This thesis identifies and analyses the function of violence in the films of screenwriter-director Pablo Trapero. It does this by examining different understandings of the concept of violence itself — with a particular emphasis placed on Slavoj Žižek’s concept of objective violence — and how it is represented on-screen in Trapero’s films. The work is divided into two parts, each consisting of two chapters. Each of the four chapters focuses on a pair of the director’s films; in each case the first film analysed introduces motifs and themes which the later film then expands upon and intensifies. Part I locates violence within the context of what Althusser defines as the State Apparatus, focusing on the diverse manifestations of the State’s power generally. Further, this section analyses the way in which Trapero’s films demonstrate the State’s manipulation of its subjects through repressive and ideological means for its own benefit. Part II tightens the thesis’s focus, examining Trapero’s representation of one specific ideological apparatus: the family unit. This section approaches different manifestations of the family and, using Deleuze and Guattari’s theories of Oedipal and rhizomatic families, considers the ways in which the family structure itself can be used as both a means of repression and, in certain cases, a means of resistance. This thesis contends that, through his representation of objective violence, Pablo Trapero has emerged as a distinctly political filmmaker. By focusing on several previously under-studied elements of Trapero’s films this thesis highlights the ways in which the director’s work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, this work examines how Trapero combines aspects of Argentina’s long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.

This study focused on the creation of new faces by compositing features from donor face photographs together that provide a way to generate new face identities. However, does the act of compositing conceal the identity of the donor faces? Two applications of these created faces require donor face identities to remain concealed: Covert social media profiles provide a way for investigating authorities to survey online criminal activity and, as such, a false online identity, including face image, is required. Compositing features/face parts from various donor face photographs could be used to generate new face identities. Face donor photographs are also used for the ‘texturing’ of facial depictions to reconstruct an image of how a person might appear. This study investigated whether compositing unknown face features onto known familiar faces (celebrities and lecturers) was sufficient to conceal identity in a face recognition task paradigm. A first experiment manipulated individual features to establish a feature saliency hierarchy. The results of this informed the order of feature replacement for the second experiment, where features were replaced in a compound manner to establish how much of a face needs to be replaced to conceal identity. In line with previous literature, the eyes and hair were found to be highly salient, with the eyebrows and nose the least. As expected, the more features that are replaced, the less likely the face was to be recognised. A theoretical criterion point from old to new identity was found for the combined data (celebrity and lecturer) where replacing at least two features resulted in a significant decrease in recognition. Which feature was being replaced was found to have more of an effect during the middle part of feature replacement, around the criterion point, where the eyes were more important to be replaced than the mouth. Celebrities represented a higher level of familiarity and, therefore, may be a more stringent set of results for practical use, but with less power than the combined data to detect changes. This would suggest that at least three features (half the face) need to be replaced before recognition significantly decreases, especially if this includes the more salient features in the upper half of the face. However, once all six features were replaced, identity was not concealed 100% of the time, signifying that feature replacement alone was not sufficient to conceal identity. It is completely possible that residual configural and contrast information was facilitating recognition, and, therefore, it is likely that manipulations, such as these, are also needed in order to conceal identity.

