A presente dissertação trata de três ciclos de trabalhos poéticos realizados entre 2009-2012 (vermelho, verde e cinza-cor-de-pele). A vivência do corpo com a cor nos três ciclos fez emergir, a partir de tonalidades e de balizas estipuladas a priori, processos de sensibilização do corpo no cotidiano, que foram entendidos em si como poética, bem como geraram desdobramentos: pinturas, objetos, ações... Nos ciclos, importaram as transformações que aconteceram no corpo, nas obras e num certo entre. Onde o dentro e o fora se encontram? O que separa um corpo do outro? No embate direto com a matéria, com o pigmento, a percepção tátil-visual foi ativada e, neste texto, entendida como chave conceitual para uma abordagem do corpo do artista nas artes visuais. Tal estudo deu-se principalmente a partir da Fenomenologia da Percepção de Maurice Merleau-Ponty, da Doutrina das Cores de Joahnn Wolfgang Goethe, do infra-mince descoberto por Marcel Duchamp e do Corpo do Artesão descrito por Pamela H. Smith. Além do estudo teórico, foram analisadas obras e manifestações culturais como auxílio reflexivo para toda a pesquisa: a pintura corporal do rito de passagem dos meninos da nação Kadiwéu, as Antropometrias da Fase Azul de Yves Klein e a performance e instalação Roda dos Prazeres de Lygia Pape. Ainda, fazem parte desta dissertação duas entrevistas com artistas que têm a cor e a atitude corporal diante do fazer artístico como foco de seus trabalhos. / This essay analyzes three cycles of poetic works made between 2009-2012 (red, green and skin-gray color). The interaction of color and body in the three cycles emerged from hues and goals stipulated a priori, affecting the behavior of the body, what was perceived as poetry, in that they stimulated paintings, actions, objects... The main focuses of attention in each cycle were the transformations that took place in the body, in the pieces and somewhere inbetween. Where the inside and the outside toutch each other? What separates one body from the other? In direct confrontation with materials, with pigments, the visual-tactile perception was activated and, in this text, understood as a conceptual key of the artist\'s body in the visual-art\'s field. The conceptual approach was mainly driven by the Phenomenology of Perception by Maurice Merleau-Ponty, the Theo-ry of Colors by Joahnn Wolfgang Goethe, the infra-mince discovered by Marcel Duchamp and the Body of the Artisan described by Pamela H. Smith. Besides the theoretical study, were analyzed some works and cultural manifestations: body painting of the rite of passage for boys in the nation Kadiwéu, the Antropometries of the Blue Períod by Yves Klein and the performance and installation Roda dos Prazeres of Lygia Pape. Still part of this dissertation, two interviews with artists that have the color and human attitude as artistic focus.

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.

This dissertation is a study of the early career of the American artist Joan Jonas that spans the years 1970-1984. At the turn of the 1970s, Jonas was one of the first artists to pick up a video camera. Exploring “live” video’s unique capacity to mediate the present moment, Jonas actively integrated the technology into her live pieces, which are some of the earliest examples of what was then first called “performance art.” Performance art has often been aligned with presence. In contrast, I argue that what at stake in the proliferation of live artworks by Jonas and others that merged performance and video was not a reserve of unmediated experience, but a presence that was newly technologized: telepresence. As Jonas investigated the novel ability to perform at a distance enabled by electronic media, her work led somewhere surprising: to telegraphy, telepathy, and the earliest telephones—“tele”-technologies that appear long obsolete (or completely fantastical). Evoking optical telegraphs, spirit mediums, speaking trumpets, and science fictional prostheses, Jonas’s early oeuvre reactivates the historical contexts and unrealized potentials surrounding these dead media. In so doing, she illuminates enduring formations of the body, subjectivity, and teletechnology underlying not only the twinned emergence of performance and video art in the 1970s, but also telepresence as a seemingly very contemporary (and increasingly pervasive) category of experience.

This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971–1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden’s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist’s early career into developmental stages. In light of a wealth of new information about Burden and the atmosphere in which he was working in the late 1960s and early 1970s, this dissertation examines the artist’s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having informed his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden’s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works. Benefitting from access to the artist’s estate, as well as archives collected at various institutions in Southern California, this dissertation is the first authoritative coverage of Chris Burden’s early career.

