My art is an experimental exploration of new media using images and sounds, combined with technology to communicate messages both random and intentional. This thesis will document a contemporary method of creating art with computers, which results in disorganized images from the unique point of view of a dyslexic artist. This study will explain how art is randomized information and explain the didactic processes of my art. The concept of the work is to present old media in a new context and show how information is accumulated into a new understanding. Historically, my art builds on the Dadaist movement. Humor, excess, and performance are essential in my art because they connect to the audience. My library of videos comes from a society saturated with images, sound, and an avalanche of information. I have used art to process and create approximately 40,000 pieces that will be used in this work.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This essay attempts to propose an art practice based on an ethical and aesthetic relation of author, subject, and viewer. This relationship is productive of results that are seen as critical to a precise, useful, and ethical representation of social problems. / text

This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault’s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness? / Thesis (Ph.D, Art History) -- Queen's University, 2010-09-23 11:09:40.235

The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

Orientador: Graziela Estela Fonseca Rodrigues / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T09:11:00Z (GMT). No. of bitstreams: 1 Melchert_AnaCarolinaLopes_D.pdf: 7945181 bytes, checksum: e89fcdbc8879c252dbe6f878e8455ccb (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa teve por finalidade aprofundar o eixo Inventário no Corpo do Método Bailarino- Pesquisador-Intérprete (BPI), através de sua aplicação a um grupo de alunos voluntários, com o intuito de verificar o grau de incidência e o modo de ocorrência dos seguintes itens: a rejeição à cultura brasileira (manifestações populares brasileiras), a descoberta da cultura velada e a descoberta dos gestos vitais. Os sujeitos desta pesquisa foram estudantes universitários dos seguintes institutos e faculdades da Universidade Estadual de Campinas: Instituto de Artes, Instituto de Filosofia e Ciências Humanas e Faculdade de Educação Física. Este projeto foi aprovado no Comitê de Ética em Pesquisa da Faculdade de Ciências Médicas da Unicamp (Parecer CEP No. 679/2008). No eixo do Inventário no Corpo tem-se um contato com as ferramentas do Método BPI e são desenvolvidas inúmeras atividades para a busca de dados sobre a história cultural e social. A pesquisa realizada começou a revelar aos sujeitos participantes dados das suas culturas veladas, que, ao serem assumidos, promoveram o enfrentar os sentimentos de rejeição à cultura brasileira. O desenvolvimento do processo fez com que os sujeitos tivessem maior contato consigo mesmos e começassem a descobrir os seus gestos vitais, que são a porta de entrada para uma produção artística de qualidade. O desenvolvimento do Inventário no Corpo trabalhou com uma visão fenomenológica do corpo e uma visão integrada da dança, onde os aspectos físicos, afetivos, culturais e sociais foram contemplados conjuntamente. Os instrumentos para coleta de dados foram os Questionários Aplicados, os Corpos na Argila, os Relatos dos Dojos e as Sínteses Práticas. Utilizamos a Estrutura do Fenômeno Situado para analisar os Questionários aplicados. Para os trabalhos corporais e para os Corpos na Argila utilizamos a Análise de Conteúdo, dialogando com uma Análise de Expressão, a partir da Estrutura Física e da Técnica dos Sentidos do Método BPI. O desenvolvimento do eixo Inventário no Corpo do Método BPI promoveu, aos sujeitos desta pesquisa, o estabelecimento de um processo corporal, que os possibilitou: assumir suas origens, se redescobrir como brasileiro, ampliar os referenciais socioculturais, liberar a expressão do corpo, abrir um processo criativo, assumir a identidade do corpo e gerar uma dança integrada e original / Abstract: This research aimed to deepen the axis Inventory in the Body Method Dancer-Researcher-Performer (DRP), through its application to a group of student volunteers, in order to ascertain the degree of incidence and mode of occurrence of the following items: the rejection of Brazilian culture, the Discovery of culture veiled and the discovery of vital gestures. The subjects were college students from the following institutes and faculties of the University of Campinas, Institute of Arts, Institute of Philosophy and Humanities and Faculty of Physical Education. This project was approved by the Ethics Committee of the School of Medical Sciences (CEP Opinion No. 679/2008). In the axis Inventory in the Body one has a contact with the tools of the DRP Method and are developed numerous activities to search for data on social and cultural history. The research began to reveal to the subjects participating data veiled from their cultures, which are assumed to have promoted the deal with feelings of rejection to the Brazilian culture. The development process has brought to the subjects a greater contact with themselves and the begin of discovering of their vital gestures, which is the entrance door to an artistic production quality. The development of the Inventory in the Body worked with a phenomenological view of the body and an integrated vision of dance, where the physical, aff ective, cultural and social rights were dealt with together. The instruments for data collection were the Questionnaires, the Clay Bodies, the Dojos Reports and the Summaries Practices. We use the Structure Situated Phenomenon to analyze the Questionnaires applied. To work for the body and Bodies in Clay used the Content Analysis, talking with an Expression Analysis, through the DRP Physical Structure and Technical Senses. The development of the body axis Inventory in the Body Method DRP promoted to the subjects of this research, the establishment of a body process, which enabled them, to take their roots, to rediscover herself as a Brazilian, broadening the socio-cultural references, to release the body expression open for a creative process to assume the body identity and generate an integrated and original dance / Doutorado / Artes Cenicas / Doutor em Artes

