Through a detailed analysis of a selection of works produced between 1999 and 2003 by the South African artist Berni Searle, this thesis explores the need to theorise a corporeal viewer in the process of interpreting art works. Such an approach is particularly necessary when dealing with an artist such as Searle because her work, which deals predominantly with the theme of identity, appeals not only to conceptual but also to experiential and corporeal understandings of identity. Searle incorporates the viewer into an experience of her own identity through a physical identification that the viewer feels in relation to her work. For viewers this means that they are made aware of how their own identity in the moment of interpretation is contingent on visual, mental and physical components. In order to develop this argument the work of psychoanalyst Jacques Lacan and the phenomenologist Maurice Merleau-Ponty is drawn on. These two theorists are very useful for an argument of this nature because both interpret identity as a construction involving an enfolding between the mind and, via the act of vision, the body of the subject. Through an inclusion of the corporeal element in interpretation, this thesis also offers a critique of interpretive theories that would reduce analysis to an interaction between eye and mind by analyzing how the viewer's body participates in the act of looking.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T17:41:27Z No. of bitstreams: 1 A BURLA DO CORPO completa.pdf: 62838222 bytes, checksum: 5df21f041ac8b4a2f3da9784f8a8ee00 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T19:04:56Z (GMT) No. of bitstreams: 1 A BURLA DO CORPO completa.pdf: 62838222 bytes, checksum: 5df21f041ac8b4a2f3da9784f8a8ee00 (MD5) / Made available in DSpace on 2018-08-27T19:04:56Z (GMT). No. of bitstreams: 1 A BURLA DO CORPO completa.pdf: 62838222 bytes, checksum: 5df21f041ac8b4a2f3da9784f8a8ee00 (MD5) / O corpo é o lugar onde as pesquisas artística e acadêmica se articulam para gerar questões problematizadas. Neste trabalho, os horizontes metodológicos tem como base um pensamento geográfico, espacial, que procura cartografar as noções que vão sendo construídas em processo ao longo da pesquisa. Inspirada pelo pensamento de autores como Nietzsche, Foucault, Susan Sontag, Oswald de Andrade, Cássia Lopes e Suely Rolnik, o corpo emerge não somente como objeto, mas como o próprio agente do estudo. A burla – retirada de dentro da moldura do gênero burlesco (visto principalmente em dicionários etimológico e de termos literários, bem como em O Riso Burlesco, de Georges Minois, e na análise do movimento New Burlesque) – aparece como uma estratégia de criação do corpo, que pretende operar a partir de suas marcas (sendo algumas delas o gênero, visto por Judith Butler, bem como o colonialismo e estereotipização, apontadas por Homi K. Bhabha, entre outras), dando visibilidade e potência a características que estão impedidas de se desenvolver dentro dos discursos da tradição racionalista e colonial. Percebe-se, através da descrição e análise de alguns processos criativos (dos trabalhos Los Juegos Provechosos, 2009; Simpatia Full Time, 2008-2010; Burlescas, 2009; Salmon Nela, 2007; e Technomaravilha, 2010), que pontos de bloqueio e aprisionamento dos estereótipos tornam-se evidentes quando o corpo está em performance. Na burla do corpo, rompe-se com as lógicas e práticas normatizadoras, criando possibilidades de reinvenção. O trabalho problematiza, além disso, certos engessamentos de procedimentos e metodologias de criação no campo das artes cênicas (dança e teatro). Tais pontos de fixidez também corroboram para a manutenção de concepções de corpo que, numa prática artística comprometida politicamente, necessitam ser revistas e modificadas. A pergunta de Espinosa, atualizada por Deleuze e Guattari – o que pode o corpo? – é uma questão norteadora. Das práticas artísticas mencionadas (nas quais participei como performer), emerge o corpo que chacoalha – borrando contornos e inaugurando uma erótica própria ao ato performático (Massimo Canevacci). Esse chacoalhar torna-se um dos caminhos possíveis para iniciar a burla do corpo. O corpo que burla é uma resposta criativa à pergunta de como seria possível descolonizar o corpo, feita por André Lepecki, pois ele se torna um caminho para a leitura crítica de dados culturais. / The body is the local where the artistic and the academic researches are articulated to generate problematized issues in this work. Here, the methodological horizons are based on a geographical thinking, in a spatial point of view, that seeks to drawing up cartographically the concepts that are being built throughout