Global ETD Search

111	Bernard Heidsieck & Cie : une fabrique du poétique / Bernard Heidsieck & C° : a poetry fabric Naccache, Marion 05 October 2011 (has links) De même que le ready-made, il y a maintenant presque un siècle, avait transformé la question « qu’est-ce que l’art » en son contraire (« comment faire pour que quelque chose ne soit pas de l’art ?», ne soit pas transformé en objet d’art puisqu’une simple parole d’artiste, fiat ars, suffisait ainsi à transfigurer tout élément du réel), de même, il devient difficile aujourd’hui de repérer ce qui ne pourrait être, jamais ou par essence, un objet poétique. Devant l’œuvre poétique et plastique de Bernard Heidsieck, il convient de mettre en place une série de critères permettant de distinguer la poéticité d’un « art total ». Nelson Goodman apporte des éléments de réponse en soulignant l’importance d’un paramètre rarement pris en compte : le contexte. La question essentialiste « qu’est-ce que l’art »/ « qu’est-ce qu’un poème » pouvant être remplacée par une autre plus pragmatique « quand y a-t-il art/poème ? » De ce point de vue pragmatiste, la notion de « contexte » permet ainsi de faire jouer à la fois l’espace (le lieu où s’exécute l’œuvre d’art) et le temps (les circonstances dans lesquelles l’œuvre s’exécute). Ainsi, un même objet ou une même action pourrait, à la fois, être ou ne pas être de l’art, c’est finalement une question de contexte et d’intention initiale. Dans le cas de nos recherches, la question du contexte est primordiale puisque l’inscription d’objets poétiques non exclusivement textuels en poésie et non en arts plastiques, repose en partie, sur leur appartenance aux champs de diffusion (éditoriaux et institutionnels) de la poésie. Cependant, des productions poétiques telles que celles de Heidsieck dont certaines facettes n’appartiennent pas au poétique n’en deviennent pas pour autant « poèmes » du fait de leur présence dans un festival de poésie. Notre projet de recherche a pour horizon une redéfinition du champ « poésie » et de ses outils d’analyse, une tentative de mise en place d’une poétique permettant de prendre en charge de façon féconde les « objets poétiques complexes » _c’est-à-dire hétérogènes du fait de leur appartenance à différents types de régimes esthétiques_ de Bernard Heidsieck. / As well as the ready-made, almost a century ago, turned the question “what is art?” into its opposite (“how can say something isn’t art?”, something wouldn’t be transformed into an art piece since the only artist’s word, fiat ars, was enough to turn any part of the real into art), as well, it has become difficult today, to point what couldn’t be, ever or essentially, a poetic object. In front of Bernard Heidsieck poetic and plastic work, we have to gather a series of criteria that would allow us to distinguish poeticism and “total art”. Nelson Goodman gives us a few answers highlighting the importance of a rarely acknowledged parameter: the context. The essentialist question “what is art?”/”what is a poem?” is turned into a rather pragmatic one “when is there art?/poem?”. From that pragmatist point of view, the idea of “context” allows us to deal with both space (the place where the art work happens) and time (the circumstances when it happens). That means a same object or a same action could or couldn’t be art, which leads us to the question of the context and the intention. For my researches, the context is primordial since Bernard Heidsieck’s poems, which are not exclusively textual, partly inscribe themselves in poetry because of their belonging to the poetry field of diffusion (from the publishing companies to the institutions). In the mean time, these objects don’t become “poems” just because of that poetic context. For those reasons, my project is to try and redefine the term and the field “poetry” and it’s analysis tools, it’s an attempt to build a poetic that would allow us to talk about what I will call the “complex poetic objects” _ complex because they belong to different types of aesthetic regimens _ of Bernard Heidsieck. Bernard Heidsieck Poésie sonore Poésie action Poème-partition Lecteur-spectateur Lecteur-performeur Dispositif Magnétophone Montage cut-up Plasticité Documentaire Bernard Heidsieck Sound poetry Action poetry Score-poem Reader of the audience Reader-performer Device Tape recorder Editing cut-up Plasticity Documentary
