Thesis (M.S.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 81-83). Also available on the World Wide Web.

In autumn of 2010 the phenomenon of ‘Greek crisis’ was aggressively developed to a new experience of Greece. As a theatre practitioner from Athens, the specific historical time pushed me to question big-scale narratives of identity, home and belonging-ness. I relocated my training outdoors. My aim was to create a site-specific performance process that investigates place as a psychophysical experience and the ways through which it integrates with the cultural practices embedded in situ. The thesis builds around a Geographical/Buddhist framework where a cultural landscape epistemology outlined by Mitch Rose and John Wylie (2006) is realised through the practice of samatha vipashyana. The accounts of Rose and Wylie organise the examination of space as a body-landscape interrelationship. The Buddhist notion of mindfulness (sati) structures the investigation of the experience in space through theatre and dance disciplines in situ. The Buddhist concept of selflessness (anatta) permeates the performance practice in situ as a discipline of presence. Designated as Geopoetics, the practice of thesis applies meditation practices of breathing and walking to explore site through movement, feeling and activity. It further extends such a process via the disciplines of Somatics, Grotowski-based actor training and Dilley’s ‘dance.art.lab’. It employs the notions of ‘story’ from the Six Viewpoints system and ‘living myth’ of Anna Halprin to formulate a devising process of site-specific performance as an enactment of interrelationship between subject(s) and space. Geopoetics creates experiential containers within which the participant/ watcher is enabled to contemplate and re-examine her political, perceptual and emotional present. Based on its methodology of mindfulness (sati) notions of ‘identity’, ‘home’ and ‘sense of belonging’ are seen as individual or collective modes of attachment which altogether co-formulate the event of landscape. The practice of Geopoetics suggests an inquiry of place through the body for site-specific devisers and performers. It also relates to the discipline of architects, geographers and planners as a practice which investigates space’s contextual paradoxes and dynamics through the body.

O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

This study describes the relationship between auditorium and stage and their mutual interaction. It addresses the development of theatrical space troughout different historical periods and the concept of site specific. It contains a summary of basic terms concerning theatrical space, spectator, auditorium and site specific. It is based on works of leading experts on the topic.The main objective of this study is to analyze my own acting experience gained in Univerzity Theatre Disk and other theatrical or non theatrical spaces, map the trends and development of auditorium and stage and their subsequent effect on actor´s performance and overall perception of the audience. The relationship between an actor and his audience in each specific performance is created due to many factors such as social facilitation, form of dramatic space and unique communication proces between those who create theatre and their recipients.

Community theatre, site-specific theatre, and their plausible contribution to drama in education and children's or youth theatre are in the main focus of the thesis. It summarizes the roots and background of both of these fringe theatre paths, introduces their main objectives and representatives. A more detailed description of several community theatre groups and site-specific projects is also included. Apart from the theoretical introduction, the paper follows the individual principles and complex ideas within these two alternative theatre approaches from a practical perspective; it includes a structured project plan based on connection and mutual inspiration of community theatre, sitespecific and drama in education principles. The thesis also aims at capturing wider potential of fusion of these attitudes to theatre and the society, and suggests its contribution not only in the field of drama in education, but also within contemporary performing arts and community life in general.

This research uses dance and film to investigate the creation and conveyance of a kinesthetic experience of place. The choreographer, dancers, and videographer participating in the study aimed to create a kinesthetic experience of place by engaging the senses in a sensory experience of place and exploring the different feeling states of place. The study utilized choreographic methodologies of site-specific dance and screendance to facilitate a creative process rehearsed, performed, and filmed in the Oregon Dunes National Recreation area at Eel Creek. The footage from this choreographic process was edited into a screendance intended to convey a kinesthetic experience of place to viewers. The pilot study, At Eel Creek, and the final screendance, ensō, can be viewed through supplemental files included with this document. The evaluation of the study has resulted in key discoveries into the components necessary for the creation and conveyance of a kinesthetic experience of place.

