This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.

This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.

The thesis is a multimedia document, including a documentary video and audio recordings, that catalogues and unpacks the cross-disciplinary project Score for the Big Bang. On April 13, 2012, thirty-six vocalists sang the sound of the Big Bang in a historic church in downtown Richmond. For this project I worked with an astronomer, composer, choral director and organist to translate the primordial sound into musical notation. This is the universe as voice, through humans, recreating what we have come to understand was present at its birth.

This thesis is an overview of the source material, methodologies, artistic influences, and conceptual decisions that inform my artwork and characterize my art practice. Utilizing participation (audience, community, viewer), I engineer experiences and encounters for the general public. Whether through directed physical interaction or implicit reaction, I create open-ended situations or environments that I may influence, but not fully control. The democratic cede of authorial control, as well as the heightened risk and unpredictably in my work, instigates a more positive, non-hierarchical social model in which every viewer is an “author,” who produces content and communication signals, and has a voice and a presence in society.

Este trabalho parte da constatação de que existe um lugar em que a música experimental e a arte sonora brasileira se encontram: a gambiarra. Com o objetivo de conhecer as dimensões e fronteiras desse lugar, a jornada desta pesquisa está dividida em três momentos. O primeiro, \"Genealogia da gambiarra\", visa introduzir as características gerais da gambiarra, relacionando-a com aspectos culturais globais e locais. O segundo momento, \"Arte e gambiarra\", aborda a gambiarra por duas perspectivas: \"da arte\" e \"do som\". \"Da arte\" explica como o termo gambiarra deixa de ser uma expressão de uso exclusivo às soluções improvisadas do cotidiano para se tornar presente no fazer e pensar artístico brasileiro, em especial no campo da arte-mídia e midiativismo; \"do som\" ilustra uma série de técnicas e aspectos do experimentalismo sonoro que remetem ao modus opperandi da gambiarra. O terceiro capítulo, \"Artistas do sonoro\", apresenta o repertório que impulsionou a escrita desta tese, o qual torna evidente esse lugar comum entre música experimental e arte sonora brasileira. A jornada termina com a formulação de uma ferramenta de análise que busca evidenciar regimes do sonoro quanto ao uso de materiais e dispositivos técnicos / This work originates from the observation that there is a place in Brazilian society where music and sound art collide: the Gambiarra. In order to trace the dimensions and boundaries of this subject, the journey of this research is divided into three chapters. The first \"Gambiarra\'s genealogy\" introduces the concept and the characteristics of Gambiarra, relating it to global and local cultural aspects. The second \"Art and Gambiarra\" addresses two perspectives: art and sound. The \"art\" perspective explains how the term Gambiarra - which is normally related to the everyday improvisation of solutions from the lack of tools and materials - starts to be a reference in the Brazilian art field, particularly in those of media art and media activism from the beginning of 2000. The \"sound\" perspective illustrates techniques and aspects of experimentation in the field of sound which refers to Gambiarra\'s way. The third chapter, \"Artists\" presents the repertoire that drove the writing of this thesis, which shows the overlap between Brazilian experimental music and sound art. The journey ends by drawing an analytical scheme based on the use of materials and technical devices that allow us to look back at the repertoire from another perspective.

O trabalho toma como ponto de partida a realização de um conjunto de ações com o nome pausa,. A idéia é pensar a ocupação temporária de espaços, feita pela interação imagem x som. Tem interesse no tipo de ocupação destes espaços, desenvolvendo a noção de vazamento entre um e outro. A eleição destes espaços parte de elementos que oscilam entre dados reconhecíveis e comuns e por isso coletivos , e identificações particulares, num movimento pendular entre ambos. / This work takes as its starting point a set of actions named pausa, [pause,]. The idea is to reflect upon the temporary occupation of spaces, carried out by means of the interaction between images and sound. It has an interest in the type of occupation of these spaces, developing the notion of leakage between one and another. The choice of these spaces is grounded in elements that oscillate between recognizable, common and hence, collective data, and private identifications, in a pendular movement between the two.

