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1	Análise semiótica da videoarte: um estudo da obra de Bill Viola / Semiotics analysis of the video art: a study of Bill Viola´s work Sanoki, Ricardo Akira 13 July 2015 (has links) O objetivo desta dissertação é aplicar as teorias da semiótica de linha francesa, inicialmente desenvolvida por A. J. Greimas, para analisar os efeitos de sentido e significação em três trabalhos de video arte realizados pelo artista americano Bill Viola:The space between the teeth (1976), The reflecting pool (1979) e The passing (1991). A linguagem da video arte é muito presente na arte contemporânea, porém os estudos e pesquisas dessa área artística são escassos. Entre os estudos semióticos que pesquisam as linguagens das Artes Visuais, encontramos análises de filmes de cinema, video clipes de músicas, comerciais de televisão, animações, porém não encontramos nenhuma pesquisa relacionada a trabalhos de video arte. Por essa razão nossa pesquisa não teve nenhuma base de referência para a utilização da teoria semiótica na análise de trabalhos de vídeo arte, partindo inicialmente do estudo de análises semióticas de histórias em quadrinhos. Um resumo da história da video arte é apresentado no primeiro capítulo. As teorias que utilizamos são resumidamente explicadas no capítulo 2, no qual damos ênfase para o percurso narrativo do sentido, as relações semi-simbólicas nas línguagens visuais e os novos estudos da semiótica tensiva, proposta por Claude Zilberberg, dela utilizamos o fazer missivo para analisar a estrutura e o fluxo narrativo dos vídeos. No capítulo 3 são realizadas as análises. / The purpose of this work is to use the Semiotic Theory, desenvolved by A.J. Greimas, to analyze three videos of the american artist, Bill Viola: The space between the teeth (1976), The reflecting pool (1979) and The passing (1991). The presence of the video art in the contemporary art is very strong, but the studies and researches in this artistic field is very low. Therefore, our work began with no references of other works that had already analyzed or studied the video art, só we started with some semiotics studies of comic books. In the first chapter we introduce a resume of the history of video art. In the second chapter we explain the theories we are using, mainly the course generate of meaning, the semi-simbolics relations in the visual languages and the news studies of the tensive semiotic, proposed by Claude Zilberberg, from this theory we use the missivity to analyze the structure and the flux of the narrativity in the videos. In the third chapter we presents the analyzes. Bill Viola Bill Viola Semiótica tensiva Tensive Semiotics Video art Video arte
2	Análise semiótica da videoarte: um estudo da obra de Bill Viola / Semiotics analysis of the video art: a study of Bill Viola´s work Ricardo Akira Sanoki 13 July 2015 (has links) O objetivo desta dissertação é aplicar as teorias da semiótica de linha francesa, inicialmente desenvolvida por A. J. Greimas, para analisar os efeitos de sentido e significação em três trabalhos de video arte realizados pelo artista americano Bill Viola:The space between the teeth (1976), The reflecting pool (1979) e The passing (1991). A linguagem da video arte é muito presente na arte contemporânea, porém os estudos e pesquisas dessa área artística são escassos. Entre os estudos semióticos que pesquisam as linguagens das Artes Visuais, encontramos análises de filmes de cinema, video clipes de músicas, comerciais de televisão, animações, porém não encontramos nenhuma pesquisa relacionada a trabalhos de video arte. Por essa razão nossa pesquisa não teve nenhuma base de referência para a utilização da teoria semiótica na análise de trabalhos de vídeo arte, partindo inicialmente do estudo de análises semióticas de histórias em quadrinhos. Um resumo da história da video arte é apresentado no primeiro capítulo. As teorias que utilizamos são resumidamente explicadas no capítulo 2, no qual damos ênfase para o percurso narrativo do sentido, as relações semi-simbólicas nas línguagens visuais e os novos estudos da semiótica tensiva, proposta por Claude Zilberberg, dela utilizamos o fazer missivo para analisar a estrutura e o fluxo narrativo dos vídeos. No capítulo 3 são realizadas as análises. / The purpose of this work is to use the Semiotic Theory, desenvolved by A.J. Greimas, to analyze three videos of the american artist, Bill Viola: The space between the teeth (1976), The reflecting pool (1979) and The passing (1991). The presence of the video art in the contemporary art is very strong, but the studies and researches in this artistic field is very low. Therefore, our work began with no references of other works that had already analyzed or studied the video art, só we started with some semiotics studies of comic books. In the first chapter we introduce a resume of the history of video art. In the second chapter we explain the theories we are using, mainly the course generate of meaning, the semi-simbolics relations in the visual languages and the news studies of the tensive semiotic, proposed by Claude Zilberberg, from this theory we use the missivity to analyze the structure and the flux of the narrativity in the videos. In the third chapter we presents the analyzes. Bill Viola Semiótica tensiva Video arte Bill Viola Tensive Semiotics Video art