Denna studie undersöker de faktorer som kan påverka samtidskonstens roll och betydelse i dagens bildundervisning genom att titta på resultat från tidigare studier relaterade till ämnet. Studien är en systematiskt littereraturstudie med kvalitativ ansats, baserad på hermeneutisk metod. Resultatanalysen består av två delar där den första delen utgörs av en begreppsanalys vilken i sig är uppdelad i en semantisk analys och en diskriminationsanalys. Begreppsanalysen har som syfte att definiera de för litteraturstudien centrala begreppen konst samt samtida konst. Litteraturstudiens andra del består av en analys av tidigare forskning. Två frågor ställdes i syfte att förstå vilka faktorer som påverkar samtidskonstens vara eller icke vara i bildundervisningen, varav den första undersöker vilka påverkansfaktorer forskningen finner gällande samtidskonstens roll, betydelse och omfattning i bildundervisningen och den andra vilka perspektiv forskningen ger på hur samtidskonstundervisning bedrivs. Forskningen visar att samtidskonsten ses som ett avvikande innehåll som främst behandlas utanför en skolkontext i ett formen av ett extramuralt lärande. Samtidskonsten som innehåll riskerar således att endast behandlas på samtidskonstens egna premisser av lärare som har ett genuint intresse för ämnet. När samtidskonsten inkluderas i undervisningen öppnar det upp för samtal och diskussioner om dagsaktuella ämnen som relaterar till elevers livsvärld. Samtidskonstundervisningen för även med sig viss problematik som försvårar implementeringen i bildämnet. Begreppsförståelse, ämneskonception, svårigheter vid bedömning och en radikalt annorlunda syn på bilden som uttryck jämfört med traditionell undervisning nämns i forskningen som faktorer som påverkar samtidskonstens vara eller icke vara i bildundervisningen / <p>Bild</p>

Made available in DSpace on 2014-06-11T19:30:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-03Bitstream added on 2014-06-13T19:19:03Z : No. of bitstreams: 1 gomes_rz_me_bauru.pdf: 934980 bytes, checksum: 9ea4eb7b7f106235a4901ce85224f55e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente estudo, que se caracteriza como investigativo qualitativo, tem como objetivo principal analisar a convergência entre os campos das artes visuais e do design. Para fundamentar a análise, foi desenvolvida uma pesquisa bibliográfica que analisou as contribuições das vanguardas modernistas para o design moderno e o papel da escola alemã, Bauhaus, no campo de design; e apresentou o conceito de linguagem híbrida, a mestiçagem no design brasileiro, as relações entre a arte e design e o Prêmio Museu da Casa Brasileira (MCB). Com base neste levantamento teórico, foram apresentados os designers Luciana Martins e Gerson de Oliveira, da empresa ,OVO, e os objetos selecionos por este estudo, que são os dois produtos premiados pelo MCB, que possuem características artísticas e são comercializados e reconhecidos como objetos do design brasileiro contemporâneo. Esses produtos foram analisados e foram levantadas as características híbridas dos mesmos / This study, which is characterized as qualitative researchers, aims at analyzing the convergece between the fields of visual arts and design. To support our analysis, we developed a literature that examined the contributions of the avant-garde modernists to the modern design and the role of the German school, Bauhaus, in the design field, and presented the concept of hybrid language, mixing in the Brazilian design, relationships between art and design and the Brazilian House Prize (MCB). Based on this theoretical approach, the designers were presented Luciana Martins and Gerson de Oliveira, the company, EGG, and the selected for this study, the two products that are rewarded by the MCD, which possess artistic features and are marketed and recognized as objects contemporary Brazilian design. These products were analyzed and were raised the same hybrid characteristics

CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T03:31:45Z (GMT). No. of bitstreams: 1 Mann_OliverNieves_M.pdf: 11056919 bytes, checksum: 19c66149f908fb7bf4df87cd216944cc (MD5) Previous issue date: 2010 / Resumo: Villém Flússer propõe em seu texto Filosofia da Caixa Preta dois conceitos opostos que desafiam a autonomia criativa no fazer fotográfico. Se "funcionário" é operador do aparelho e age de acordo com programa pós-industrial revestido em seu interior, a figura do "fotógrafo" vem acrescentar uma possibilidade de subversão a esse programa. Esta capacidade demonstra-se então bem relativa pois é da natureza do aparelho servir-se da criatividade do fotógrafo criando novos programas que aumentarão as exigências do desvio. Haverá então repertório infinito para novas imagens? Esta pesquisa propõe apontar alguns paralelos entre uma fotografia na qual a documentalidade vinculada a um imaginário fortemente calcado no realismo perspectivista é marca aparente, e uma fotografia que procura finalmente transcender os programas impostos por esta visão aparelhística. Procurou-se exemplos desta problematização em obras heterogêneas como a de Rodtchencko, August Sander e Bernd & Hilla Becher, incluindo também, no último caso, as escolas fundadas a partir de suas metodologias de abordagem entre objeto e referente. Ponto capital na análise de cada obra é o domínio rigoroso da sintaxe fotográfica demonstrada por cada autor, mesmo que, o grau de contingencialidade prevaleça mais em uns que em outros. De forma dialógica, esta pesquisa ainda propõe apontar certos aspectos onde o domínio da programaticidade e da retilinearidade do aparelho escapa a raros estados em que a fotografia não mais se coloca como uma construção semântica codificada por elementos geométricos historicamente convencionados, mas como Barthes nos diz: como "uma força constativa", ao "isto é" e "isto foi", no qual o noema não parte do objeto, mas do tempo. Se este é o caminho para a renovação da fotografia a idéia da liberdade do fotógrafo adquire contornos diversos ao que foi apresentado por Flússer. Concomitante à revisão da literatura, a outra metade do desenvolvimento desta pesquisa compreende um exercício de construção fotográfica em forma de tipologias com móveis domésticos descartados no ambiente urbano, Esta proposta prática é indissociável aos conceitos teóricos aqui propostos / Abstract: Villem Flusser suggested in his text "Towards a Philosophy of Photography" two opposite ideas which challenge the creative autonomy in making photography. If the "worker" is the "operator" of the apparatus and act according to the postindustrial program inward cover, the "photographer" come to add more subversive possibilities to the program. This capacity then demonstrate relativity for it's the apparatus nature to serve the creativity of the photographer creating new programs which adds the demand of diversion. Then there will be a repertory of infinite new image? The proposal of this research is to show some parallels between the photography in which a imaginary documental links strongly - stepped on realistic perspective which is the aparent mark, a photography which search firmly to beyound of its program impose for this visual apparatus. Looking after example of this question in heterogeneous work, like Rodtchencko, August Sander and Bernd & Hilla Becher, which includes also in the last case, the school founded, starting on its methodic approach between object and reference. The analitical highpoint in each work is the rigorous dominion of the photographic sintax demonstrated by each author inspite the degree of contingency that prevails, mor or less at each others. The dialogical form of this research again, suggest certain aspects where dominion of programaticity and the retilianerity of the apparatus escape to rare moments in which photography doesn't set like a semantic construction codified by geometrical elements historically agreed, but as Barthes have said, "confirmed force", a "that is" / "that was" in which perception (noema) don't start from the object, but from time. If this is the way of the photographic renovation, the idea of the emancipation of the photographer acquires diverse configuration which on presented by Flússer. Together with the literary revision, the other half of the development understand the practice of the photographic construction in the tipological form with cast-off household furniture in the urban environment. This practical proposal is unseparable with the theorical ideas as propose / Mestrado / Artes Visuais / Mestre em Artes

This thesis parts from the premise that avant-garde art collectives produce discourses meant to articulate the opposition to the art/life divide as one that interrelates fields such as aesthetics, politics, philosophy, and even economics. By utilizing a comparative framework, it plays on the complementarity and differences between four 1960s groups that formed very specific organizations directed at challenging society, in one way or another related to the Situationist International: The Situationist Times (France), King Mob Echo (UK), Black Mask and its transformations (US), and S.NOB (Mexico). Through the medium of magazines, they intended to reach a mass audience that in the act of reading and looking at their images and texts would be prompted to discern organizations that undermined the world-system. Thus, the Situationist Times attempted to form a (people’s) movement that in an applied creativity that rejected the metanarrative of progress would be able to realize the malleability of history. King Mob followed a conspiratorial logic with the idea of a dis-organized mass suddenly acting in concert against states. Black Mask and its transformations played with the idea of a war for territory, the occupation of a ‘free zone’ by a community in the midst of a dominated world. Finally, S.NOB’s idiosyncratic anarchism came from an opposition to the totalizing discursive practices of the Mexican Revolution, giving primacy to fragmentation and an anti-organizational bent; while it had no direct relationship to any of the above groups, it shows how their techniques and theories develop out of an engagement with Surrealism and past avant-gardes. S.NOB provides not a counterpoint but a contextual revelation of the limits of these collectives, in the Bataillean sense that opens all of them up to a ‘contamination’ with historicity and thought that treats all of them as equal in scope and importance.