Depuis l'avènement des technologies portables et du réseau Internet, de nombreux artistes conçoivent leurs œuvres au delà d'un espace et d'un temps donnés et inventent des formes permanentes et immatérielles disséminées sur les réseaux. Dans le cadre de cette recherche, il s'agit de produire à la fois une série de travaux sonores utilisant le réseau, des modes de participation collaboratifs et également de proposer une pensée sur les concepts révélés par ces nouvelles pratiques et ces formes d'écritures artistiques comme celle du noise, de la poésie sonore et des musiques expérimentales. La recherche est concentrée sur les éléments nécessaires pour constituer un laboratoire connecté de production sonore partagée, dans lequel toutes les questions (et d'autres à venir et à définir ensemble) sont posées à travers notre pratique artistique, des formes d'installations “dé-géolocalisées” ou “non géolocalisées” et enfin des performances musicales en simultané sur Internet. Il est intéressant de pouvoir à la fois envisager une production avec une communauté d'artistes et de penseurs ayant une pratique et des connaissances dans le domaine mais aussi de savoir comment ces artistes, théoriciens formulent leurs pensées et créent de nouveaux concepts. Ainsi, le travail de recherche peut croiser un projet de création, une pratique, un savoir- faire et en dégager une méthodologie théorique qui donne accès à des clefs, à la compréhension de ces nouvelles formes d'écritures / Since the advent of portable technologies and the Internet, many artists conceive their works beyond a given space and time and invent permanent and immaterial forms scattered over the networks. Within the framework of this research, the aim is to produce a series of sound works using the network and collaborative modes of participation, as well as to stimulate discussion of the concepts revealed by these new practices and forms of artistic language: noise, sound poetry and experimental music. This research will focus on the key elements of a connected laboratory of shared sound production: questions will be raised through the lens of the author’s own artistic practice using geodelocalised forms of installation and simultaneous musical performances on the Internet. I will also consider the work and thinking of a community of artists within this field and seek to understand how these artists and theorists formulate their thoughts and create new concepts. Finally, this thesis addresses these creative projects, practices and expertise and articulates a theoretical methodology which draws together current forms of artistic language relating to cutting edge music and poetry and networked practices

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-05T14:37:54Z No. of bitstreams: 2 Dissertação - Guilherme de Castro Duarte Martins - 2016.pdf: 3312242 bytes, checksum: 3ed829717019a7e47206840d74e63a4b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-05T14:39:20Z (GMT) No. of bitstreams: 2 Dissertação - Guilherme de Castro Duarte Martins - 2016.pdf: 3312242 bytes, checksum: 3ed829717019a7e47206840d74e63a4b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-05T14:39:20Z (GMT). No. of bitstreams: 2 Dissertação - Guilherme de Castro Duarte Martins - 2016.pdf: 3312242 bytes, checksum: 3ed829717019a7e47206840d74e63a4b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2010-07-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following work aims to investigate the presence of sound on contemporary visual arts, through the study of artworks from artists who make use of the sonic matter to change and make arise new time-spaces in the middle of the daily experience. I investigate mainly the works of the Scotish artist Susan Philipsz (Lowlands, 2010) and the Brazilian artist Raquel Stolf (Grilo, 2006). I start from coining the concept of cartophonies, that would mean sound maps resulting from the cross-over of noises emitted not only from the artworks I study, but originated also from its surroundings, composing puzzles audible and inaudible forces, that circulate around and through these works. As sound maps in constant mutation, the concept of cartophony was produced as a mobile tool for the present research, helping to understand how sound not only represents the space it traverses, but also participates on the creation of the volatile lines of this space, modifying it and being modified by it every second. / Essa dissertação tem por objetivo investigar a presença do som na arte contemporânea, a partir do estudo do trabalho de artistas que se utilizam da matéria sonora para modificar e fazer surgir espaços-tempos em meio à experiência cotidiana. Investigo, principalmente, obras da artista escocesa Susan Philipsz (Lowlands, 2010) e da brasileira Raquel Stolf (Grilo, 2006). Parto do conceito de cartofonias, que seriam mapas sonoros resultantes do cruzamento entre ruídos emitidos não apenas pelas obras estudadas, mas vindos também de seu entorno, compondo jogos de força, audíveis ou não, que rodeiam e atravessam essas obras. Enquanto mapas sônicos em constante mutação, o conceito de cartofonia foi criado como uma ferramenta móvel para a presente pesquisa, auxiliando-me no entendimento de como o som não apenas representa o espaço que percorre, mas também participa na criação e no traçado volátil desse espaço, modificando-o e sendo modificado por ele a todo instante.

