L’étude de l’œuvre de Georges Mathieu, artiste controversé dont les activités s’étendent sur les décennies suivant la Seconde Guerre Mondiale, vise à éclairer un parcours méconnu afin de pouvoir l’intégrer de manière plus pertinente dans le champ de l’histoire de l’art contemporain. S’intéresser aux réseaux au sein desquels a gravité l’artiste permet de considérer globalement l’abstraction lyrique et de dessiner des relations complexes entre les différents acteurs des mondes de l’art. Les enjeux du contexte artistique des années 1950 sont ainsi mis en avant plus précisément, conduisant à l’identification de stratégies de promotion en partie basées sur les mythologies du geste créateur. Mathieu, élaborant son discours par anticipation de sa réception et se présentant comme une personnalité médiatique ambivalente, s’inscrit dans une dialectique inhérente de l’art à l’ère postmoderne : l’oscillation perpétuelle entre culture d’élite et culture de masse / The study of Georges Mathieu’s work, debated artist whose activities extend over the decades following the Second World War, aims at enlightening an unkown path to be able to integrate it in a more relevant way into the contemporary field of the art history. Be interested in the networks in which the artist gravitated allows to consider the lyrical abstraction overall and to draw complex connections between the various actors of the worlds of art. The stakes in the artistic context of the 1950s are so put forward more exactly, leading to the identification of strategies of promotion partially based on the mythologies of the creative gesture. Mathieu, developing his discourse by anticipation of his reception and appearing as an ambivalent media personality, fits into an inherent dialectic of the art in postmodern era : the constant swaying between culture of elite and mass culture

A tese examina a primeira obra escrita por Vilém Flusser com objetivo de buscar as raízes do pensamento do futuro filósofo e apontar as características nela presentes que se tornariam relevantes na sua obra futura. Trata-se da peça de teatro Saul, redigida em alemão, em 1936, em Praga, sua cidade natal. A primeira parte da pesquisa foca o ambiente no qual Flusser nasceu e onde se formou sua visão do mundo. Esboçamos uma breve história da comunidade judaica nas terras tchecas, mencionamos figuras importantes da vida literária do país, assim como tendências culturais marcantes, para entender particularidades do seu universo. Na parte biográfica da pesquisa acompanhamos a vida intelectual de Flusser, que se desdobrava entre a Europa e o Brasil, encerrando-a com o levantamento da fortuna crítica que mostra o alcance de seu legado. A segunda parte da pesquisa dedica-se à análise do drama Saul e sua contextualização dentro das correntes artísticas e filosóficas da sua época. No campo da arte, identificamos sua proximidade sobretudo com o movimento expressionista e o teatro épico brechtiano; no âmbito da história do pensamento, por sua vez, com os pensadores cuja obra pode ser considerada dialógica e crítica ao pensamento instrumental. Abordamos nomes como Ortega y Gasset, Martin Buber, Mikhail Bakhtin ou Walter Benjamin e nos detemos nos próprios princípios do diálogo socrático. Reconhecemos uma série de pontos comuns entre os pensadores em questão e a obra de Vilém Flusser, tanto no drama Saul como nos ensaios posteriores. Destacamos sobretudo o caráter dialógico e não conclusivo dos seus textos, a busca pelas novas formas de expressão e pelo discurso científico alternativo. Com essa finalidade o pensador desenvolve uma série de estratégias que visam subverter as normas do discurso filosófico tradicional e acadêmico. Para ele, a posição filosófica carrega uma dimensão ética ela é um meio de engajamento social. Encerramos o trabalho com a reflexão sobre a influência do Fausto de J.W. Goethe no jovem praguense. Salientamos a transformação do papel da ciência no período que separa a vida de Goethe da de Flusser e mostramos como a preocupação com o reducionismo e a instrumentalização da ciência tornou-se um dos temas centrais dos textos de Flusser. / The thesis examines the very first Vilém Flusser\'s work purposing to search for the roots of his thought as well as to point the features in it that would become relevant in his future creation. It is a theatre play Saul written in German, in 1936, in Prague, his hometown. The first part of my research focuses the environment within which Flusser was born and in which his vision of the world was shaped. We have outlined a brief history of the Jewish community in the Czech lands, we have mentioned local important literary life figures and significant cultural tendencies to understand his particular universe. The biographical part of the research follows Flusser\'s intellectual activities unfolded between Europe and Brazil, and it is closed with a mapping of the critical resources that reveals the reach of his legacy. The second part of the thesis is dedicated to the analysis of the drama Saul and its contextualization within artistic and philosophical movements of that time. In the fields of art, we have identified the proximity, especially, to Expressionism and to Brecht\'s epic theatre; in the area of the thought\'s history, in turn, to thinkers whose work can be considered dialogical and critical in respect of the instrumental thinking. We have approached names as Ortega y Gasset, Martin Buber, Mikhail Bakhtin or Walter Benjamin and we have dwelled also on the principles of the Socratic dialogue. We have recognized a number of common aspects between the thinkers under discussion and the Vilém Flusser\'s work, both as in the drama Saul and as in the further essays. We emphasise mainly the dialogical and non-conclusive character of his texts, his pursuit of the new forms of expression and of an alternative scientific discourse. With that purpose, the thinker built up a number of strategies up, that aim to subvert the rules of the traditional and academic philosophical discourse. For him, a philosophical position is filled with an ethical dimension, it is an instrument of social engagement. We terminate the research with a reflection on the influence of J.W. Goethe\'s Faust on the young Prague citizen. We have pointed out the transformation of the role of the science in the period that separates Goethe\'s and Flusser\'s lives and have demonstrated how the concerns about the reductionism and the instrumentalization of the science became one of the central themes of Flusser\'s works.

