Zugl.: Mainz, Univ., Diss., 2008

Made available in DSpace on 2017-07-21T14:54:05Z (GMT). No. of bitstreams: 1 ANDERSON COSTA.pdf: 744727 bytes, checksum: 0a870df2ba609fe6781ab8c7c1114add (MD5) Previous issue date: 2013-07-02 / This text, besides being a thesis, is an account of a personal journey. The academic aim is to reflect on the possibilities of the Cut-Up Films produced by Antony Balch and William S. Burroughs as elements that destabilize perception in the context of the North-American society of the 1960s. In theoretical terms, this society finds itself in a crisis of meaning, triggered by the decadence of disciplinary spaces and by the appearance of systems of control, concepts here understood in the perspectives of Michel Foulcault and Gilles Deleuze. My hypothesis is that by the change in the perception we have of society, we go through a change in consciousness that is fundamental if we want to take more complex social changes into account. This possibility dialogizes with the beatnik ideals present in the countercultural movement that underlies the work of Burroughs and Balch. On the other hand, this work is also a personal journey in search of my own experiences. It is about a trip in search of an old car, which is a pretext for a parallel discussion on how attitudes can contribute, somehow, for a rupture in patterns of behavior and the dominating market laws. / Este texto é, além de uma dissertação de Mestrado, um relato de uma jornada pessoal. O objetivo acadêmico é refletir sobre as possibilidades dos Cut-Up Films produzidos por Antony Balch e William S. Burroughs, enquanto elementos desestabilizadores da percepção no contexto da sociedade norte-americana de meados dos anos 60. Em termos teóricos, essa sociedade encontra-se numa crise de sentido, desencadeada pela decadência dos espaços disciplinares e pelo início dos sistemas de controle, conceitos aqui entendidos pelas perspectivas de Michel Foucault e Gilles Deleuze. A hipótese considerada é que pela mudança na percepção que temos da sociedade, passamos por uma transformação da consciência, que é fundamental para se pensar mudanças sociais mais complexas. Essa possibilidade dialoga com os ideais beatniks do movimento contracultural que dá cenário ao trabalho de Burroughs e Balch. Por outro lado, este trabalho também é uma jornada em busca das minhas próprias experiências. Trata-se de uma viagem em busca de um carro antigo, o qual serve de mote para uma discussão paralela, sobre como atitudes podem contribuir, de alguma forma, com a ruptura dos padrões de comportamento e leis dominantes de mercado.

Créée en 1959 par William S. Burroughs et Brion Gysin, la technique du cut-up repose sur le découpage et le réagencement de fragments de textes d’origines diverses. Burroughs l’applique notamment dans la « trilogie Nova », composée de The Soft Machine (1961), The Ticket That Exploded (1962) et Nova Express (1964). Ce procédé de collage littéraire, qui donne à lire un texte extrêmement fragmenté, met en jeu des questions d’ordre esthétique, poétique et politique, révélatrices des évolutions socioculturelles occidentales. Ce travail consiste en une lecture historique du cut-up, qui permet d’éclairer les mutations du collage littéraire au XXe siècle. Ainsi, le cut-up trouve ses origines dans les collages de Tristan Tzara, T.S. Eliot et John Dos Passos, mais s’en distingue à bien des titres, soulignant les caractéristiques du collage littéraire moderniste. Par ailleurs, cette technique d’écriture s’apparente, notamment sur le plan de la réflexion politique, aux travaux de ses contemporains lettristes et situationnistes dans les années cinquante et soixante. Enfin, l’émergence de prolongements du cut-up dans les années soixante-dix et quatre-vingt, aussi bien en Europe qu’aux Etats-Unis, s’observe dans des champs allant de la musique populaire à la littérature, en passant par la poésie sonore. Le cut-up s’inscrit donc dans des espaces intermédiaires, entre le pictural et le littéraire, le modernisme et le postmodernisme, l’avant-garde et la contre-culture, l’Europe et les Etats-Unis. Par les questions qu’il pose, le cut-up apparaît également comme une réflexion sur le langage et plus généralement, comme une nouvelle image de la pensée : en ce sens, il révèle ses affinités conceptuelles avec les philosophies de Jacques Derrida et de Gilles Deleuze. / Pioneered in 1959 by William S. Burroughs and Brion Gysin, the cut-up technique consists in cutting and rearranging text segments from various sources. Burroughs uses this technique most notably in The Nova Trilogy composed of The Soft Machine (1961), The Ticket That Exploded (1962) and Nova Express (1964). This literary collage process, which results in an extremely fragmented text, challenges issues of an aesthetic, poetic and political nature, and reflects the Western socio-cultural evolutions.This dissertation consists in a historical analysis of the cut-up technique, highlighting how collage methodologies used in literature have evolved during the 20th century. The cut-up method is inspired by the collage techniques used by Tristan Tzara, T.S. Eliot and John Dos Passos, but differs from them in many ways, showcasing the attributes of modernist literary collage methods. At the same time, this writing technique is related to the works by the contemporary Lettrist and Situationist movements from the fifties and the sixties, especially from a political point of view. Finally, the emergence of an extension of cut-up techniques during the seventies and the eighties, both in Europe and in the United States, can be observed in various fields, from popular music to literature, including sound poetry. Therefore, this writing technique takes its place in intermediary areas, between the pictorial and literary worlds, modernism and postmodernism, avant-garde and counterculture, Europe and the United States. Through the questions it raises, the cut-up technique also appears as a reflection on language and, more generally, as a new image of thought, and thus it reveals some of its conceptual affinities with Jacques Derrida’s and Gilles Deleuze’s philosophies.

