Todos meus filmes são artificiais, mas tudo é de alguma maneira artificial. Não sei ao certo onde o artificial acaba e o real começa. Warhol subtraiu tantos elementos da narrativa cinematográfica convencional a ponto de definir sua obra como artificial, no entanto, a percepção que se tem é a da criação de algo original, novo e, ao mesmo tempo, de uma realidade que esbarra nos limites de seu próprio pensamento, de sua vida, ou seja, uma filosofia de si mesmo. É interessante notar que sua produção de filmes cessa logo depois do atentado sofrido por ele em 1968 em seu ateliê o artificial cessa a partir do confronto com o real, mas o que seria mais real do que sua obra? Como Danto define: Ele transformou o mundo que nós compartilhamos em arte, e se tornou parte desse mundo. E porque somos as imagens que compartilhamos com todas as outras pessoas, ele se tornou parte de nós. Warhol conseguiu transpor para a tela, de forma sutil, pequenos recortes cotidianos da vida moderna que habitualmente passam despercebidos por quem os vivencia, transformando-os através de seu olhar e trazendo à tona a essência, antes velada, de uma sociedade que se confunde com seus modos de produção. A obra do artista é aberta e, como tal, carece de um aprofundamento no que diz respeito à sua relação com a imagem em movimento e com os temas escolhidos por ele para a produção dos Screen Tests. O intuito desta pesquisa foi levantar questões cruciais que resultassem em um trabalho que atingisse, também, um nível analítico da obra de outros artistas como Bill Viola e Stan Brakhage e que, essencialmente, pudessem ser vivenciadas através de uma produção que permitisse um aprofundamento sensorial na obra de Warhol e que se igualasse à visão crítica do objeto deste trabalho. / \"All my films are artificial, but then everything is sort of artificial. I don\'t know where the artificial stops and the real starts\". (Andy Warhol) Warhol has subtracted so many elements from the conventional cinema narrative that he defined his work as artificial. Nevertheless, the sense is that of something original, new and at the same time the perception of a reality that scratches the limits of his own thought, of his own life, that is, a philosophy of himself. Its interesting to notice that his film production ceases soon after the attack he suffered in 1968 in his studio - the artificial stops as it confronts with the real, but what could be more real than his work? As Danto states: He transformed the world we share into art and he has become part of this world. And, because we are the image we share with the others, he became part of us. Warhol managed to transpose to the screen, in a subtle way, thin daily cuts of modern life which habitually go unnoticed by those who experience them, transforming them through his eyes, and bringing about their scent, so far veiled, of a society that confuses itself with its production means. The artist has an open work of art which deserves deeper analysis concerning his relationship with the image in motion and the themes he chose for the production of the Screen Tests. This research intends to point out the crucial questions that could result in a work that could also reach an analytical level of works by other artists, such as Bill Viola and Stan Brakhage, and that they could essentially be experienced through a production that would allow a deeper sensorial analysis of Warhols work and could be leveled to the critical vision of the object of this work.

Todos meus filmes são artificiais, mas tudo é de alguma maneira artificial. Não sei ao certo onde o artificial acaba e o real começa. Warhol subtraiu tantos elementos da narrativa cinematográfica convencional a ponto de definir sua obra como artificial, no entanto, a percepção que se tem é a da criação de algo original, novo e, ao mesmo tempo, de uma realidade que esbarra nos limites de seu próprio pensamento, de sua vida, ou seja, uma filosofia de si mesmo. É interessante notar que sua produção de filmes cessa logo depois do atentado sofrido por ele em 1968 em seu ateliê o artificial cessa a partir do confronto com o real, mas o que seria mais real do que sua obra? Como Danto define: Ele transformou o mundo que nós compartilhamos em arte, e se tornou parte desse mundo. E porque somos as imagens que compartilhamos com todas as outras pessoas, ele se tornou parte de nós. Warhol conseguiu transpor para a tela, de forma sutil, pequenos recortes cotidianos da vida moderna que habitualmente passam despercebidos por quem os vivencia, transformando-os através de seu olhar e trazendo à tona a essência, antes velada, de uma sociedade que se confunde com seus modos de produção. A obra do artista é aberta e, como tal, carece de um aprofundamento no que diz respeito à sua relação com a imagem em movimento e com os temas escolhidos por ele para a produção dos Screen Tests. O intuito desta pesquisa foi levantar questões cruciais que resultassem em um trabalho que atingisse, também, um nível analítico da obra de outros artistas como Bill Viola e Stan Brakhage e que, essencialmente, pudessem ser vivenciadas através de uma produção que permitisse um aprofundamento sensorial na obra de Warhol e que se igualasse à visão crítica do objeto deste trabalho. / \"All my films are artificial, but then everything is sort of artificial. I don\'t know where the artificial stops and the real starts\". (Andy Warhol) Warhol has subtracted so many elements from the conventional cinema narrative that he defined his work as artificial. Nevertheless, the sense is that of something original, new and at the same time the perception of a reality that scratches the limits of his own thought, of his own life, that is, a philosophy of himself. Its interesting to notice that his film production ceases soon after the attack he suffered in 1968 in his studio - the artificial stops as it confronts with the real, but what could be more real than his work? As Danto states: He transformed the world we share into art and he has become part of this world. And, because we are the image we share with the others, he became part of us. Warhol managed to transpose to the screen, in a subtle way, thin daily cuts of modern life which habitually go unnoticed by those who experience them, transforming them through his eyes, and bringing about their scent, so far veiled, of a society that confuses itself with its production means. The artist has an open work of art which deserves deeper analysis concerning his relationship with the image in motion and the themes he chose for the production of the Screen Tests. This research intends to point out the crucial questions that could result in a work that could also reach an analytical level of works by other artists, such as Bill Viola and Stan Brakhage, and that they could essentially be experienced through a production that would allow a deeper sensorial analysis of Warhols work and could be leveled to the critical vision of the object of this work.

