The increased popularity of tattooing in recent years serves as the backdrop for this research report. As tattooing has grown in popularity it has become increasingly mainstream and has been embraced by people from all walks of life. In particular, a large Internet archive of tattoos has emerged, that contains narratives by people with tattoos as well as numerous pictures of tattoos. In this research report a discourse analysis was conducted on fifty-two of these Internet postings, in order to ascertain what discourse were in use in these postings. Thus, the discourse analysis looked at the ways in which having a tattoo/ being tattooed were constructed within these postings. In order for the discourse analysis to be conducted, the research first embarked on an extensive review of literature, that looked at the academic readings of tattooing. It was found that these readings were varied, and that it was possible to read tattooing in many different ways. Both positive and negative readings of tattoos are highlighted within the literature review. The theoretical backdrop of social constructionism informs the methodology section of the research, as it presents a detailed and contradictory discussion of the field of discourse analysis. Rather than unproblematically claiming to produce a discourse analysis, the research interrogated the term itself, highlighting the contradictions in the field before narrowing to the presentation of a pragmatic approach to discourse analysis that was used in this specific research report. Following the debate in both the literature review and the methodology, three discourses were identified by the discourse analysis conducted. The first discourse relates to tattooing as being a definition or a redefinition of the self, a way to construct a new and complete identity. The second discourse refers to the process of getting a tattoo as providing access to a certain way of speaking that is only available to those who have tattoos. The third discourse identified looks at the construction of the tattoo artist as expert, and the role that the tattoo artist has as a gatekeeper to the discourses of tattooing. / Dissertation (MA)--University of Pretoria, 2009. / Psychology / unrestricted

Orientador: Hermes Renato Hildebrand / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T08:15:39Z (GMT). No. of bitstreams: 1 Silva_TarcisioTorres_D.pdf: 2111112 bytes, checksum: 92dccad6731c494051753412ef552c72 (MD5) Previous issue date: 2013 / Resumo: Este trabalho procurou investigar a utilização da imagem em manifestações ativistas contemporâneas com ampla repercussão mundial, considerando o impacto das novas tecnologias de comunicação sobre tais práticas, assim como sua relação com as mídias tradicionais. A ênfase dada ao campo da imagem é uma tentativa de propor novas perspectivas de análise a um ambiente de significação em transformação. Em sua composição, nota-se uma produção crescente de cunho amador, além de seu caráter híbrido que agrega ações físicas e virtuais, assim como a propagação em redes de comunicação horizontais e verticais. Para que o objetivo proposto fosse atingido, abordou-se inicialmente o potencial estético-político das imagens mecânicas e eletrônicas com o intuito de localizar elementos existentes em tecnologias de mídia anteriores ao digital que contribuíssem para a argumentação inicial. Em seguida, foi apresentado o campo da biopolítica, com ênfase nos trabalhos de Foucault, além de conceitos essenciais para as análises que se seguiriam, tais como "multidão" (Hardt e Negri) e "trabalho imaterial" (Lazzarato e Negri). Após esta localização teórica, foram propostos dois blocos analíticos. Em ambos, optou-se por observar movimentos que surgiram ao longo do desenvolvimento deste trabalho. No primeiro, destaca-se a Revolução Verde no Irã e a Primavera Árabe no Norte da África e Oriente Médio. Neste momento em especial, foi evidenciado o poder de afecção das imagens dessas manifestações, assim como sua participação na "partilha do sensível", conceito proposto por Jacques Rancière. No segundo bloco, enfatizou-se a ação da ativista egípcia Aliaa Magda Elmahdy e dos grupos feministas Femen e Pussy Riot. Além disso, foi proposta nesta etapa a atualização do conceito de biopolítica por meio das idéias de Nicolas Rose e Giorgio Agamben. Em ambos os momentos de análise, foi observado que o corpo aparece como um elemento central para a compreensão das imagens selecionadas, pois ele é a chave para que sejam entendidas as forças biopolíticas que agem sobre a sociedade contemporânea. Como conclusão, observou-se que as imagens ativistas, de cunho amador e que circulam pelas redes de comunicação digital propõem um novo olhar para a produção político-visual contemporânea em função das particularidades por elas apresentadas. Além disso, tais imagens denunciam um campo paradoxal em que ao mesmo tempo se observa a tentativa de transgressão e uma incômoda simbiose com os sistemas estabelecidos de controle da vida / Abstract: This research investigated the use of the image in contemporary activist expressions which echoed worldwide, considering the new communication technologies impact on such practices and also its relation to traditional media. The emphasis given to the image field is an attempt of proposing new perspectives of analysis to a changing environment of signification. It can be noticed in its composition a growing amateur production, in addition to its hybrid nature which assembles virtual and physical actions, as well as propagation on vertical and horizontal communication networks. In order to achieve the research goal, it was initially discussed the political-aesthetical potential of mechanical and electrical images. The intention was to situate existing elements in media prior to digital that could contribute to the initial argumentation. It was then presented the biopolitics field, emphasizing the works of Foucault and also essential concepts to the following analysis such as "multitute" (Hardt and Negri) and "immaterial labor" (Lazzarato and Negri). After this theoretical approach, two analytical sections were presented. Some of the main movements which emerged along with the development of this research are mentioned in both. In the first section, the Green Revolution in Iran and the Arab Spring in North Africa and Middle East stand out. In this case, it was intended to demonstrate the power of affection inherent in the manifestation images, as well as their contribution to the "distribution of the sensible", a concept proposed by Jacques Rancière. In the second section, the actions of the Egyptian activist Aliaa Magda Elmahdy and the feminist groups Femen e Pussy Riot are emphasized. Besides these analyses, the concept of biopolitics is updated by means of the ideas of Nicolas Rose and Giorgio Agamben. In both moments of investigation, it was observed that the body emerges as a central element to the comprehension of the selected images because it is the key to understanding biopolitcs forces operating on contemporary society. In conclusion, it can be noticed that the amateur activist images circulating in digital communication networks provide a new look to the contemporary visual political production given their particularities. In addition, such images denounce a paradoxical field where it is observed at the same time an attempt to transgression and an uncomfortable symbiosis with established systems of life control / Doutorado / Artes Visuais / Doutor em Artes Visuais

