Copyright and other protection of visual arts The main topic of this thesis is the copyright and other protection of visual arts. Its aim is to present the main principles of Czech copyright law, illustrate these general rules on examples of visual art, and point out the specifics of the Czech copyright towards these works. Apart from the Czech copyright law, this thesis presents the basic rules of American copyright law, as an introduction to this subject matter in a different legal system. This thesis then shows the legal rules of copyright law in the Czech Republic, which emerges from civil law, and the legal rules of copyright in the USA, which extends from common law. The purpose is not to compare these two legal systems in detail, but to explain the Czech rules in context of a foreign legal system, which offers different concepts and other solutions. The first chapter presents the legal sources of Czech and American copyright. Chapter two describes the basic principles of Czech copyright law, which is followed by an introduction to American copyright law in chapter three. These two chapters interpret the origins of Czech and American copyright, define the work of copyright in both systems as well as explain in legal terms of what a "work of visual art" means in these systems. Chapter four is...

La thèse analyse la relation entre le cinéma et l'anachronisme. En partant des enjeux de la notion d'anachronisme en termes d'écriture de l'histoire et de discours autour de la mémoire, ce travail se propose de traiter certaines pratiques cinématographiques présentant une relation étroite avec une volonté de réflexion sur les temps et les chronologies. A partir d'une pratique spécifique comme le film-essai, dont on analyse les caractères en sens esthétique, un discours se dégage sur les liens entre le cinéma et le temps, entre la pluralité des formes de l'image et un temps anachronique capable de questionner les formes, les histoires, les lectures, les rapports. Si les Histoire(s) du cinéma (1988-97) de Jean-Luc Godard posent la grande question du sens du cinéma, de sa pluralité dans un réseau dense et complexe, Tokyo-Ga (1983) de Wim Wenders questionne les relations entre un cinéma passé et des formes plus actuelles, entre une mémoire du cinéma et la recherche difficile d'un présent de l'image. Chris Marker, avec Sans soleil (1982) et Level Five (1996) croise le cinéma, les images et leurs transformations aux rapports complexes entre passé, présent et futur, dans un contexte où le temps peut se déployer selon les formes de l'image. Dans certains de ses essais, Alexander Kluge assigne une importance stratégique aux images de tout type, mais aussi aux relations entre les images que nous produisons et notre histoire. Tous les parcours analysés font surgir certaines questions théoriques relatives aux pratiques du regard : toute image est le signe d'un agencement complexe entre l'histoire et notre travail à partir de là, selon une pratique plurielle des images / This thesis analyzes the relationship between cinema and anachronism. Starting from anachronism as an important topic in history writing and memory discourses, this work intends to deal with some film practices with a strong will if reflection about time and chronologies. Starting from a specific practice as the essay film, analyzed from an aesthetical point of view, a topic comes out about the links between cinema and times, between a multiplicity of image forms and an anachronic time questioning forms, histories, interpretations, links and relationships. If Jean-Luc Godard's Histoire(s) du cinéma (1988-97) questions the sense of cinema itself, his plurality in a dense, complex network, Wim Wender's Tokyo-Ga (1983) interrogates some links between past cinema and more actual film forms, between a memory of cinema and the difficult search for the image's present, actual time. With Sans soleil (1982) and Level Five (1996), Chris Marker crosses cinema, images and their transformations with the complex links between past, present and future, in a context in which time can be presented according to the images forms. In some of this essays, Alexander Kluge gives strategie importance to images of every sort but also to the relationship between the images we produce and our history. All the analyzed films develop some theoretical questions about gaze's practices : every image is the sign of a complexe relationship between history and our starting from history, in accordance with a plural practice of the image.

This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.

Thesis (M. Tech.) - Dept. of Visual Arts and Design, Faculty of Human Sciences - Vaal University of Technology. / The digital manipulation of images that are presented as photographs in the media raises issues of interpretation and the possible deception of viewers. The central research question of this study was whether training in the visual arts improves awareness of digital image manipulation of photographs. Secondary aims of the research were to investigate correlations between visual production literacy training and awareness of digital image manipulation of photographs as opposed to general visual literacy training. Secondary aims also include the !investigation of attitudes to the manipulation of photographs in relation to different viewing contexts and various levels of manipulation. The literature review provides background information and theoretical frameworks on the nature of the photographic message and how it is read primarily from a semiotic perspective. A further investigation was done into literature regarding the use of attitudes towards and ethical issues surrounding digital manipulation of photographs. In addition, a review of literature on visual literacy supports the argument that awareness of digital manipulation of photographs should and can be improved. For the empirical component of the study, a total of 145 students at the Vaal University of Technology with low, medium and high visual literacy training participated on a voluntary basis. Both qualitative and quantitative data was gathered through a digitally administered questionnaire on six visual images, each manipulated to a different degree. The results show that production literacy, especially specific training in digital image manipulation software, emerged as the main variable to be significantly (beta coefficient = 0.051; Pearson's r value = 0.436) associated with awareness of manipulation techniques as opposed to general visual literacy (standardised regression coefficieFlt = 0.436; Pearson's r = 0.051 ). Findings regarding attitudes to manipulation and the impact of viewing context show no difference between groups. Emanating from these results possibilities for further research were formulated.

