The purpose of this study is to explore the diverse ways that aesthetic experience is tested by participatory art. The study will show the part played by participatory action in changing the conditions in which aesthetic experience arises. It will be confirmed that when the philosophy of action is taken into account then explanations of participatory art are enhanced. There are many descriptions of aesthetic experience and it is generally assumed to be a cornerstone in explanations of art. In one of the leading accounts aesthetic experience is associated with disinterested perceptions where the individual is free of any practical concern for the object of experience. In recent explanations of contemporary art there is less emphasis on aesthetic experience and there is a tendency to suggest that background knowledge and interpretation are equally as significant as perception in the experience of art. ‘Participatory art’ is a category of art that explicitly demonstrates this state of affairs. In contemporary criticism participatory art is a term used to describe art that favours an audience composed of active contributors rather than detached viewers. These are artworks that encourage moments of engagement by an audience such as the moving of elements in the work or the movement of the participant’s body. It could be said that the observable actions of participants mediate between perception and knowledge in participatory art. Such work opens up a space where assumptions made about the experience of art can be challenged. The present study explores how aesthetic experience is affected by the introduction of human action in participatory art by exploring three exhibitions of participatory art at The Tate Modern, The Barbican and Dundee Contemporary Arts. In this study it is suggested that participation in such artwork may be a consequence of deliberation, spontaneity or may take place within a social group. Therefore the aesthetic experiences and actions that are identified in these artworks are examined from the standpoint of reason, the body and social convention through the respective adoption of analytical, phenomenological and institutional/sociological perspectives.

<p>I am interested, broadly, in the relationship of aesthetics to politics. More specifically, I am interested in the importance of aesthetics to leftist political organizing, particularly in regard to music. This interest reflects my goals as a composer and as an activist, or, I should say, as a composer/activist: the project is the same&mdash;musical composition is a large piece of a larger puzzle. <italic>SuperConductors</italic> explores the (structural) relationships between musical objects, their means of production, and the corresponding social formations. I am especially concerned with how formal aspects of a musical composition (which, for me, include the means of performance/consumption) reflect social relations, but more importantly also forge them. So: is there a way for me to write music that challenges dominant/hegemonic social relationships? Is there a way for me to write a more democratic music?</p><p><italic>SuperConductors</italic> consists of three divisions. The introductory division discusses the theoretical background of the project and traces historical lineages of other music and art that have been influential to this project. The second division is comprised by a series of musical compositions devoted to exploring the political and aesthetic possibilities that arise from participatory music-making. The final division consists of an article examining the emergence of web-based interactive music, pieces sometimes dubbed &ldquo;sound toys&rdquo;, as well as a series of my own pieces in this genre.</p><p>As a result of my work on this project, I have developed a paradigm for the production of democratic musical works through the discerning implementation of dynamically configurable forms; these principles, designed to facilitate the composition of new works in this style, are codified in a section entitled, &ldquo;Guidelines for a new democratic music&rdquo;.</p> / Dissertation

The aim of the diploma thesis is the graphic processing of the monographic publication of Kateřina Šedá. In my work I refer to the cooperation of designer, author and curator, with many aspects that influence us in the process of creation and define the result. The work of Kateřina Šedá consists predominantly of participatory actions, often linked to a specific place (excluded locality, housing estate, village), with events, interactions and the experiences of many people being the key output. The aim of the monograph is to provide a clear report on major authorial projects in one comprehensive publication. Considering the quantity, variety and complexity of Kateřina Šedá’s work, the work also includes searching for solutions and systems to process projects to a limited extent.

This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?

This texts in about my thesis show; Modular envelopes which was presented in the Anderson gallery at may 2013. The text speaks about my individual process of making both this particular work and art in general.

A presente pesquisa envolve a análise de trabalhos que realizei entre 2012-2018 relacionados às questões da cidade contemporânea e à perda gradual de sua capacidade de promover encontros. Discuto como, na sociedade urbana contemporânea, espaços propícios ao encontro e à troca entre alteridades, tais como calçadas, praças e parques foram sendo substituídos por experiências individualizadas, praticadas em ambientes assépticos e dirigidos ao consumo massivo. A partir dessas inquietações, investigo de que forma processos artísticos participativos e de caráter dialógico possibilitam a ocorrência de situações de encontro no espaço público, examinando a ocorrência de tais processos como microacontecimentos cotidianos. Meu interesse parte do entendimento de que os projetos, ações e inserções desenvolvidos se constituem como modos de subjetivação capazes de encaminhar a construção daquilo que entendo como poéticas da proximidade. / The present research involves the analysis of works that I performed between 2012-2018 related to contemporary city issues and the gradual loss of their capacity to promote meetings. I discuss how, in contemporary urban society, spaces conducive to meeting and exchanging between alterities, such as sidewalks, squares and parks were replaced by individualized experiences practiced in aseptic environments and directed to mass consumption. From these concerns, I investigate how participatory artistic processes and dialogical character enable the occurrence of situations of encounter in the public sphere, examining the occurrence of such processes as everyday micro events. My interest is based on the understanding that the projects, actions and insertions developed are forms of subjectivation capable of directing the construction of what I understand as poetics of proximity.