the research process. Inspired by the thought of authors such as Nietzsche, Foucault, Susan Sontag, Oswald de Andrade, Cassia Lopes and Suely Rolnik, the body emerges not only as an object but as the subject in this study. The burla – extracted from the frame of the burlesque genre (studied in etymological dictionary, literary terms dictionary, in Georges Minois's article The Burlesque Laughter, as well on the analysis of the New Burlesque movement) – appears like a strategy to the creation of the body which want to operate from its scars (some of which are the gender, seen by Judith Butler, as well as colonialism and stereotyping, highlighted by Homi K. Bhabha, among others), giving visibility to potency and characteristics that are prevented from developing within the discourses of colonial and rationalist tradition. It's possible to note through the description and analysis of some creative processes (the works Los Juegos Provechosos, 2009; Simpatia Full Time, 2008-2010; Burlescas, 2009; Salmon Nela, 2007; and Technomaravilha, 2010), the blockade and entrapment points from the stereotypes that becomes evident when the body is in performance. In the burla of the body, it breaks up with logical and normalizing practices, creating possibilities for reinvention. This research discusses, in addition, a certain fixity of procedures and methodologies in the field of the performing arts (dance and theater). Such fixed points also supports for the maintenance of body conceptions that a politically engaged art practice needs to review and modify. The question of Spinoza, updated by Deleuze and Guattari – what can a body do? – is a north query. From the mentioned artistic practices (in which I participated as a performer) emerges the shaking body – blurring boundaries and inaugurating a peculiar erotica born in the performative act (Massimo Canevacci). This shake becomes one of the possible ways to start the burla of the body. The body that does the burla is one artistic answer to André Lepecki's issue how to revert the colonization of the body, because it could be a way to read and to criticize cultural data.

No description available.

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:20:26Z (GMT). No. of bitstreams: 1 Pereira_AdrianaCamargo_M.pdf: 5246882 bytes, checksum: cf0d620ec8d8535bb1019ffa7415bdf4 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação reflete sobre a necessidade de pensar, investigar e estudar o corpo na arte contemporânea. O local que se elegeu para abordar o objeto de estudo foi o Instituto Inhotim - Centro de Arte Contemporânea, que se encontra em Brumadinho - MG. O texto está dividido em quatro capítulos. O primeiro capítulo busca compreender de quais corpos se está tratando, das suas especificidades, dos seus entrelugares e de que forma esses corpos se manifestam na arte contemporânea. O segundo capítulo aborda a discussão do corpo, seus reflexos e sua duplicidade segundo as instalações das artistas Valeska Soares e Yayoi Kusama. No terceiro capítulo, trava-se uma discussão entre os artistas e as respectivas obras de Matthew Barney e Tunga, onde o corpo se coloca em constantes questionamentos e diálogos entre o híbrido e o metamorfoseado. E no quarto e último capítulo, referendam-se questões acerca do corpo e da tecnologia onde novas geografias sonoras e audiovisuais são pensadas e executadas como forma de incorporar os dispositivos e os meios eletrônicos quase inseparáveis e indispensáveis para os indivíduos, hoje, no espaço da arte e como prolongamento do corpo; para tanto foram selecionados o casal Cardiff & Miller e o artista Doug Aitken / Abstract: This essay shows the need that one has to think, investigate and study the body in contemporary art. Inhotim Institute - Center of Contemporary Art, located at Brumadinho - MG was the chosen place for this thesis. The text has been divided into four chapters. The first chapter searches to understand which bodies are being discussed; their specificities, their "in-between-places" and most of all how these bodies are manifested in contemporary art. The second chapter addresses the discussion of the body, its reactions and its duplicity; all in accordance with the installations of the artists Valeska Soares and Yayoi Kusama. The third chapter welcomes you into a debate between the artists Matthew Barney and Tunga, and their works. Where the body is put into questioning, and an open dialogue surges between the hybrid and the modified. The fourth and final chapter indorses questions about body and technology; where the new sound and audiovisual characteristics are thought and executed as a way to integrate gadgets and electronic media. Showing that it could become almost an inseparable and indispensable tool for anybody in today's art; where art is an extension of the body; for this, I've selected the couple Cardiff & Miller and the artist Doug Aitken / Mestrado / Artes Visuais / Mestra em Artes Visuais

