente os seus media, tornando-os (in)operativos, e considera-se o princípio de uma medialidade pura que se inscreve no seio da experimentação estética, isto é, o princípio de uma arte que se mostra capaz de experimentar até ao limite os seus media. A disfuncionalidade maquínica e a obsolescência dos media serão pois duas das principais modalidades de indução dessa vertigem que leva as coisas a gaguejar e a reagir de forma inesperada e surpreendente. Dando corpo à figura quase perfeita de uma máquina que produz e faz produzir - uma máquina de partilha e interferência que o artista se deve abster de impedir ou controlar, porquanto as coisas importantes acontecem sempre de forma surpreendente, nunca onde as esperamos -, chamamos inconsciente tecnológico a esse grau de indeterminação e surpresa que é reserva das máquinas. Em resposta à vontade declarada de centrar a análise nos genuínos processos operativos do fazer-pensar da arte, introduzem-se ao longo de todo o tra­balho vários casos de estudo, da tradição clássica das imagens acidentais a Alexander Cozens ou de August Strindberg a Duchamp, para se chegar finalmente a uma discussão destes problemas do ponto de vista da arte contemporânea. Conclui-se deste estudo que a tecnologia é, ou pode ser, o terreno do impensado, do aleatório e do inesperado, constituindo-se como elo de ligação entre a experimentação, a plasticidade e a imaginação cega de que se alimenta a arte. A atenção - fascinada ou desfascinada - dispensada pela arte às suas máquinas e respectivos mecanismos de indeterminação define assim, em termos operativos, um dos mais importantes elementos distintivos da presença do acaso na prática artística actual. / This is a study about a certain unthought in art which is associated with the presence of chance and indetermination. Its subject is therefore the instant in which the artist's intention and the precision of his tools cease to define the predictability of his own actions - even if only as a gesture of enunciation or artificialisation of chance. Focusing on those visual arts that bring together random elements and planned actions, unpredictability and determinism, chance and control, we try to question the aporetic nature of an aesthetic game that combines absolute surprise with its methodological and processual anticipation. How should we approach the results of what is unthought and unexpected in art and its thought? What are the distinctive features in contemporary artistic practice of the presence of chance and indetermination in the processual mechanisms of art? Assuming that art is something made from its own making, our first step is to propose the notion of almost-ideal game - based on a rereading of Deleuze - to define chance in art as operative, coordinating plasticity, experimentation and imagination as its motors. Blind imagination thus emerges simply as another name for the hesitant experimentation through which the unthought in art is accessed. As the operative blindness of art results from the unpredictability of its media, of its machines, the mechanisms of indetermination in artistic practice actually coincide with the specific machinic processes of aesthetic experimentation. It is then suggested, in line with Agamben, that only in an era of ubiquitous technique can art radically think its media, making them (in)operative; consideration is also given to the principle of a pure mediality which is grounded on aesthetic experimentation or, in other words, to the principle of an art that shows itself capable of testing its media to the limit. Machinic dysfunctionality and the obsolescence of the media are thus two of the main ways of inducing that vertigo that makes things stutter and react unexpectedly and surprisingly. Embodying the almost perfect figure of a machine that produces and induces production - a machine of sharing and interference that the artist must not hamper or control, since important things always happen in a surprising way, never where we expect them -, we give the name technological unconscious to this degree of indetermination and surprise that is the reserve of any machine. In response to the declared intention of focusing analysis on the genuine operative processes of doing-thinking in art, case studies are presented throughout the