A presente pesquisa traça um percurso referencial artístico que culminou num gênero de performance digital denominado electropera. Este gênero híbrido é formado pelo encontro, numa mesma arena, da performance art, da música contemporânea assistida por tecnologias eletrônicas digitais e das mídias visuais manipuladas (cinema found footage e vídeo arte). A pesquisa parte da abordagem da performance na música com preocupações analíticas acerca da construção da persona no performer musical; caminha para os desdobramentos sonoros nas vanguardas e alcança os movimentos de música experimental resultantes da contracultura dos anos 60; analisa as concepções estéticas de alguns compositores referenciais que saíram dos limites restritivos da escrita musical e optaram pela inserção de múltiplas linguagens em suas obras e lança um olhar analítico sobre novo papel das mulheres como performers e conceptoras de trabalhos musicais no universo da multimídia. A síntese de toda essa genealogia conceitual, histórica e auto-referencial culminou com a produção e a análise crítica e processual de um trabalho pessoal, a electropera Ópio. / This research traces the referential path which culminated in a gender of digital performance entitled electropera. This hybrid gender is constituted by the encounter, in a same arena, of performance art, contemporary music assisted by digital electronic technologies and the manipulation of visual medias such as found footage and video art. This study analytically approaches performance in music by focusing on the elaboration of a persona by the musical performer. Including the sonorous developments on the avant-garde movements through the resulting experimental music derived from the sixties counter-culture and the conceptual aesthetics of some chosen composers which transgressed the restrictive boundaries of musical composition by encompassing multiple art forms. Allowing an analytical glimpse on the new role of women as performers and creators of musical works in the multimedia universe. The synthesis of this conceptual historicized and self-referential genealogy culminated in the production, critical and process analyses of an authorial work, the electropera Ópio.

This project examines contemporary performances that disrupt normative understandings of time/history. I argue that the complimentary regimes of heterosexuality and capitalism produce the temporal logics that create the psychic and material conditions under which U.S. queer subjects experience everyday, national, and transnational trauma. These logics include the construction of time/history as linear, teleological, and progress-oriented, and the idealized citizen as similarly straight, productive, and amnesic. I then analyze the ways in which queer performance can resist and transform chrono-normativity by creating "time slips": worlds in which past and present are given permission to touch; history/memory to repeat; and the future to reside in the now. Case studies include Ann Carlson and Mary Ellen Strom's Geyser Land (2003); floodlines (2004-2010), which I conceived and directed; and Peggy Shaw and The Clod Ensemble's Must: The Inside Story (2011). I situate my analysis against the backdrop of a post-9/11 security state that makes these performative disruptions particularly vital at this historical moment. / text

Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte's first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte's various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexity of Mangolte's practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.

<p>This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state's hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists' aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.</p> / Dissertation

Constructing Voices is a narrative case study exploring the experiences of young women as they participated in a major public art performance project. I followed the process and production of Turning Point and Under Construction over the course of one year. Under the direction of American performance artist and educator Suzanne Lacy, this Vancouver, Canada based art project and performance sought to empower participating young women; to help them fin their voice and to provide them with a forum so that they might challenge and alter public perception and stereotypes of young women in the mass media. Seven young women from Turning Point and three local organizers, including the project and performance producer, have offered their narratives to inform this study. Together, they take us behind the scenes of a huge and complex community art project and performance. Their stories help us find meaning amidst the contradictions inherent in art productions of this magnitude. I approach this inquiry from a constructivist paradigm, informed by postmodern feminism. Through this research I call for a collaborative art practice which is reflexive, critical and egalitarian - one in which power is shared and where representation is determined by those whose lives are displayed. To inform our future artistic and educational practices, we need to turn to those pedagogical frameworks that best correspond to the intended goals of the projects. In the case of Turning Point and Under Construction, we need to look to feminist, emancipatory and performance art pedagogies. Only by informing our practices in this way, can these projects provide the opportunity for individuals to achieve a heightened engagement with their world - to learn through currere. In this narrative case study, we hear from young women at turning points in their lives. They believe what they say has value and should be heard by others. Performance art has the potential to be a rich site for learning so long as the process is congruent with the goals of the art project. As art educators we can respond to these narratives in our practices by providing environments for learning where participants/learners can find their own ideas and voices while expressing themselves in personally meaningful ways.

In una riflessione storico-critica sulle questioni che hanno animato il dibattito nazionale e internazionale intorno alla Performance art durante gli anni Settanta, fino alle implicazioni critiche più recenti sul concetto di "performatività", la ricerca affronta la funzione estetico-politica della performance connessa ad alcuni casi specifici di azioni e animazioni radicali in Italia tra il 1975 e il 1980 tra teoria critica e pratica politica. / In a historical-critical reflection on the issues that have animated the national and international debate about the performance art during the seventies, until the most recent critical implications on the concept of "performativity", the research addresses the aesthetic-political function of the performance related to some specific cases of radical actions and animations in Italy between 1975 and 1980 between critical theory and political practice.