Esta dissertação é uma reflexão sobre um conjunto de processos artísticos realizados entre 1999 e 2010. Tais processos tem em comum basearem-se no registro de imagens e sonoridades e na manipulação audiovisual sob o foco do movimento. As potencialidades exploradas atualizam-se a partir da interação entre corpo e tela, promovendo inscrições de movimento que denominei Coreografias Emergentes em 2D. A manipulação audiovisual realizada nos processos abordados envolve procedimentos cut & paste (cortar e colar), o que me levou a procurar semelhanças metodológicas nas práticas da montagem/edição e do remix audiovisual. No entanto, foi no contato com as ideias de William Burroughs, mais especificamente, seu uso do método Cut-Up, que encontrei maior afinidade, não só com seu modo de produção, mas, mutatis mutandis, também, com suas motivações e expectativas artísticas. / This dissertation is a reflection on a set of artistic processes conducted between 1999 and 2010. Such processes share as a common base the recording of images and sounds and its manipulation under the focus of movement. The explored potentialities update through the interaction between body and screen, thus promoting the inscription of movement, a process which I have named Emerging Choreography in 2D. The audiovisual manipulation performed in the discussed processes, involves cut & paste procedures, which led me to look for methodological similarities within montage/editing practices and audiovisual remix. However, it was in contact with the ideas of William Burroughs, more specifically, his use of the Cut-Up Method, that I have found a closer affinity, not only with his production mode, but, mutatis mutandis, also, with his artistic motivations and expectations.

Esta dissertação é uma reflexão sobre um conjunto de processos artísticos realizados entre 1999 e 2010. Tais processos tem em comum basearem-se no registro de imagens e sonoridades e na manipulação audiovisual sob o foco do movimento. As potencialidades exploradas atualizam-se a partir da interação entre corpo e tela, promovendo inscrições de movimento que denominei Coreografias Emergentes em 2D. A manipulação audiovisual realizada nos processos abordados envolve procedimentos cut & paste (cortar e colar), o que me levou a procurar semelhanças metodológicas nas práticas da montagem/edição e do remix audiovisual. No entanto, foi no contato com as ideias de William Burroughs, mais especificamente, seu uso do método Cut-Up, que encontrei maior afinidade, não só com seu modo de produção, mas, mutatis mutandis, também, com suas motivações e expectativas artísticas. / This dissertation is a reflection on a set of artistic processes conducted between 1999 and 2010. Such processes share as a common base the recording of images and sounds and its manipulation under the focus of movement. The explored potentialities update through the interaction between body and screen, thus promoting the inscription of movement, a process which I have named Emerging Choreography in 2D. The audiovisual manipulation performed in the discussed processes, involves cut & paste procedures, which led me to look for methodological similarities within montage/editing practices and audiovisual remix. However, it was in contact with the ideas of William Burroughs, more specifically, his use of the Cut-Up Method, that I have found a closer affinity, not only with his production mode, but, mutatis mutandis, also, with his artistic motivations and expectations.

Le collage et le cut-up sont deux « procédés » apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cut-up, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des « papiers collés » de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux « procédés », qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : « L'écriture a cinquante ans de retard sur la peinture », en entendant par là appliquer à la lettre – et à la littérature – la pratique même des « papiers collés » des expérimentations cubistes.Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie.C'est sur l'histoire de ces cinquante années « de retard » que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up. / Collage and cut-up are two techniques that have emerged – as a practice and as a concept – in the mid-twentieth century: collage appeared in the first decade, while cut-up appeared in the late fifties. The word collage comes from the visual arts and from the practices that have succeeded to the experiments that Georges Braque and Pablo Picasso did with “papiers collés” from 1912, while the term cut-up is borrowed from American writer Brion Gysin who experimented this technique together with William Burroughs in 1959. Some fifty years separate the two techniques which do not cover quite the same practices as Brion Gysin noted: “Writing is fifty years behind painting”, thereby meaning to strictly apply to literature the very practice of “papiers collés” of cubist experiments.

