Made available in DSpace on 2014-12-17T14:36:53Z (GMT). No. of bitstreams: 1 RosieMNM.pdf: 2197121 bytes, checksum: ba99ddfb3888487346009033e75d7864 (MD5) Previous issue date: 2005-08-12 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / In the Renaissance, the anatomy project a map of the body. Since then, the human body has been investigated for innumerable techniques, configuring new landscapes on the condition human being and the proper knowledge. In accordance with Merleau-Ponty (1975), All technique is body technique. It configures and extends the Metaphysical structure of our meat. In this direction, any intervention in the human body, a tattooing, a surgery or a performance, extends the perception and the directions of the existence of the subject. Merleau-Ponty (1975) still affirms, that all technique presents objective interventions. However, the body, ahead of these interventions, doesn t have to be considered only object, but subject that, from the interventions, attributes sensible and meanings through the movements, also being this its way of being in the world. Searching to extend this reflection on the discontinuities between the object body and the subject body, as well as, with the objective to reflect on the relation between the corporal techniques and the production of the subjectivity and the knowledge of the physical education, we reflect on the body art, as one technique of body that marks the exterior of the body, exteriorizing the subjectivity, to search new means to the body and that ahead of this, we believe being able to project innumerable directions for the corporal transformations in the contemporarily. As a method for our reflection in we will support them in the phenomenology. IT presents as a new ontology, in which distinction does not occur enters the operating paper of the citizen that knows and the influence of the known object. The phenomenological understanding of body will be able to contribute with the knowledge of the Physical Education, a time that gives us important arguments on the experience of the body in relation with the nature, the culture, history. To be a body is to be tied to a world that we do not possess completive, but that we do not cease to search it / Na Renascen?a, a anatomia projeta um primeiro mapa do corpo. Desde ent?o, o corpo humano tem sido esquadrinhado por in?meras t?cnicas, configurando novas paisagens sobre a condi??o humana e sobre o pr?prio conhecimento. De acordo com Merleau-Ponty (1975), Toda t?cnica de corpo amplia a metaf?sica da carne. Nesse sentido, qualquer interven??o no corpo humano, seja uma tatuagem, uma cirurgia ou uma performance, amplia a percep??o e os sentidos da exist?ncia do sujeito. Merleau-Ponty (1975) afirma ainda, que toda t?cnica apresenta interven??es objetivas. No entanto, o corpo, diante dessas interven??es, n?o deve ser considerado apenas objeto, mas tamb?m sujeito que, a partir das interven??es, atribui sentidos e significados por meio dos movimentos, sendo este seu modo de ser e estar no mundo. Buscando ampliar essa reflex?o sobre as descontinuidades entre o corpo objeto e o corpo sujeito; bem como, com o objetivo de refletir sobre a rela??o entre as t?cnicas corporais e a produ??o da subjetividade e o conhecimento da educa??o f?sica, refletimos sobre a body art, como uma t?cnica de corpo que marca o exterior do corpo, exteriorizando a subjetividade, de buscar novos sentidos ao corpo e que diante disso, acreditamos poder projetar in?meros sentidos para as transforma??es corporais na contemporaneidade. Como m?todo para a nossa reflex?o nos apoiamos na fenomenologia de Merleau-Ponty. Esta se apresenta como uma nova ontologia, na qual n?o ocorre distin??o entre o papel atuante do sujeito que conhece e a influ?ncia do objeto conhecido. A compreens?o fenomenol?gica de corpo poder? contribuir com o conhecimento da Educa??o F?sica, uma vez que disponibiliza argumentos importantes sobre a experi?ncia do corpo em rela??o com ? natureza, ? cultura, ? hist?ria. Ser corpo ? estar atado a um mundo que n?o possu?mos completamente, mas que n?o cessamos de busc?-lo

