This doctoral study, composed of four films and an exegesis, configures a new conceptualisation of death in and through film, assembling an intricate theorisation of ‘the mediated I’ and ‘the unmediated I’ of the witness. This thesis focuses on the consciousness of the witness, through locating a position and expression in reflective, reflexive, experiential, critical and artistic practice. My research questions the witness’s attempt to ‘manage’ the experience and tracks the self reflective process of thought s/he undertakes in the face of death, dying, coma and suffering. In probing the subjective experiences of the witness, the knowledge of disaster and the absent Other gives way to a moment of distinction between the spectator and the witness. The actual movement being proposed between the two is through the ways in which they both are activated through the reality of death. Critical and creative practice encourages a recognition of - and identification with - the possible meditations and negotiations of the witness. It aims to infuse a configuration of the witness by way of reflection in consciousness and artistic formulation. This thesis proposes a conceptual diagnosis as the original contribution to knowledge. I identify apathy as an anti-choice and unrecognised necessity of consciousness in the face of death, dying, coma and suffering. The research offers a new insight into the existential encounter of the witness. The aim of the practice component is to re-present and re-vision everyday encounters on television and in media alongside metaphors, possible meditations and negotiations to the subjective experience in and through filmic gaze. The visual propositions complement the written text by means of displaying the fear and anguish of the witness, and the attitude towards the Other, disaster and the irrecoverable death. The aim in turning this subject matter into an academic study has been to align two different perceptions: visual and theoretical practice. These two conceptual terms have offered distinct ways of handling the unsettling encounter from not only a witness’s point of view but also from the perspective of a researcher and the film-maker. Together, the visual and theoretical strategy reveal the workings of consciousness and creative meditation of the witness to identify the struggles against internal and external terror in being a witness. The research is interdisciplinary, deploying philosophy, literary and artistic theory. Yet it is not a contribution to the specialised discipline of philosophy, sociology or psychoanalysis of death, dying and suffering, but offers a critical and creative matrix combining inventive and reflexive approaches. This practice-based doctoral study challenges the artist and practitioner to create and then raise awareness through a dynamic, reflexive and interpretative discourse. It fuses genres, including autobiography, literary studies and visual arts. The relationship between the exegesis and films provide an innovative pathway through creative meditation and negotiation of the witness by integrating filmic presentations as an integral loop in the research. Every chapter frames a dialogue between already existing theories of death, dying and grief and filmic texts to transform experience into visuality through constructing a descriptive insight and artistic expression.

This project explores the areas of human perception and story narrative in moving images. Engaged by the research question, “Can spectators become co-authors in the process of a story narrative?”, the research focuses on exploring the co-existence and contradiction between the values of spectators and an author in a process of a narrative by developing a new potential narrative approach with multiple perspectives. I hypothesise that spectators could participate with the story narrative process as co-authors. My key method is to engage with spectators’ participation within a narration (story) by displaying story fragments across multiple screens simultaneously. The potential of having a story spread across multiple screens might bring further interest to authors to re-think the notion of a spectator and tell a story with multiple perspectives in a narrative process with spectators. In order to develop this project, I will use different approaches, such as Grounded Theory (Strauss & Corbin, 1998), Data Visualisation (Tufte, 1983), Action Research (Kemmis & McTaggart, 1988) and Heuristics (Moustakas, 1990), which I will explain in further details in each chapter of my exegesis.