work, from the classical tradition of accidental images to Alexander Cozens or from August Strindberg to Duchamp, finally arriving at discussion on the problems posed by this thesis regarding the field of contemporary art. It can be concluded from this study that technology offers, or can offer, fertile terrain for the unthought, for the random and for the unexpected, linking those vital ingredients of art which are experimentation, plasticity and blind imagination. The attention - fascinated or defascinated - paid by art to its machines and their mechanisms of indetermination thus defines, in operative terms, one of the most important distinctive features of the presence of chance in current artistic practice.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-04T12:50:40Z No. of bitstreams: 2 A poética do labirinto.pdf: 15120660 bytes, checksum: 24a57dd0554fa5935f1d1f075fcb6620 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-04T14:22:29Z (GMT) No. of bitstreams: 2 A poética do labirinto.pdf: 15120660 bytes, checksum: 24a57dd0554fa5935f1d1f075fcb6620 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-04T14:26:34Z (GMT) No. of bitstreams: 2 A poética do labirinto.pdf: 15120660 bytes, checksum: 24a57dd0554fa5935f1d1f075fcb6620 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-04T14:29:48Z (GMT). No. of bitstreams: 2 A poética do labirinto.pdf: 15120660 bytes, checksum: 24a57dd0554fa5935f1d1f075fcb6620 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-27 / Sem bolsa / A pesquisa apresentada foi desenvolvida no Mestrado em Artes Visuais da UFPel e teve como ponto de partida minha produção artística, realizada entre 2012 e 2013. Para tanto, foram utilizados procedimentos inerentes ao campo da gravura. Os conceitos percurso e passagem definem o ato de gravar e de imprimir, respectivamente. Destaca-se que esses procedimentos são vistos como um processo cíclico capaz de conectar as imagens. As marcas e sulcos realizados sobre a superfície de pisos vinílicos que compõem as matrizes e as impressões cujas imagens são transferidas de um suporte para outro. Dessa forma, esses procedimentos assumem autonomia. O objeto de estudo da presente investigação refere-se aos deslocamentos e as transformações que ocorrem com a imagem de um trabalho em relação ao seguinte e às interligações entre eles. Também são considerados os entrelaçamentos entre as matrizes e as estampas que se conectam e que constituem uma rede de imagens. A referida rede é compreendida como um labirinto, formada por obras/matrizes, que carregam em suas superfícies imagens labirínticas. Também é considerada a experiência de gravar essas imagens, ou seja, de percorrer esses labirintos. Para refletir sobre essas conexões as leituras de Lucia Leão, contribuíram com o conceito de estética do labirinto e Umberto Eco com o conceito de elenco visual. Esta proposta busca contribuir com novas alternativas para repensar o campo da gravura contemporânea. / The study explored in Mestrado em Artes Visuais UFPel is about my artistic process done in the period of 2012 and 2013. Therefore, procedures inherent engraving field. The concepts of journey and passage define the act of writing and printing, respectively. It is important to highlight that these procedures have been seeing as a cyclical process able to connect images. Marks and ridges made on the surface of vinyl flooring will compose the matrices and prints whose images are transferred from a support for each other. Thus, these procedures assume autonomy. The object of study is about displacements and changes that happen with the image of a work in relation to the following one and the interconnection between them. It is also considered the interdependence between the matrices and the prints, which are linked together and make a network of images .The network is understood as a labyrinth composed by works/matrices that carry on their surfaces labyrinthine images. It is considered the experience of engraving images as well, it means, to travel into the labyrinths. To think about these connections, Lucia Leon readings adds the concept of aesthetics of the labyrinth; and Umberto Eco brings the concept of the visual list. This proposal aims to contribute with new alternatives to reconsider the field of Contemporary engraving.

