This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Orientadores: Artemis Maria Francelin Sanches Moroni, Hermes Renato Hildebrand / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T08:14:23Z (GMT). No. of bitstreams: 1 Blanco_Beatriz_M.pdf: 2626006 bytes, checksum: b2cb07f2a18f153c54951c5807592c81 (MD5) Previous issue date: 2013 / Resumo: Este trabalho apresenta um estudo sobre a multisemiose e a interatividade na web arte. Neste estudo observamos os usos desses conceitos em algumas obras brasileiras concebidas especificamente para a internet. O corpo da dissertação possui a seguinte estrutura: primeiramente, refletimos sobre como a descentralização da produção e distribuição de conteúdos na internet trouxe novas discussões para o campo das mídias e das artes, e sobre como a multisemiose e a interatividade são aspectos característicos do hipertexto relevantes neste novo contexto. Apresentamos cada um desses termos separadamente, listando as referências teóricas que utilizamos em relação a cada um deles. Em seguida refletimos sobre os usos desses conceitos em obras de web arte criadas por artistas brasileiros. Analisamos o uso da multisemiose e da interatividade na obra de web arte Imaterial, de Marília Coelho e Bruno Kurru, sob a Teoria Semiótica de Charles Peirce. Por fim, apresentamos as reflexões que desenvolvemos com base nos estudos realizados / Abstract: This work presents a study about multisemiosis and interactivity in web art. In this study we observed the uses of these concepts in some brazilian artworks specifically designed for the internet. The dissertation has the following structure: first, we reflected on how the decentralization of production and distribution on the internet opens a new debate in the media and arts area, and on how multisemiosis and interactivity are important characteristics of hypertext in this new context. We presented each of these terms, listing the theoretical references that we utilized in each case. Then, we reflected about the uses of these concepts in brazilian artworks. We analyzed the usage of multisemiosis and interactivity in the artwork of web art Immaterial, designed by Marília Coelho and Bruno Kurru, through the Semiotic Theory of Charles Peirce. Finally, we show the reflections that we developed with base on our studies / Mestrado / Artes Visuais / Mestra em Artes

published_or_final_version / Architecture / Master / Master of Architecture

"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.

The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.

Mestrado em Arte Multimédia / Biografia e Autobiografia Universal: para um modelo de análise dos rituais de produção e consumo na arte multimédia trata do estudo e análise de formas alternativas que questionam o modo como criamos a nossa memória cultural colectiva por meio de objectos e rituais. O campo de investigação aqui exposto permanece distinto da História ou Crítica da arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando reconhecer um modelo de profusão cultural. Inicialmente, é analisado o papel da memória na construção de conteúdos culturais. Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem, de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos em actividades artísticas. É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações performativas, que se centram no indivíduo, constituírem o formato privilegiado para uma linguagem transversal, independente de religiões, nacionalidade, ou grupo. Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia, avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos de multimédia e performance. A presença do subtítulo Para um modelo de análise dos rituais de produção e consumo na arte multimédia representa um enquadramento da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico de tendência biográfica e autobiográfica. A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de memória. / Universal Biography and Autobiography: for a model of analysis of the rituals of production and consumption in multimedia art regards the study and analysis of alternative forms of questioning how we create our collective cultural memory through objects and rituals. The field of investigation here shown stands apart from areas of History or Art criticism. The approach to rituals is made from the Socio-cultural view point, aspiring to recognize a model of cultural profusion. Foremost, the role of memory in the construction of cultural content is here analyzed. With that intent, the validity between external devices, such as hermeneutics and rituals, is discussed on that construction. Approaching broad themes such as Memory, Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are established to understand an evolution from traditional rituals to contemporary ones in artistic activity. It is questioned and suggested that contemporary rituals, with their potential of being performative manifestations that centre on the individual, constitute a privileged format for a transverse language, independent of religion, nationality or group. Being the investigation developed in the scope of the Master in Multimedia Art, an analysis of artistic proposals was followed, that discusses the breadth of the multimedia and performance concepts. The presence of the sub-heading For a model of analysis of the rituals of production and consumption in multimedia art , represents a framing of the dynamic which is present on contemporary rituals in biographical and autobiographical artistic work. Pondering about the model of interpretation and analyses is made in the presence of the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking to inquest if their work can be characterized as a memory agent.

It has not been easy for me to talk about myself or describe my feelings or thoughts. Coming from Japan, a collective society, we typically are not raised to do so. Throughout the MFA program at UCF, I have shared my feelings and thoughts through my work. It is important to discuss and inform others of our cultural similarities and differences so that we may gain a better understanding of each other. This process has helped me grow not only on an artistic level, but also on a personal level. My journey towards integration has led me to a meaningful studio practice, which has allowed my work to bridge the gap between Western and Eastern artistic sensibilities. At the beginning of the MFA program, my mother sent many boxes of origami from Japan. As I started incorporating my mother’s origami into my work, I found myself identifying with the origami butterfly. My realization is that the person I am now is not the person I was when I began this journey. My wish for you, the reader, is to go along with me as I tell you the story of my transformation.