Au début des années 1990, apparaît une nouvelle pratique contemporaine : l’art participatif. Celle-ci se caractérise d’abord par une création hors-atelier : la création s’inscrit dans l’espace social. Elle se distingue ensuite par le fait qu’elle n’est pas le fruit du travail de l’artiste seul, mais celui d’une collaboration en présence entre artiste et participants. Notre thèse constitue une enquête sur les enjeux à la fois artistiques et politiques de cette pratique. Nous inscrivons ainsi l’art participatif dans une histoire artistique de la participation sur le XXème siècle, afin de comprendre les problèmes communs justifiant la mobilisation d’un tel dispositif de création, et la spécificité de ce dernier en art participatif ; mais aussi dans une histoire esthétique permettant d’éclairer la façon dont la participation remet en question nos préconceptions les plus profondes sur l’art. Une deuxième partie de notre travail consiste à étudier le développement de cette pratique, en relation avec la politique, au Royaume-Uni de 1997 à 2015. Les gouvernements successifs promeuvent la participation au rang de valeur, et multiplient la mise en place de dispositifs de participatory democracy. Avoir recours à un dispositif de création participatif acquiert, dans ce contexte, une autre dimension et signification. Nous étudions également l’art participatif en rapport avec le politique, que nous analysons comme la tentative de réinventer de nouvelles formes du commun et de la communauté. Nous faisons l’hypothèse que le processus de collaboration entre artiste et participants fait émerger une forme d’association politique nouvelle : la communauté de singularités. / In the early 1990’s emerged a new artistic practice: participatory art. This post-studio practice is characterized by an embodied collaboration between the artist and the participants. Our thesis is an investigation on the artistic and political stakes of this practice. We inscribe participatory art in an artistic history of participation, in order to understand the shared problems encountered by artists along the 20th century calling for the mobilization of this creative device, and also its specific use and functioning in participatory art. We also inscribe this practice in an aesthetic history which enlightens how participation questions our most rooted preconceptions about art. A second part of our work is dedicated to the study of the development of participatory art in relationship to politics (understood here as policies) in the UK from 1997 to 2015. Participation is promoted as a value in itself by the successive governments and participatory democracy is said to be developed by various kinds of public consultations. Participatory art acquires in this context a different meaning and dimension. Finally we intend to show how participatory art can be interpreted as an attempt to create new forms of communality and community. We suggest the idea that the collaborative process between the artist and the participants produces a new kind of political association: the community of singularities.

Orientadores: Denise Hortência Lopes Garcia, Jônatas Manzolli / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T20:30:38Z (GMT). No. of bitstreams: 1 Mamedes_ClaytonRosa_D.pdf: 10108591 bytes, checksum: 26cc15811eccc58549c0ee63faad6472 (MD5) Previous issue date: 2015 / Resumo: A presente tese descreve o processo criativo das instalações audiovisuais interativas Abstrações, Cerejeira e Caminho das águas, relacionando-as ao objetivo principal da pesquisa, que consiste em analisar os mecanismos de integração entre o projeto conceitual de cada instalação, seu design sonoro e os processos que modelam a interação dos visitantes com a obra. Este objetivo é alcançado através de uma abordagem prática ao processo de pesquisa, a qual foi realizada através da criação de novas obras e a respectiva avaliação sobre o comportamento dos visitantes, processo repetido a cada etapa deste trabalho. O trabalho contempla a análise e a localização de nossas referências para os conceitos de instalações, design sonoro e interatividade. Apresentamos uma proposta para estruturação do design sonoro baseada na espectro-morfologia de Denis Smalley, utilizando este conjunto teórico como modelo para estruturar a relação entre o som e o conteúdo referencial da obra, e entre o som e o modelo interativo que se pretende abrir aos visitantes. Implementamos um conjunto de descritores de propriedades físicas para o movimento e desenvolvemos um conjunto de descritores baseados na fusão de dados sobre as propriedades físicas do movimento, com a intenção de descrever as classes de Esforço para a Análise de Movimento Laban. Estes descritores objetivam suprir deficiências do modelo interativo utilizado no início da pesquisa, durante o desenvolvimento das instalações Abstrações e Cerejeira. A instalação Caminho das águas integra os desenvolvimentos alcançados pela pesquisa: uma nova abordagem para a relação entre o projeto conceitual da obra, seu design sonoro e o modelo interativo revisado. Um extenso estudo com participantes aplicado sobre esta instalação permitiu avaliarmos os resultados alcançados a partir das hipóteses levantadas durante o desenvolvimento da pesquisa / Abstract: This thesis presents the creative process of the interactive audiovisual installations Abstrações, Cerejeira and Caminho das águas, relating them to the main objective of the research, which consists in the analysis of the models that integrate the conceptual project of each installation, its sound design and the interactive processes that model the relation between visitors and the work. This objective was achieved through a practical approach to the research process and was implemented by the designing of new installations and the respective evaluation about the behavior of visitors. This process was repeated at each step of the research. This work includes the analysis and origin of our references to the concepts of installations, sound design and interactivity. We present a proposal to structure sound design based on the spectro-morphology developed by Denis Smalley. We propose the use of this theoretical corpus as a model to structure the relation between the sound and the referential content of the work, and between the sound and the interactive model that is intended to be open for visitors' participation. We have implemented a set of descriptors to retrieve physical properties of the movement. We also developed a set of descriptors based on data fusion from these physical properties, intending to describe the classes of Effort for the Laban Movement Analysis. These descriptors aim to fulfill shortcomings observed in the interactive model adopted in the early part of the research, specifically during the development of the installations Abstrações e Cerejeira. The installation Caminho das águas integrates the developments achieved by this research: a new approach to the relation among the conceptual project of a work, its sound design and the interactive model adopted. An extensive study with participants applied over this installation enabled us to evaluate the results achieved from the hypotheses raised during the development of the research / Doutorado / Processos Criativos / Doutor em Música

