This dissertation is a study of the experimental artistic practice of the group called Dvizhenie (The Movement) that was active in Moscow between 1964 and 1976 and associated with the Kinetic movement. The period of the group’s activity coincided with a political transition in the USSR from later stages of The Khrushchev’s Thaw characterised by cultural liberation and political reforms into The Stagnation era already defined by Leonid Brezhnev’s rule and subsequently a more conservative and stricter governmental attitude towards artistic production. In this period of a little more than a decade, The Movement group was a single experimental union in the USSR that enjoyed public success and achieved a rapid transformation of their activities from small-scale exhibitions into public state commissions. In the course of this transition, the members of the group formed an entirely new artistic language that was neither similar to Socialist Realism nor to the tendencies of Abstract painting, which gained importance in the circles of experimental Soviet artists at the time. Instead, they turned to the aesthetics of Kinetic art, science- fiction and design and found inspiration in a dialogue with Russian Avant-garde tradition. The narrative of the dissertation follows the specificity of the experimental group’s development in the defined stages and analyses how the group met with the challenges of censorship and opportunities of ideological collaborations. On a broader scale, the dissertation offers an investigation into the functions of experimental thinking in the USSR in the 1960s and evaluates the role of futuristic planning and artists’ dialogue with the restored tradition of the 1920s Avant-garde projects.:Table of Contents List of illustrations...............................................................................................5 Acknowledgements...........................................................................................13 Introduction.....................................................................................................15 State of Research.............................................................................................21 Methodology....................................................................................................29 Chapter I. 1960s Alternative Culture: in the USSR and Abroad...................................53 1.1. Defence of individualism: The Thaw (1954–1968)...........................................53 1.2. Open work against individualism: 1960s movement of Kinetic art......................65 1.3. In transition to Kinetic art: the formation of The Movement group.......................71 Chapter II. Theory and Practice Of The Movement...................................................81 2.1.Theoretical principles of the group: synthesis, symmetry, and movement.............81 2.2.“Towards Synthesis In Arts”, 1964, Moscow...................................................90 2.3.Architects or artists, 1965, Leningrad..........................................................102 2.4. Kurchatov Institute of Atomic Energy, 1966, Moscow.....................................107 Chapter III. The Movement’s Performances and Theatre Productions........................115 3.1.Artistic strategies of performance in The Movement’s practice..........................115 3.2.Humans and machines............................................................................123 3.3. Manifestation of the synthesis principle in performances................................135 3.4.The symbolism of history in The Movement’s productions...............................139 3.5.Escapism of the nature performances.........................................................143 3.6.The strategy of an artefact in Infante’s work.................................................150 Chapter IV. Sciences, State, and Culture..............................................................154 4.1.Kinetic art in urban and exhibition designs...................................................154 4.2. Agitational art at the 1967 October Festival.................................................159 4.3. Value of creativity and designs for “Orlenok”, 1968.......................................170 4.4.Exhibition designs..................................................................................172 4.5.Art and the Stagnation period in the USSR..................................................182 Chapter V. Futurism In The Movement’s Projects..................................................187 5.1. Artificial environments of the next century....................................................187 5.2. The future is cybernetic...........................................................................192 5.3. The power of play..................................................................................195 5.4. Rationalising the unknown: transhumanism and space travel in The Movement’s futurism.........................................................................................................199 3 5.5. Why we need another utopia?..................................................................207 Chapter VI. The Movement: Separate and Abroad.................................................217 6.1. The Movement as a part of the global network.............................................217 6.2. The Movement as a part of dissident art and contemporary interpretations........222 6.3. Separate ways: Infante, Nussberg, Koleichuk..............................................231 Epilogue........................................................................................................243 Bibliography...................................................................................................252 Illustrations....................................................................................................265

This dissertation is a study of the experimental artistic practice of the group called Dvizhenie (The Movement) that was active in Moscow between 1964 and 1976 and associated with the Kinetic movement. The period of the group’s activity coincided with a political transition in the USSR from later stages of The Khrushchev’s Thaw characterised by cultural liberation and political reforms into The Stagnation era already defined by Leonid Brezhnev’s rule and subsequently a more conservative and stricter governmental attitude towards artistic production. In this period of a little more than a decade, The Movement group was a single experimental union in the USSR that enjoyed public success and achieved a rapid transformation of their activities from small-scale exhibitions into public state commissions. In the course of this transition, the members of the group formed an entirely new artistic language that was neither similar to Socialist Realism nor to the tendencies of Abstract painting, which gained importance in the circles of experimental Soviet artists at the time. Instead, they turned to the aesthetics of Kinetic art, science- fiction and design and found inspiration in a dialogue with Russian Avant-garde tradition. The narrative of the dissertation follows the