O trabalho toma como ponto de partida a realização de um conjunto de ações com o nome pausa,. A idéia é pensar a ocupação temporária de espaços, feita pela interação imagem x som. Tem interesse no tipo de ocupação destes espaços, desenvolvendo a noção de vazamento entre um e outro. A eleição destes espaços parte de elementos que oscilam entre dados reconhecíveis e comuns e por isso coletivos , e identificações particulares, num movimento pendular entre ambos. / This work takes as its starting point a set of actions named pausa, [pause,]. The idea is to reflect upon the temporary occupation of spaces, carried out by means of the interaction between images and sound. It has an interest in the type of occupation of these spaces, developing the notion of leakage between one and another. The choice of these spaces is grounded in elements that oscillate between recognizable, common and hence, collective data, and private identifications, in a pendular movement between the two.

Este trabalho parte da constatação de que existe um lugar em que a música experimental e a arte sonora brasileira se encontram: a gambiarra. Com o objetivo de conhecer as dimensões e fronteiras desse lugar, a jornada desta pesquisa está dividida em três momentos. O primeiro, \"Genealogia da gambiarra\", visa introduzir as características gerais da gambiarra, relacionando-a com aspectos culturais globais e locais. O segundo momento, \"Arte e gambiarra\", aborda a gambiarra por duas perspectivas: \"da arte\" e \"do som\". \"Da arte\" explica como o termo gambiarra deixa de ser uma expressão de uso exclusivo às soluções improvisadas do cotidiano para se tornar presente no fazer e pensar artístico brasileiro, em especial no campo da arte-mídia e midiativismo; \"do som\" ilustra uma série de técnicas e aspectos do experimentalismo sonoro que remetem ao modus opperandi da gambiarra. O terceiro capítulo, \"Artistas do sonoro\", apresenta o repertório que impulsionou a escrita desta tese, o qual torna evidente esse lugar comum entre música experimental e arte sonora brasileira. A jornada termina com a formulação de uma ferramenta de análise que busca evidenciar regimes do sonoro quanto ao uso de materiais e dispositivos técnicos / This work originates from the observation that there is a place in Brazilian society where music and sound art collide: the Gambiarra. In order to trace the dimensions and boundaries of this subject, the journey of this research is divided into three chapters. The first \"Gambiarra\'s genealogy\" introduces the concept and the characteristics of Gambiarra, relating it to global and local cultural aspects. The second \"Art and Gambiarra\" addresses two perspectives: art and sound. The \"art\" perspective explains how the term Gambiarra - which is normally related to the everyday improvisation of solutions from the lack of tools and materials - starts to be a reference in the Brazilian art field, particularly in those of media art and media activism from the beginning of 2000. The \"sound\" perspective illustrates techniques and aspects of experimentation in the field of sound which refers to Gambiarra\'s way. The third chapter, \"Artists\" presents the repertoire that drove the writing of this thesis, which shows the overlap between Brazilian experimental music and sound art. The journey ends by drawing an analytical scheme based on the use of materials and technical devices that allow us to look back at the repertoire from another perspective.