112	Rede de Afetos = as relações afetivas vivenciadas pelo sujeito no processo de formação e de criação cênica do método Bailarino-Pesquisador-Intérprete (BPI) = Affectionate network: affectionate relationships experienced in the process of scenic creating with the Dancer-Researcher-Performer (BPI) method / Affectionate network : affectionate relationships experienced in the process of scenic creating with the Dancer-Researcher-Performer (BPI) method Campos, Flávio, 1985- 21 August 2018 (has links) Orientador: Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Artes / Made available in DSpace on 2018-08-21T07:05:07Z (GMT). No. of bitstreams: 1 Campos_Flavio_M.pdf: 2042473 bytes, checksum: f7b39416abeeb923f2e6277e2bb5e1ef (MD5) Previous issue date: 2012 / Resumo: O presente trabalho evidencia a existência e o papel fundamental das relações afetivas no processo criativo proposto pelo método Bailarino-Pesquisador-Intérprete (BPI). Utilizando-me metodologicamente da Análise de Conteúdos proposta por Laurence Bardin (1977) e do caráter qualitativo para analisar os dados coletados, segundo Graham Gibbs (2009), constato que há na dinâmica sistêmica do BPI a estruturação de uma Rede Afetiva a partir das relações intrapessoais e interpessoais vivenciadas pelo intérprete. Este trabalho possui quatro capítulos, onde descrevo a minha trajetória de estudos e inquietações até a organização de um pré-projeto cujo objetivo é o eixo do desenvolvimento desta investigação. Apresento, também, os Materiais e as ferramentas utilizadas para analisar o objeto de estudo escolhido. E, de modo mais especifico, discuto sobre a estruturação de uma Rede de Afetos e sobre a importância do diretor no Processo BPI. Esta dissertação sintetiza o meu aprofundamento sobre o método BPI, traçando, a partir de uma revisão bibliográfica, uma reflexão sobre a alteridade e a conduta ética num processo de criação em Artes da Cena. É um estudo que abre espaço para o diálogo com muitas das áreas do conhecimento, especialmente aquelas relacionadas às artes / Abstract: This study provides evidence of the existence and fundamental role of affectionate relationships in the creative process proposed by the BPI (Dancer-Researcher-Performer) Method. The qualitative approach and the Content Analysis Method proposed by Laurence Bardin (1977) utilized here allow me to observe that an Affective Network of intrapersonal and interpersonal relations is built through the system dynamics proposed by the BPI method. This Dissertation has four chapters in which I describe my personal and academic experiences, as well as my anxieties and inquiries that led me to the organization of a project that form the axis of this investigation. Materials and tools considered in the analyses of my study object are also described here. More specifically, I discuss the structuring of an Affectionate Network and the importance of the director in the BPI process. This dissertation also synthesizes my in-depth study of the BPI method, proposing, from a bibliographic review, a reflection on alterity and ethical conduct in the creative process of the Performing Arts. It is a study that dialogues with many areas of knowledge, especially those related to the arts / Mestrado / Artes da Cena / Mestre em Artes da Cena Bailarino-Pesquisador-Intérprete Artes cênicas Criação (Literária, artística, etc.) Afeto (Psicologia) Relações humanas Autoconhecimento Performer BPI method Performing arts Creation (Literary, artistic, etc.) Affect (Psychology) Human relations Self-knowledge
113	Echtzeitmusik Blazanovic, Marta 03 June 2014 (has links) Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient. / The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside. Berlin Diskurs Stille Autonomie Reduktionismus Foucault Reduktion zeitgenössische Musik Echtzeit Echtzeitmusik Szene Musikszene Improvisation experimentelle Musik Composer-Performer John Cage Geräusch Bourdieu Kapital symbolisches Kapital Habitus künstlerisches Feld Kulturproduktion Distinktion Abgrenzung Diskursfeld Interdiskursraum Berlin noise silence autonomy Reductionism discourse reduction contemporary music Echtzeit Echtzeitmusik real-time music scene improvisation experimental music composer-performer John Cage Bourdieu Foucault capital symbolic capital symbolic power habitus artistic field community of practice cultural production distinction difference discursive fields interdiscursive space 780 Musik 48 Musik CB 5100 ddc:780