This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.

Many disciplines spend considerable resources studying behavior. Tools range from pen-and-paper observation to biometric sensing. A tool's appropriateness depends on the goal and justification of the study, the observable context and feature set of target behaviors, the observers' resources, and the subjects' tolerance to intrusiveness. We present two systems: Viz-A-Vis and Tableau Machine. Viz-A-Vis is an analytical tool appropriate for onsite, continuous, wide-coverage and long-term capture, and for objective, contextual, and detailed analysis of the physical actions of subjects who consent to overhead video observation. Tableau Machine is a creative artifact for the home. It is a long-lasting, continuous, interactive, and abstract Art installation that captures overhead video and visualizes activity to open opportunities for creative interpretation. We focus on overhead video observation because it affords a near one-to-one correspondence between pixels and floor plan locations, naturally framing the activity in its spatial context. Viz-A-Vis is an information visualization interface that renders and manipulates computer vision abstractions. It visualizes the hidden structure of behavior in its spatiotemporal context. We demonstrate the practicality of this approach through two user studies. In the first user study, we show an important search performance boost when compared against standard video playback and against the video cube. Furthermore, we determine a unanimous user choice for overviewing and searching with Viz-A-Vis. In the second study, a domain expert evaluation, we validate a number of real discoveries of insightful environmental behavior patterns by a group of senior architects using Viz-A-Vis. Furthermore, we determine clear influences of Viz-A-Vis over the resulting architectural designs in the study. Tableau Machine is a sensing, interpreting, and painting artificial intelligence. It is an Art installation with a model of perception and personality that continuously and enduringly engages its co-occupants in the home, creating an aura of presence. It perceives the environment through overhead cameras, interprets its perceptions with computational models of behavior, maps its interpretations to generative abstract visual compositions, and renders its compositions through paintings. We validate the goal of opening a space for creative interpretation through a study that included three long-term deployments in real family homes.

My research investigates the habitual, the non-monumental, the mundane, the ordinary and the everyday. I conceive of this as those moments in life that are not socially or culturally recognised as important. Traditionally, such moments have not been considered worthy of documentation and have been omitted or overlooked by mainstream media. This exegesis examines the importance of the everyday and considers how to make it conspicuous. Historically, these moments have been identified with the feminine, in that much theoretical and artistic work has emerged exploring women's experience of the everyday and testifying to its importance. Three spheres in particular have attracted critical interest: namely the body, the domestic and personal identity. For example, in 1966 Yoko Ono's 'No 4 (Bottoms)' brought the issue of the body and its banality onto centre stage by showing an endless parade of bottoms. In 1975, Chantal Akerman's film 'Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles', showed the everyday routines of a self-contained housewife. More recently, numerous artists have explored the politics of identity. Sadie Benning has made numerous videos that show the mundane and also reveal her personal identity, by exploring large and especially small scale details. / While conventionally newsreels and big budget documentaries have focused on 'big' events, one of the arenas that have investigated the everyday is experimental film and video. My exegesis gives a brief historical overview of this genre. Testimony in this media is often used as a voice to express the everyday. My journal entries (testimonies) deal with everyday experiences, and are interspersed throughout my exegesis. They are also the main threads in my videos. In my studio work, I use movement and dance to express in an abstract manner issues about the everyday, which include personal identity, more specifically issues of illness and sexuality / My research draws on a variety of sources including: 1970's feminist artists and filmmakers (Chantal Akerman and Martha Rosler). Many artists who were involved in the women's movement used their bodies in various art forms including performance art to make radical statements about domesticity and feminism. Contemporary artists' depiction of personal identity that mostly informed my work (in particular, queer identity) are: experimental queer film and media makers Sadie Benning, Marlon Riggs, Isaac Julien and William Yang. / Thesis (MVisualArts)--University of South Australia, 2006.

Polyrhythmic Landscapes: BodyDressCity explores the performative contiguity of body, garment and environment to reveal, frame and question how the city can be understood as a ‘space-in-action’, constructed of multiple rhythms and temporalities that occur in a multitude of places. Polyrhythm is a musical term for the simultaneous occurrence of two or more independent rhythms. This research seeks to fuse Bernard Tschumi’s event-space and rhythm, through an understanding of Henri Lefebvre’s ‘rhythmanalysis’ (Lefebvre, 2004, p. 1). In this project, I spatially conceptualize the combination of these terms as a polyrhythmic landscape. As a spatial designer I construct a series of embodied spatiotemporal interventions that employ performance as a dynamic, active, operative and responsive medium to reveal, frame and comprehend how the city can be a ‘polyrhythmic landscape’. The design-led project probes the disruptive effect of a female figure dressed in a monumental ten-metre red gown on the temporal condition of the city. As the public bears witness to the metamorphosis of the female figure, the spectacle of the dress confronts the everyday patterns and movements of the urban fabric. Has this glamorous flâneuse punctured the rhythmic skin of the city to reveal a polyrhythmic landscape?