Šiame darbe kalbama apie klasikinės graikų filosofijos mąstymo opozicijų (subjektas vs objektas, referentinė tikrovė vs autoreferentyvumas, idėjos vs materija) mediaciją Jono Meko filme „Zefiro Torna, arba vaizdai iš Jurgio Mačiūno gyvenimo”.1 Darbo įvade apibrėžiama mediacijos sąvoka, remiantis Claude’o Levi-Strausso teorija apie priešpriešų mediaciją mituose. Teorinėje darbo dalyje nagrinėjamas poetinės kino funkcijos, kino montažo ir estezės kaip mediatorių vaidmuo. Tiriamojoje dalyje subjekto ir objekto opozicija analizuojama, siekiant suprasti, kaip subjektyvus J.Meko filmo suvokėjas įsitraukia į objektyvizuotą kultūrą ir kaip pats „Zefiro Torna” iš objektyvaus kūrinio virsta J.Meko subjektyvumo rezultatu. Darbe nagrinėjama referentinės tikrovės ir autoreferentyvumo opozicija. Autoreferentyvumas analizuojamas pasitelkiant semiotinę diskursyvinio lygmens analizę. Trečiajame tiriamosios dalies skyriuje tęsiama semiotinė diskurso analizė, tačiau susitelkiama jau ties naratyviniu lygmeniu. Darbo „Zefiro Torna” yra autoreferentyvus kūrinys, sutampantis su J.Mačiūno realiu gyvenimu – Fluxus. Jutimams šis fenomenas prieinamas per specifinius J.Meko filmo efektus – blykstelėjimus ir tamsos pauzes. Būtent tai leidžia teigti, kad „Zefiro Torna” – su esteze (pertrūkių grandine) susijęs kūrinys. Estezė suprantama kaip tiesos, grožio bei gėrio ir jų priešingybių junginys. / This work speaks about oppositions of Greek classical philosophical thinking (subject vs object, referentivity vs autoreferentivity, idea vs matter) mediation in the film of Jonas Mekas „Zefiro Torna“. The introduction of the work defines the concept of mediation, which is based on Claude Levi-Strauss' theory about mediation of the opposites in myths. Theoretical part of the work analyses what role poetical function, original film montage and esthesis play as mediators. The practical part analyses the opposition of subject and object in order to understand how the subjective comprehender of Jonas Mekas film becomes involved in objective culture and how „Zefiro Torna“ itself from objective creation becomes the result of J. Mekas subjectivity. There is also the analysis of referentivity and autoreferentivity opposition in J. Mekas film. The latter is analysed invoking the semiotic analysis of discourse level. Third part of practical analysis proceeds on semiotic discourse analysis, but concentrates on narrative level. The work concludes, that „Zefiro Torna“ is an artwork which embraces the real life of Jurgis Mačiūnas - „Fluxus“. This phenomena becomes perceptible for us through specific J. Mekas film effects – light flashes and pauses of darkness. These effects especially enforce us to conclude that „Zefiro Torna“ is the creation bound to esthesis (chain of interruptions). Esthesis is understood as an overarching combination of Greek classical philosophy concepts of beauty... [to full text]

Nous nous sommes questionnés dans cette thèse sur les apports des paradigmes scientifiques, spirituels et philosophiques dans la pensée et les œuvres de George Brecht. À travers la synthèse de ceux-ci, nous avons tenté de voir ses travaux comme des outils à faire l'expérience de la connaissance, à l'intégrer d'une façon non mentale. Nous avons souhaité redéfinir le statut de l'artiste, et voir dans son œuvre les prémices d'une conception nouvelle de l'art en tant que recherche transdisciplinaire concrétisée en objets artistiques / We questionned, during this work of thesis, about the contributions of spiritual, philosophical and scientific paradigms in work and thinking of George Brecht. Through their synthesis we tried to see his artworks as experiencing tools, integrating knowledge in a non-mental way. We wanted to redefine artist’s status through Brecht and tried to sight in his artwork the firstfruits of a new art’s conception as a transdisciplinary research shaped in artistical objects