specificity of the experimental group’s development in the defined stages and analyses how the group met with the challenges of censorship and opportunities of ideological collaborations. On a broader scale, the dissertation offers an investigation into the functions of experimental thinking in the USSR in the 1960s and evaluates the role of futuristic planning and artists’ dialogue with the restored tradition of the 1920s Avant-garde projects.:Table of Contents List of illustrations...............................................................................................5 Acknowledgements...........................................................................................13 Introduction.....................................................................................................15 State of Research.............................................................................................21 Methodology....................................................................................................29 Chapter I. 1960s Alternative Culture: in the USSR and Abroad...................................53 1.1. Defence of individualism: The Thaw (1954–1968)...........................................53 1.2. Open work against individualism: 1960s movement of Kinetic art......................65 1.3. In transition to Kinetic art: the formation of The Movement group.......................71 Chapter II. Theory and Practice Of The Movement...................................................81 2.1.Theoretical principles of the group: synthesis, symmetry, and movement.............81 2.2.“Towards Synthesis In Arts”, 1964, Moscow...................................................90 2.3.Architects or artists, 1965, Leningrad..........................................................102 2.4. Kurchatov Institute of Atomic Energy, 1966, Moscow.....................................107 Chapter III. The Movement’s Performances and Theatre Productions........................115 3.1.Artistic strategies of performance in The Movement’s practice..........................115 3.2.Humans and machines............................................................................123 3.3. Manifestation of the synthesis principle in performances................................135 3.4.The symbolism of history in The Movement’s productions...............................139 3.5.Escapism of the nature performances.........................................................143 3.6.The strategy of an artefact in Infante’s work.................................................150 Chapter IV. Sciences, State, and Culture..............................................................154 4.1.Kinetic art in urban and exhibition designs...................................................154 4.2. Agitational art at the 1967 October Festival.................................................159 4.3. Value of creativity and designs for “Orlenok”, 1968.......................................170 4.4.Exhibition designs..................................................................................172 4.5.Art and the Stagnation period in the USSR..................................................182 Chapter V. Futurism In The Movement’s Projects..................................................187 5.1. Artificial environments of the next century....................................................187 5.2. The future is cybernetic...........................................................................192 5.3. The power of play..................................................................................195 5.4. Rationalising the unknown: transhumanism and space travel in The Movement’s futurism.........................................................................................................199 3 5.5. Why we need another utopia?..................................................................207 Chapter VI. The Movement: Separate and Abroad.................................................217 6.1. The Movement as a part of the global network.............................................217 6.2. The Movement as a part of dissident art and contemporary interpretations........222 6.3. Separate ways: Infante, Nussberg, Koleichuk..............................................231 Epilogue........................................................................................................243 Bibliography...................................................................................................252 Illustrations....................................................................................................265

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RESUMO Este estudo mostra como se deu a relação das artes visuais com a ciência e a tecnologia. Para isso, partiu das idéias lançadas pelos irmãos Naum Gabo e Anton Pevsner, construtivistas russos, através do Manifesto realista, procurando libertar as artes visuais de seu estigma de arte estática. Esta pesquisa acompanhou o trajeto de artistas (Archipenko, Ducahmp, Gabo, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Le Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, Jeffrey Shaw...) que, ao longo do século XX, desenvolveram pesquisas nesta linha. Este trabalho percorreu a história da arte cinética, apontando artistas que exploraram a interatividade (a perceptiva, a espaço/temporal ou a potencial surgida da relação da arte com a tecnologia) além daqueles que buscaram soluções em outras disciplinas, tanto em outras artes como na ciência. Mostra como a complexidade desta interdisciplinaridade criou mudanças de conceitos formais, estruturais e estéticos. Enfoca também como a adesão das artes às novas tecnologias provocou transformações não apenas no mundo dos artistas, mas também no universo institucional que incentiva e promove as artes visuais contemporâneas. / Abstract This study intends to analyze the relationship between visual arts, science and technology. Its initial reference is the idea written by two Russian Constructivist artists, Naum Gabo and Anton Pevsner, in the Realist Manifesto, in 1920. The two artist, that were also brothers, were trying to free visual arts of its static art's stigma. For that, this research followed some artists' itinerary that developed researches with this approach in the 20th century, such as Archipenko, Duchamp, Flatters, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Reads Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, and Jeffrey Shaw. This work went trough the kinetic art history and examined artists that have explored the interaction pointing in their works (the perceptive interaction, the space interaction and the new potential interaction that appeared from the relationship between art and technology), and examined as well as artists that have found solutions in others discipline, such as science. The complexity of this interdisciplinary relationship created formal, structural and aesthetic concepts changes in the art world. Finally, the study also focuses in how the artist’s adhesion to new technologies provoked transformations in the institutions that motivates and promotes the contemporary visual arts.