This hermeneutic phenomenological inquiry describes the lived experiences of three visibly tattooed teachers and what it is like to sense their tattooed flesh while they are at school. Lived experience descriptions were collected during in-depth interviews and from personal reflective writings conducted by the study author, who is also a tattooed teacher. Using hermeneutic research approaches outlined by Max van Manen and Linda Finlay, lifeworld descriptions of visibly tattooed teachers are presented in the form of anecdotal passages that urge readers to ‘step into tattooed skin’. Drawing from Maurice Merleau-Ponty’s phenomenology of perception, Luce Irigaray’s work on intersubjectivity, Michel Foucault’s notion of the disciplinary gaze, theories of the look in education forwarded by Madeline Grumet, and Judith Butler’s notion of subversive bodies, meanings are made of tattooed teachers’ experiences of adopting uncomfortable teacher identities and then growing comfortable in their professional roles. Through hermeneutic analysis, five main themes are presented, constituting the “essences” of the phenomemon of living as a visibly tattooed teacher: Trying to Fit; Mis-fit; Fit. You? Fit You!; Fitting In; and One Size Does Not Fit All.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Insititute of Technology, 2006. / The aim of this dissertation is to investigate and critically evaluate the use of skin as a form of identity in Zulu culture. This investigation wil /foc'uu on the historical and contemporary practices of scarification and ear - piercing in Zulu culture. 1 In Chapter One, Section One the candidate will discuss the scarification and tattooing i techniques, and refer to the decline in the practice of scarification in contemporary Africa. 'l The scarification and tattooing techniques have the following elements in common, incisions `made on the body or skin to create scar patterns or shapes. Chapter \xAEne, Section Two the candidate will discuss the different purposes of carification practiced by people in Africa Scarification has traditionally been used for any different purposes, such as rite of passage, tribal/clan identity, civilizing, beauty, sexual atttraction, healing and medicinal. In Chapter Two, Section One the candidate will discuss the concepts of culture and identity and propose a definition of identity and culture for the purposes of this dissertation. In Chapter Two, Section Two the candidate will write a personal history and describe the origins of his identity. Chapter 'two, Section Three will discuss the historical formulation 0. of Zulu identity and culture. Chapter Two, Section ]Foam will investigate how internal and external influences have changed Zulu identity and culture over time. / M

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-24T11:53:11Z No. of bitstreams: 1 Nicolas D. R. Garavello.pdf: 4236315 bytes, checksum: 1e2a745c289df2ef930dafffac11f8fd (MD5) / Made available in DSpace on 2017-10-24T11:53:11Z (GMT). No. of bitstreams: 1 Nicolas D. R. Garavello.pdf: 4236315 bytes, checksum: 1e2a745c289df2ef930dafffac11f8fd (MD5) Previous issue date: 2017-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research is dedicated to shed light on on the on contemporary artistic practices, with a special interest on performance art, exploring the body as a support for artistic production and seeking to understand the possibilities of building a body, or a body based practice, from a wound. Seeking to find an aesthetic thickness to the pain, and to create a theoretical approximation about death and life processes, outside a dichotomous regime of opposition, but as two potential components of the same creative process. With a special attention to the Latin American context, and in how the colonial enterprise creates a repertoire of hegemonic and marginal bodies, this dissertation focuses on experiences that propose the use of the dissident body as field of work, that operates politicals and aesthetics strategies to transpose the experience Of exclusion and oppression, in affirmative actions to support lives that are not Attached to categories, lives that insists on being differentiated, and that use the art practices as a tool of transformation and celebration of our own misfitness / Este trabalho de pesquisa se dedica a lançar um olhar sobre as práticas artísticas contemporâneas, e em especial sobre a arte da performance, explorando o corpo como suporte da produção artística e abordando as possibilidades do mesmo se constituir a partir da noção de ferida. Buscando assim encontrar uma espessura estética da dor, e criar uma aproximação teórica de processos de morte e de vida fora de um regime dicotômico de oposição, mas como potências compositivas de um processo criativo. Com uma atenção especial ao contexto latino americano, e em como o empreendimento colonial funda um repertório de corporeidades hegemônicas e marginais, Esta dissertação se debruça sobre experiências que propõem o uso do corpo dissidente como obra, que operam estratégias político-estéticas para transpor a experiência de exclusão e opressão, em ações afirmativas de vidas que se não se fixam em categorias, que insistem em se diferenciar, e que usam da arte como ferramenta de transformação e celebração do próprio corpo dissidente