Baigiamajame magistro studijų darbe nagrinėjami metodiniai kompleksinės renovacijos senamiesčio aplinkoje projektavimo ypatumai. Darbe nagrinėjamos Užupio kontekstas, esamos pastato konstrukcijos bei inžinerijos, daromas esamos būklės vertinimas ir nustatomos projektavimo gairės. Visa tyrimo medžiaga naudojama kompleksiškai renovuojant pastatus esančius Užupio g. 24. Čia kuriamas „Užupio respublikos“ kūrybinės industrijos klasteris. Nagrinėjama ir kuriama industrinio klasterio funkcinė programa, siūloma nauja teritorijos sutvarkymo koncepcija, kurios pagrindinė mintis: jungtis tarp Užupio ir Senamiesčio per naujai projektuojamą tiltą iš komplekso į Sereikiškių parką. Kuriama nauja erdvinė ir tūrinė komplekso struktūra. Detalizuojami pastatų architektūriniai, funkciniai, konstrukciniai ir inžineriniai sprendimai. Darbą sudaro šešios dalys: įvadas, metodinė dalis, analitinė dalis, eksperimentinė dalis. Literatūros sąrašas ir priedai (grafinė dalis). / The methods of complex renovation of the design in old town environment are researched in the final thesis. The thesis also include the analyses of current urban situation, the research of existing buildings structures and engineering. All the material is used for a comprehensive renovation of the buildings at Užupio st. 24, where the „Creative industries cluster of Užupis republic“ is going to be created. There is a deep research and development of the funcional program, the new concept of the site development is suggested, which is based on the connection between Užupis and Old Town area by the new bridge from the site to the Sereikiškiu park next to theVilnios river. The new development of existing volume and spaces are also proposed. There are solutions of architectural details, funcions, building structures and engineering's. The structure of final thesis includes: methodology, urban analysis, experimental stage, references, appendixes.

Au fil des trente dernières années, la notion de performance semble avoir acquis une place décisive dans le discours critique et esthétique du champ théâtral français. Cette étude vise à révéler les conditions dans lesquelles la notion de performance change de statut au sein du discours critique français, à travers une archéologie de la notion qui explore la décennie précédant son apparition dans le discours critique du théâtre en France. Il s’agit de rendre compte des débats et des frictions qui conduisent progressivement à cette émergence, à partir des discours des artistes, des organisateurs et des observateurs (spectateurs et critiques) des pratiques théâtrales dites expérimentales. La thèse étudie d’abord le discours de réseaux artistiques périphériques et parisiens de la période 1963-1968 : les premières éditions de la Semaine Sigma de Bordeaux, la branche Fluxus de l’École de Nice, ainsi que festival parisien de la Libre Expression qui présente le Théâtre Panique et organise des happenings. L’étude se concentre ensuite sur le discours relatif à la séquence 1969-1973 du Festival Mondial du Théâtre de Nancy. On y retrouve les mêmes concepts, exprimés cette fois au service d’un nouvel esprit du théâtre, dont l’enjeu consiste à établir un nouveau territoire critique et esthétique à même de garantir à la discipline théâtrale une place forte au sein de la société. De façon a priori paradoxale, les caractéristiques de la performance s’accordent à la fois aux pratiques théâtrales expérimentales et à une société marquée par l’économie capitaliste. De la contre-culture à la superstructure, cette historiographie tente de rassembler des éléments d’éclairage à cette problématique. / Throughout the past three decades, the notion of performance seems to have gained a crucial place in the French field of theatre’s critical and esthetical discourse. This dissertation intends to find out the conditions in which the notion of performance evolves inside the French critical discourse, exploring the decade preceding its advent in the critical discourse on theatre in France. The aim is to map an archaeology of the notion and to report the debates and frictions which progressively led to its emergence, out of the discourses of artists, curators and observers (spectators and critics) of the so-called experimental theatre practices. The study first analyses the discourse related to some artistic networks -peripheric and Parisian- during the 1963-1968 period, such as the first festivals Sigma in Bordeaux, the Fluxus branch of École de Nice, and the Parisian festival of Libre Expression, which presents the Panique Theatre and happenings. The dissertation then focuses on the discourse related to the 1969-1973 sequence of the International Theatre Festival of Nancy. One witnesses the same concepts, expressed this time in order to underwrite a new spirit of theatre, the stake of which is to set up a new critical and esthetical territory, able to ensure a stronghold position for the theatre field within the society. This historiography gathers elements to clarify how the features of performance can match both the experimental theatre practices and the society outlined by the capitalistic economy, from counter-culture to superstructure.