Orientador: Antonio Fernando da Conceição Passos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T06:00:45Z (GMT). No. of bitstreams: 1 Seki_CeliaHarumi_D.pdf: 2731695 bytes, checksum: 61a864c82617352109523856e33f8e7a (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa apresenta como tema principal o processo de criações artísticas audiovisuais inspiradas em textos literários. Da leitura dos textos poéticos decorrem imagens e sensações de caráter singular, que são transpostas para obras audiovisuais. A pesquisa realizada na área de Cinema e Literatura, dentro da linha de pesquisa ¿CINEMA FICCIONAL: HISTÓRIA E PROCESSOS CRIATIVOS¿, tem como objetivo expor o desenvolvimento do fazer criativo da autora, através de sua história pessoal, memórias, sentimentos, sensações estéticas concretizadas nas realizações de filmes e vídeos sob o tema geral do Exílio / Abstract: This research has in its main subject the process of audiovisual artistic creations inspired in literary texts. From the lecture of poetic texts results images and sensations of a singular nature, that are transported to audiovisual works. The research has been realized in ¿Movies and Literature¿ area, and focused in the research line ¿FICTIONAL MOVIES: HISTORY AND CREATIVE PROCESSES¿, with the purpose to expose the author¿s creative work development through her personal history, memories, feelings, aesthetics sensations realized in the creations of films and videos in the light of Exile general subject / Doutorado / Doutor em Multimeios