Le vampirisme est une parole et un discours qui circulent : il est une écriture qui contamine et qui se transmet de texte en texte, d’histoire en histoire, d’image en image. Le vampire est une forme vide, un cadavre ouvert et disséqué à la grande époque du vampirisme (le XVIIIe siècle), et que l’imagination, collective ou individuelle, a rempli de fiction(s) dans la perspective et/ ou selon le désir de « faire croire » au(x) vampire(s), même quand il s’agit de remettre en cause leur existence. Des images se réunissent pour faire le vampire et le réaliser, et circulent selon le principe « vampirique » de la contamination. Une forme vampirique au sens d’une écriture formelle se répète des écrits du XVIIIe et du XIXe siècle jusqu’aux dernières images cinématographiques, et toujours selon le même principe qui consiste à interroger la croyance d’un destinataire-récepteur : un lecteur ou un spectateur. L’objet de cette thèse est principalement de mettre en évidence et d’étudier l’identité de la croyance aux vampires du XVIIIe siècle et la croyance du spectateur devant un film de vampires. Son objet est d’étudier la genèse et les variations littéraires, cinématographiques, d’une écriture formelle de la croyance aux vampires, dans le vampire et le vampirisme, dans un corpus de textes officiels, critiques, littéraires et cinématographiques. Tous ces documents proposent un récit qui construit des formes narratives et discursives qui font croire et douter, à des fins notamment esthétiques, de plaisir, d’horreur, de peur, de fascination. C’est cette histoire que la thèse propose d’explorer. / Vampirism is a word and a speech circulating: it is a writing that contaminates and that is transmitted from text to text, from history to history, from image to image. The vampire is an empty form, an open and dissected corpse in the great era of vampirism (the eighteenth century), and that imagination, collective or individual, has filled with fiction(s) in perspective and / or desire to “make believe” the vampires, even when it is to questioning their existence.Images come together to make the vampire and realize it, and circulate according to the “vampiric” principle of contamination. A vampiric form in the sense of a formal writing is repeated from the eighteenth and nineteenth century to the last cinematographic images, and still according to the same principle which consists in questioning the belief of a receiver: a reader or a spectator.The purpose of this thesis is mainly to highlight and study the identity of belief in eighteenth-century vampires with the viewer’s belief in front of a vampire movie. Its purpose is to study the genesis and the literary and cinematographic variations of a formal writing of the belief in vampires and vampirism, in a body of official, critical, literary and cinematographic texts. All these documents offer a narrative that constructs discursive forms that make people believe and doubt, especially for aesthetic purposes, pleasure, horror, fear, fascination. This is the story that the thesis proposes to explore.

Cette étude s'est d'abord intéressée à la situation de sujets passifs face à la marchandisation progressive du monde contemporain et à la réaction qu'ils peuvent lui opposer. Nous avons choisi d'articuler cette problématique à l'analyse de la “construction de situations”, riposte des situationnistes face à la “société du spectacle”, dont Guy Debord est le théoricien bien connu. Nous y avons découvert l'importante influence du théâtre, notamment à travers le détournement des notions de “distanciation” (empruntée à Brecht), de “tragédie classique” et de “jeu”. Dès lors, le travail de recherche s'est engagé dans une généalogie de la notion de “situation”, en s'attachant, dans un second temps, à la situation dramatique. Il s'avère que la situation dramatique relie entre eux personnages, acteurs et spectateurs, fiction et réalité. L'exploration de leurs relations débouche, dans un troisième temps, sur la “situation existentielle”, en particulier sur le concept de “situation-limite” chez Karl Jaspers. L'un des principaux théoriciens de la situation dramatique, Étienne Souriau, y fait référence. Malgré leurs différences, une même intention traverse les situationnistes, le théâtre et la philosophie de l'existence de Karl Jaspers. Dans tous les cas, il s'agit d'appréhender la situation dans sa capacité à émanciper les sujets qui s'y trouvent aliénés. / This study first began by examining the situation of passive subjects faced with the gradual escalation of merchandising in the contemporary world, and then the way they were able to react against this trend. We chose to link this problematic to the analysis of “the construction of situations”, which was the Situationists’ response to Guy Debord’s famous theory of “the society of the spectacle”. Here we discovered the significant influence of the theatre, most notably in the appropriation of concepts of “alienation” (borrowed from Brecht), of “classical theatre” and of “acting”. From this point on, the piece of research engaged with a genealogy of the concept of “situation” by next addressing “dramatic situation”. Dramatic situation would prove to connect different characters, actors and spectators in both fiction and reality. Examining these relations served to open a third section to the project on the “existential situation”. This was informed by the concept of “limit-situations” in Karl Jaspers, as referred to by one of the most important theorists of in the field, Etienne Souriau. In spite of their differences, a common goal unites the Situationists when seeking to discern the role of theatre in the philosophy of existence, as described by Karl Jaspers. Every one of them aims to grasp situations in their capacity to emancipate alienated subjects.

Elegendo como aporte teórico principal as ideias de Jacques Rancière sobre partilha do sensível, emancipação, polícia, política, estética, espectador e as teorias de Alain Bergala sobre a hipótese-cinema e o uso dos filmes em sala de aula, este trabalho teve por objetivo refletir em que medida a experiência do cineclube Prisma, criado na escola do presídio Evaristo de Moraes no Rio de Janeiro, constituiu mais um espaço pedagógico de reprodução de sentidos, corroborando com a constatação de que escola e prisão são, ambas, instituições que não permitem outras perspectivas de trabalho senão aquelas que hierarquizam pessoas e percepções. A partir disso, vislumbramos também, uma outra via possível, que não demoniza a escola, porém a coloca como espaço para uma outra proposta do uso dos filmes, na qual o cinema é visto em toda a sua potência estética e dissensual.