3	Det figurala och den rörliga bilden : Om estetik, materialitet och medieteknologi hos Jean Epstein, Bill Viola och Artintact / The Figural and the Moving Image : On Aesthetics, Materiality and Media Technology in the Work of Jean Epstein, Bill Viola and Artintact Hansson, Karl January 2006 (has links) This dissertation is a comparative study of the concept of the figural in relation to moving images with three case studies on filmmaker and writer Jean Epstein (1897-1953), video artist Bill Viola (1951-) and the cd-rom art magazine Artintact 1-5 (1994-1999). The conceptually focused case studies also enable a comparison between the different media technologies of film, video and new digital media. The figural is a concept originally used by Jean-François Lyotard and has resurfaced in the works of Jacques Aumont, Philippe Dubois, Nicole Brenez and D. N. Rodowick. Building on ideas expressed by these writers I show how the figural is a concept describing a border zone between abstraction and representation, where focus is on the image as event and process, and various effects due to image manipulation. I argue that a figural approach enables a more nuanced understanding of visual materiality as well as of new relationships between image and text. I also show how the figural can be understood as part of a ”new aestheticism”, where the relationship between viewer and image is emphasised. On a conceptual level the figural is put in relation to the concept of a ”haptic visuality” and the so-called ”post-medium condition”. In the reading of Jean Epstein the figural is used to foreground aspects of ”thinking with images”, and of a ”temporal perspective” as a new visual matter. In the case of Bill Viola the figural is to be found for example in his frequent use of slow motion as an embodied visuality. In the case of Artintact the figural is used to show how digital media is not as immaterial as often claimed, on the contrary the digital brings a new importance for visual materiality. Taken together these aspects introduce the figural as an important element for our understanding of visual culture. Estetik visuell kultur filmteori videokonst digitala medier det figurala haptisk visualitet Jean Epstein Bill Viola Artintact Film Filmvetenskap
4	A STUDY OF SPIRITUALITY IN CONTEMPORARY VISUAL ART AND FOUNDATIONS FUNDING Guion, David Stanton 24 June 2008 (has links) No description available. Art History Art Education Fine Arts Philosophy spirituality Bill Viola postmodern theory sublime philanthropic foundations philanthropy contemporary art
5	Tränen in der modernen Kunst Spiekermann, Geraldine 15 June 2012 (has links) Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. / Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies. Körper Tränen Weinen Gefühl Affekt Ausdruck Grenzüberschreitung Körperflüssigkeiten Moderne Kunst Zeitgenössische Kunst Man Ray Madame Yevonde Sam Taylor-Wood Pablo Picasso Hans Bellmer Marina Abramovic Gina Pane Bill Viola Bas Jan Ader Daniele Buetti Dieter Roth Colyn de Coter Dirk Bouts Secondo Pia Georges Bataille Body Tears Crying Emotion Affect Expression Transgression Bodily Fluids Modern Art Contemporary Art Man Ray Madame Yevonde Sam Taylor-Wood Pablo Picasso Hans Bellmer Marina Abramovic Gina Pane Bill Viola Bas Jan Ader Daniele Buetti Dieter Roth Colyn de Coter Dirk Bouts Secondo Pia Georges Bataille 700 Künste, Bildende Kunst allgemein 46 Bildende Kunst LH 84123 ddc:700
6	Diaspora, identity and Xhosa ancestral tradition: culture in transience Nkosinkulu, Zingisa January 2015 (has links) Text in English / Most Xhosa people experience the condition of feeling dislocated and confused when choosing a spiritual belief between Christianity and Xhosa ancestral traditions. This study uses the concept of diaspora to describe the mental dislocation that people whose culture has changed experience. This study is based on the phenomenon of diaspora as a state of identity in the contemporary cultural identity of amaXhosa, the people of the Eastern Cape Province, by exploring the interrelationship between the key concepts, namely, identity, culture, land, and home as they relate to ancestral worship and Christian practice. Two installation artworks by Bill Viola and Nicholas Hlobo were selected for a comparative analysis under the spectacle of Xhosa ancestral tradition. In this study, I seek to understand how identity is constructed within a particular geographical and ideological culture and how self-identity can be constituted through the construction, deconstruction, and reconstruction of cultural histories. Touching on notions of mediation, altar, and dislocation, this study uses Martin Buber’s concept of I AND THOU to weave the key concepts together. / Art History, Visual Arts & Musicology / M.A. (Visual Arts) Xhosa Identity Xhosa ancestral traditions Diaspora Auto-ethnography Bill Viola Nicholas Hlobo Isivivane Ocean without a shore Umthubi Mediation Interculturalism 305.8963985 Christians--South Africa
7	A porous field: immersive inter-media installation and blurring the boundaries of perception Verban, Alison Jane January 2007 (has links) Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles. creative practice, practice-led research
8	Diaspora, identity and Xhosa ancestral tradition: culture in transience Nkosinkulu, Zingisa January 2015 (has links) Text in English / Most Xhosa people experience the condition of feeling dislocated and confused when choosing a spiritual belief between Christianity and Xhosa ancestral traditions. This study uses the concept of diaspora to describe the mental dislocation that people whose culture has changed experience. This study is based on the phenomenon of diaspora as a state of identity in the contemporary cultural identity of amaXhosa, the people of the Eastern Cape Province, by exploring the interrelationship between the key concepts, namely, identity, culture, land, and home as they relate to ancestral worship and Christian practice. Two installation artworks by Bill Viola and Nicholas Hlobo were selected for a comparative analysis under the spectacle of Xhosa ancestral tradition. In this study, I seek to understand how identity is constructed within a particular geographical and ideological culture and how self-identity can be constituted through the construction, deconstruction, and reconstruction of cultural histories. Touching on notions of mediation, altar, and dislocation, this study uses Martin Buber’s concept of I AND THOU to weave the key concepts together. / Art History, Visual Arts and Musicology / M.A. (Visual Arts) Xhosa Identity Xhosa ancestral traditions Diaspora Auto-ethnography Bill Viola Nicholas Hlobo Isivivane Ocean without a shore Umthubi Mediation Interculturalism 305.8963985 Christians--South Africa

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