114	PER UN'ESTETICA DELLA PERFORMANCE TEATRALE POSTDRAMMATICA: LINEE TEORICHE E ANALISI DI TRE RE-ENACTEMENTS, DI JAN FABRE E ROBERT LEPAGE ATIE, SARAH LAURA 25 March 2015 (has links) Il presente lavoro cerca di avvicinarsi alla complessità dell'attuale status quaestionis della performance teatrale, con uno sguardo e una prospettiva estetica, rivolto in particolare alla drammaturgia postdrammatica degli ultimi trent'anni; uno sguardo che trova nello studio analitico di tre re-enactements – This is theatre like it was to be expected and foreseen (1982; 2012) e The Power of Theatrical Madness (1984; 2012) di Jan Fabre, seguiti da Les Aiguilles et l'Opium (1991; 2013) di Robert Lepage – un luogo privilegiato di osservazione. / This research tries to approach the complexity of the current status quaestionis of theatrical performance, with an aesthetic perspective focused on the postdramatic theatre of the last thirty years; a look that finds in the analysis of three re-enactements - This is theater like it was to be expected and Foreseen (1982; 2012) and The Power of Theatrical Madness (1984; 2012) by Jan Fabre, followed by Needles and Opium (1991; 2013) by Robert Lepage - a privileged place of observation. M-FIL/04: ESTETICA L-ART/05: DISCIPLINE DELLO SPETTACOLO
115	La condition juridique de l'artiste-interprète / The legal position of performer Bacouelle, Johanna 30 June 2015 (has links) La condition juridique de l'artiste-interprète se caractérise par une imbrication étroite du droit du travail et du droit de la propriété intellectuelle. Chaque source de droits appréhende des temps différents de l'activité de l'artiste-interprète. Le droit du travail s'intéresse à l'artiste-interprète en tant que travailleur. Le modèle du salariat s'impose largement puisque le législateur a instauré une présomption de salariat. Le droit de la propriété littéraire et artistique s'intéresse au résultat du processus de création sur lequel les artistes-interprètes bénéficient de droits voisins du droit d'auteur. L'artiste-interprète se trouve donc au cœur d'une articulation délicate entre la liberté d'expression inhérente à son activité et la subordination juridique qui caractérise la relation de travail salariée. En réalité, le droit du travail n'ignore pas la nature particulière de l'activité de l'artiste-interprète. D'une part, l'artiste-salarié est largement soustrait aux conditions traditionnelles de la subordination juridique, d'autre part, un espace est laissé aux artistes qui souhaitent exercer en qualité d'indépendant. Malgré l'existence d'une double protection juridique, l'artiste-interprète demeure un sujet de droit fragile. Il fait souvent figure de travailleur précaire avec la généralisation de formes d'emploi flexibles et son droit voisin fait figure de « parent pauvre». L'artiste-interprète est d'autant fragilisé que son droit fait l'objet de contestations dans le cadre de l'Internet. Le rapport de force avec les acteurs de l'économie numérique est inégal et les revendications du public sont fortes. Il s'ensuit le besoin de définir un cadre plus équitable. / The legal position of the performer consists in a narrow interweaving of the labour law and intellectual copyright rights. Each source of rights bandles different times related to performing artists's activities. Labour law refers to the performer as a worker. Salaried staff status is predominant since the legislator bas introduced a presumption of employment. Literary and artistic property rigbts focus on the result of the creating process on which performers benefit from rights related to copyright. Performing artists are indeed at the heart of a delicate joint between the freedom of speech inherent to their activity and the legal subordination which characterises salaried staff relations. Actually, the labour law is not unaware of the peculiar nature of performing artists's activities. On one band, the salaried artist is exempt from the usual requirements of legal subordination; on the other hand, room is left to artists hoping to work as self-employed. Although a double legal protection exists, performing artists remain a fragile subject of law. They are often considered as precarious workers with the generalization of flexible forms of work and their neighbouring rights are often seen as a poor relation. Performing artists are even more so weakened that their right is subject to protests on the Internet. The power relationship with the players in the digital economy is uneven and grievances from the public are very strong. There is a need to define a more equitable frame. Artiste-interprète Droit voisin du droit d'auteur Droit du travail Présomption de salariat Contrat à durée déterminée Présomption de cession Cession de droits Performer Rights related to copyright Literary or artistic property rights Labour law Presumption of employment Fixed-term employment contract Presumption of transfer Transfer of rights 340