Made available in DSpace on 2014-06-11T19:31:39Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-10-25Bitstream added on 2014-06-13T20:42:18Z : No. of bitstreams: 1 salvador_a_dr_botfca.pdf: 1280062 bytes, checksum: 411b4dc443e64803149f8b1535085870 (MD5) / Os fatores que afetam a produtividade das culturas apresentam variabilidade espacial e temporal nas áreas de produção e estão associados a variações no vigor das plantas. Esta variabilidade permite a identificação de zonas de manejo e tratamento localizado de diferentes regiões dentro do campo. A finalidade deste estudo foi o uso de imagens aéreas multiespectrais na identificação de zonas de manejo e sua implicação na aplicação localizada de insumos em área de produção comercial de algodão. Para tal, imagens aéreas multiespectrais de três anos foram usadas para a geração de classes de vegetação, pelo índice de vegetação com diferença normalizada (NDVI), que dividiram a área em três regiões. Nestas regiões foram amostrados os atributos físicos das plantas de algodão para verificar a existência de diferenças entre as plantas encontradas em cada região e com isso identificar zonas de manejo. Os atributos físicos das plantas de algodão (estande, altura, número total de nós e número total de maçãs por planta) foram amostrados em 8 repetições com 10 plantas por classe de NDVI. A avaliação estatística dos atributos amostrados foi realizada pelo delineamento em parcelas subdivididas com teste de Tukey a 5% de probabilidade. As imagens foram reclassificadas em cinco classes de NDVI para avaliar as implicações dos resultados obtidos a campo sobre a localização dos pontos de amostragens dos atributos físicos das plantas de algodão. As classes de NDVI dos vários anos foram sobrepostas para avaliação das áreas de estabilidade e de transição das imagens e verificar a estabilidade das zonas de manejo no tempo e no espaço. A avaliação da implicação do uso das zonas de manejo na 2 aplicação localizada de insumos foi realizada pelo cálculo da porcentagem de acerto e erro entre a localização das classes de NDVI utilizadas...

O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

abstract: No Doors: A Personal Exploration of Movement and Technology, details the interdisciplinary strategies that were used in the making of a series of interactive/reactive/immersive (IRI) installations that drew audiences into an experience and encouraged active observation and/or participation. The interdisciplinary IRI installations described in this document combined movement, sculpture, production design, and various forms of media and technology with environments in which participants had agency. In the process of developing this work, the artist considered several concepts and practices: site-specific, various technologies, real-time processing, participant experience, embodied exploration, and hidden activity. Throughout the creative process, the researcher conducted a series of four focus labs in which a small audience was invited to engage with the work as a way of gathering data about the effectiveness of the installations in facilitating active audience observation and/or participation. The data collected after each focus lab informed the revision of the work in preparation for the next focus lab, with the ultimate result being the production of a final exhibition of five interdisciplinary IRI installations. The installations detailed in this document were loosely based on five elements: water, fire, air, earth, and spirit. / Dissertation/Thesis / Masters Thesis Dance 2018

Made available in DSpace on 2016-12-08T16:18:51Z (GMT). No. of bitstreams: 1 113558.pdf: 574737 bytes, checksum: 515c2b0f66a9c377b61049e4fa8331d2 (MD5) Previous issue date: 2013-07-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The goal of this research has been to encircle the term literarture with a number of possible definitions. The idea was less to coin a new term than to apply in writing what I perceived to surface already in various texts cited in this research in order to produce the literartistic piece Site Specific, a Romance. Its production consisted of delving into pieces I believe to be examples of literarture, and from the cross-referential dialogue established between them within the textual tissue of Site Specific, a Romance, I trust to have insinuated a definition to the term. Site Specific, a Romance is a text that fuses art praxis and academic dissertation in one single body. Always suspicious that the act of defining is foreign to any practice in the field of art especially to an artist the will of defining literarture was nevertheless satisfied in producing a text where I could experiment with it: it is my belief that every work of art (re) defines in itself the genre(s) to which it belongs. As such, Site Specific, a Romance is my experimentation and the only possible means I have to express what I think to be, or feel to be, literarture. / O objetivo desta pesquisa de mestrado foi cercar de possíveis definições o termo ¿literartura¿ - um termo que, mais que querer cunhar, percebo na leitura de vários textos citados na pesquisa - e, a partir dele, produzir a obra literartística Site Specific, um Romance. Para isso, foram pesquisadas obras que creio serem exemplos de literartura e, através desses exemplos, penso ter se insinuado uma definição. Estas obras formam um diálogo entrecruzado no próprio tecido textual de Site Specific, um Romance, texto que funde obra prática e dissertação de mestrado num só corpo. Sempre desconfiando de que definir seja estranho a qualquer prática no campo da arte, sobretudo para um artista, esta vontade de definir o termo ¿literartura¿ me foi satisfeita ao produzir um texto onde pude experimentá-la: é minha crença de que cada obra (re) define em si o(s) gênero(s) a que pertence. Assim, Site Specific, um Romance é minha experimentação e meu único modo possível de expressar o que penso, e sinto, ser literartura.