Notre recherche se fonde sur une forme de relation particulière entre lʼœuvre et le spectateur, lorsque la participation de ce dernier est interactive, cʼest-à-dire physique, active et effective. Or, à partir de 1950, de nouvelles formes artistiques apparaissent et de nombreuses œuvres partent, en quelque sorte, à la recherche du spectateur. Cʼest en les parcourant que le premier chapitre pose les bases dʼune participation interactive. Nous avons aussi choisi de réordonner ces œuvres ou mouvements selon des catégories qui échappent aux classifications standards en les groupant selon leur modalité de participation : regarder, entrer, ressentir, assister. Le second chapitre est ensuite consacré aux œuvres les plus participatives qu'il puisse exister, cʼest-à-dire, des œuvres qui ont réellement besoin du spectateur pour exister, dont la forme est tout autant définie par le spectateur que par lʼartiste, voir même davantage par le spectateur. Quatre nouvelles catégories sont alors dégagées : figurer, agiter, expérimenter, partager. Lʼobjectif de cette classification typologique est dʼoffrir une vue dʼensemble qui soit claire et qui permette de mieux comprendre le vaste panorama des œuvres dʼart participatives. Notre réflexion se construit aussi à lʼaide de ces deux questions successives : de quelle façon le spectateur a-t-il la possibilité de participer ? Quel est le but recherché par lʼartiste ? Nous prenons aussi la mesure de la contribution du ou des spectateurs dʼune part, évaluons les valeurs éthiques que tendent à véhiculer certains projets artistiques de lʼautre, et nous décelons un certain nombre de pièges et de dérives qui semblent guetter ces œuvres, tantôt faisant lʼobjet de banales animations culturelles, réduites au divertissement, tantôt se perdant au sein de luttes sociales et politiques. Analysant les critiques formées à leur encontre, en formulant dʼautres, puisant dans les domaines de la philosophie, de la sociologie ou de lʼanthropologie, nous cherchons donc à cerner les enjeux spécifiques de chaque forme de participation. Lʼœuvre dʼart participative révèle alors sa pleine ambivalence, une nature ambiguë qui constitue sa force comme sa faiblesse. De même, lʼacte participatif, entre action et passivité, proximité et distance, dessine la figure nouvelle dʼun spectacteur. / Our research bases on a particular form of relationship between the work of art and the spectator, when the participation of the latter is interactive, that is to say, physical, active and effective. However, since 1950, new art forms appear and many works go, somehow, in search of the spectator. It is by reviewing them that the first chapter thus lays the foundation of an interactive participation. We also chose to reorder these works or movements in categories beyond the standard classifications by grouping them according to their modality of participation : look, enter, feel, attend. The second chapter is then dedicated to the most participatory works that can exist, that is to say, works that really need the spectator to exist, whose shape is as much defined by the spectator by the artist, and even more by the spectator. Four new categories are then identified : figure, shake, experiment, share. The objective of this typological classification is to offer an overview which is clear and which allows to understand better the vast panorama of the participatory art works. Our thought also builds using these two successive questions : how has the spectator the possibility to participate ? What is the purpose looked for by the artist ? We also take the measure of the contribution of one or several spectators on one hand, estimate the ethical values which tend to convey some artistic projects on the other, and we detect a number of pitfalls and deviations that seem to watch for these works, sometimes being the object of commonplace cultural activities, reduced to the entertainment, sometimes getting lost in social and political struggles. Analyzing the criticisms formed against them, by formulating others, drawing from the fields of philosophy, sociology or anthropology, we identify the specific issues of each form of participation. The participatory artwork reveals then its full ambivalence, an ambiguous nature that is its strength as its weakness. Similarly, the participative act, between action and passivity, proximity and distance, draws the new figure of a spectactor.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed. / October 2015