I present my work in five parts. The introduction is devoted to my process and creative evolution, a catalog of sorts, documenting the accumulation of ideas, objects, projects and events that that make up my artistic practice. The second section 'Mama,' is an anecdotal reflection on how and where I find truth in experiences and relationships outside the traditional studio practice. The third section 'You' is a continued narrative incident that helps explain and contextualize my non-normative perspective as a person and as a maker. The fourth section 'Make' will analyze my thesis exhibition "Hey Mama, Diana, Where You At?" The final section 'Magic' will propose the propulsion of my work into the future through radical tenderness and the body. The arrangement of this thesis is chronological with a photo essay influence. My intent is not only to capture finished work, but also illuminate my process. To do this I have married text and image to enhance the experience each reader has engaging in my world. Drawing from interdisciplinary sources my work focuses on natural processes, the body, and how we orient ourselves within hegemonic social and political landscapes. Often searching to locate myself, I experiment with the potential of environments as conduits for performance and sculptural interventions. Enticed by the relationships between the body and its surroundings my work seeks to understand gender, race, and corporeality through endurance, games, and gesture.

Orientador(a): Suely Master / Banca: Fabio Miguel / Banca: Nadia Vilela / Resumo: Quando o ator está em cena é necessário que no mínimo sua voz seja bem projeta e audível a plateia em sua Performance. O espectro médio de longo termo (Long Term Average Spectrum - LTAS) é um método que possibilita estudar os fatores mais estáveis da voz, como a sua qualidade. O termo "formante do ator" foi empregado para o pico de aproximadamente 3.5 kHz em projeção vocal desse espectro. Muitos estudos que identificaram esse formante em atores, não o fizeram com o ator atuando de fato em uma real performance, e sim com o ator estático, muitas vezes apenas lendo o texto. Pouco se tem relatado, na analise acústica, sobre a qualidade da voz quando o ator trabalha o corpo e voz juntos como no caso da maioria das performances teatrais. Sendo assim, esse estudo teve como objetivo analisar a voz acusticamente na performance teatral e entender se a mesma foi considerada uma variável significante para voz. Foi utilizado o LTAS como instrumento de quantificação para a análise acústica e a análise perceptivo-auditiva foi feita como forma de complementar os resultados. Os atores apresentaram o "formante do ator" em ambas as performances, sendo ele um pouco mais forte na performance em movimento / Abstract: Actors supposed to have a voice that, at least, can be well projected and audible when they are performing. The Long Term Average Spectrum (LTAS) has been used as a method to study the stabiles voices factors, as its quality. The term "actor's formant" was used to an approximately 3.5 kHz peak in voice projection for this spectrum. Researchers that had found this formant didn't use actors on action as in real theater Performance, but in a static position just reading the text. Nothing has been reported about the voice quality of actors when they are using movement body and voice at the same time, as they usually do in a real performance. Therefore, this study had as the mean objective the acoustic analyze of actor's voice in theater performance and proves if it could be a considerable variability to the voice. LTAS was used as a quantification instrument. The perceptive-auditive analyses was used to support the results as well. The "actor's formant" had showed increased in actors on action performance / Mestre

Watermana is a concept, the title of this thesis and the title of the work produced in conjunction with this thesis. The word 'mana' loosely translates as a form of spiritual power. In the form of Water Mana, it specifically means spiritual empowerment of feelings or emotions. This work is closely entwined with the video 'Watermana'. The research documented here both leads to the work and arose from its process. It reflects finding connections with Celtic shamanistic practices, and utilizing them in a modern urban context. It also explores poetry, its relationship to shamanism, and its possible structural relationships to film. 'Watermana' is a twelve-minute video produced using three-dimensional computer modelling and animation and live video, edited and composited digitally. It is a representation of a shamanistic journey and an introduction to the shamanistic process. / Master of Arts (Hons)

The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'. / Doctor of Philosophy (PhD)

<p>This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:</p>

This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords: