This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Zugl.: München, Univ., Magisterarbeit, 2004 u.d.T.: Niggl, Selima: Pinot Gallizio in München

Zugl.: Heidelberg, Univ., Diss., 2006 u.d.T.: Herzfeld, Gregor: Prozess und Epiphanie

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4537. Adviser: Heidi von Gunden. Includes bibliographical references (leaves 128-129) Available on microfilm from Pro Quest Information and Learning.

The thesis deals with the issue of linking visual representation of a literary work of art, especially with the connection of Karel Teige typographical book envelopes to the poetry collections of Czech authors of the first half of the twentieth century. It focuses on the period of Czech avant-garde and new possibilities and limits of genre, artistic and semiotic definition. Attention is also devoted to contemporary anthology, professional journals and articles, especially by Karel Teig's production, in which he illustrates his concept of modern art. It also includes the marketing and aesthetic-educational character of visual imagery in literature for children and youth.

La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendance. / The notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T12:26:34Z No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T12:27:31Z (GMT) No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) / Made available in DSpace on 2016-06-22T12:27:31Z (GMT). No. of bitstreams: 1 dissertacao-vinicius-domingues-chamico.pdf: 5850435 bytes, checksum: b04450578273c814b9349d11830ea961 (MD5) Previous issue date: 2014-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa pretende compreender o conceito de crítica dentro da obra Rua de mão única (Einbahnstrasse) através da análise do funcionamento e da estrutura da escrita empregada por Walter Benjamin chamada: “imagem de pensamento” (Denkbild). Partindo de um procedimento que norteia grande parte dos fragmentos: uma proximidade distanciadora, potencialmente crítica e reflexiva, proporcionada por formas aparentemente irrelevantes (unscheinbaren Formen) e pela polarização de imagens e ideias dissonantes. / This research aims to understand the concept of critic in the work, One Way Street (Einbahnstrasse) by the analysis of the functioning and the structure of writing used by Walter Benjamin named: “though-image” (Denkbild). From a procedure that orients much of the fragments: a proximity distancing, potentially critical and reflective, provided by apparently irrelevant forms (unscheinbaren Formen) and by the polarization of dissonant images and ideas

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:25:13Z No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:28:34Z (GMT) No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Made available in DSpace on 2016-06-28T14:28:34Z (GMT). No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) Previous issue date: 2012-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O célebre ensaio “A obra de arte na era de sua reprodutibilidade técnica” de Walter Benjamin salienta a transformação do conceito de obra de arte sob um viés histórico e de produção. Neste sentido, a reprodutibilidade técnica representa uma ruptura com o conceito tradicional de obra de arte quanto aos elementos espaço-temporais que lhe conferem o caráter de obra original e aurática. Nesse contexto, se inserem a fotografia e o cinema que, devido a suas particularidades técnicas, exigem uma nova forma de percepção e recepção da obra de arte, que Benjamin busca caracterizar por meio do conceito de choque. Movimentos de vanguarda do início do século XX, como dadaísmo e surrealismo, exploraram e anteciparam o efeito de choque em suas opções estéticas. Tais fenômenos artísticos se originaram num momento histórico das sociedades modernas industrializadas e de massas, marcado, entre outros, pelo desenvolvimento acelerado da técnica a partir do século XIX e pela crescente penetração desta na vida cotidiana, o que trouxe alterações comportamentais sob vários aspectos, dentre eles a relação entre a experiência individual e coletiva. / The celebrated essay “The work of art in the age of mechanical reproduction” by Walter Benjamin points out the transformation of the concept of work of art under a historical bias, as well as a bias of production. In that sense, the mechanical reproduction represents a break off the traditional concept of work of art as for the space and time elements that give it the character of an original work with aura. The photography and the cinema are inserted in that context due. The technical characteristics of both of them require a new perception and reception of the work of art. Benjamin characterizes that through the concept of shock. Early twentieth-century avant-garde movements as dadaism and surrealism explored and antecipated the shock effect in their aesthetic options. Those artistic phenomena originated in the modern industrialized and mass societies historical moment characterized by the fast development of the technique from the nineteenth century and the increasing penetration of such a technique in daily life, wich brought with them different changes in behavior, as the relationship between the individual experience and collectiv one.