Tras la Revolución Industrial la máquina fue adoptada como epicentro de las prácticas artísticas del siglo XX. Esta fusión con lo popular creó la ecuación arte = vida y, con ello, lo somático se transformó en una manera de reflexionar sobre las repercusiones que la técnica infligía en el cuerpo así como su papel en la sociedad. La Segunda Guerra Mundial silenció este capítulo hasta que ciertos sectores intelectuales se negaron a aceptar un contenido cultural desideologizado. A finales de la década de 1950 se reemprendió la acción corporal en la práctica artística como un lenguaje necesario para atacar la ideología burguesa. Llegamos al año 1968, fecha en la que se despertó la conciencia social contra el totalitarismo y en la que el cuerpo recuperó su categoría. La performance se transformó en el lenguaje apropiado para representar los nuevos valores. Poco a poco se consolidaba un concepto de arte sociológico que defendía la integración del cuerpo en el proceso creativo surgiendo así el Body Art. Sin embargo, algunos y algunas artistas adoptaron elementos configuradores de la corporeidad tales como vestidos, complementos y objetos de diversa naturaleza. Aquel interés que la vanguardia mostró por la tecnología se había transformado en otra de distinta naturaleza que cumplía las mismas funciones que la máquina adquirió a principios de siglo XX: la de "extensión corporal". / Albero Teijeiro, A. (2010). Extensiones corporales en el contexto del Body Art. Revolución del deseo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8496 / Palancia

The thesis titled "The body of the other. The erotics as learning content in Art education." have character of an exploration probe. It focuses on erotism in environment of educational institutions. This work deals with the body and its erotic contents in art education. It seeks to clarify the concept of erotica. This work seeks various overhangs of erotica into philosophy, advertising, school, personal and public life. This thesis is linked to the teaching of erotic theme and with the issues of integration of eroticism in lessons of art education. The aim is to determine how are the children / students on this topic sensitive. All the text is supplemented by authentic testimonies of students, teachers and parents related to the topic of erotica in school.

M. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / This study explores two artistic methods of enquiry in order to firstly better understand the lived experience and its contributions on the formation of sexuality and secondly, to explore how a method can dissect and interrogate a theoretical discourse such as Queer theory. The project takes a twofold approach. In the Practice-led Research (PLR) section, which constitutes the first part, I attempt to utilize PLR as a means of exploring the lived experience along with the artistic contributions PLR might have on the ideation process and identity construction I made use of journal writings as a means for data generation and artistic exploration. The second part of this study, utilizing Research-led Practice (RLP), I attempt to dissect and interrogate Queer theory and the ideation process involved with RLP. I analyse Queer theory as a starting point for my artistic productions and explore and compared the two approaches to one another with regards to the ideation process and the construction of the self. The main aim of this study was to use the strategies of PLR and RLP to interrogate the process of ideation generation. The study set out to achieve three objectives. Firstly, it compares and contrasts the research methods suggested by PLR and RLP, as both operate from different points of ideation. Secondly it compares and contrasts the type of insights (philosophical ideations) around homosexuality and Queer theory that arose from using the two different methods. Lastly it tentatively/speculatively assesses which of the two approaches worked for me both as an artist (the making/ideation process) and as a gay man (the personal philosophical ideation process). In chapter one I discuss the background to the study and where it is situated within academia. In chapter two I discuss the two methodologies namely PLR and RLP and how I made use of them in the artmaking process. In chapter three I discuss the findings of working with PLR. In chapter four I engage with the theoretical discourse of Queer theory. In chapter five I discuss RLP and how Queer theory influenced the artmaking process. In chapter six I conclude with the findings. This study allowed me to channel my lived experience as a valid method of inquiry along with PLR. I discovered that a gay identity is based on personal experiences and shaped by the body. My second body of work (RLP) allowed me to investigate and interrogate Queer theory and I found that a Queer identity sits within a continuum. Working with these two methodological approaches allowed me to expand and grow as both an artist and gay man. Tentatively I conclude that PLR worked effectively for me to achieve this growth, whereas the RLP approach I found somewhat confining. Yet, the RLP approach ‘forced’ me to reconsider my preconceptions and the conclusions I had reached using the PLR approach.