Orientador: Lia Vera Tomás / Banca: Marcos José Cruz Mesquita / Banca: Celso Luiz de Araújo Cintra / Resumo: O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d'un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguid... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the applicat ion and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, (Complete abstract eletronic acess below) / Mestre

Flotsam is a collection of writing. Flotsam examines divisions of the self. Flotsam is made of fiction, nonfiction, and visual representations of both. Flotsam is made of the truth. Flotsam is made of lies. Flotsam is pretty. Flotsam is a beast. / by Jacob Henson. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011.

This dissertation focuses on the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s. NPR directly supported American experimental music, most often billed as "new music," through programming that both consolidated a tradition and extended it by commissioning new works. I address three exemplary broadcasts, proposing that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives. I demonstrate ways in which the shows themselves, as well as their planning phases and promotional materials, served to gather individuals and musical practices together, defining and constructing musical experimentalism in the process. Chapter 1 covers the importance of sonic experimentation in NPR's original Statement of Purposes, claiming that author William Siemering's attention to sound created a climate that was especially hospitable to musical and radiophonic experimentation. In Max Neuhaus's Radio Net (1977), NPR's very infrastructure became a musical instrument, showing the radical potential of NPR in its early days. Chapter 2 chronicles the production history of RadioVisions (1981) to establish the ways in which NPR's imaginary listeners were essential during its planning phase: in the conception of the show, in the grant proposal to the NEA, and in the show's content. I conclude that experimentalism's potential for imagining an NPR audience allowed "new music" to become "American experimental music" as the RadioVisions project moved through the infrastructure of NPR. Chapter 3 explores the cultural valences and authorities of the musical voices in RadioVisions's segments "Details at Eleven," "Shoptalk," and "The Oldest Instrument," as well as Schuller's hosting voice in the context of public radio broadcasting. Chapter 4 presents a history of the composition, production, and radio broadcast of Maritime Rites (1984). I argue that the differences between Maritime Rites and RadioVisions were, in part, representative of changes in NPR from 1981-85, particularly the role of the newly established Satellite Program Development Fund in supporting adventuresome programming. Maritime Rites served not only as a sonic documentation of the Eastern seaboard, but also as a sonic documentation of the landscape of improvisational experimental music in the mid-1980s, enhancing its fit on NPR as new music/radio documentary. Chapter 5 offers an analysis of the second segment of Maritime Rites, which featured Pauline Oliveros and her improvisation "Rattlesnake Mountain," as well as the voice of Karen MacLean (the only female lighthouse keeper in the series). This dissertation contributes to a deeper understanding of NPR's history by addressing lesser-known yet significant cultural programs, as well as to a broader musicological understanding of how public radio contributed to the construction of musical experimentalism.

This dissertation is comprised of a recent series of compositions, titled the Nightmare series, and this thesis. The three compositions are Nightmare for JACK (a ballet) (2013), Second Nightmare, for KIKU/2.5 Nightmares for Jessie (2014), and Child of Chimera (2015). The thesis describes the aesthetic impulse behind this series of works, and identifies sociological and technological elements in the work. The primary topic of investigation is the “Uncanny Valley,” a term used primarily in robotics and gaming in reference to empathy towards androids and digital humanoid characters. This thesis investigates the uncanny valley in film, gaming, and psychology; examines the potential of the concept for use in experimental art; and describes the methods I have used to incite the emotion in my compositions.

O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.

My argument is that documentary texts can be transformed into artworks via the processes of intertextuality and detournement, when they are exhibited as video installations. I argue that early 1920s modernist avant-garde painter-filmmakers shared with contemporary documentary video installation painter-filmmakers particular tendencies, characteristics and interests. The bodies of work in each period explore the generic properties of documentary through (primarily) abstract visual associations, rather than through a conventional linear space. Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador Dali, Joris Ivens, Man Ray and others will be considered in highlighting the relationship between documentary and avant-garde cinema. I use this discussion as a basis for examining my own work: for the creative component of this thesis, I filmed and edited a three screen video installation. I interviewed 67 Australian Muslims and used these interviews to explore the use of documentary in video installation. The theoretical framework I used is based on the following: Julia Kristeva?s notion of intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how documentary texts take on conventions appropriate to other genres; Guy Debord?s concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic elements found in documentary film; genre theory to interpret interactions between documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists have hijacked documentary. I also draw on Bill Nichols?s analytical framework of documentary modes (poetic, expository, observational, participatory, performative, reflexive) to explore documentary in cinema and installation art. The documentary genre is not habitually discussed outside film, television, photography or the web. My research demonstrates that the genre has found its place in other areas of artistic practice and can also apply to medium of video installation.

Intercultural theatre is a highly contested form of theatre. Critical discussions over its position as a revitalizing force or a colonial instrument have raged on for almost thirty years. An investigation into two theatre directors who have often been in the spotlight concerning these critical discussions, French theatre director, Ariane Mnouchkine, and Japanese cult icon, Shji Terayama, will illuminate the possibility of moving beyond such oppositions. Both have employed Asian theatre techniques and aesthetics, specifically Japanese, to produce highly theatrical performance events which actively engage their spectators. However, their methods vary from elegant integration to confrontational provocation. An extensive exploration into both artists prolific theatre, and the established theories concerning the process of creating intercultural theatre postulated by a range of theorists including, Patrice Pavis, Rustom Bharucha, Jacqueline Lo and Helen Gilbert, will reveal a fresh look at interculturalism where cross-cultural theatre exists on a continuum.

Texte remanié de: th. doct.--München--Universität, 2000. / Bibliogr. p. [455]-508.