La humanidad comenzó a civilizarse cuando domesticó su entorno, lo que implicaba establecerse y poseer, tener conciencia de propiedad. La tierra, principal fuente de subsistencia y riqueza durante centurias, ha sido objeto de ambición y origen de conflictos, su control implicaba el poder sobre los demás. En occidente y desde la época tardoromana se inicia un proceso cuyas relaciones se establecen en base a la propiedad dando lugar a una sociedad estamental que perdurará con el nombre de Antiguo Régimen y comenzará a descomponerse de manera definitiva a finales del siglo XVIII. Realeza, nobleza e iglesia representaban las clases dominantes, poseían la propiedad y, el mutuo apoyo, servía para sostener este sistema. Al final del proceso citado, la Iglesia perdía poder político, ello repercutió en su base patrimonial, las nuevas estructuras económica, la compleja administración moderna hizo necesario recurrir a él para hacer frente a los gastos de una Hacienda a la que solo contribuía una pequeña parte de la población, por ende la más humilde. La consolidación de una nueva en la que se adquiere conciencia de la individualidad y resurgirá el ciudadano, muy activo en el mundo de los negocios y en la generación de capitales, que exigirá más protagonismo y un mayor poder de decisión. La negativa de los poderes tradicionales a aceptar a esta nueva pieza en el complejo tablero del poder concluyó en procesos revolucionarios que cambiarían para siempre las bases de la sociedad occidental y, en el que la transmisión de la propiedad significaría la transmisión de poder. El acceso y reparto de la misma, así como el saneamiento de las cuentas públicas convirtieron el patrimonio de la Iglesia en un claro objeto de deseo, que el resto de cuerpos estamentales no pudo o no quiso defender. En España y por extensión en Murcia este proceso de reproduce y, siendo el clero regular el gran propietario eclesiástico, contra él se desarrollara toda una labor legislativa destinada a expropiar el patrimonio en los procesos conocidos como Desamortizaciones. En una sociedad en la que el origen familiar queda en segundo lugar para dar paso al dinero como elemento clasificador, y cuya base económica continúa siendo la tierra, su posesión será uno de los elementos fundamentales en la legitimación del poder. Tras el clero regular vendría el secular, más tarde los predios rústicos y urbanos, censos y foros pertenecientes al Estado, a los pueblos, al clero y a los establecimientos y corporaciones de beneficencia e instrucción pública…, una vez consumado el trasvase patrimonial, las nuevas élites dueñas de su destino, querrán evitar cambios en el status quo y pactará con una Iglesia, por entonces muy cercenada, para que se ocupe de encuadrar a esta nueva sociedad en unos valores que resultan adecuados a sus intereses y lo harán sobre todo a través de la educación. Por su parte la Iglesia verá recompensado su trabajo al poder desarrollar su acción evangelizadora, y recibir apoyo económico y patrimonial para desarrollar su labor. Al final el círculo se cierra. Todo cambió para permanecer igual. Nuestro trabajo consistirá en comprobar el desarrollo de este proceso en Murcia a través del análisis de un caso concreto; utilizando como metodología la Historia Social, Historia de la Familia e Historia Económica. / Civilized humanity began when he tamed its environment, implying establish and own, be aware of property. The land, the main source of livelihood and wealth for centuries, has been the subject of ambition and origin of conflicts, involving the control power over others. In the West and from the tardoromana time you start a process whose relations are established on the basis of the property leading to a stratified society that will remain under the name of Old Regime and begin to break down definitively in the late eighteenth century. Royalty, nobility and church represented the ruling classes possessed property and mutual support, served to sustain this system. At the end of that process the Church lost political power, it had an impact on its equity base, new economic structures, complex modern administration made it necessary to use to meet the expenses of a Hacienda to which only contributed a small part of the population, therefore the most humble. The consolidation of a new consciousness where individuality is acquired and resurface the citizen, active in the business world and the generation of capital, which require more prominence and greater decision-making power. The refusal of the traditional powers to accept this new piece in the complex power board concluded in revolutionary processes that would change forever the foundations of Western society, in which the transfer of ownership would mean the transfer of power. Access and distribution thereof as well as the consolidation of public finances became the patrimony of the Church in a clear object of desire, the rest of estates bodies could not or would not defend. In Spain and by extension in Murcia this process plays and, with the clergy regulate the great ecclesiastical owner against him any legislative work to expropriate the assets in the process known as Confiscations developed. In a society in which family background is second to give way to money as a classifier element, whose economic base is still the land, their possession will be one of the key elements in the legitimation of power. After the regular secular clergy would come later rustic and urban land, census and forums belonging to the state, the people, the clergy and charitable institutions and corporations and public education ..., once accomplished the equity transfer, new owning elites of their destiny, want to avoid changes in the status quo and pact with a church, then a very clipped, so take care to frame this new society values that are appropriate to their interests and they will especially through education. For its part the Church will pay off their work to be able to develop their evangelizing action, and supported economic and heritage to develop their work. In the end the circle, everything changed to remain the same. Our job will be to check the development of this process in Murcia through the analysis of a specific case; using as methodology Social History, Family History and Economic History.