This hermeneutic phenomenological inquiry describes the lived experiences of three visibly tattooed teachers and what it is like to sense their tattooed flesh while they are at school. Lived experience descriptions were collected during in-depth interviews and from personal reflective writings conducted by the study author, who is also a tattooed teacher. Using hermeneutic research approaches outlined by Max van Manen and Linda Finlay, lifeworld descriptions of visibly tattooed teachers are presented in the form of anecdotal passages that urge readers to ‘step into tattooed skin’. Drawing from Maurice Merleau-Ponty’s phenomenology of perception, Luce Irigaray’s work on intersubjectivity, Michel Foucault’s notion of the disciplinary gaze, theories of the look in education forwarded by Madeline Grumet, and Judith Butler’s notion of subversive bodies, meanings are made of tattooed teachers’ experiences of adopting uncomfortable teacher identities and then growing comfortable in their professional roles. Through hermeneutic analysis, five main themes are presented, constituting the “essences” of the phenomemon of living as a visibly tattooed teacher: Trying to Fit; Mis-fit; Fit. You? Fit You!; Fitting In; and One Size Does Not Fit All.

Ce projet de recherche-création tient du postulat qu'il est possible de composer des chorégraphies en l'absence du chorégraphe. Plus précisément, je propose dans ma thèse de simuler le processus de composition chorégraphique en évacuant tout choix subjectif de la part du chorégraphe. La choréogénétique, c'est l'approche expérimentale qui me permet de répondre à cet objectif théorique. L'ADN, c'est le substrat moléculaire qui me permet pratiquement de remplacer la partition chorégraphique. Deux questions principales motivent mes travaux de recherche doctorale : comment faire danser l'ADN et pourquoi faire danser l'ADN. La première question fait référence à l'aspect scientifique de ma démarche, tandis que la seconde fait appel à des considérations d'ordre artistique. L'ensemble de ma thèse s'inscrit au sein de ce dualisme philosophique : le comment du pourquoi, l'objectif et le subjectif, le quantitatif et le qualitatif. À l'interface des paradigmes de l'art et de la science, ma pratique hybride participe de la rencontre entre ces deux champs de la connaissance. Le chorégraphe est un mutagène sélectif. Ma démarche artistique repose sur cette définition toute simple qui fait office d'hypothèse et de prédiction à la fois. Pour être à même de mettre à l'épreuve la validité de cette hypothèse, j'adopte dans le cadre de ma thèse une approche exploratoire; un aller-retour perpétuel entre la théorie et la pratique. Par l'entremise de la méthode expérimentale, j'évalue mon hypothèse selon différents critères de composition chorégraphique et sous différentes conditions de représentation. Je présente les résultats de six expérimentations chorégraphiques réalisées dans le contexte précis de ma thèse création. Pour certaines œuvres, le chorégraphe est remplacé par un algorithme génétique qui simule in silico des séquences de mouvements. Pour d'autres, c'est la molécule d'ADN que j'utilise in vitro pour générer des partitions chorégraphiques. Dans tous les cas, l'œuvre choréogénétique découle des mutations de séquences de mouvements soumises à la sélection naturelle. Dans tous les cas, c'est un mutagène sélectif distinct qui préside à la composition. J'analyse les différences et les similitudes entre ces expérimentations sur la base de critères quantitatifs et qualitatifs. En prenant forme dans l'espace public, mes performances convoquent différents rapports du corps dansant avec l'espace-temps. Divers types de relation au lieu modulent les conditions de représentation de l'œuvre, tandis que la durée des performances affecte tout autant le danseur que le spectateur. J'aborde également les rapports au corps du danseur dans une perspective génétique et phénoménologique. Finalement, le rapport au public s'inscrit dans le cadre de l'esthétique relationnelle. J'accorde une importance toute particulière à la fonction pédagogique de ma pratique et je discute du rôle du médiateur qui incite à la rencontre du spectateur. J'analyse mes différentes expérimentations en fonction de plusieurs critères d'évaluation de l'art. Je me demande si l'expérimentation choréogénétique est une œuvre d'art, une expérience scientifique ou les deux. À l'aide des notions générique, génétique, intentionnelle, attentionnelle et institutionnelle de l'œuvre d'art, je pose un regard critique sur mon travail. Face aux critiques épistémologiques de ma démarche, j'offre une réponse qui tient d'une sociologie de la transgression en art contemporain. Dans quelles conditions l'art et la science peuvent-elles cohabiter? Cette question fondamentale tisse la trame de fond de ma recherche-création. À la recherche d'un langage commun, l'expérimentation présente une solution méthodologique à la rencontre de ces deux solitudes. De l'interdisciplinarité à la transdisciplinarité et à la paradisciplinarité, je revendique néanmoins le droit de pratiquer l'art et la science en parallèle : ni l'un, ni l'autre, mais les deux. À l'interface de la danse et de la génétique, ma recherche parle également d'art combinatoire, d'art biotechnologique, d'art génératif, d'art corporel, d'art contextuel, d'art relationnel, d'art conceptuel et de performance. Où me classer? Mon travail polymorphe s'apparente au corps protéiforme de l'amibe, en constante transformation, en mutation pour s'adapter à son environnement. Mon travail participe, tant dans le fond que dans la forme, de cette évolution créatrice. Pour terminer, je fais un retour sur l'hypothèse qui m'a permis de réaliser cette recherche-création. J'offre en guise de conclusion une nouvelle hypothèse qui généralise le mutagène sélectif à l'ensemble des pratiques artistiques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art combinatoire, Art contextuel, Art corporel, Art génératif, Art génétique, Bioart, Danse, Performance, Science