Submitted by ITALO RODRIGUES FARIA (artescoreograficas@gmail.com) on 2018-03-09T01:08:34Z No. of bitstreams: 1 TESE-ITALO RODRIGUES.pdf: 5701877 bytes, checksum: 66795cef0f8b350a35e381c1ef311eb7 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-03-09T19:16:17Z (GMT) No. of bitstreams: 1 faria_ir_dr_ia.pdf: 5701877 bytes, checksum: 66795cef0f8b350a35e381c1ef311eb7 (MD5) / Made available in DSpace on 2018-03-09T19:16:17Z (GMT). No. of bitstreams: 1 faria_ir_dr_ia.pdf: 5701877 bytes, checksum: 66795cef0f8b350a35e381c1ef311eb7 (MD5) Previous issue date: 2018-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este estudo visa refletir sobre a relação do espectador e a obra artística de dança na contemporaneidade. Para tanto, os objetivos aqui levantados, consideram verificar o estado atual das pesquisas sobre o tema proposto por meio de Revisão de Literatura Integrativa das publicações encontradas em bancos e bases de dados; e refletir sobre o assunto por meio da Filosofia Analítica de Arthur Coleman Danto (1924-2013). Para tal, preconizo que o espectador pode se tornar sujeito ativo na construção de sentidos, uma vez que nessa relação estão imbricadas atitude estética, fruição, apreciação e experiência advindas de diferentes possibilidades interpretação do espectador diante da obra. É possível, sob o escopo da filosofia de Arthur Danto, empreender reflexões sobre a relação do espectador e a dança contemporânea diante de obras apresentadas nos espaços cênicos tradicionais ou alternativos? Pode a arte contemporânea (Dança) suscitar ou até mesmo erigir diferentes posturas, ou atitudes estéticas diante da obra artística, fomentando outras maneiras de denominação para o espectador? Para tal esta tese traz como fios condutores, além de Arthur Danto, obras de autores da Filosofia: Jimenez (1999), Fabbrini (1990, 2002, 2010), Louppe (2012); da Dança: Banes (1999, 2011), Ribeiro (1994, 1997), Katz (2017), Rodrigues Silva (2005), Godoy (2013-2014), Faria (2011), entre outros. Nesta abordagem teórica de natureza qualitativa, ressalto o papel do espectador de dança enquanto agente transfigurador da arte em sua completude e significação. Nisto, identifiquei a importância de conceitos, teorias e fundamentações histórico-filosóficas que possibilitam espectadores, artistas e interessados, adentrar no Mundo da dança na arte valorando obras, enunciando argumentos e discursos de razão sobre possíveis poéticas empreendidas por artistas da dança. / This study aims to reflect on the relationship between the spectator and the artistic work dance in the contemporary world . Therefore, the specific objectives raised here, consider checking the current state of the researches on the proposed theme through the Review of Integrative Literature of the publications and studies found in banks and databases; and reflect on the subjec t through the Analytical Philosophy of Arthur Coleman Danto (1924 - 2013). To this end, I advocate that the spectator can become an active subject in the construction of meanings, since in this relation they are imbricated esthetic attitude, fruition, apprec iation and experience arising of different possibilities interpretation of the spectator before the work. It is possible, under the scope of Arthur Danto's philosophy, reflections on the relation of the spectator and the contemporary dance before works pre sented in traditional or alternative scenic spaces? Can Contemporary Art (Dance) arouse or even erect different postures, or aesthetic attitudes towards the artistic work, fomenting other ways of denomination for the spectator? For this, this thesis brings as conducting threads, besides Arthur Danto, the works of authors of Philosophy: Jimenez (1999), Fabbrini (1990, 2002, 2010), Louppe (2012); da Dança: Banes (1999, 2011), Ribeiro (1994, 1997), Katz (2017), Rodrigues Silva (2005), Godoy (2013 - 2014), Faria (2011), among others. In this approach qualitative, it emphasizes the role of the spectator of dance as a transfiguring agent of art in its completeness and significance. In this, I identified the importance of concepts, theories and historical and philoso phical foundations that allow spectators, artists and interested, to enter in Art dance in World valuing works, enunciating arguments and discourses of reason about possible poetry undertaken by dance artists. / CAPES: 3300401-3

