Orientador: Rosangella Leote / Resumo: O presente trabalho se desenvolve na fronteira entre a produção artística, científica e tecnológica. É uma procura da interface humana de significado no ambiente, que culminou na elaboração da exposição “A Senhora do Balé: Ancestralidade Maquínica”, que é a junção de diferentes abordagens para os objetos tecnocientíficos. Este trabalho perpassa questionamentos sobre o que são as máquinas, que se revelam na exposição de obras/máquinas, repleta de um imaginário místico e de ferramentas que formam colagens antropomórficas, em um ambiente artístico imerso em luzes e sombras. Se tem como base teórica: O panorama das máquinas mecânicas feitas por Abbott Payson Usher e o Conceito de Tecnologia de Álvaro Vieira Pinto. A pesquisa de Paula Sibila sobre o Pós-orgânico; os conceitos de Emoção e Consciência de António Damásio e as experimentações das interfaces de comunicação entre humano e robô, de Zaven Paré. Como base de processos de criação, se examina obras de Jean Tinguely, que surgem como caminhos para a estrutura do trabalho. Pretende-se, ainda, que as obras sejam metáforas que operem entre diversos sentidos do interator, estimulando-os, gerando assim, material para o estudo da Emoção como agente direto da cognição. De forma artística, o trabalho “Máquinas e Emoções na Arte”, busca paradoxos em quantificar o qualitativo e qualificar o quantitativo. / Abstract: The present work is developed on the frontier between artistic, scientific and technological production. It is a search for the human interface of meaning in the environment, which culminated in the elaboration of the exhibition “A Senhora do Balé: Ancestralidade Maquínica” that is the junction of different approaches for the technoscientific objects. This work raises questions about what machines are, which are revealed in the exhibition of works / machines, full of a mystical imaginary and tools that form anthropomorphic collages, in an artistic environment immersed in lights and shadows. Its theoretical basis is: The panorama of mechanical machines made by Abbott Payson Usher and the Technology Concept of Álvaro Vieira Pinto. Paula Sibila's research on the Postorganic; the concepts of Emotion and Consciousness of António Damásio and the experiments of the communication interfaces between human and robot, by Zaven Paré. As a basis of creation processes, Jean Tinguely's works are examined, which appear os paths to the work structure. It is also intended that works are metaphors that operate between different senses of the interactor, stimulating them, thus generating material for the study of Emotion as a direct agent of cognition. In an artistic way, the work "Machines and Emotions in Art", seeks paradoxes in quantifying the qualitative and qualifying the quantitative. / Mestre

The digital project at the intersection of the interactive installation and computer game.

A medical evaluation of physical impairment imposes the additional burden of “labeling” the patient with the condition. The binary nature of the normal versus abnormal label emphasizes difference and can lead to trauma. Understanding differences, however, can lead to the generation of new forms and thus, more sensitive differentiation and representation. Tension is created by exploring different bodily forms—a dialectic between form and essence. I am designing a space that visualizes and illuminates difference as a source of trauma and amplifying the tension by comparing figures that represent varying degrees of normalcy. This forms a critique of idealized form and creates a context for people unaffected by this type of trauma to reflect on possible realities outside of their assumptions of normality.

My degree project consists of several parts: a theorethical essay, sketches, modells, photos, experiments and an installation showed at Konstfack Spring Exhibition 2014. Departing from the infamous Fredric Jameson quote ”It’s easier to imagine the end of the world than the end of capitalism” I have investigated the relationship between play, daydreaming and economical system. Political scientist Wendy Brown has argued that we exist at a time in history where we have an urgent need for alternative spaces, both in the physical room and in the mind, where an alternative longing can grow. In my degree project I have taken a closer look at this space – what could it be, how does it work, what would it look like if it was made real? By exploring play theory I try to understand how and if play can be triggered and how this can be translated into a space. By deepening my knowledge about imagination and the relation between imagination and social development, I try to seek answers to how play can be used as a starting point for change. By treating play as a space in a double sense – both as a physical room and a special place inside us, I explore the possibilities this space has for creating new dreams. This is also a project where I try to restore my own belief in storytelling as something beyond escapism. Aiming to create an in-between, a fusion between scenography, illustration and installation, I seek to create a platform where my work can be the basis for new discussions and meetings. By exploring the performative elements of a room I want to invite the visitor to enter the image and merge with the content. I want to create a work that embraces the visitor and that can be experienced on many different levels depending on the visitor’s interest, age and prerequisites. The essay consists of three parts. My project started with an analysis of the current economical situation. In the first part of this essay I make a summary of this research, and give a brief background to my experiences working in the gap of storytelling and economics. In the second part I will investigate the basic functions of imagination and play, and see how our longing is linked to the development of society. In the third part I will talk about the physical outcome of my project - my process, choices, difficulties and conclusions. For practical reasons I have choose to put all images in a separate appendix at the end. These images shows extracts from my artistic process as well as a documentation of the installation showed at the Spring Exhibition.