Una Archiva del DIY (Do It Yourseft): autoedición y autogestión en una fanzinoteca feminista-queer se centra en la creación de un archivo de colectivos, asociaciones o grupos autogestionados que produzcan ediciones de práctica feminista-queer con especial interes en el fanzine y la relación música-dibujo. Este archivo tiene la ambición de recopilar estas ediciones y ponerlas a disposición pública para su estudio como conjunto. El archivo ha tenido un uso de justificación histórica, que ha evidenciado sus vacíos y carencias, así como legitimado poderes, favorecido relaciones y dirigido líneas de memoria colectiva. Trabajar en un archivo siendo conscientes de la importancia de las pautas a seguir, el cómo y el por qué es el punto de partida de éste archivo. El material que se pretende archivar no es un material de medios de masas podríamos decir que casi se resiste a ser archivado, dificulta su clasificación y juega incluso con el misterio y los espacios de exhibición, como si siendo conscientes de no ser parte de la esfera pública se enorgullecen de ello y han buscado subversivamente tener presencia buscando otras maneras de hacer, su manera como una respuesta y búsqueda de nuevos espacios por esos contrapúblicos. La creación de este archivo sería más bien la creación de un no-archivo. Es difícil querer reunir y pretender hacer un archivo con este tipo de material que de primeras parece huidizo en sus estrategias y formatos. También es un material abierto a contradicciones y de replanteamientos cambiantes en muy corto plazo de tiempo. Sin embargo este tipo de iniciativas surgen para hablar y ser escuchadas. Hay muchos temas en común que unen estas manifestaciones, ideología, gustos, maneras de operar que a veces parecen ser protegidas para que su intención no sea mal interpretada al presentarlas en depende que contextos. La intención de éste archivo es estudiar precisamente estos puntos en común e incluso sus desencuentros para aprender de ellos. Todas estas dinámicas coinciden en proponer nuevas fórmulas en la manera de hacer e incluso vivir. Parecen a veces un pasatiempo o entretenimiento pero la implicación que esta práctica conlleva dedicación y esfuerzo, sus principios son fuertes y pretenden contagiar. / SUMMARY Una Archiva del DIY (Do It Yourseft): autoedición y autogestión en una fanzinoteca feminista-queer. This project focuses on creating a archive of collectives, associations or groups self-managed that produces editions as part of their practice around the feminist fanzine and music-drawing relationship. This archive has the ambition to compile these editions and put to public disposition for study as a whole. The archive has had a use historical justification, which has shown its gaps and shortages as well as legitimated powers, favored relations and direct lines of collective memory. Working in an archive being aware of the importance of guidelines to follow, the how and why is the starting point for this archive. The material to be archived is not a mass media material we could say that almost refuses to be archived and hinders their classification and plays even with the mystery and spaces of exhibition, as if being aware of not being part of public sphere they thrill it and they have searched subversively have presence looking for other ways to make, their way as a answer and search for news spaces themselves counter-publics. The idea of this archive would be the creation of one no-archive. If difficult to want to gather and trying to make an archive with this type of material that seems elusive at the begining in their strategies and formats. It is also open to rethinking and changing in a very short time frame. However such arise to talk and be heard. There are many common themes that unite these statements, ideology, likes, ways of operating that sometimes seem to be protected so that intention is not misinterpreted depends on presentation at which contexts. The intent of this archive is to study exactly these in common and even their disagreements for learn from them. All this dynamics coincide in suggesting new formulas on how to make and even live. Sometimes seem a hobby or entertainment but the implication that this practice involves dedication and effort, its values are strong and intend to be spreaded.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.