Made available in DSpace on 2016-04-26T18:11:41Z (GMT). No. of bitstreams: 1 Dissertacao Rogerio Largman Borovik.pdf: 8080670 bytes, checksum: 0601fcb659326615ae7929ca37a8a806 (MD5) Previous issue date: 2005-10-10 / Abstract The new conditions provided nowadays by technological advancements have made it possible to develop different ways of videographic production. While granting the concentration of different human activities within a single individual, the processes which are inherent to the digital universe have contributed as completely new tools to communication and collaborative productions. The concept of authorship is being questioned, both in the collective making and in the use of recyclable material, in such a way that a cultural substrate considered banal, every-day stuff and disposable can be transformed into raw material for artistic creation. The main objectives of this study were to present a historical overview of digital video, studying its communication process, enhanced by the arising of the Internet, and to analyze the possibilities inscribed in the audiovisual authoring software Keyworx, that is original both in its conceptual proposal and in its shape, interface and action. Keyworx is not a product manufactured by a company, but rather an educational project of the Waag Society, a Dutch research institution. This software makes a fusion of multi-user teleconference environment aspects with those of digital media process softwares (popularly known as VJ software ). A more profound discussion about the digital video interface and its functioning showed that it is of the utmost importance to a reflection on the particularities of a collaborative video creation model on the net. In this sense, the theories of Edmond Couchot, Lev Manovich, Arlindo Machado, Jay David Bolter, Richard Grusin and Giselle Beiguelman have occupied a key position in this study, because they elucidate aspects of the binary nature of digital media and their implications in the authoring processes, along with interviews with the creators of Keyworx. We could observe that, ever since the beginnings of digital video on the Internet, the communication roles between the sender and the receptor had their definition broadened, converted into interactors of a dialogical communication, which implies changes in the way they are created and distributed in the media. / As novas condições dadas pelos avanços tecnológicos na contemporaneidade propiciaram diferentes maneiras de produção videográfica. Ao mesmo tempo em que garante a concentração de diversas atividades humanas em um único indivíduo, os processos inerentes ao universo digital contribuíram como ferramentas inéditas para a comunicação e produções colaborativas. O conceito de autoria é questionado tanto no fazer conjunto como no uso de material reciclável , de maneira que um substrato cultural considerado banal, cotidiano e descartável, pode ser transformado em matéria prima para a criação artística. Esse estudo tem como objetivo principal apresentar um panorama histórico sobre o vídeo digital, estudando suas funções na comunicação on line; assim como analisar as possibilidades inscritas no software de autoração audiovisual Keyworx, que possui uma originalidade tanto em sua proposta conceitual, quanto em sua forma, interface e ação. O Keyworx não é um produto confeccionado por uma empresa, mas sim um projeto educacional da Waag Society, instituição de pesquisa holandesa. O software faz uma fusão de aspectos de ambientes de multi-usuário de tele-conferência, com os de software processuais de mídia digital (popularmente conhecidos como software de VJ ). Uma discussão mais profunda sobre a interface do vídeo digital e seu funcionamento, mostrou ser de suma importância para a reflexão sobre as particularidades de um modelo de criação colaborativa em vídeo na rede. Nesse sentido, as teorias de Edmond Couchot, Lev Manovich, Arlindo Machado, Jay David Bolter, Richard Grusin e Giselle Beiguelman encontraram lugar de destaque em nosso estudo, pois elucidaram aspectos da natureza binária da mídia digital e suas implicações nos processos de autoria; assim como a realização de entrevistas com os criadores do Keyworx. Pudemos verificar que, a partir do vídeo digital na Internet, os papéis comunicativos entre o emissor e o receptor têm sua definição alargada, convertidos em interatores de uma comunicação dialógica, o que implica em mudanças em sua forma de criação e distribuição midiática.