I uppsatsen undersöks synen på kropp och ideal som svenska gymnasieungdomar har. I vårt samhälle och på sociala medier publiceras bilder på kroppar, bilderna sprids och skapar ett ideal för hur kroppen ska se ut. Detta kan leda till negativ uppfattning om den egna kroppen. Syftet med undersökningen är att synliggöra och problematisera kroppsideal och normer som finns i samhället och istället skapa en  känsla av tillhörighet, samt att starta en diskussion med gymnasieungdomar. Det är viktigt att tillsammans med gymnasieungdomar prata om kroppsideal och normer för att tillsammans kunna omförhandla ideal och normer. Fyra samtalsgrupper med gymnasieungdomar på två olika skolor i Sverige samt sju personer som hjälpt till som modeller fungerar som källor i projektet och frågeställning om kroppsideal. Frågeställningen lyder; Hur kan normer kring kropp och kroppsideal synliggöras genom samtal med gymnasieelever och konstfacksstudenter? Hur kan dessa samtal ligga till grund för ett konstnärligt arbete? Studiens resultat visar att kroppsliga bilder påverkar gymnasieungdomars syn på kroppsideal. Bland ungdomarna fanns det en kunskap om kroppsidealet. Kunskap om att det inte är hälsosamt samt att normativa idealbilder är sammankopplade med individers självförtroende. Ungdomarna beskrev att ungdomar med ett dåligt självförtroende påverkades mer än vad de som hade ett bra självförtroende.  Mitt gestaltningsarbete består av avgjutna torsos i silikon som gjorts efter samtal med gymnasieungdomar och modeller. Min gestaltning inkluderades åtta stycken silikonkroppar. Personerna som gjutits av är i åldrarna 20-45, men vi alla är vackra oavsett ålder, figur eller könsidentitet. Jag vill med mitt verk påverka vår syn på kroppsideal och skapa en känsla av tillhörighet. Att våga vara stolt över sin egen kropp.

A pesquisa analisa as etapas iniciais do ensino das artes visuais na Fundação Armando Álvares Penteado (FAAP), considerando também os cursos de artes e as programações do Museu de Arte Brasileira (MAB) nos anos 1960 e 1970. Investigamos as grades curriculares, seus espaços de ensino-aprendizagem e o quadro de professores. Essas etapas também foram observadas diante da instalação das instituições em São Paulo, no final dos anos 1940, promovendo novos modelos de ensino em contraste com outros sistemas escolares, universitários ou experimentais, por exemplo. Ao longo das duas décadas analisadas, observamos as parcerias institucionais estabelecendo modelos curriculares, atividades expositivas e conceitos relacionados à formação do artista, sua profissionalização e atuação no meio artístico. Na primeira metade da década de 1960, esses aspectos foram direcionados às demandas do mercado local nos cursos técnicos e livres. Esses modelos de cursos foram importantes para a transformação do ensino superior a partir de 1967 e no decorrer dos anos 1970. Com esta pesquisa podemos compreender questões acerca da rede de formação dos artistas, entre as estruturas curriculares e os espaços de produção, como ateliês e oficinas de trabalho. As distinções ou aproximações do ensino nas duas décadas analisadas foram importantes para compreendermos as demandas profissionais em que o ensino das artes foi adequado, ora em práticas tecnicistas e industriais dos anos 1960, refletindo as perspectivas sociais de desenvolvimento e modernização da cidade, ora por práticas educativas mais experimentais nos anos 1970, reconfigurando as concepções de classes, disciplinas e espaços de produção, próprias aos debates de expansão dos modelos tradicionais que ocorriam com o museu e a obra de arte / The research analyzes the early stages of visual arts teaching at the Armando Álvares Penteado Foundation (FAAP), also considering the art courses and the Brazilian Museum of Art (MAB) programming in the 1960s and 1970s. We investigated the curriculum grids, their spaces teaching and learning and the teacher These stages were also observed before the establishment of institutions in São Paulo, in the late 1940s, promoting new teaching models in contrast to other school, university or experimental systems, for example. Over the two decades analyzed, we observed institutional partnerships establishing curricular models, exhibition activities and concepts related to the artist\'s education, professionalization and performance in the artistic environment. In the first half of the 1960s, these aspects were directed to the demands of the local market in technical and free courses. These course models were important for the transformation of higher education from 1967 and throughout the 1970s. With this research we can understand questions about the artists\' training network, between the curricular structures and the production spaces, such as workshops and workshops. The distinctions or approaches of teaching in the two decades analyzed were important to understand the professional demands in which the teaching of the arts was adequate, sometimes in the technicist and industrial practices of the 1960s, reflecting the social perspectives of development and modernization of the city, sometimes by practices experimental studies in the 1970s, reconfiguring the conceptions of classes, disciplines and spaces of production, typical of the debates of expansion of the traditional models that occurred with the museum and the work of art