This PhD by publication focuses on over fifteen years of my cultural production, including poetry, translation, critical essays, and work produced in the context of the visual arts. Ranging from my earliest published work in mor (1997) to my most recent writing projects such as pulllllllllllllllllllllllll: Poesia Contemporânea do Canadá (2010) and the “:”s, published in Open Letter (2012). I have consistently produced work in dialogue with the international context of linguistically innovative writing. The fourteen texts collected here provide clear examples of my approach to practice-led research. Accompanying this portfolio, I have produced a critical essay which reflects on the work. This essay employs a modular rather than a standard hypotactic structure to trace the influences on and the connections among the disparate group of texts which make up my portfolio. A crucial element in my work is the notion—expressed by various proponents of Language Writing and other key influences—that literary production and reception are political as well as aesthetic activities. The critical essay thus contextualizes my work in relation to the politicized experimentalism of North American and European poetics, and clarifies how my writing has consistently challenged the social authority of standard

An Attempt to Mirror the Painterly and Stillness in Autobiographical Visual Practice is a practice-as-research project consisting of a portfolio of videos, photographs, and the documentation of live performances, and a written thesis. The written part is intended to work as a supportive body of material for the portfolio – or ‘brackets’, as it will be referred in the text – revealing the creative process behind those artworks, and the central thinkers, writers and artists that are relevant to this study, as well as offering contextualisation through an exploration of the lineage of other artists and discussions within which my practice-as-research project resides. The writing is built around the idea of ‘attempts’, in a written interpretation of a method I have applied to many of the artworks. Another key word of the study, the aforementioned brackets, is inspired by Virginia Woolf’s use of brackets in her novel To The Lighthouse. In this thesis I will explain the way in which these brackets have inspired me in the creation of many of the artworks. This will also offer an insight into how I relate to the text from within a visual artistic practice generally, and how using the brackets as a concept has also become a tool for identifying relationships between the art pieces presented in the portfolio and the written thesis itself. The text also reveals the multifaceted role of the painterly within this study project. The painterly will be discussed as a poetic-atmospheric visual frame for the artworks, and will also be explored in terms of how it emerges if the movement or the moving image is slowed down, which in turn brings this painterly quality of the artwork into close parallel with the still life painting genre. Finally, I will demonstrate, through the exploration of three artists from the past – Gwen John, Helene Schjerfbeck, and Virginia Woolf – the complexity of the writings of art history, biographies, and autobiographies.

Inom både film och filmskapande är tiden ett grundelement för dess existens. Trots detta finns det ett stort behov av ytterligare forskning kring ämnet. Syftet med denna uppsats är att tillföra forskning genom att undersöka hur Linklater gestaltar tid i filmen Boyhood. För att uppnå detta har uppsatsen framförallt lutat sig mot litteratur av Andrej Tarkovskij såväl som David Bordwell och deras respektive böcker Sculpting in Time samt Narration in the Fiction Film. Denna studie visar genom begrepp formade av Tarkovskij och Bordwell olika metoder som Linklater använder för att gestalta tid. Dessa metoder innehåller både teoretiska perspektiv såväl som filosofiska. Utöver dessa gestaltningsmetoder tillför denna studie även ett alternativ för att tolka filmen Boyhood och dess budskap.