This dissertation has multiple goals. First to analyze self-destructive behavior and its relations to ethics. Secondly to evaluate four different ethical perspectives regarding self-destructiveness from a certain position of human nature. The third goal is to construct a position that deals with self-destructive behavior in a way that is improved and well-managed compared to the four ethical perspectives analyzed earlier. The first goal is met by comparing and evaluating different theories concerning self-destructive behavior and discussing the ethical implications surrounding them. Self-destructive behavior is seen as a way of communicating, which puts a moral pressure on both the self-destructive person and the society around her. The four ethical perspectives represented by Robert Nozick and Thomas Szasz, two neoliberals, James B Nelson, a body theologian inspired by Paul Tillich, Gail Weiss, a body feminist and Mary Timothy Prokes, a catholic body theologian, are hence met by the problem of self-destruct, analyzed and critically evaluated. In the final chapter the author constructs an improved ethical perspective concerned with self-destructiveness, based on altruism, responsibility and broad-mindedness.

Notre recherche porte sur un corpus d' œuvres réputées violentes produites par des artistes femmes au cours des années 1960 et dans la première moitié des années 1970. Ces pièces marquent une entrée fracassante des artistes femmes dans l'art, alors qu'elles y sont largement marginalisées. La première pa11ie démontre qu'après des années 1950 qui voient s'épanouir des pratiques abstraites quelque peu ouvertes aux femmes, les années 1960 marquent une aggravation de leur condition et un moment de moindre visibilité, dans le contexte de succession rapide des mouvements et d'expansion du marché.La seconde partie pose la question de l'affect et de leur usage de la psychanalyse dans un esprit de dépassement du surréalisme. La troisième pa11ie montre l'importance de la figure d' Artaud et du fou à l'œuvre dans un lecture politique et anarchiste de l'art corporel. Enfin, la demi ère partie énonce un paradoxe : l'art féministe n'est pas violent et rejette la violence; les pratiques les plus agressives sont le fait, toujours, d'artistes isolées ou transféré du côté du para-artistique .. Mettant en valeur la persistance de courants« chauds» en parallèle de mouvements réputés froids, ce travail invite à un infléchissement dans la définition des grands courants des années 1960 et 1970. Artistes: Louise Bourgeois, Niki de Saint-Phalle, Nancy Spero, Eva Hesse, Yayoi Kusama, Alina Szapocznikow, Annette Messager, VALIE EXPORT, Marina Abramovic, Gina Pane, ORLAN, Ana Mendieta, … / Our research deals with a group of works produced by women artists between 1960 and the first half of the 1970s. These pieces constitute the impressive apparition of women in art, though they are still largely marginalized. The first part of our study shows that, whereas the 1950s were a time for abstract practices still relatively open to women, in the 1960s their position as artists become more difficult and they Jack more visibility in the context of the succession of new "avant-garde" movements and the expansion of the market. The second part deals with the issue of "affect" et of the use they make of it, and of psychoanalysis, in a challenging spirit with surrealism. The third part focused on anarchy, anti-psychiatry, the figure do the "fool" and Antonin Artaud in the context of happenings and body art. The last part enounces a paradox: feminist art is non-violent; the most aggressive practices are by isolated women or transfered I para-artistic actions. Showing the persistence of "warm" trends within "cool" "avant-garde" movements, this study advocates for a move in the characterization of the great art movements of the 1960s and the 1970s. Artistes: Louise Bourgeois, Niki de Saint-Phalle, Nancy Spero, Eva Hesse, Yayoi Kusama, Alina Szapocznikow, Annette Messager, VALIE EXPORT, Marina Abramovic, Gina Pane, ORLAN, Ana Mendieta, …

This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors.  Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship.  Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political  radicalism go hand in hand.  Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces.  Her work is also described as object writing: a literary equivalent to surrealist object art.  A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a more than fourteen-year body of work about these relationships that explore the implications of feminine imagery. Antoni’s works are an effort to distinguish her body as a feminine subject-object, but also to identify with as well as separate herself from the mother. While she is a conceptual artist, Antoni puts great emphasis on materiality. For her, the concept defines itself within the materials, and it is the process of the making that interests her most, empowering what is traditionally overlooked, forgotten, or disempowered. As she alternately separates from and connects with the mother and the foremothers of the artistic heritage that have surely contributed to establishing this identity, Antoni allows new images of the female to be made visible in a culture where they have traditionally been lacking.

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.