De Lents Semencements est une thèse de création en arts visuels. Conformément au principe du doctorat SACRe (Science, Arts, Création, Recherche), la thèse se compose d’œuvres, dont certaines seront présentées en exposition lors de la soutenance, et d’un écrit qui retrace et problématise le parcours.Le mémoire présenté ici se compose de quatre carnets de dimensions différentes, d’une notice d’exposition et d’un support numérique. Numérotés de 1 à 4, les carnets peuvent être lus de manière aléatoire. Les fichiers numériques sont des vidéos auxquelles les carnets renvoient.La recherche porte sur la notion de contrôle : le contrôle, la maîtrise, l’obsession de maîtrise, que les hommes et la science entendent avoir sur les phénomènes naturels, dont la manipulation du monde.Précisément, on s’est attaché à capturer et cultiver les substances qui forment ce qui est défini dans une acception large comme l’atmosphère (ou les atmosphères), que celles-ci soient physiques (l’air qui nous entoure, les nuages) ou, par glissement pour la démarche présentée dans le dernier carnet, psychologiques : on dira par licence artistique, al/chimiques.Les œuvres qu’on découvrira dans ces carnets, et les recherches qui y ont conduit, se sont d’abord inspirées très précisément des processus scientifiques qui ont été observés dans un laboratoire de physique du CNRS , le laboratoire de Physique et Mécanique des Milieux Hétérogènes (UMR 7636, ESPCI Paris). Le questionnement ou l’un des questionnements de la thèse, outre la thématique du contrôle, scientifique comme matériau d’artiste. Cette thèse fait apparaître que la démarche esthétique dévie et éventuellement détourne – voire pervertit - les finalités du laboratoire. Le protocole scientifique a alors été utilisé comme métaphore ou procès poétique, associé à une forme d’enquête épistémologique, notamment sur la réception de la science par le public (attractivité, confiance, et incompréhension – donc foi et crédulité).Les quatre carnets décrivent chronologiquement l’évolution de la recherche doctorale. Le premier prend la mesure d’un travail en laboratoire. Le deuxième rassemble une série de travaux qui concernent tous les efforts de contrôle et de représentations de l’atmosphère au sens physique – en l’occurrence il s’agit de travailler avec les nuages. Le troisième est une installation en forme de volière une performance réalisée avec des mouches, dans le cadre d’une exposition s’articulant autour de l’épigénétique. Le quatrième carnet reflète la tentation d’échapper à la rigueur de la science pour explorer les possibilités de réception confiantes du public, autour d’un protocole consistant à mesurer ou sembler mesurer, les composantes chimiques d’une atmosphère psychologique. / De Lents Semencements (« Slow Seedings ») is a thesis in visual arts creation. In accordance with the principals laid out by the SACRe doctoral programme (Science, Arts, Creation, Research), the thesis is comprised of a number of pieces, some of which will be exhibited during the viva, as well as a written component that retraces and questions the process.The thesis presented here is made up of four notebooks of varying dimensions, an explanatory notice concerning the exhibition and a digital file of work. Numbered 1 to 4, the notebooks can be read in random order. The digital files contain videos to which the notebooks refer.This research is based on the notion of control: control, mastery, the obsession with dominion, for which men and science contend over natural phenomena, including the manipulation of the world.Thus, we have tried to capture and cultivate the substances which make up that which, in its broadest sense, is called the atmosphere (or atmospheres), be they physical (the air which surrounds us, or clouds) or psychological, a shift in the meaning adopted in the approach of the final notebook. By creative licence, the latter substances are referred to as al-chemical.The pieces presented in the notebooks, and the research that led to them, were first of all inspired precisely by scientific methods observed in a physics laboratory of the CNRS, the laboratory of Physics and Mechanics of Heterogeneous Environments (UMR 7636, ESPCI Paris). This thesis reveals that the aesthetic process deviates and sometimes diverts (even perverts) the goals of the laboratory. Scientific protocol was thus used as a metaphor or a poetic process associated with a sort of epistemological survey, especially regarding the public’s reception of science (attractiveness, confidence and incomprehension; in short, faith and gullibility).The four notebooks describe the evolution of the doctoral research in chronological order. The first takes stock of work in the laboratory. The second gathers together a series of projects all relating to efforts to control and represent the atmosphere in a physical way – in this instance the work has to do with clouds. The third is an installation in the form of an aviary, a performance realised with flies, as part of an exhibition surrounding questions of epigenetics. The fourth notebook reflects the temptation to escape scientific rigour in order to explore the possibilities of a confident reception by the public, centred on a protocol that consists in measuring the chemical components of a psychological atmosphere.