116	Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities Sharir, Yacov January 2013 (has links) This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike. 700
117	Le "pour de vrai" et le "vrai" en art performance : fiction vs trace / The "Like true" and the"True" in performance art : Fiction Vs Trace Lagouarde, Clément 04 July 2018 (has links) L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performance. / Performance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists. Art performance Performance Performeur Fiction Pour de vrai Trace Vrai Théâtre Art scénique Mimèsis Jean-Marie Schaeffer Imitation Représentation Connaissance Public Richard Schechner Alexandre Serres Paul Ricœur Mémoire Marina Abramovic Jacques Derrida Ecriture HP Process Carlo Ginzburg Indice Mike Kelley Performance Art Performance Performer Fiction Like true Trace True Theater Scenic art Mimesis Jean-Marie Schaeffer Imitation Representation Knowledge Public Richard Schechner Alexandre Serres Paul Ricœur Memory Marina Abramovic Jacques Derrida Writing HP Process Carlo Ginzburg Trifle Mike Kelley
118	Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical Wellborn, Brecken 12 1900 (has links) This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations. Cinema Film Musical Musical Film Cultural Studies African-American Representation Representation of Women Queer Representation Genre Studies Twenty-First Century Acoustic-Realist Musical Animated Fairytales Camp Musi-Comedy Family-Oriented Musical Formalist-Prestige Musical Music Video-Epic Neo-Nostalgic Spectacle Pop Performer Biopic Soundtrack-Dance Musical Tween-TV Musical African Americans in motion pictures. Women in motion pictures. Sexual minorities in motion pictures.
119	Large-Context Question Answering with Cross-Lingual Transfer Sagen, Markus January 2021 (has links) Models based around the transformer architecture have become one of the most prominent for solving a multitude of natural language processing (NLP)tasks since its introduction in 2017. However, much research related to the transformer model has focused primarily on achieving high performance and many problems remain unsolved. Two of the most prominent currently are the lack of high performing non-English pre-trained models, and the limited number of words most trained models can incorporate for their context. Solving these problems would make NLP models more suitable for real-world applications, improving information retrieval, reading comprehension, and more. All previous research has focused on incorporating long-context for English language models. This thesis investigates the cross-lingual transferability between languages when only training for long-context in English. Training long-context models in English only could make long-context in low-resource languages, such as Swedish, more accessible since it is hard to find such data in most languages and costly to train for each language. This could become an efficient method for creating long-context models in other languages without the need for such data in all languages or pre-training from scratch. We extend the models’ context using the training scheme of the Longformer architecture and fine-tune on a question-answering task in several languages. Our evaluation could not satisfactorily confirm nor deny if transferring long-term context is possible for low-resource languages. We believe that using datasets that require long-context reasoning, such as a multilingual TriviaQAdataset, could demonstrate our hypothesis’s validity. Long-Context Multilingual Model Longformer XLM-R Longformer Long-term Context Extending Context Extend Context Large-Context Long-Context Large Context Long Context Cross-Lingual Multi-Lingual Cross Lingual Multi Lingual QA Question-Answering Question Answering Transformer model Machine Learning Transfer Learning SQuAD Memory Transfer Learning Long-Context Long Context Efficient Monolingual Multilingual QA model Language Model Huggingface BERT RoBERTa XLM-R mBERT Multilingual BERT Efficient Transformers Reformer Linformer Performer Transformer-XL Wikitext-103 TriviaQA HotpotQA WikiHopQA VINNOVA Peltarion AI LM MLM Deep Learning Natural Language Processing NLP Attention Transformers Transfer Learning Datasets Computer and Information Sciences Data- och informationsvetenskap

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