Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.

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Made available in DSpace on 2016-04-29T14:23:27Z (GMT). No. of bitstreams: 1 Carlos Eduardo Tsuda.pdf: 20138115 bytes, checksum: 226dd399b6e3802c0d3749b3b6ccc005 (MD5) Previous issue date: 2014-03-13 / Sound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sound Art. (Theoretical and Methodological Aspects) By dealing with changes in the ways of understanding sound, both in the world of contemporary music and in visual arts, the research describes different formats of the relationship between sound and space, which acquired new meanings in art installation after more recent experiments with sound. Moreover, it examines the forms of perception of sound and how they differ from other languages, since they imply specificities in their ways of spatialization. The concepts discussed here are applied in the analysis of relevant examples for the historical understanding of sound art and the relation between space and sound. (Results) These analysis serve as a theoretical basis for more in-­‐ depth case studies, in which the author reflects about his creativive process in different works, such as the sound creation and composition for the contemporary dance spetacle Branco and the sound installation Promenade / Arte Sonora e Espaço: Estética e Novas Possibilidades Poéticas (Objetivos) discute os processos de hibridização entre som e espaço, a partir de um percurso histórico por áreas como a música, a arquitetura, as artes visuais, a engenharia acústica e a performance. Diante da diversidade de abordagens sobre o tema, a dissertação busca relacionar as diferentes perspectivas a partir de um recorte baseado no surgimento da Arte Sonora. (Aspectos Teórico-­‐Metodológicos) Tratando das mudanças referentes às diferentes maneiras como o som passa a ser entendido, tanto no universo da música contemporânea como no das artes, a pesquisa intenta demonstrar como a relação entre som e espaço ganha novos sentidos diante das formas instalativas típicas nas experiências mais recentes com som. Além disso, examina diferentes modalidades de percepção do som, e de que modo estes diferem das demais linguagens, implicando em especificidades no que tocante às formas de espacialização. Os conceitos discutidos são aplicados na análise de exemplos pertinentes para o entendimento histórico da arte sonora e das relações entre som e espaço. (Resultados) Estas análises servem como ponto de partida para estudos de caso mais aprofundados em que o autor reflete sobre seu processo no desenvolvimento de obras, tais como a composição sonora para o espetáculo de dança contemporânea Branco e a instalação sonora Promenade

Cette thèse explore l’espace communicationnel contemporain à partir de la forme installative. L’enjeu est d’envisager comment dans une société médiatisée où l’exposition est devenue la norme du visible, l’installation parvient à créer ou renégocier dans l’espace social des formes de visibilités. Ces reformulations sensibles proviennent du geste scénographique, tout à la fois processus de création et de représentation, à travers lequel peuvent être circonscrites des « scénographies communicationnelles ». L’installation artistique est l’espace archétypal servant à entreprendre cette réflexion. À partir d’un corpus d’installations artistiques contemporaines, nous analysons les processus par lesquels l’installation conduit à une expérience hétérogène de l’espace tendant favoriser l’immersion du visiteur et le renversement des cadres qui servent à intelligibiliser le réel. Ces processus font de l’installation un espace permettant d’expérimenter le sensible à l’aune d’agencements spatiaux qui en redéfinissent le partage. L’installation peut être conçue comme une forme scénographique constitutive de pratiques et de processus communicationnels tendant s’intercaler entre l’expérience esthétique et l’expérimentation sociale de l’espace. La « communication anthropologique du sensible » favorisée par des dispositifs artistiques de toutes sortes, permet justement d’illustrer comment l’installation, devenue une scène sociale, transforme tout à la fois notre perception et nos modes d’êtres communicationnels. Pour saisir et mettre en perspective ces enjeux à cheval entre les disciplines de la communication et de l’esthétique, cette réflexion prend comme point d’appui l’espace muséal. Le musée, espace scénographié et régime d’exposition matérialisé, permet d’observer comment le paradigme communicationnel intervient dans les pratiques culturelles à travers le rôle que joue l’espace, alors conçu comme une « scène ». L’installation d’abord envisagée dans le milieu typique de l’hétérotopie muséale, sera observée au fil de ses déterritorialisations dans l’espace social, mais aussi à travers des processus circulaires et réflexifs qu’elle provoque sur notre regard. Il s’agit finalement de se demander comment l’installation non plus seulement artistique peut faire lieu de support ou de modèle pour analyser l’espace communicationnel contemporain et plus loin, une hypothétique « société de l’installation ». / This thesis explores the contemporary communicational space on the basis of the installation form. The challenge is to consider how installation manages to create or renegotiate forms of visibilities in a media-orientated society in which exhibitions have become the norm of what is visible. These sensitive reformulations result from the scenography movement, defined as a process of creation and representation through which “communicational scenography” may be contained. The artistic installation is the archetypal space that will be used to undertake this reflection. Using a corpus of contemporary art installations, we will analyse the processes by which installation leads to a heterogeneous experience of space, which typically favours the immersion of the visitor and the reversal of frameworks which serve to make the real world intelligible. These processes make installation a space which allows for experimentation with the sensory experience in relation to spatial layouts which redefine its division. Installation may be appreciated as a form of scenography constituting of communicational processes and practices which tend to insert themselves in between the aesthetic experience and the social experiment of space. The “anthropological communication of the sensible”, promoted by all sorts of artistic devices, illustrates precisely the way in which installation, as a social stage, transforms both our perception and methods of communication. To grasp and put into perspective these issues, which criss-cross between the disciplines of communication and aesthetic, this reflection will focus upon space specifically within the museum. The museum, acting as both a set designed space and a stage of materialised exhibition, makes it possible to observe how the communicational paradigm intervenes in cultural practices through the role played by space, here defined as a “scene”. Initially considered in the typical environment of museum heterotopia, installation will be observed over the course of its derritorialisation in social space, but also through circular and reflexive processes that it may have on our perspective. In the end, it is a question of whether installation, a not only an artistic practice, can act as a medium or a template to analyse the contemporary communicational space and, further still, as a hypothetical “society of installation”.

This is an arts-informed qualitative research study looking at violence against women and how it affects their educational outcomes. It uses an art installation in which the narratives of the women involved are combined with photographs and real world objects in which viewers take on a ‘walking meditation’ as well as the use of participation stations for viewer feedback and further sharing of stories anonymously. This project is based on the belief that through a feminist research lens, participatory practice with the use of storytelling can be a form of transformation in community development.

This is an arts-informed qualitative research study looking at violence against women and how it affects their educational outcomes. It uses an art installation in which the narratives of the women involved are combined with photographs and real world objects in which viewers take on a ‘walking meditation’ as well as the use of participation stations for viewer feedback and further sharing of stories anonymously. This project is based on the belief that through a feminist research lens, participatory practice with the use of storytelling can be a form of transformation in community development.

This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.

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No. of bitstreams: 1 DissVARF.pdf: 6948850 bytes, checksum: d3b741c4c9de46c3ebb889107367b3e3 (MD5) Previous issue date: 2015-10-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Third places, a term coined by sociologist Ray Oldenburg to describe places other than home (first place) or workplace (second place), places where people attend to socialize with others besides co-workers and family. Third places provide neutral ground for people to express themselves freely, necessary for civil society and civic engagement, helping to create in their regulars the feeling of belonging. Parks, cafes, bakeries, museums, theaters, churches, bars and squares are examples of third places. These places have a key role in community life forging their cultural profile. Such places are characterized by being democratic and accessible, allowing people to discuss politics, the last football game, or the next music festivals, strengthening the notion of community. However, the modern lifestyle and the potential lack of third places can lead people to be more solitary or even have fewer opportunities to attend places that promote socialization, affecting the quality of life and the sense of community. In this context, this research explores how Information and Communication Technologies (ICTs) can provide people opportunities for socializing in a third place, but unlike Oldenburg, independent of the location constraints and time, creating the phenomenon defined as thirdplaceness. Thus, it is expected to use ICTs to go beyond the traditional third places, providing opportunities for people to meet and socialize, reinforcing and extending the concept of third place, as well as confronting the stigma of isolation using technologies. To experience the support of ICTs to thirdplaceness even when there is no conventional third places to bring the community together, it is considered in this proposal the development and the use of an ICT interactive public art installation, called WishBoard. This installation explores the potential of interactions between mobile devices and public displays, allowing people to share with the community messages and their individual aspirations. This public sharing would be the opportunity for people to socialize in that space during the deployment. From the analysis of the shared messages, it was analyzed the role of ICTs to promote thirdplaceness and found evidence the cultural profile of the community in the shared anonymous messages. Considering the content of messages and the behavior of people, it was noticed that the use of public displays combined with interaction on mobile devices can promote a transformation of the place into a meeting place and conversation when they provide a way for individual self-expression and contemplation by the community that expression, causing engagement among people. / Terceiros espaços (do inglês, third places), termo cunhado pelo sociólogo Ray Oldenburg para descrever outros locais que não a casa (primeiro espaço) nem o local de trabalho (segundo espaço), locais que as pessoas frequentam para se socializarem com outros além dos colegas de trabalho e da família. Os terceiros espaços fornecem o espaço neutro para as pessoas se expressarem livremente, necessário para a sociedade civil e o engajamento cívico, ajudando a criar nos seus frequentadores o sentimento de pertencimento. Parques, cafés, padarias, museus, teatros, igrejas, bares e praças são exemplos de terceiros espaços. Esses locais têm um papel fundamental na vida das comunidades forjando o perfil cultural delas. Tais locais são caracterizados por serem democráticos e acessíveis, permitindo que as pessoas discutam política, o último jogo de futebol, ou o show que vai acontecer, fortalecendo assim a noção de comunidade. Contudo, o estilo de vida moderno e a potencial falta de terceiros espaços podem levar as pessoas a serem mais solitárias ou mesmo a terem menos oportunidades para frequentar locais que promovam a socialização, afetando a qualidade de vida e a noção de comunidade. Nesse contexto, esta pesquisa explora como as Tecnologias de Informação e Comunicação (TICs) podem proporcionar às pessoas oportunidades de socialização em um terceiro espaço, mas diferente de Oldenburg, independente das restrições de localidade e de tempo, criando o fenômeno definido como thirdplaceness. Assim, almeja-se usar as TICs para ir além dos tradicionais terceiros espaços, provendo oportunidades às pessoas de se reunirem e se socializarem, reforçando e estendendo o conceito de terceiro espaço, bem como confrontando o estigma de isolamento pelo uso de tecnologias. Para experimentar o apoio de TICs ao thirdplaceness mesmo quando não se tem terceiros espaços convencionais para reunir a comunidade, considera-se neste trabalho o desenvolvimento e uso de uma instalação computacional pública e interativa chamada WishBoard. Essa instalação explora o potencial das interações entre dispositivos móveis e displays públicos, permitindo às pessoas compartilharem com a sua comunidade mensagens e as suas aspirações individuais. Esse compartilhamento público seria a oportunidade para a socialização naquele local durante a instalação. A partir da análise das mensagens compartilhadas, foi analisado o papel das TICs para promover thirdplaceness e foram encontrados indícios do perfil cultural daquela comunidade nas mensagens compartilhadas anonimamente. Considerando o conteúdo das mensagens e comportamento das pessoas, percebeu-se que o uso de displays públicos combinados com a interação por dispositivos móveis pode promover uma transformação do local em um local de encontro e conversa quando fornecem uma forma para autoexpressão individual e contemplação pela comunidade dessa expressão, provocando o engajamento entre as pessoas.

Vondra, M. (2011). The influence of the environment on the art work, environmental art as an inspiration for the ecological and art projects with children, diploma work. Prague: Charles University, Faculty of education, art department, 104 pages. (Attachments out of the book binding - set of 12 paintings, 4 graphic lists and set of 16 photos) This thesis is dealing with the matter of infuence of environment on the art work. It is analyzing differencies in the understanding of the environmental art term, and its historical bases. The thesis is comparing two different cultures - finish and czech, concerning its way of using the term. The comparison show the problematic issue of the czech prehension of the environmental art term. Didactic section presents a project of the mountain leasure time centre focused on the ecological education through the art activities in the nature.

Judy Chicago’s art installation The Dinner Party celebrates historical women and theirachievements, and is considered one of the first epic feminist art pieces. Although The Dinner Party’s huge popularity, Judy Chicago received a lot of criticism regarding her feministagenda and her choices about which women are included in The Dinner Party and how theyare portrayed. The aim of this essay is to explore how The Dinner Party was received in thesecond wave of feminism that it was produced during, what it has meant for the feministmovement and for feminist art through a historical background, contextualize and nuance thecriticism, while also analyzing whether The Dinner Party would still be considered asfeminist art in today’s modern society. The essay is also focused on the symbolism in the artinstallation, the ceramics and the crafts, with help from Roland Barthes method for semioticimage analysis.