Made available in DSpace on 2016-12-08T16:18:48Z (GMT). No. of bitstreams: 1 nicole.pdf: 12727692 bytes, checksum: e36794f65ee16fc927b752fb26ffb459 (MD5) Previous issue date: 2011-11-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The photograph as body, movement, change, subtraction, repetition. What vertices tense this net haved by image, viewer, space, and time? From a phenomenological analysis of the process of artists who use photography as a means and support for their work in parallel to my own work process, I sought to gather them in a logical ensemble of effects and discontinuities, which resulted in three groups or paradigms. In Chapter 1: "The body of the image: occupations," establishes that the image wavers between seeing and being seen, at times becoming the object of its viewer, others making it its own object, caught in its trap. This I called the body of image. To support this asertion, I walk the length of my body in the space of photography, revisiting the process of two works: Gravitation and In_verses: Now I feel so fragile, followed by the analysis of works by Vito Acconci and Gabriel Orozco. In Chapter 2, "Movement: otherness", I observe the construction of the image in full flight, photographs that are formed by the interest to access and be accessed by the Other, be it moving towards him or rising back from the trauma of the collision. This chapter also presents the process of two other works: Hi, Nicole Lima? and Over, followed by an analysis of photographs by Cindy Sherman and Diane Arbus. In the third and last chapter, entitled "The real thing: laterality and displacement", I describe the development process of one of my most recent works, 100 importances, alongside works by artists such as Nan Goldin, Ivars Gravlejs, Elina Brotherus and Rosângela Rennó, whose works present photographs rearranged from files, be them from their personal lives or those of others pictures of the world" restated "in the world" through na operation that seems to confirm: images are not created, but repeated. What we are able to change is their infinite combinations. At the end of each chapter, I make a brief pause between analysis and theories to present a short and new series of images entitled Geographies, which I offer the reader of this text as a form of reflection (not a conclusion) on the processes presented / A fotografia enquanto corpo, movimento, alteração, subtração, repetição. Quais vértices tensionam essa trama formada entre imagem, espectador, espaço e tempo? A partir de uma análise fenomenológica do processo de artistas que utilizam a fotografia como meio e suporte para suas obras, paralelamente ao meu processo de trabalho, busquei tecer uma lógica de efeitos e descontinuidades, a partir da qual formei três grupos ou paradigmas. No capítulo 1: O corpo da imagem: ocupações , estabeleço que a fotografia oscila entre ver e ser vista, ora fazendo-se objeto de seu espectador, ora fazendo dele seu próprio objeto, capturado em sua armadilha. A isso chamo corpo da imagem. Para sustentar essa afirmação, percorro a extensão do meu corpo na fotografia enquanto espaço, revisitando o processo de construção de dois trabalhos: Gravitação e In_versos:Tão frágil me sinto agora, seguidos da análise de obras de Vito Acconci e Gabriel Orozco. No capítulo 2: O movimento: alteridades , observo a construção da imagem em pleno vôo, uma fotografia que existe em função do interesse em acessar e se deixar alterar pelo Outro, seja partindo em direção a ele ou ressurgindo do trauma da colisão. Neste capítulo também apresento o processo de construção de dois trabalhos: Oi Nicole Lima e Sobre, seguidos de uma análise de fotografias de Cindy Sherman e Diane Arbus. No terceiro capítulo, intitulado A coisa real: lateralidade e deslocamento , descrevo o processo de elaboração de um de meus trabalhos mais recentes, a obra 100 importâncias, paralelamente a trabalhos de artistas como Nan Goldin, Ivars Gravlejs, Elina Brotherus e Rosângela Rennó, que apresentam fotografias apropriadas e deslocadas de arquivos, pessoais ou alheios fotografias do mundo reapresentadas ao mundo numa operação que parece confirmar: imagens não são criadas, mas repetidas. O que podemos alterar são suas combinações. Ao final de cada capítulo, faço uma breve pausa entre análises e teorias, para apresentar uma pequena e nova série de imagens intitulada Geografias, que ofereço ao leitor deste texto como uma forma de reflexão (um reflexo, não uma conclusão) sobre os processos apresentados

Elegendo como aporte teórico principal as ideias de Jacques Rancière sobre partilha do sensível, emancipação, polícia, política, estética, espectador e as teorias de Alain Bergala sobre a hipótese-cinema e o uso dos filmes em sala de aula, este trabalho teve por objetivo refletir em que medida a experiência do cineclube Prisma, criado na escola do presídio Evaristo de Moraes no Rio de Janeiro, constituiu mais um espaço pedagógico de reprodução de sentidos, corroborando com a constatação de que escola e prisão são, ambas, instituições que não permitem outras perspectivas de trabalho senão aquelas que hierarquizam pessoas e percepções. A partir disso, vislumbramos também, uma outra via possível, que não demoniza a escola, porém a coloca como espaço para uma outra proposta do uso dos filmes, na qual o cinema é visto em toda a sua potência estética e dissensual.

