Global ETD Search

131	Re-Story : The O.T.M.I* projectO.T.M.I = Obsolete Technical Mechanical Item Kapadia, Ninna* January 2015 (has links) The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items). The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story. As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story. Restory re-story recycling upcycling readymade planned obsolescence design the mad scientist the friendly monster the poet frankenstein scenography theater movie making film making technology mechanical tekniska mekaniska föremål planerat åldrande återvinning film manus intervju scenografi robot inredningsarkitektur design inredning scener scen filmmusik mekaniska ljud
132	Umění mezi sjezdy / Art to convention Micka, Alois January 2019 (has links) The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...
133	Are you ready for a wet live-in? : explorations into listening Holmstedt, Janna January 2017 (has links) Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them. / <p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617</p> artistic research listening situated practices sound in art expanded art expanded scenography media ecology acousmatic orality a/orality storytelling interspecies communication more-than-human relations co-habitation sensorial estrangement posthumanism parasites play technology dolphins sonic sensibility transliteracy voice performativity new materialism Michel Serres Karen Barad John Lilly oceans wet live-in Visual Arts Bildkonst Performing Arts Scenkonst
134	Scénografie Jiřího Trnky v Národním divadle / Jiri Trnka's Scenography in the National Theatre Vöröšová, Markéta January 2013 (has links) Jiri Trnka (1912 - 1969) ranks among the foremost representatives of Czech modern art in the 20th century and alongside the most remarkable protagonists of the visual art scene over a period ranging from the late 1930s through the end of the1960s. He stood out within that movement for his multiple talents, as a draughtsman, book illustrator, puppet designer, painter, animated film-maker, sculptor and stage designer. He achieved admirable success in these fields of activity. In the early 40s a new prospect opened up for him connected with work in theatre, as he took up the post of stage designer at the National Theatre in Prague, an assignment which enabled him to put to use his specific talent for stagecraft. He created 13 stage decorations together. Trnka was able to create unforgettable productions thanks the cooperation with Jiri Frejka or Karel Dostal. I documented and explained Trnka's work in the context of the Nation Theatre during the Second World War. I defined his style in the relation to his contemporaries in the end of work. KEY WORDS Jiri Trnka, National Theatre, set designer, scenography, stage decoration, costume, properties, scene, 40s, space, stage, style, set, constructed set, stage design, didascalia, theatrical space, animated film.
135	Whispering Bodies : The Textual Brain Bertling Wiik, Siri January 2021 (has links) During this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening. This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional. If you have any questions, feel free to contact me about the work. performance object oriented ontology video participatory poetry language scenography sculpture visual art fine art interactive fluid fluidity melting inner spaces introspective workshop objects things tactility relations translation transformation interspecies communication communication agency immersive performative body bodies meditation språklighet kommunikation meditation kropp workshop performance konst fri konst scenkonst tolkning översätta förändra videokonst skulptur poesi scenografi allomslutande interaktivt performativt deltagande Performing Arts Scenkonst Visual Arts Bildkonst

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