abstract: No Doors: A Personal Exploration of Movement and Technology, details the interdisciplinary strategies that were used in the making of a series of interactive/reactive/immersive (IRI) installations that drew audiences into an experience and encouraged active observation and/or participation. The interdisciplinary IRI installations described in this document combined movement, sculpture, production design, and various forms of media and technology with environments in which participants had agency. In the process of developing this work, the artist considered several concepts and practices: site-specific, various technologies, real-time processing, participant experience, embodied exploration, and hidden activity. Throughout the creative process, the researcher conducted a series of four focus labs in which a small audience was invited to engage with the work as a way of gathering data about the effectiveness of the installations in facilitating active audience observation and/or participation. The data collected after each focus lab informed the revision of the work in preparation for the next focus lab, with the ultimate result being the production of a final exhibition of five interdisciplinary IRI installations. The installations detailed in this document were loosely based on five elements: water, fire, air, earth, and spirit. / Dissertation/Thesis / Masters Thesis Dance 2018

THE DIPLOMA THESIS WHITE CUBE2 DEALS WITH THE ISSUE OF THE INTERIOR OF THE GALLERY. THE AIM OD THE THESIS IS TO DEFINE THE ONTOLOGICAL STATUS OF THE ARCHITECTURAL SPACE OF THE GALLERY AND ITS EXHIBITIONS. THIS PART IS PRECEDED BY A DISCOVERY OF INSTALLATION DISCOURSE AND THE OVERALL CONCEPT OF WHITE CUBE2. THE WORK DEALS WITH THE RELATIONSHIP OF THE MODEL GALLERY IN THE GALLERY AND WITH THE CHANGE OF THE USED MODEL OF THE TRADITIONAL ROLE OF THE VIEWER AS THE RECIPIENT OF THE WORK. THE WORK PRESENTS THE SCI-FI IDEA OF THE FUTURE OF THE MALE ELEMENT.

This paper describes an exploration of interactive soundscapes at the Malmö city library and the effects it has on the space and its inhabitants. It investigates views of the library and it’s soundscape to conclude that the users view of the library correlates with their experience of the space. The project deployed an interactive soundscape installation that was active for the period of a month. Research done to inform the design of the installation grounds itself in soundscape studies and studies done in libraries. The fieldwork was conducted with a grounded theory and research by design approach. The Results suggests that sound can be an effective material to co-create the environment and highlight the way we move within a space. It shows that soundscaping can create new venues for interaction between humans and serve as a tool to create personal and interpersonal spaces.