Orientador: Grácia Maria Navarro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:55:44Z (GMT). No. of bitstreams: 1 Costa_DanielSantos_M.pdf: 16488446 bytes, checksum: 1c8379dbcd0464841316d500a8d233f2 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação apresenta as encruzilhadas de um corpo em processo de criação, profanando possibilidades autorais para a produção de conhecimento nas artes da cena a partir de uma perspectiva dialógica a qual busca friccionar arte e vida. O corpo (em) processo, visto sob um prisma da autobiografia de um sujeito que fala de si, experimenta epistemologias locais advinda do universo da oralidade popular brasileira como tentativa de fuga dos processos centralizadores, além disso utiliza a autoetnografia como uma possibilidade metodológica para projetar seu ponto de vista sobre o mundo através das artes da cena. Nessa práxis, o corpo sensível percebe o mundo e dialoga com ele, destacando um peculiar modo de fazer-pensar a cena contemporânea neste entrelugar que é a encruzilhada, um espaço possível para o híbrido. De tal local, foi possível emergir um ponto de vista privilegiado no sentido da multiplicidade que o referido espaço provoca, seja na possibilidade do novo, do vir a ser, ou, mesmo, nas provocações e referenciais deste. A resultante experimental do processo em questão é apresentada na forma de uma dança-teatro brasileira a qual problematiza uma construção teórica a partir da prática. O diálogo revelou um sujeito/personagem singular que entrecruza, em seu cotidiano, devoções populares ¿ Umbandas e Folias de Reis, realidade e ficção, memória e presentificação, constituindo um personagem que apresenta comportamento cultural de "um brasileiro" dentre as tantas possibilidades de "ser brasileiro" que a pluralidade da cultura nacional promove. Elucida-se, então, a importância da instauração de processos de criação para a produção das especificidades que geram conhecimento nas artes da cena com levando em conta as possibilidades de descobrir caminhos próprios, singulares, além de questionar a inversão ou o descarte de hierarquias, problematizando suas essências e produzindo uma cena pautada na diferença, na desestabilização dos centros reguladores do pensamento dominante / Abstract: This master¿s thesis presents the crossroads of a body in a creation process, profaning authorial possibilities for the production of knowledge in the performing arts, from a dialogic perspective, which desires to friction art and life. The body (in) process, seen by the prism of an autobiographical individual that speaks of himself, experiences local epistemologies coming from the universe of Brazilian popular orality as an attempt to escape from centralizing processes. Moreover, he uses autoethnography as a methodological possibility to project his point of view about the world through the performing arts. On this praxis, the sensible body realizes the world and dialogues with it, highlighting a peculiar way of doing - and thinking over - the contemporary scene in this in-between place, the crossroads, a possible space for the hybrid. From such position, it was possible to emerge a privileged point of view in the sense of the multiplicity that the reported space provokes, either when it comes to the possibility of the new, of something that comes to become something else, or even when related to its provocations and references. The experimental process result under discussion is presented in the form of a Brazilian dance-theater, which will be capable of problematizing a theoretical construction through practice. The dialogue revealed a singular subject/character that intersects in their daily life, popular devotions - Umbanda and Folia de Reis, reality and fiction, memory and presentification, constituting a character presenting cultural aspects of a "Brazilian" among the many possibilities "be Brazilian" that the diversity of national culture promotes. Hence, it is elucidated the importance of establishing creation processes for the production of specificities that beget knowledge in the performing arts taking into account the possibilities of discovering personal, singular ways, besides questioning the inversion or the discard of hierarchies, problematizing their essences and producing a scene based on difference, on the destabilization of centers that regulate dominant thinking / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Orientador: Márcio Orlando Seligmann Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T09:32:47Z (GMT). No. of bitstreams: 1 AmsbergdeAlmeida_Aline_D.pdf: 2414928 bytes, checksum: a2de1de008fab71b5cbdfa9fc0ad9efa (MD5) Previous issue date: 2015 / Resumo: O elemento técnico e a carne se unem para formar o corpo. De acordo com os conceitos de ciborgue e de híbrido, pensados aqui como facetas do pós-humano, pretendo mapear as manifestações desse corpo em algumas obras da literatura de ficção científica publicada a partir do início dos anos 90. O recorte temporal se deve à finalização do auge do movimento conhecido como cyberpunk que, por um lado, deixou resquícios na literatura de ficção científica e, por outro, ainda não pode ser dado como terminado. Utilizo para estas reflexões principalmente as ideias de desterritorialização e reterritorialização (Deleuze e Guattari), de antropodescentrismo (Roberto Marchesini), e de hospitalidade (Jacques Derrida), além do conceito de ciborgue (Donna Haraway) e de híbrido (Bernard Andrieu). O método rizomático e alguns princípios da Teoria do Caos permitem a problematização das manifestações corporais nas obras escolhidas para o corpus. Os conceitos de "corpo", "carne" e "elemento técnico" são esboçados com a finalidade de tornar esse híbrido possível no campo conceitual e, assim, na prática de análise / Abstract: The technical element and the meat/flesh join to built the body. According to the concepts of cyborg and hybrid, here conceived as aspects of the posthuman, I intend to map the manifestations of that body in some works of literary Science Fiction (SF) published since the early 90¿s. Such a choice of the date is due to the down of the cyberpunk movement which, on one hand, left marks and residues in SF literature and, on the other, cannot be declared dead. For these thoughts I use mainly the ideas of deterritorialization and reterritorialization (Deleuze e Guattari), anthropo-decentrism (Roberto Marchesini), and hospitality (Jacques Derrida), as well as the concept of cyborg (Donna Haraway) and hybrid (Bernard Andrieu). The rhizome method and somen of the Caos Theory allow to question the bodily manifestations in the chosen corpus. The concepts of "body", "meat/flesh" and "technical element" are sketched aiming to make possible this hybrid on the conceptual field and, therefore, the analytical practice / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Diploma thesis is survey into the relationship between art and sport. It searches new social elements, which can be used as an approach to art and physical education. Didactic part contains a suggestion, which has common issues for both art and physical education that can be used in school lessons.

This thesis explores an experimental music approach to writing autobiography. As a composition, Pilgrim Carnival took place as a travelling series of events. The central event was a sound installation for a blindfolded audience. This essay is a description of that series of events as well as a discussion of similar precedents in interdisciplinary art. Beginning with Luigi Russolo and Marcel Duchamp, aspects of autobiography are examined in both noise music and the concept of the ready-made artwork. Body Art of the 1970s, particularly the work of Marina Abramovic, is also tied into the idea of the ready-made artwork as an explicitly autobiographical example. The hybrid form of Pilgrim Carnival and the concept of ready-made autobiographical music create ongoing potential for new work.

These pages include parts of the process diary, notes on process, reading, as well as photos from my research process.  These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate.   During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice.   My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.

The topic of this diploma thesis is body modification culture phenomenon called 'suspension'. It is a voluntary act of suspending a human body from hooks or piercings that have been temporarily pierced through the skin. Suspension is an age-old technique practiced for example by North American Indian Mandan tribe. It has been brought to the modern era and body modification culture by modern primitives. The part of the thesis is a placement of suspension to the broader sociocultural and historical context, there will be also space for development of concept of body, embodiment and pain in the western word and ritual aspect of suspension. The source for this work is mainly accessible literature, internet pages dedicated to body modifications and participant observation completed with interviews with people who had been suspended.