Samhället och dess maktstruktur utgör navet i den ”sociala kropp” vars normaliseringsprocesser med lagar, kontroll och överförmyndande – pulserar likt näring för överlevnad genom befolkningen. Ett gigantiskt, finslipat maskineri som producerar ”fogliga kroppar” vars levnadsvillkor här sätts och påverkar det kroppsliga livsbetingelserna som fysisk- och mental hälsa.

Thesis (M.M.)--University of North Texas, 2002. / A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.

This thesis examines the possibilities of the tattoo as a collectible. Specifically, three different modes of collecting and displaying tattoos; as a living museum on the body of the tattooed subject, as a skin specimen separated from the body and displayed in a variety of museum settings and, finally, as an image abstracted from the body in the form of photographs of tattooed sitters. Implicit in this journey from body art to artifact is a consideration of the changing meaning and significance of tattoos in the evolving discourse of visual culture. Once regarded as markers of social deviance - as symbols of exclusion or marginalization - tattoos have become a much more popular and widely accepted form of body art - signs of community, affinity and inclusion. The growing popularity of tattoos has also led to a reconsideration of their status as an art form, an elevation of what was once considered a 'low art' process to the realm of high art. This shift has only recently led to an increase in scholarship about tattoos within the discourses of both art history and visual culture. In this thesis I examine this new scholarship about tattoos in visual culture, and then go one step further by considering tattoos as visual objects within the culture of collecting. Specifically, I examine tattoos as collectible 'souvenirs', as specimens and, when reproduced as photographs, as socially resonant signs of identity and meaning. These case studies examine tattoo art from various perspectives. Primarily, as art collected on the body, but also as imagery existing separate from a physical form, just like the majority of collected artwork.