A pesquisa aborda experiências estéticas realizadas com Instalações Interativas Computador (IIC), produtos de uma Artemídia que estão em pleno desenvolvimento. A idéia central é produzir um pensamento sobre o funcionamento da interatividade com interfaces digitais em mundos virtuais produzidos como arte, na perspectiva de fundamentar exercícios de uma contemplação interfaceada de sensações, processados por um corpo-interator a partir de sua interação com o entorno. Coloca-se em trabalho o conceito de contemplação estética encaminhando uma abordagem que permita compreender sua compatibilidade com as tecnologias digitais, longe da dicotomia ativo x passivo e fundamentada no conceito de arte como um bloco de sensações, composto de afectos e perceptos. A hipótese principal funda-se na noção de contemplação como contração de sensações, segundo Gilles Deleuze e Felix Guattari, autores que compõem as filosofias da diferença. / The thesis presented here deals with aesthetic experiences done using Interactive Installations through Computer (IIC), products of a Media Art that are at the peak of their development. The main idea is to produce a thought about the dynamics of the interactivity with digital interfaces in virtual worlds produced as art, in a prospect of substantiating the practice of an interfaced contemplation of sensations, dealt by an interactive-body from its interaction with the installation. We deal with the concept of aesthetic contemplation following an approach that allows an understanding of its compatibility with digital technologies, far from the dichotomy active x passive and based on the concept of art as a set of sensations composed by affects and perceptions. The main hypothesis is based on the notion of contemplation as a contraction of sensations, according Gilles Deleuze and Felix Guattari, authors that make part of the philosophies of the difference.

A pesquisa aborda experiências estéticas realizadas com Instalações Interativas Computador (IIC), produtos de uma Artemídia que estão em pleno desenvolvimento. A idéia central é produzir um pensamento sobre o funcionamento da interatividade com interfaces digitais em mundos virtuais produzidos como arte, na perspectiva de fundamentar exercícios de uma contemplação interfaceada de sensações, processados por um corpo-interator a partir de sua interação com o entorno. Coloca-se em trabalho o conceito de contemplação estética encaminhando uma abordagem que permita compreender sua compatibilidade com as tecnologias digitais, longe da dicotomia ativo x passivo e fundamentada no conceito de arte como um bloco de sensações, composto de afectos e perceptos. A hipótese principal funda-se na noção de contemplação como contração de sensações, segundo Gilles Deleuze e Felix Guattari, autores que compõem as filosofias da diferença. / The thesis presented here deals with aesthetic experiences done using Interactive Installations through Computer (IIC), products of a Media Art that are at the peak of their development. The main idea is to produce a thought about the dynamics of the interactivity with digital interfaces in virtual worlds produced as art, in a prospect of substantiating the practice of an interfaced contemplation of sensations, dealt by an interactive-body from its interaction with the installation. We deal with the concept of aesthetic contemplation following an approach that allows an understanding of its compatibility with digital technologies, far from the dichotomy active x passive and based on the concept of art as a set of sensations composed by affects and perceptions. The main hypothesis is based on the notion of contemplation as a contraction of sensations, according Gilles Deleuze and Felix Guattari, authors that make part of the philosophies of the difference.

Made available in DSpace on 2016-12-08T16:18:55Z (GMT). No. of bitstreams: 1 120368.pdf: 554052 bytes, checksum: c997a7d766b9d0eb6641d269d514814a (MD5) Previous issue date: 2014-08-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Observing the technical structure of interactive installations of artists Edmond Couchot, David Bowen, SCIArts and Gilbertto Prado, among others, this research highlights the ones that specifically used the Breath or the Wind as "false interface" using a Milton Sogabe s term. Starting from the hard concept that body and machine mutually adapt in a complex system of simulations and simulacra artificially constructed, the research also notes the break in the common perception of interactor and the border boundaries between body and machine. As a result, I construct the installation "Cloud and Breath" of my own, which consists in the image of clouds that dissipate when blown through a window by the interactor presently, which is thus incorporated into the installation system. / Observando-se a estrutura técnica das instalações interativas dos artistas Edmond Couchot, David Bowen, SCIarts, e Gilbertto Prado, entre outros, esta pesquisa destaca as que especificamente se utilizaram do Sopro ou do Vento como a falsa interface , usando um termo de Milton Sogabe. Partindo do conceito duro de que corpo e máquina se adaptam mutuamente num sistema complexo de simulações e simulacros construídos artificialmente, a pesquisa observa também a ruptura na percepção comum do interator e os limites fronteiriços entre corpo e máquina. Como resultado, construo a instalação Nuvem e Sopro, de minha autoria, que consiste na imagem de nuvens que se dissipam quando sopradas através de uma janela pelo interator de corpo presente, que é assim incorporado ao sistema da instalação.