Through the sculptural object, this thesis, in|form: The per formative object, explores the relationships between body and object, viewer and artist, performance and the per formative. By exploring the performativity of an object (and questioning how an object performs in relation to the body), the documented performances activate an inter-relational act between artist and object (I perform the object, the object performs me simultaneously). The work that unfolds from this investigation considers the placement of the viewer’s body in relation to the artist’s. A dialogue is formed between the three bodies: object, artist and viewer, creating a sense of embodiment within the work through this relationship. in|form explores this embodiment through the role of video documentation. The performances are constructed to be viewed solely through the documentation, which creates a discussion between the ‘live’ moment and the documented event, and how the viewer then relates to this. The performances take place as solo acts, but are constructed with the viewer in mind. As the viewer watches the documented performance of the action between artist and object in space, the relational nature of the work creates a second performance which embodies the viewer. This sole action, recorded and then viewed, considers the relational value of the body, specifically engaging with the abstraction of bodily formlessness within the object to reveal a bodily nature. Using the object to trace the movement of the body creates a language that communicates to, and about, both viewer and artist: through the awareness of passing time, through the large scale projection of the documentation, through the bodily nature of the object, and through the performativity of the object’s responsive nature to the artist’s body as the pair navigate through space. in|form explores how the absence of the body (in a literal sense) considers the body as an object bound by time, at once physical yet transient. By tracing the motion of the body through object, the viewer experiences the body through sensibility. Ultimately, the function of the body negotiating as a time-bound object is imitated through the performativity of the object with artist, and the elusiveness of this action emphasized by its documentation.

Through the sculptural object, this thesis, in|form: The per formative object, explores the relationships between body and object, viewer and artist, performance and the per formative. By exploring the performativity of an object (and questioning how an object performs in relation to the body), the documented performances activate an inter-relational act between artist and object (I perform the object, the object performs me simultaneously). The work that unfolds from this investigation considers the placement of the viewer’s body in relation to the artist’s. A dialogue is formed between the three bodies: object, artist and viewer, creating a sense of embodiment within the work through this relationship. in|form explores this embodiment through the role of video documentation. The performances are constructed to be viewed solely through the documentation, which creates a discussion between the ‘live’ moment and the documented event, and how the viewer then relates to this. The performances take place as solo acts, but are constructed with the viewer in mind. As the viewer watches the documented performance of the action between artist and object in space, the relational nature of the work creates a second performance which embodies the viewer. This sole action, recorded and then viewed, considers the relational value of the body, specifically engaging with the abstraction of bodily formlessness within the object to reveal a bodily nature. Using the object to trace the movement of the body creates a language that communicates to, and about, both viewer and artist: through the awareness of passing time, through the large scale projection of the documentation, through the bodily nature of the object, and through the performativity of the object’s responsive nature to the artist’s body as the pair navigate through space. in|form explores how the absence of the body (in a literal sense) considers the body as an object bound by time, at once physical yet transient. By tracing the motion of the body through object, the viewer experiences the body through sensibility. Ultimately, the function of the body negotiating as a time-bound object is imitated through the performativity of the object with artist, and the elusiveness of this action emphasized by its documentation.

This thesis is about concept of time in work of french philosopher Gilles Deleuze. First of all is nescessery to introduce reader with philosophy of Henri Bergson and Deleuze's interpretation of Bergon's work and how Deleuze uses it for demonstration of his own thoughs. After Bergson, there is finally an art, Marcel Proust and his novel In Search of Lost Time, which is subject of Deleuze's early work. Philosopher's original interpretation of proustian time is introduced in context of other intepretations of his time and also in the context in relation to philosophy of Bergson. The second half of thesis talks about modern film, which was Deleuze's interest through 1980s. This thesis doesn't try to make any brave interpretations of Deleuze's work, but does try to introduce a problém of time in his work, The concept of time is something which is not a big thing in Deleuze's philosophy, but i tis something what is there for a whole time because of Henri Bergson's influence.

Questa tesi presenta i risultati teorici, metodologici ed empirici di una ricerca di dottorato incentrata sul tema della percezione del tempo nell’esperienza cinematografica. La prima parte fornisce un’introduzione teorica al tema. Il Capitolo 1 precisa il taglio e l’oggetto della ricerca. Il Capitolo 2 presenta i principali modelli teorici di percezione del tempo. Il Capitolo 3 si concentra sulla percezione del tempo nel contesto cinematografico. La seconda parte comprende gli esperimenti condotti nel corso della ricerca. Il Capitolo 4 illustra il primo esperimento. Attraverso misure comportamentali, questo studio ha indagato gli effetti sulla stima di durata e sulla percezione del passaggio del tempo di due variabili cinematografiche: il tipo di azione rappresentata e lo stile di montaggio. Il Capitolo 5 presenta il secondo esperimento. Tramite un metodo chiamato micro-fenomenologia, questo studio ha esplorato i processi esperienziali che fondano i compiti di stima di durata e percezione del passaggio del tempo. Il Capitolo 6 descrive il terzo esperimento. Attraverso una tecnica di neurostimolazione (tDCS), questo studio ha testato il coinvolgimento di una specifica area cerebrale (Area Supplementare Motoria) negli stessi compiti temporali. La terza parte riassume i risultati della ricerca (Capitolo 7) e discute possibili futuri sviluppi di quest’ultima (Capitolo 8). / This dissertation presents the theoretical, methodological, and empirical results of a doctoral research concerning time perception in the experience of cinema. The first part provides a theoretical introduction to the topic. Chapter 1 carves out the dissertation’s precise angle and object. Chapter 2 presents the main models of subjective time perception. Chapter 3 restricts the scope to time perception in the specific context of cinema. The second part reports about the three experiments conducted during the research. Chapter 4 introduces the first experiment. By using behavioural measures, this study addressed the effects on duration estimation and time passage perception of two cinematographic variables: the type of represented action and the style of editing. Chapter 5 presents the second experiment. By adopting a method called micro-phenomenology, this study explored the processes underlying the performance of the duration estimation and time passage perception tasks. Chapter 6 is devoted to the third experiment. By using a neurostimulation technique (tDCS), this study tested the involvement of a specific brain area (the Supplementary Motor Area) in the same timing tasks. The third part summarizes the essential findings of the research (Chapter 7) and re-opens it to some of its possible future developments (Chapter 8).