« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits ». / « Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives.

Durante meu mestrado selecionei textos específicos de Marcel Duchamp: textos teóricos nos quais ele reflete sobre o mundo das artes. São palestras que ele deu em universidades, cartas e catálogos para as exposições que ele organizava cujos textos são dele. Este material é fundamental para entender como este artista tão radical entendia a arte e como se esforçava para propagar suas concepções. São temas surpreendentes porque Duchamp teve um importante papel na apresentação da arte européia aos Estados Unidos trabalhando como curador durante um bom período. É impressionante vê-lo apresentando Picasso, Calder ou Matisse. Ou então defendendo os motivos pelos quais todo artista deve cursar uma universidade. São textos que todo estudante de arte deveria ler. Ou melhor, todos que gostam ou trabalham com arte... Este material foi selecionado e traduzido a partir dos originais em inglês e francês que estão nos livros Duchamp du Signe - écrits (Paris, Flammarion, 1975) e The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989) , organizados por Michel Sanouillet com a colaboração de Elmer Peterson (ambos contém os mesmos textos, um em inglês e outro em francês). É uma seleção que cobre de 25 a 30% do total destes livros. Deixei fora do meu recorte todas as notas que fazem parte das próprias obras de Duchamp e têm um caráter poético intenso, recorrendo frequentemente a sofisticados trocadilhos dignos de uma tradução pelos irmãos Campos. Além da tradução dos textos teóricos, meu trabalho têm mais duas partes. Um posfácio, no qual faço uma leitura das obras de Duchamp iluminada exclusivamente pelos textos que estão traduzidos na primeira parte e um Apêndice - que é a parte que mais gosto. Este apêndice é uma brincadeira com Duchamp. Proponho um Ready-made para definir um perfil de sua obra recortando dos textos que ele escreveu sobre outros artistas apenas as caracteríscas que estão fortemente presentes no próprio trabalho dele. Como apontaram na minha banca, é quase uma leitura de revelação psicanalítica ao indicar como vemos nos outros aquilo que temos em nós. / This work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.

This essay aims to examine the manifestations of physical movement in two paintings by the Swedish modernist Otto G. Carlsund and to show aesthetic similarities to other modernist artists of the 1920s avant-garde. The method applied is Erwin Panofsky's Iconology to interpret the illusions of physical movement as expressions of the same ideas and visions that were conveyed by other artists during the same time in history. The results show that all painters included in this essay strived to communicate through motion in order to advocate for their visions of social change they believed their art could contribute to. The ambition to reform societies is interpreted as expressions of a Gesamtkunstwerk, a totalizing project aimed at all institutions of their day.

[ES] El aburrimiento es una sensación desagradable y los seres humanos lo experimentan en la vida cotidiana, en el trabajo, en el entretenimiento, o en la educación y la cultura. En dicha investigación, pretendemos explorar la poética del aburrimiento en el arte contemporáneo a través de la indagación en el formalismo y en el conceptualismo, rastreando cómo el aburrimiento afecta a la producción artística, conformándose como una estrategia del arte e influyendo en el espectador. Para realizar este trabajo, iniciamos el estudio de los recursos filosóficos, sociológicos y literarios relacionados con el aburrimiento, con el fin de configurar su rostro y valor. Después, a través de este entendimiento del aburrimiento, rastreamos su manifestación en el arte. Descubrimos que, en efecto, tradicionalmente la impresión establecida del arte ha sido una simulación de ilusión, creando un mundo asombroso en medio de la representación ilusionista de la realidad y la imaginación. Sin embargo, desde las vanguardias, el arte ha roto este lenguaje de la representación ilusionista y ha propuesto otro lenguaje basado en el conceptualismo y en la experiencia pura visual abstracta. Tales rupturas y conflictos con el arte convencional también llevan consigo la posibilidad del aburrimiento en el arte, donde el arte a primera vista ya no es visualmente comprensible y tampoco se basa plenamente en la representación visual. Además, hallamos este vínculo significativo del aburrimiento concretamente en el "Manifiesto Dadá", en el que declara la intención de derrotar el aburrimiento del arte convencional. Sin embargo y paradójicamente el dadaísmo introdujo aquel lenguaje del aburrimiento en el arte, influyendo posteriormente en el arte contemporáneo. Es así que, con el análisis de diversos artistas y estrategias estéticas que utilizan el aburrimiento, revelamos la poética del aburrimiento en el arte contemporáneo. / [CA] L'avorriment és una sensació desagradable i els éssers humans l'experimenten en la vida quotidiana, en el treball, l'entreteniment, o l'educació i la cultura. En aquesta investigació, pretenem explorar la poètica de l'avorriment en l'art contemporani a través de la indagació en el formalisme i en el conceptualisme, rastrejant com l'avorriment afecta a la producció artística, conformant-se com una estratègia de l'art i influint en l'espectador. Per a fer aquest treball, iniciem l'estudi dels recursos filosòfics, sociològics i literaris relacionats amb l'avorriment, amb la finalitat de configurar el seu rostre i valor. Després, a través d'aquest enteniment de l'avorriment, rastregem la seua manifestació en l'art. Descobrim que, en efecte, tradicionalment la impressió establida de l'art ha sigut una simulació d'il·lusió, creant un món sorprenent enmig de la representació il·lusionista de la realitat i la imaginació. No obstant això, des de les avantguardes, l'art ha trencat aquest llenguatge de la representació il·lusionista i ha proposat un altre llenguatge basat en el conceptualisme i en l'experiència pura visual abstracta. Tals ruptures i conflictes amb l'art convencional també porten amb si la possibilitat de l'avorriment en l'art, on l'art a primera vista ja no és visualment comprensible i tampoc es basa plenament en la representació visual. A més, trobem aquest vincle significatiu de l'avorriment concretament en el "Manifest Dadà", en el qual declara la intenció de derrotar l'avorriment de l'art convencional. No obstant això i paradoxalment el dadaisme va introduir aquell llenguatge de l'avorriment en l'art, influint posteriorment en l'art contemporani. És així que, amb l'anàlisi de diversos artistes i estratègies estètiques que utilitzen l'avorriment, revelem la poètica de l'avorriment en l'art contemporani. / [EN] Boredom is an unpleasant feeling that is experienced by human beings in everyday life, in work, entertainment, education, and culture. In this research, we intend to explore the poetics of boredom in contemporary art through the investigation of formalism and conceptualism, tracing how boredom affects artistic production, turns into an art strategy, and affects the viewer. To carry out this work, we began with the study of philosophical, sociological, and literary resources related to boredom in order to configure its features and value. Later, through this understanding of boredom, we traced its manifestation in art. We discovered that, indeed, traditionally the established impression of art has been a simulation of illusion, creating an amazing world between the illusionistic representation of reality and imagination. However, since the avant-gardes, art has broken this language of illusionist representation and has proposed another language based on conceptualism and pure abstract visual experience. Such ruptures and conflicts with conventional art also bring with them the possibility of boredom in art, where art at first sight is no longer visually understandable and also does not completely depend on visual representation. In addition, we find this significant link between boredom and art specifically in the "Dada Manifesto," which declares the aim of defeating boredom in conventional art. However, paradoxically, Dadaism introduced strategies of boredom into art, which subsequently became influential in contemporary art. Thus, with the analysis of various artists and aesthetic strategies involved with boredom, we have revealed the poetics of boredom in contemporary art. / Lee, CY. (2023). Una aproximación a la retórica del aburrimiento en el arte contemporáneo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192761

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Ervin Schulhoff in the interwar cultural context for needs of modern school This thesis deals with life and works of a Czech-German music composer of the interwar period Ervin Schulhoff. The first part of the thesis is concerned with composer's life in the interwar cultural context, the second part focuses on his works. Detailed attention is paid to the period when Schulhoff was influenced by interwar avand-garda movement, particularly by Dadaism and jazz dance music and also Neoclassicism. The third part handles the issue of the use of Schulhoff's work related to his life at nowaday school and brings some ideas and possibilities of use in school music lessons with intersubject overlap. All work is completed with sheet music examples and images serving for better illustration of the subject. In the Appendices are included more pictures and photographs illustrating the composer's life and also the list of Ervin Schulhoff's compositions.

Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura. / The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.

Language is a system that fundamentally influences us as human beings. There are numerous schools of thought critiquing our use of language and celebrating attempts to break free of the control it has over our lives. In that perspective a transformative play with language can be seen as critical play, and a game design approach supporting this kind of play can be defined as critical. The cut-up technique is an aleatory literary technique invented by the Dadaists in the 1920s. It was the fundamental lack of belief in society and language that gave birth to the cut-up method. Mary Flanagan includes it in her book “Critical Play: Radical Game Design” as part of the critical game-design paradigm. The singer-songwriter Dave Kapell invented Magnetic Poetry in the early 90s inspired by the cut-up technique and how artists such as William Burroughs and David Bowie used in their work. I am a co-founder of Ozma Games – a game studio based in Malmö, Sweden. In Ozma we are working on a social word game called Words of Oz. Magnetic Poetry inspired us in the design of Words of Oz, as we wanted to make a casual game that could evoke players’ creativity. The Dadaists clearly wanted to challenge the way we use language. In this essay I will compare the Dadaist cut-up method with its later adaptations Magnetic Poetry and Words of Oz. My question is whether the critical design approach is sustained in Magnetic Poetry and Words of Oz or if the change in technology and framing has limited the subversive potential from which they originated.

Human beings encounter cascades of a plethora of experiences, one after another, every single microsecond of our lives. There are many things happening around. The world is full of events and occurrences. As they happen, the mind reacts to every individual input. This is a very exhausting and difficult. Thus, people have developed a process of self-defense against this horrible mishmash of information. Their minds have this amazing capacity of sorting them out and making sense out of them. Humankind's survival depends on that. If one does not sort all this information out, one might not be able to make a simplest decision. As humans process the information, they learn to ignore and forget. They focus on their feelings and emotions. They forget the logic. The oversimplification process begins. Humans create rigid systems of oversimplified formulas. They assign adjectives to things, occurrences, and other people. The number of those adjectives is small. After assigning, those adjectives obscure everything else. A new world is created, stupid, limited, lazy, and in the end making humans very easy to control. What starts as a basic survival process ends up as a tool one can use to destroy the owners of the mind. In the end, the birth of consciousness leads to its death. My work fights this process. It aims to put a person back into that state of shock created by a mishmash of information and thus create the rebirth of consciousness.

Univerzita Karlova v Praze Filosofická fakulta katedra estetiky Diploma thesis Šimon Svěrák Situation of the Surrealist Subject (abstract) 2012 thesis supervisor: prof. PhDr. Vlastimil Zuska, CSc. Abstract This thesis focuses on the situation of a substantial subject in the historical development of the surrealist experience and confronts it with our original postmodern interpretation of thoughts of early Marx. The surrealist consciousness is based on a dialectical opposition between rational and irrational elements of cognitive processes. André Breton apprehends this dialectics under the perspective of love life and relates it to values of love, freedom and poetry. Nevertheless, this conception changes in the immanent development of the surrealist consciousness from Breton over the work and thoughts Salvador Dalí and Mikuláš Medek to Vratislav Effenberger. Effenberger removes positive values from surrealism and puts emphasis on the critical functions of the irrational. On the psychological field, all these ideas are based on the conception of the unconscious which means there is the substantial approach in them. Our critical interpretation of Marx shows, that the surrealist concept of subject is in the contradiction with its substantial determination. The subject has to be perceived as the essential...