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T21:00:40Z (GMT). No. of bitstreams: 1 Neves_BrauliodeBritto_D.pdf: 3338859 bytes, checksum: 9f7b6335eb8a7b3fd674c22b05e8d7d4 (MD5) Previous issue date: 2011 / Resumo: Esta tese propõe novos critérios para a definição de cinema documentário, tomando-o como uma classe natural da retórica da esfera publica contemporânea, a partir da extrapolação dos traços recorrentes do documentário político feito a partir, através e para a circulação na internet, na primeira década do século 21. A constatação de que o ciberdocumentário ativista recente logrou transformar o esforço de constituição de espaços de visibilidade publica autônomos em uma matéria de expressão poética peculiar conduziu a concepção de que o traço distintivo do documentário, em geral, reside no tipo especifico de relação que ele pretende constituir entre seus participantes: enunciadores, enunciatários e atores sociais. Reinterpreta-se retórico-especulativamente os conceitos da "pragmática universal" para tornar os conceitos de "interpretabilidade" e "validez" operadores analíticos apropriados para o exame da retórica dos ciberdocumentários. A peculiaridade mais decisiva desses vídeos e sua função instauradora de contrapúblicos, através da operação de plataformas telemáticas de publicação abertas. Essa inovação, trazida para a esfera publica pelo ciberativismo dos movimentos antiglobalização corporativa, e estruturada como uma política prefigurativa. Os ciberdocumentários publicados nessas plataformas são tambem prefigurativos porque visam provocar efeitos catalisadores, comemorativos e regenerativos sobre seus apreciadores, propiciando a transposição das relações de participação na enunciação para as relações nos contrapúblicos e na esfera publica ampla. A inovação da producao de conteúdo pelos públicos usuários, porém, e capturada por corporações da telemática, nas "redes sociais" e sites de "compartilhamento de vídeos", como estratégia para extrair trabalho não pago da privacidade coletiva dos usuários. Através de analises da estrutura das plataformas de publicação, de alguns ciberdocumentários e de entrevistas com seus organizadores, a tese examina dois projetos ciberativistas prefigurativos: o CMI-Brasil e o Circuitos Compartilhados. Examina-se como o propósito de constituição de contrapúblicos ativistas prefigurativos determina os demais elementos da retórica dos ciberdocumentários (situações de tomada, montagem, paratextualização nas plataformas, organização de exibições). Nos vídeos do Centro de Mídia Independente, temos uma retórica próxima do documentário direto contra-informação política, na qual o espaço urbano e audiovisual mente reconstruído de maneira agônica. A intensa imersividade dos vídeos ceemistas serve para de estabelecer uma relação de revezabilidade entre os participantes das enunciações ciberdocumentárias prefigurativas. Em Circuitos, ha proximidade com a retórica do documentário poeticoexperimental. Nessa plataforma, que tambem e uma coleção de vídeos compartilhada pelos participantes do projeto, a constituição de contrapúblicos e manifestamente explorada como práxis poética / Abstract: In the present thesis are proposed new criteria for the documentary cinema definition, as a natural class of the contemporary public sphere rhetoric, stemming from the extrapolation of the recurring features of the political documentary built upon, through and to the Internet diffusion, made in the first decade of the 21th century. The observation that the recent activist cyberdocumentary succeeded in convert the public visibility spaces' building efforts in a peculiar poetic matter of expression brought the conception that the distinctive characteristic of the documentary rhetoric lies in the specific kind of relationship it pretends to constitute between their parts - ennunciators, ennunciatees and social actors. The concepts of the "Universal Pragmatics" are undertaken in a speculative-rhetoric key, to make them suitable to the prefigurative cyberdocumentaries rhetoric scrutiny. The crucial particular feature of this videos is their role in the counterpublics institution, through the operation of open publishing on-line platforms. This innovation, brought about in the public sphere by the anti-corporate globalization movements cyberactivism, is neatly structured as a prefigurative policy. The cyberdocumentaries published in these platforms are also prefigurative because they aim to produce cathalist, commemorative and regenerative effects on their appreciators, underpinning the transposition from the relationships between the parts in the enunciation to the relationships into the counterpublics and in the public sphere at large. The innovation of the user publics content production has however been captured by the internet corporations, in the "social networks" and "video sharing" sites, as a strategy to extract unpaid work from the collective privacy of the users. Through the analysis of the publishing platforms structures, of cyberdocumentaries and of interviews, this thesis presents the main features of two prefigurative cyberactivist projects: The Brazilian Indymedia chapter (CMI-Brasil) and the "Shared Circuits" (Circuitos Compartilhados). The scrutiny focus is directed to the understanding of how the activist counterpublics building purpose determines the other layers of the ciberdocumentary rhetoric (the image take situations, the montage, the paratextual composition of the platforms, the organization of exhibitions). In the Brazilian IMC videos, we see a rethoric near to the counter-information direct documentary, where the urban space is audiovisually reconstructed in an agonic manner. The intense immersivity of IMC's videos is precursory to a relaying relationship between the documentary ennounciation participants. In Circuits, a more closeness to the poetic-experimental documentary rhetoric is seen. In that platform, which is also a video collection shared by the project participants, the counterpublic building is conspicuously explored as a poetic praxis / Doutorado / Multimeios / Doutor em Multimeios

Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade. / Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.