Submitted by Guilherme Gasques Rodrigues (guigasques@gmail.com) on 2018-05-18T14:24:46Z No. of bitstreams: 1 Dissertação-Guilherme-Gasques-Rodrigues - FINAL.pdf: 9275263 bytes, checksum: b81c64326ad3f47b493dc98b5438092d (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-18T18:55:20Z (GMT) No. of bitstreams: 1 rodrigues_gg_me_bauru.pdf: 9317721 bytes, checksum: b60c948a970c8ea969fea1f5c1e71258 (MD5) / Made available in DSpace on 2018-05-18T18:55:20Z (GMT). No. of bitstreams: 1 rodrigues_gg_me_bauru.pdf: 9317721 bytes, checksum: b60c948a970c8ea969fea1f5c1e71258 (MD5) Previous issue date: 2018-05-11 / Esta pesquisa aborda a relação entre a arquiteta iraquiana-britânica Zaha Hadid e alguns artistas da Vanguarda Russa. Hadid é mundialmente reconhecida por seus trabalhos na área da arquitetura, urbanismo e design, pelos quais recebeu diversos prêmios durante sua carreira. A arquiteta estudou na Architectural Association e conheceu obras de Kazimir Malevich por meio de seus professores Rem Koolhaas e Elia Zenghelis. Hadid iniciou uma conexão criativa com o projeto Malevich’s Tektonik (1976-77), um trabalho que transportou uma obra de Malevich para o contexto arquitetônico de Londres. A partir deste projeto, a inspiração pelo artista começou a ser potencializada e demonstrada em seu pensamento criativo. Também foram inspirações para a arquiteta os artistas: Moholy-Nagy, El Lissitzky e Naum Gabo. Hadid utilizava desenhos e pinturas de características abstratas semelhantes às obras destes artistas em sua produção arquitetônica. Sendo assim, o objetivo desta dissertação é realizar uma interlocução entre os pensamentos criativos da arquiteta e dos quatro artistas que fizeram parte da Vanguarda Russa. Visto que o fazer arquitetônico de Hadid se realizava em paralelo a um fazer artístico (pinturas), utilizaremos para atingir o objetivo desta pesquisa uma montagem de imagens inspirada em Aby Warburg – historiador de arte alemão. Warburg desenvolveu o Atlas Mnemosyne nos anos de 1920 em Hamburgo, Alemanha. Ele realizou este trabalho para entender como o período da Antiguidade “sobreviveu” no Renascimento. Mnemosyne foi uma montagem com imagens de períodos temporais diferentes que permite visualizar as intricações e relações entre elas. Realizamos uma montagem nominada “Hadid-Vanguarda” com imagens de obras dos quatro artistas e do processo criativo de quatro projetos da arquiteta. Os projetos são: o clube de lazer The Peak, o corpo de bombeiros Vitra Fire Station, o terminal de trem e ônibus Hoenheim-Nord Terminus and Car Park e o Museu de Arte Contemporânea MAXXI. Após as análises das pranchas da montagem, identificou-se três categorias teóricovisuais nominadas por “A Diagonal”, “A Vista Aérea” e “As Camadas”. Cada categoria compete a elementos que aparecem em ambos os pensamentos criativos de Hadid e da Vanguarda Russa. Sendo assim, considera-se que o contato com os artistas russos fez a arquiteta transcender os limites da criação convencional de projetos. / This thesis studies the relationship between the Iraqi-British architect Zaha Hadid and some artists of the Russian Avant-Garde. Hadid is widely recognized for her work in architecture, town planning and design, for which she received various awards throughout her career. During her time as a student at the Architectural Association School in London, she became familiarized with Kazimir Malevich’s works through professors Rem Koolhaas and Elia Zenghelis. Hadid then initiated a creative connection with arts, and in Malevich's Tektonik (1976-77), she transported Malevich’s work of art to the London’s architectural context. After this project, Malevich’s influence on her work became more evident, with some aspects surfacing in her creative process. Artists such as Moholy-Nagy, El Lissitzky and Naum Gabo also corroborated to her unique creative process. As she used drawings and paintings with abstract features similar to the works of these artists in her architectonic production. Therefore, the goal of this dissertation is to perform an interlocution between the architect’s creative process and the four artists who were part of the Russian Avant-Guarde. Since Hadid’s architectural rendering happened in parallel to her artistic work (i.e., paintings), we will use the Atlas Mnemosyne, a montage of images by Aby Warburg, to achieve the objective of this project. Warburg an art historian developed the Atlas Mnemosyne in the 1920s in Hamburg, Germany. He performed this work to understand how the period of Antiquity "survived" in the Renaissance. Mnemosyne was a montage with images of different time periods that allows visualizing relations between them. We realized a montage named "Hadid-Vanguarda" with images of works by the four artists and the creative process of four architect's projects. The Peak, a leisure club; Vitra Fire Station; Hoenheim-Nord Terminus and Car Park and MAXXI, a museum of contemporary arts are the selected projects. After the montage’s analysis, we identified three theoretical-visual categories nominated "The Diagonal", "The Aerial View" and "The Layers". Each category competes in elements that appear in both creative thoughts - Hadid and the Russian Vanguard. Therefore, we regarded that contact with Russians artists did Hadid transcend the boundaries in the conventional creation of projects.

Esta pesquisa abarca os desenhos da artista russa Alexandra Exter (1882-1949) para os figurinos de teatro de Salomé (1917), Romeu e Julieta (1920) e do filme de ficção científica Aelita, Rainha de Marte (1924). Faremos análises comparativas entre os trabalhos de Exter e obras com enfoque temático e visual análogos, principalmente do período de meados do século XIX ao início do XX. A abordagem metodológica se pauta na de pesquisadores como Carlo Ginsburg e Jorge Coli, que celebram os estudos e práticas de Aby Warburg. O objetivo é compreender o trabalho de Exter tanto a partir de seus aspectos de vanguarda quanto da manutenção de características convencionais, seja de conteúdo ou forma. Para tanto, o enfoque sobre a representação visual da figura feminina se tornou fundamental nesta dissertação. Levantamos a hipótese de que as soluções visuais elaboradas por Exter para as protagonistas das três obras distinguem das representações recorrentes destas personagens, sobretudo por meio das vestes e da gestualidade. / This research covers drawings by the Russian artist Alexandra Exter (1882-1949) for the theater costumes of Salome (1917), Romeo and Juliet (1920) and the science fiction movie Aelita, Queen of Mars (1924). We will make comparative analyzes between Exter's works and works with a thematic focus and visual analogues, mainly from the mid-nineteenth century to the beginning of the twentieth century. The methodological approach is based on researchers such as Carlo Ginsburg and Jorge Coli, who celebrate the studies and practices of Aby Warburg. The purpose is to understand Exter's work both from the avant-garde aspects and from the maintenance of conventional features, whether of content or form. For that, the focus on the visual representation of the female figure became fundamental in this dissertation. We set up the hypothesis that the visual solutions elaborated by Exter for the protagonists of the three works distinguish them from the recurrent representations of these characters, especially through the clothes and gestures. / Dissertação (Mestrado)