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Étant Donnés = a mise-en-scène eclipsada do jogo anadiômeno de Marcel Duchamp = Étant Donnés: the eclipsed mise-en-scène of the anadyomene game of Marcel Duchamp / Étant Donnés : the eclipsed mise-en-scène of the anadyomene game of Marcel DuchampOliveira, Maria Silvia de 22 August 2018 (has links)
Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T12:47:43Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013 / Resumo: Esta pesquisa tem como objetivo dissertar sobre "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", uma poderosa criação realizada silenciosamente ao longo de 20 anos e eternizada através da sobrevivência das idéias de Marcel Duchamp. Espelho ou porta, o fato é que entre nós e as formas irreais que esfolam o olhar com suas arestas, há uma sala escura, tornando-nos sujeitos irremediavelmente cinematográficos. Aqui o cinema, mais especificamente o documentário, por registrar parcialmente a representação de fatos, envidou noções de verdade e realidade, abrindo um espaço privilegiado ao ser utilizado como fonte na sua forma mais envolvente e instigadora, alavancando dados norteadores para o desenvolvimento cognitivo do raciocínio. Ao atravessarmos a quietude de Étant Donnés vemos a "falta", um pedaço de tempo detido na mise-en-scène "feita para não ver" e somos transformados, à revelia, em voyeurs. Diante de tal espetáculo voyeurístico, embaraçoso e revelador, nossa culpabilidade é de quem surpreendeu um segredo. Partindo para novos padrões de interpretação desta obra inusitada, eclipsada e essencialmente carnal, vimo-nos forçados a passar pelo emaranhado tecido da memória de Marcel Duchamp. Enfim, saciando a fome de nossas almas famintas, Duchamp concretiza sua imagem cenográfica nesta iluminura tridimensional e nos permite colher, de um jardim medieval, a "Rosa de um Romance" e encontrar um banquete anadiômeno de maravilhas, onde, através de sonhos e espelhos, somos colocados frente a frente a nós mesmos / Abstract: This research had his focus on the study of "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", a powerful creation performed silently for 20 years and immortalized through the survival of the Marcel Duchamp ideas. Mirror or door, the fact is that between us and the unreal forms that hurt the eyes with its edges, have a dark room, making us subject hopelessly cinematographic. Here the film, specifically the documentary, that made the partly record of the representation of facts and showed notions of truth and reality, opened a privileged space to be used as a data source in its most engaging and instigator, that guided us to the development of the cognitive reasoning. When we go through the stillness of Étant Donnés see the "lack", a piece of time detained in mise-en-scène "made not to see" and we are processed, involuntarily, in voyeurs. Faced with such a voyeuristic spectacle, embarrassing and revealing our guilt are some who surprised a secret. Leaving for new Standards of interpretation of this unusual masterpiece, eclipsed and essentially carnal, we found ourselves forced to pass through the tangled memory texture of Marcel Duchamp. Finally, satiating the hunger of our hungry souls, Duchamp realizes his scenographic image in this three-dimensional miniature and allows us to reap, of a medieval garden, the "Rose of a Romance" and find an anadyomene banquet of wonders, where, through dreams and mirrors, we are placed face to face ourselves / Mestrado / Multimeios / Mestra em Multimeios
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A theoretical exploration of the transformative properties of experienceZipp, Collin January 2011 (has links)
This thesis document serves as a support paper for my exhibition titled, Selected Work. The goal of this document is to present and discuss a set of ideas and interests as they pertain to my studio practice and thesis project in particular, and to contemporary (ie. current) art practices in general. In this document I examine selected works from Marcel Duchamp, Andy Warhol, Andy Kaufman, Maurizio Cattelan and Richard Prince. Through the exploration of these artists and their works, I begin by examining the object and the conditions that give it approval as an art object. Using these conditions, I examine the effect that experience has on the object. This support paper will serve as a glossary of terms and theoretical concerns relevant to my thesis exhibition / vi, 64 leaves : col. ill. ; 29 cm
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I am not a ceramicistPorcina, Mark January 2012 (has links)
Ceramics has always existed on the fringes of craft and high art. The purpose of this
thesis project is to elevate clay beyond the traditions of craft by examining the historical use of
clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy
Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced
object and reflecting upon it’s validity as high status art object. In this project I am also
interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts
vents-- with a specific focus on systems lurking inside walls and how these function to influence
architectural space. With the advent of modern plumbing, concealing these elements was
adopted as the new standard and still exists today. Through the presentation of defamiliarized
handmade objects, my exhibition presents the appearance of manufactured material through the
serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the
material unrecognizable providing the viewer with a new view on the object's tradition. / v, 47 leaves : ill. ; 29 cm
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Fragmentos Instantâneos: um estudo do mecanismo cinematográfico bergsoniano na pintura Nu descendo uma escada, de Marcel DuchampPereira, Caroliny 28 February 2012 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research called Snapshots Fragments; a study of Bergsonian cinematographic
mechanism in the Marcel Duchamp´s painting Nude Descending a Staircase, is
based in arts and reflections in which paint is performed a study of the cinematic
mechanism concept from the philosopher, Henri Bergson. The research starts from
the questions about wich intersection point can exist between an art work and a
philosophical concept, that were deeply relevant and fruitful in modernity with
contemporary developments in both discussions: arts and philosophy. In other
words, this work was done intending to find similarities and differences between
Duchamp\'s painting and Bergson´s concept. The research was developed aiming to
enable the dialogue establishment between art and philosophy, given through an
element that would be the embrace of both: the movie. / A pesquisa intitulada Fragmentos instantâneos, um estudo do mecanismo
cinematográfico bergsoniano na pintura Nu descendo uma escada de Marcel
Duchamp, trata-se de uma pesquisa em fundamentos e reflexões em artes, no qual
são realizados estudos da pintura Nu descendo uma escada , de Marcel Duchamp, e
do conceito de mecanismo cinematográfico, do filósofo Henri Bergson. A pesquisa
inicia-se a partir dos questionamentos sobre a possibilidade de haver um ponto de
intersecção entre um trabalho em arte e um conceito filosófico, os quais foram
profundamente relevantes na modernidade e profícuos de desdobramentos na
contemporaneidade e, nas discussões tanto no campo das artes, quanto na filosofia.
Em outras palavras este trabalho foi realizado objetivando-se verificar em quais
aspectos há convergências e divergências entre a pintura de Duchamp e o conceito
de Bergson. A pesquisa foi realizada visando possibilitar a instauração de um
diálogo entre arte e filosofia, dado através de um elemento que seria o amplexo de
ambos, o cinema. / Mestre em Artes
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