This essay compares two influential novels from the Beat era, William Burroughs’ Naked Lunch and Jack Kerouac’s On the Road, and how they use the spatial dimension of writing as a tool for resistance. The spatiality of Kerouac’s travel narrative is compared to the spatiality of Burroughs cut-up narrative, and the spaces of cities and the road are analyzed. I argue that On the Road is an attempt at a spiritual escape from Western dogmatism—dramatized through the means of a spatial journey—whilst Naked Lunch is attempting an escape from “control”, mediated through the means of a spatial destabilization in the narrative. In trying to define the term “control” used by Burroughs, I look at Foucault’s Discipline and Punish, as well as other sources, in order to determine which mechanisms of society that are being reacted against in these novels. The historical context of these two Beat writers as situated in the American postwar era is also considered – a context which is examined in relation to the concept of normality.

De même que le ready-made, il y a maintenant presque un siècle, avait transformé la question « qu’est-ce que l’art » en son contraire (« comment faire pour que quelque chose ne soit pas de l’art ?», ne soit pas transformé en objet d’art puisqu’une simple parole d’artiste, fiat ars, suffisait ainsi à transfigurer tout élément du réel), de même, il devient difficile aujourd’hui de repérer ce qui ne pourrait être, jamais ou par essence, un objet poétique. Devant l’œuvre poétique et plastique de Bernard Heidsieck, il convient de mettre en place une série de critères permettant de distinguer la poéticité d’un « art total ». Nelson Goodman apporte des éléments de réponse en soulignant l’importance d’un paramètre rarement pris en compte : le contexte. La question essentialiste « qu’est-ce que l’art »/ « qu’est-ce qu’un poème » pouvant être remplacée par une autre plus pragmatique «  quand y a-t-il art/poème ? » De ce point de vue pragmatiste, la notion de « contexte » permet ainsi de faire jouer à la fois l’espace (le lieu où s’exécute l’œuvre d’art) et le temps (les circonstances dans lesquelles l’œuvre s’exécute). Ainsi, un même objet ou une même action pourrait, à la fois, être ou ne pas être de l’art, c’est finalement une question de contexte et d’intention initiale. Dans le cas de nos recherches, la question du contexte est primordiale puisque l’inscription d’objets poétiques non exclusivement textuels en poésie et non en arts plastiques, repose en partie, sur leur appartenance aux champs de diffusion (éditoriaux et institutionnels) de la poésie. Cependant, des productions poétiques telles que celles de Heidsieck dont certaines facettes n’appartiennent pas au poétique n’en deviennent pas pour autant « poèmes » du fait de leur présence dans un festival de poésie. Notre projet de recherche a pour horizon une redéfinition du champ « poésie » et de ses outils d’analyse, une tentative de mise en place d’une poétique permettant de prendre en charge de façon féconde les « objets poétiques complexes » _c’est-à-dire hétérogènes du fait de leur appartenance à différents types de régimes esthétiques_ de Bernard Heidsieck. / As well as the ready-made, almost a century ago, turned the question “what is art?” into its opposite (“how can say something isn’t art?”, something wouldn’t be transformed into an art piece since the only artist’s word, fiat ars, was enough to turn any part of the real into art), as well, it has become difficult today, to point what couldn’t be, ever or essentially, a poetic object. In front of Bernard Heidsieck poetic and plastic work, we have to gather a series of criteria that would allow us to distinguish poeticism and “total art”. Nelson Goodman gives us a few answers highlighting the importance of a rarely acknowledged parameter: the context. The essentialist question “what is art?”/”what is a poem?” is turned into a rather pragmatic one “when is there art?/poem?”. From that pragmatist point of view, the idea of “context” allows us to deal with both space (the place where the art work happens) and time (the circumstances when it happens). That means a same object or a same action could or couldn’t be art, which leads us to the question of the context and the intention. For my researches, the context is primordial since Bernard Heidsieck’s poems, which are not exclusively textual, partly inscribe themselves in poetry because of their belonging to the poetry field of diffusion (from the publishing companies to the institutions). In the mean time, these objects don’t become “poems” just because of that poetic context. For those reasons, my project is to try and redefine the term and the field “poetry” and it’s analysis tools, it’s an attempt to build a poetic that would allow us to talk about what I will call the “complex poetic objects” _ complex because they belong to different types of aesthetic regimens _ of Bernard Heidsieck.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Neste trabalho, procurou-se avaliar o impacto social da polÃtica de crÃdito rural destinado à avicultura de corte brasileira no perÃodo janeiro de 1997 a dezembro de 2004. Esta avaliaÃÃo consistiu na anÃlise do benefÃcio social via mudanÃa na estrutura do mercado da carne de frango. O modelo utilizado foi o desenvolvido por Lindner & Jarret, modificado por Rose, considerando os deslocamentos paralelo e pivotal para a curva de oferta. Para aplicaÃÃo desta metodologia, empregou-se o mÃtodo dos mÃnimos quadrados em dois estÃgios, com a abordagem do modelo de equaÃÃes simultÃneas. Os resultados mostraram que a oferta de carne de frango no Brasil à elÃstica e que a polÃtica de crÃdito rural destinada à avicultura brasileira gerou um benefÃcio total de R$186.926.769,54, considerando um deslocamento paralelo da curva, ou seja, uma ampliaÃÃo da oferta com reduÃÃo dos custos de produÃÃo. Todavia, quando considerado custo mÃdio constante, deslocamento pivotal da curva de oferta, o benefÃcio total gerado pela polÃtica de crÃdito rural resulta num montante de R$102.135.880,94. Isto representa uma diferenÃa de 83%, em termos de benefÃcio, o que revela a importÃncia de aÃÃes voltadas para a reduÃÃo nos custos de produÃÃo como forma de estimular o desenvolvimento da avicultura no paÃs. / In this research, the social impact of the rural credit policy addressed to the Brazilian cut-up chicken raising between January 1997 and December 2004 was evaluated. This evaluation consisted on the social benefit analysis through the changing at the structure of the chicken meat. The used model was developed by Lindner & Jarret, modified by Rose, taking into consideration the parallel and pivotal displacement to the offer curve. For methodology application, the minimal square method was used in two stages, with the simultaneous equations model approach. The results showed that the chicken meat offer in Brazil is elastic and the rural credit policy addressed to the Brazilian chicken raising generated a total benefit of R$ 186.926.769,64, taking into consideration a parallel displacement of the curve, in other words, an offer ampliation with production costs reduction. However, when taking into consideration the constant average cost, pivotal displacement of the offer curve, the total benefit generated by the rural credit policy results a total of R$ 102.135.880,94. This represents 83% difference in benefits, which reveals the importance of attitude turned to production cost reduction as a way to stimulate the aviculture development in the country.