[pt] Na dissertação cartografa-se distintos modos com que a escrita e, num sentido mais amplo, as artes, se relacionam com a noção de ruína. Parte-se do ponto de tensão entre ruir e criar a fim de explorar o paradoxo de que nos fala Maurice Blanchot em O espaço Literário: a literatura se edifica a partir de suas próprias ruínas. Detendo o gesto cartográfico em uma região particular, tomo algumas obras do escritor e artista visual Nuno Ramos como ocasião favorável para refletir sobre a relação entre destruição e criação na fronteira entre escrita e linguagem visual. O trabalho segue dois eixos que se querem recíprocos, não hierárquicos: no primeiro eixo acentua-se a parte teórico-crítica da pesquisa. No segundo, apresenta-se poemas e outros textos pessoais, escritos que, produzidos ao longo da pesquisa, fazem parte da reflexão. / [en] In this dissertation I cartograph distinct ways in which writing and, in a broader sense, the arts, relate to the notion of ruin. I begin at the point of tension between collapse and creation, to explore the paradox Maurice Blanchot speaks of in The Literary Space: Literature is built upon its own ruins. Holding the cartographic gesture in a particular region, I review works of the writer and visual artist Nuno Ramos as a favorable occasion to reflect on the relationship between destruction and creation on the border between written and visual language. The work follows two reciprocal axes, non-hierarchical: the first axis is emphasizes the theoretical and critical part of the research. In the second, it presents poems and other personal texts, writings produced during the research, and that are part of the reflection.

A presente pesquisa aproxima a trajetória poética de Augusto de Campos do universo referencial das artes visuais a partir de uma análise formal, livre e contextual de sua produção, abordando as principais influências e procedimentos que caracterizaram seu fazer artístico entre 1953, ano em que publicou sua primeira série de poemas transdisciplinares, até 2016, quando realizou a mostra \"REVER - Augusto de Campos\", no SESC Pompeia, em São Paulo. A trajetória do autor é marcada pela experimentação tecnológica e pelo trânsito intersemiótico entre distintos suportes artísticos. Tal estudo busca descrever a dimensão plástica de uma produção originalmente vinculada à literatura e à poesia. O objetivo central é descrever e analisar os principais poemas visuais de Augusto de Campos, apresentados em diferentes mídias, além do livro, a partir da aproximação destes com obras de arte, seja por questões materiais, formais, estéticas ou processuais de execução, seja pelo contexto no qual produziu alguns destes trabalhos. A ideia é, portanto, vincular o fazer do poeta, tradutor, ensaísta e crítico, com a ideia de um artista visual ou a de um \"artista-poeta\", que talvez seja o neologismo mais pertinente para descrever Augusto de Campos. / The present research approaches the Augusto de Campos\'s poetic trajectory to the referential universe of the visual arts, from a formal, free and contextual analysis of his production, addressing the main influences and procedures that characterized his artistic work between 1953, year in which he publishes his first series of transdisciplinary poems, poetamenos, until 2016, when he released \"REVER - Augusto de Campos\" exhibition at SESC Pompeia, in São Paulo. The author\'s trajectory is marked by technological experimentation and intersemiotic transit between different artistic supports. This study that aims to describe the plastic dimension of a production originally linked to literature and poetry. The aim is to describe and analyze Augusto de Campos\' main visual poems, which were presented in different media, besides the book, from their approach close to the works of art, whether for material, formal, aesthetic or procedural matters of execution, or the context in which he produced some of these works. The idea is therefore to link the poet\'s, translator\'s, essayist\'s and critic\'s doing with that of a visual artist or an \"artist-poet\", which is perhaps the most pertinent neologism to describe Augusto de Campos.

Mitt examensarbete består av en gestaltande del och en skriftlig. Den gestaltande delen är ett utforskande i hur jag i text och bild kan gestalta känslan separationsångest. Förlusten av en annan person, en tidigare förmåga eller till och med sig själv. I det här projektet undersöker jag delvis vem jag är i förhållande till mitt skapande efter att ha genomgått en utmattning. Det har också varit viktigt att låta projektet få vara ett sökande med hjälp av handen. För att släppa kontrollen och samtidigt hitta tillit till min egen förmåga igen. I den skiftliga delen berättar jag om min arbetsprocess i både text och bild. Jag går igenom olika faser, insikter, kompromisser, vändningar och beslut i kronologisk ordning. Liksom den gestaltande delen av mitt examensarbete är även den skriftliga delen ett visuellt narrativ där bilderna ges stort utrymme.