<p>This dissertation analyzes Wolf Vostell's <italic>Fluxus Zug</italic>, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell's centrality to contemporary experimental art. I argue that the spirit of Vostell's art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.</p> / Dissertation

This paper examines selected events from biography and how those events have influenced my philosophies about art-making as well as the work I have produced while a graduate student at Virginia Commonwealth University. This thesis is an attempt to give an expanded context for my work through various lenses, including the personal, the traumatic, the historical and the material.

This dissertation focuses on the role of George Maciunas as “chairman” of the neo-avant-garde movement Fluxus. Its introductory chapter provides an overview and assessment of Fluxus scholarship, and advances the argument that Maciunas established an intersection between post-Cage aesthetics and postwar administration. The succeeding chapters situate Maciunas’s work in relation to apparatuses regulating education, circulation, production, and health care. Taking as its primary objects Maciunas’s “paperwork”—his visually striking charts, newsletters, card files, architectural plans, and other documents—this study shows how Maciunas employed administrative techniques to build the infrastructure for Fluxus’s collective practice and, concurrently, drew on Fluxus’s aesthetic tactics to disrupt or evade state regulation. Chapter two, “Card Files & Charts,” reconstructs how Maciunas’s training in the professions of architecture and art history was applied to organizing Fluxus’s publications and concerts; Chapter three, “Newsletters & Postcards,” traces Maciunas’s maintenance of an international Fluxus network via the postal service; Chapter four, “Registrations & Catalogs,” reveals how Maciunas codified Fluxus’s negotiation of individual and collective authorship within the legal framework of US copyright law; and, finally, Chapter five, “Prescriptions,” locates in Maciunas’s performances a body marked by medical administration.

No description available.

Thesis--Cologne. / Includes bibliographical references (p. 274-297).

Been There Together is a single player game in an online and offline form of cards inspired by event scores. The game is designed to be played by individuals in public spaces, while they are surrounded by strangers. It serves as a pretext for social inclusion. The game can be played online, as a mobile phone application and as a DIY card game for download. The game was designed as an alternative to mobile games, and instead of pulling the player into a virtual reality, it encourages their perception of society and the surroundings. By providing challenges, context and aesthetic pleasure, it creates an exciting experience that contrasts with ordinary daily activities. Its purpose is to overcome the individual's alienation in society. By simple questions and tasks, the player is drawn into a magic circle of play in reality, in areas that are not normally intended for play. It creates a temporary world in the midst of an ordinary world, transforming everyday experience and the individual's perception of public spaces. The game is inspired by Fluxus group's "event scores" as well as by the Situationist International's concept of "dérive", a method of unplanned journeying through urban landscapes. The player can choose between 4 difficulty levels and decide which intensity of play they prefer. Its unobtrusive design allows the player to play the game without noticeably changing their behaviour in public, and it is entirely their decision if they want to admit that they are playing the game to bystanders. Thanks to the guise of a game, the player feels safe to interact with a stranger, to ask for help or to ask questions of people whom they are encountering for the first time. The game creates real social interaction, with legal and economic consequences that reach beyond the magic circle.