L’analyse des processus de création de l’écrivain américain William Burroughs et de l’artiste brésilien Cildo Meireles construit deux figures exemplaires de l’artiste en tant que sujet politique. Les choix faits par ces deux artistes pendant le processus de réalisation de leurs œuvres déclarent en effet leur position face à la littérature, à l’art et à la réalité. Ils les construisent en tant que sujets-artistes et produisent des rencontres qui (re) configurent l’espace artistique. Ils renouvellent les pratiques de création. Nous étudions ces processus avec pour outils différentes notions théoriques. Outre celle de la politique, qui, selon Jacques Rancière, est le processus de l’égalité ; celle du sujet, définie par Alain Badiou, comme une construction qui se produit quand un événement arrive ; et celle de choix qui, selon Slavoj Zizek, ne laisse pas intacte la subjectivité du sujet. Nous essayons ainsi de définir le caractère politique des choix faits par ces deux artistes et de mettre en évidence l’idée de l’art et de la politique que leurs œuvres mobilisent.Nous étudions le processus de création de Burroughs, de son premier roman jusqu’à la découverte du cut-up et l’écriture de son texte Last Words. Nous analysons le processus de création des œuvres de Meireles : Insertions dans les circuits idéologiques, œuvre qui se constitue dans un processus en marche ; et Le sermon sur la montagne : Fiat lux. Construction d’une situation : transformation d’un espace en une bombe potentielle.Malgré leurs différences, ces œuvres ont une procédure de réalisation similaire, une sorte de travail tabulaire, de collage d’éléments hétérogènes. / The analysis of the creation process of both Americain writer Willam Burroughs and Brazilian artist Cildo Meireles construct two exemplary figures of the artist as political subject. The choices made by these artistes during the process of realization of their works declare indeed their position on literature, art and reality. Their choices construct them as artists-subjects and produce encounters that (re) configure the art space. They renew the creative practices. We study these processes with some theoretical tools: such as the notion of politics which according to Jacques Rancière, is the process of equality; the notion of subject, defined by Alain Badiou as a construction that is produced when an event happens; and the notions of choice which, according to Slavoj Zizek, does not leave intact the subjectivity of the subject. Thus we try to define the political nature of the choices made by these artists and to highlight the idea of art and politics that their works mobilize. We study the process of creation of Burroughs, from his first novel until his discovery of cut-up technique and the writing of his text Last Words. We analyze the process of creation of Meireles’s works: Insertions into Ideological Circuits, a work that is established as a running process and The Sermon on the Mount: Fiat Lux that is the construction of a situation. It is the transformation of a space into a potential bomb. Despite their differences these works have a similar implementations procedures a kind of a tabular work, a collage of heterogeneous elements.