Thesis (Ph. D,)--Graduate Theological Union, 1976. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 147-149).

I uppsatsen undersöks utbytet mellan populärkultur och konst genom en jämförande analys av Andy Warhols Marilyn Diptych från 1962 och en stillbild från Lady Gagas musikvideo Telephone från 2010, i vilken hon refererar till Warhol. Lady Gaga har flera gånger refererat till konstvärlden genom kostym och sceniskt uttryck vilket hos mig väckte associationer kring hur Andy Warhol och popkonstnärerna influerades av populärkulturen. Warhols användning av populärkulturens bilder är idag välkänd som ett sätt att bryta mot konstvärldens normer. Detta utbyte undersöks och diskuteras i relation till hur Lawrence Alloway, John A. Walker och Richard Hamilton definierar populärkultur, massmedia och popkonst. De visar på en upplösning mellan populärkultur och konst som olika kategorier, något som Theodor Adorno och Clement Greenberg vänder sig emot. Popkonsten skulle dock kunna uppfattas som populärkultur efter de definitioner jag använt då Warhol idag både brukas filitigt av populärkultur och massmedia, samtidigt som konstvärlden också använder honom för att tilltala en masspublik. Jag vill mena att Andy Warhols konstproduktion och skapandet av Lady Gagas image grundas i olika typer av konstnärligt arbete, men att bådas verksamhet genom massproduktion sprids som populärkultur. Lady Gaga verkar framgångsrikt genom masskommunikation och hon är idag välkänd inom populärkulturella sammanhang. Genom vad som kan tyckas vara absurd styling utmanar hon den populärkulturella normen kring skönhet, en norm som skapades med bland andra Marilyn Monroe. Reproduktioner av Andy Warhols bilder med Marilyn Monroe som motiv har idag fått enorm spridning och stor popularitet. Populariteten för Warhols bild av Marilyn och Lady Gagas refererande till den kan förstås genom Jean Baudrillards teorier om hyperrealism och simulacra. Lady Gaga stylad som Warhols Marilyn blir ett tydligt exempel på simulacra då hon framstår som en kopia utan original. Detta eftersom Warhols Marilyn är ett eget orignal, frikopplat från det fotografi av Marilyn Monroe som han från början utgick från. Warhol använder sig av ett välkänt ansikte från populärkulturen, ett ansikte som sedan influerar Lady Gaga. Influensen kommer dock inte från Marilyn Monroes ansikte, utan Warhols version av Marilyn. Lady Gaga använder sig heller inte av själva bilden, utan refererar endast till den genom sin styling. Någon anslutning till verkligheten finns inte. Referenserna mellan konstvärlden och populärkulturen sprids som ringar på vattnet, och den mittersta utgångspunkten blir allt svagare.

Proefschrift--Letteren--Rijksuniversiteit te Leiden, 1999. / Notes bibliogr. Index.