[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1988. / Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques extensionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Bibliographie : p. 29-32. Document électronique également accessible en format PDF. CaQCU

CNPq / Esta dissertação busca demonstrar a influência recíproca entre a arte e a tecnologia para além do artefato com o uso da cor na obtenção da harmonia cromática e do reforço perceptivo visual e cultural. Procuramos evidenciar como a arte se apropria da tecnologia na obtenção da harmonia pelo uso da cor no processo criativo. A arte, ao ser mediada pela tecnologia, desafia o artista a opor-se ao determinismo tecnológico que impõe resultados pela estandardização do uso de seus aparatos, superando seus limites na reinvenção de suas finalidades. Este trabalho tem como objetivo localizar a escolha e o uso das cores nos filmes de animação de curtas-metragens da Disney-Pixar como materialização de significados na construção de uma narrativa, evidenciando a oposição entre o contexto relacional e instrumental da tecnologia pela superação dos seus limites reinventados pelo próprio uso da cor de forma a reforçar os significados propostos por esta narrativa. Inicialmente apresentaremos pressupostos passíveis de localizar a tecnologia em suas dimensões conceituais partindo do eixo cor que atravessa todo o trabalho, daremos ênfase aos conceitos da teoria da cor essenciais para este entendimento, para que finalmente, munidos do referencial teórico, possamos analisar as imagens e concluir nossa pesquisa. Para realizar este trabalho de pesquisa de abordagem qualitativa realizamos a análise das imagens da amostra selecionada intencionalmente dentro de critérios específicos priorizando as imagens que denotavam as características predeterminadas. / This paper search is to demonstrate the reciprocal influence between art and technology in addition to the artifact through the use of color in obtaining the chromatic harmony and strengthening visual perceptual and cultural. We try to show how the art appropriates technology in obtaining harmony by using the color in the creative process. The art, to be mediated by technology, challenges the artist to oppose technological determinism that imposes results by standardization of the use of its gadgets, surpassing its limits in reinvention of their purposes. This work has as objective find the choices and the uses of color in the animation short films of Disney-Pixar’s as materialization of meanings in the construction of a narrative, highlighting the opposition between the relational context and instrumental of technology by overcoming its limits reinvented itself by using the color in order to reinforce the meanings offered by this narrative. Initially we will be presenting assumptions likely to find technology in their conceptual dimensions starting from the axis color that permeates throughout the work, the main focus will be on the concepts of the theory of color essential for to this understanding, and finally, armed with the theoretical framework, we will analyze the images and complete our survey. To carry out this research work in qualitative approach we performed the analysis of the images of the sample selected intentionally within specific criteria prioritizing images that suffered from the predetermined characteristics.

This research in the field of History, Theory and Criticism of Art with an emphasis on Art and Technology, aims a theoretical and practical study of virtual galleries from contemporary art to cyberspace. It aims to understand the functions of the galleries and the role of the gallerist as entrepreneur / strategist for the art market. In this study are selected six art galleries - all Brazilian and distinct characteristics - which can contribute to the recognition methods to choose exclusively online environment or act between physical and virtual environments. According to the data found, all virtual galleries seek legitimacy through the interested public, collectors, and other art dealers are made up of expository and informative environments, but only a few follow with e-commerce. / Esta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present paper is aimed at developing a reflexive theoretical study on the space at exhibition in the Mercosur Biennial in the virtual environment in order to propose a different mapping, which also considers the possibility of distribution/exhibition, the creation/exhibition with the use of media and digital technologies in contemporary artistic production. Being understood as an area of potential, taking as reference the Mercosur Biennial, the production of art and technology exposed in some of its past six editions, and the virtual environment of the 6th Biennial, establishing a dialogue with the Cyberspace and Ciberception, as well as the conceptual issues analyzed in depth in this study for the establishment of the new cartography. This is a survey of art and uses a qualitative approach, suitable for research in visual arts, allowing the construction of a particular methodology as specified in the study. The document analysis was accomplished through questionnaires and a semi-structured interview. The overview of the Mercosur Biennial, the virtual environments available, the production of art and technology, allied to the conceptual - Cyberspace and Ciberception - emphasizes the relevance of this study, which is presented as a contribution to the field of Visual Arts in dialogue with the media and contemporary technology, the proposal Virtus - space for creation/exhibition. / Esta pesquisa tem como objetivo desenvolver um estudo teórico-reflexivo sobre o espaço expositivo da Bienal do Mercosul no ambiente virtual, a fim de propor uma outra cartografia, que considere além da possibilidade divulgação/exposição, a criação/exposição com a utilização das mídias e tecnologias digitais na produção artística contemporânea. Compreendido como um espaço em potencial, toma-se como referência a Bienal do Mercosul, a produção de Arte e Tecnologia exposta em algumas de suas seis edições já realizadas, e o ambiente virtual da 6ª Bienal, estabelecendo um diálogo com o Ciberespaço e a Cibercepção, questões conceituais aprofundadas neste estudo para a elaboração da nova cartografia. Esta é uma pesquisa sobre arte e utiliza a abordagem qualitativa, adequada à pesquisa em artes visuais, permitindo a construção de uma metodologia particular conforme as especificidades do estudo. Tem como instrumentos a análise documental, os questionários e a entrevista semi-estruturada. O panorama geral das Bienais do Mercosul, os respectivos ambientes virtuais disponibilizados, a produção de Arte e Tecnologia, aliados às instâncias conceituais - Ciberespaço e Cibercepção - pontuam a relevância do presente estudo, que apresenta como contribuição para o campo das Artes Visuais em diálogo com as mídias e tecnologias contemporâneas, a proposta Virtus espaço de criação/exposição.