Esta pesquisa objetiva apresentar uma análise sobre a utilização da vitrine como espaço integrante da obra de arte. Problematiza a necessidade do uso do espaço isolado e intocável da vitrine como área imprescindível para determinadas propostas artísticas contemporâneas. Averigua também as relações entre a área envidraçada da vitrine e o observador. Verifica como a vitrine é tematizada não só no espaço arquitetônico, mas também na pintura e na fotografia. Examina dessa maneira a atitude dos artistas em colecionar, selecionar, organizar, classificar, deslocar e exibir uma série de objetos reunidos no interior de tal dispositivo. Interroga se a presença de artistas que trabalham com a vitrine ou com o espaço, apenas delimitado, não estaria ligada à crise do conceito tradicional de autor. / This research aims to present an analysis of the use of the museums display as an integrating space of the work of art. It gives emphasis on the use of an isolated and untouchable space in the museums display as an essential area to establish contemporary aesthetic proposals. So, it also checks how the display case is given thematically not only in the architectural space, but also in the painting and photograph. It analyses the artists approach of collecting, selecting, arranging, assorting, displacing and displaying a series of united objects in the interior of such device. It is questioned if the presence of the artists who work with the museum display or with demarked space would not be tied to the crisis of the authors traditional concept.

Esta pesquisa desenvolve uma análise crítica a partir de uma noção histórico-teórica do processo de construção da relação das pessoas com a mídia na contemporaneidade e está dividida em três momentos: o Observador no século 19; o Espectador no século 20; e o Usuário no século 21. Assume que estes constituem três sujeitos comunicacionais, possuem trajetórias interligadas e podem ser vistos como um sujeito múltiplo. O trabalho parte dos seguintes pressupostos: a transformação do comportamento dos sujeitos; o acúmulo de percepções e conhecimentos; e as mudanças nos modos de ver e nas maneiras de se relacionar que se dão a partir de uma construção sociocultural, política e econômica. Busca compreender a existência de um Observador/Espectador/Usuário e as mediações tecnológicas que lhe servem como contexto. Vê o Usuário: a partir do Flanêur de Benjamin - como uma referência comunicacional ao sujeito/objeto na formação do seu olhar; como reconfiguração do sujeito/receptor na história e de sua relação com a mídia e com a sociedade; como a dimensão tecnológica permeia a diferenciação dos sujeitos comunicacionais e o contexto social no qual estão inseridos, privilegiando a tecnologia e em seu lugar político e social, e de como o comportamento deste sujeito pode ser atribuído a esses lugares. Trabalha a Percepção na medida em que se aproxima do Usuário/Flanêur numa conjugação em que os dois se distinguem mesmo que em tempos e circunstâncias diversas na experiência comunicacional. / This research develops a critical analysis from a historical-theoretical perception of the construction process of people relation with the Media in the contemporary world and it is divided in three moments: the Observer in the 19th century; the Spectator in the 20th century and the User in the 21st century. It accepts that these three communication subjects share connected paths and can also be seen as a multiple subject. This work is based in the following assumptions: the transition in the subjects behaviour; the accumulation of perception and knowledge; and the changes in the ways of seeing and in the ways the relationships happened from a sociocultural, political and economic structure point of view. The research aims to understand the existence of an Observer/Spectator/User and the technological mediations that are used as a background. It sees the User from: Benjamin\'s Flanêur point of view - as a communicational reference for the development of the subject/object in the construction of the way he sees; as a reconfiguration of the subject/recipient in history and its relation with the Medias and with the society; how the technological dimension pervades the variation between the communication subjects and in the social context in which they are located, with a particular emphasis in technology, and in his political and social place and of how this subjects\' behaviour is ascribed to these places. This research also explores the Perception to the extent that it approaches the User/Flanêur in a combination in which the two of them distinguish from each other in the communication experience even in different times and circumstances.