Zugl.: Bamberg, Universiẗat, Diss., 2005.

acase@tulane.edu / This paper weaves together theory and research in the areas of musicology, dance studies, gender studies, art, history, science, and philosophy. The author makes the claim that a post-modern treatment of the body in the arts has political implications. The paper explains how sound-movement reciprocity reveals the body’s innate capacity to shape itself and the environment. The dissolution of constructed identities, including the ostensible categories of ‘man’ and ‘woman,’ make way for the ‘intentional body’ — a philosophy of being, in which the mind and body are indistinct from one another. Exemplifying the performative nature of identity and destabilizing normative understandings of gender, race, and nationality, Grace Jones is included as the practical application, or living representation, of this phenomenon. The culmination of the author’s research is a pedagogical book of piano études based on the theories of Rudolf Laban and Sonata 9, a multi-media, interdisciplinary dance performance, which is discussed at the end of the paper. / 1 / Sean Knapp

This thesis uses Hirsch's dual notion of intention, i. e. conscious, intentional meaning and symptomatic, unconscious meaning, in order to avoid a dead end in the critical assessment of Warhol's work. T.S. Eliot's term "objective correlative" refers to a phenomenon whereby "an inner emotional reality" is evoked by its "external equivalent". (Benet, 1965). Thus, given that no work of art is purely self-referential (as distinct from its being autonomous),Hirsch's notion allows that viewerreconstruction of a painting involves shared values and concerns; that a painting reconstructed by a viewer acquires the status of an icon through which the viewer participates in the artist's sacred cosmos. Sociology of art tends on the whole to extrapolate from actual works to the alleged conditions that gave rise to them. That it cannot predict what specific works will arise from given conditions makes it unscientific. However, its usefulness lies in its ability to reveal what values and concerns are shared by artist and viewer. This is vital for an interpretation of Warhol's work. Warhol's biography leads directly into the meaning of his work. The sickly child of an immigrant steelworker, he grew up in Pittsburgh - an epitome of the technocratic-industrial environment - and was exposed from an early age to a violent and ugly world where the disparity between the super-wealthy and the struggling workers was deeply disturbing. That Warhol himself became a multi-millionaire artistic tycoon is significant, for it means that his works, his icons, were participatory in the very cultural myths and neuroses they appear to display or even despise. That his work has meaning and is open to interpretation there is no doubt. For example, a man-made soup can, as a manifestation and containment of the sacred, is coercive. Here the sacred becomes familiar, affordable and disposable. An electric chair, a man-made instrument of death, gives man supremacy over mortality and the divine prerogative of purging the world of all evil. The essay, however, does not attempt to answer the broader questions raised by Fromm and Roszak about the spiritual emptiness of the twentieth century and the existential crises experienced by those who hunger for meaning and fasten greedily onto anything that seems to proffer a glimpse of something beyond. The essay, nevertheless, strives within this context to elucidate the valid in Warhol's work

O trabalho tem como objeto os filmes realizados por Andy Warhol entre 1963 e 1969. No primeiro capítulo, \"A máquina\", discutimos algumas questões mais gerais e teóricas sobre a passagem de Warhol pelo cinema, em especial a constituição de um estilo impessoal e maquínico, que o artista parece trazer diretamente de sua prática anterior na pintura. No segundo capítulo, \"Corpo, superfície e erotismo\", observaremos como essa máquina atua na prática, submetendo os corpos filmados a um rígido dispositivo, trazendo à tona reflexões sobre temas como a performance e o erotismo nesses filmes. / The present work is focused on the films directed by Andy Warhol between 1963 and 1969. On the Chapter 1, \"The machine\", we\'ll deal with more wide and theoretical questions concerning Warhol\'s itinerary through cinema, in particular the setting up of an impersonal and machinic style brought to cinema by the artist from his previous practice on painting. On the Chapter 2, \"Body, surface and eroticism\", we\'ll see how this machine works in practical terms by subduing the bodies to its rigid apparatus, bringing out issues such as the performance and the eroticism in those films.

O trabalho tem como objeto os filmes realizados por Andy Warhol entre 1963 e 1969. No primeiro capítulo, \"A máquina\", discutimos algumas questões mais gerais e teóricas sobre a passagem de Warhol pelo cinema, em especial a constituição de um estilo impessoal e maquínico, que o artista parece trazer diretamente de sua prática anterior na pintura. No segundo capítulo, \"Corpo, superfície e erotismo\", observaremos como essa máquina atua na prática, submetendo os corpos filmados a um rígido dispositivo, trazendo à tona reflexões sobre temas como a performance e o erotismo nesses filmes. / The present work is focused on the films directed by Andy Warhol between 1963 and 1969. On the Chapter 1, \"The machine\", we\'ll deal with more wide and theoretical questions concerning Warhol\'s itinerary through cinema, in particular the setting up of an impersonal and machinic style brought to cinema by the artist from his previous practice on painting. On the Chapter 2, \"Body, surface and eroticism\", we\'ll see how this machine works in practical terms by subduing the bodies to its rigid apparatus, bringing out issues such as the performance and the eroticism in those films.