Syftet med min uppsats är att jag vill påminna om människans egen förgänglighet. Jag vill upplysa att allting lever under samma princip. Förgängligheten finns i allt, att allting är underständig förändring och att det bara är en fråga om olika lång tid innan allt försvinner. Jag vill att människan ska bli mer påmind om att allt och alla, människor, naturen, och alla ting lever undersamma principer och på så sätt inte är särskilt skilda från varandra.Jag vill påvisa hur förgängligheten har analyserats och analyseras, samt ge en inblick i vad förgänglighetsteori handlar om. Förgängligheten har flitigt avbildats inom konsten.Jag kommer undersöka varför två betydelsefulla konstnärer har arbetat med förgängligheten och jämföraderas tolkningar. Mina frågeställningar är följande: • Hur definieras idén om förgängligheten historiskt och symboliskt? • Varför har Andy Warhol och Damien Hirst arbetat med förgängligheten?

This dissertation examines a small selection of the hundreds of films made by Andy Warhol and his collaborators between 1963 and 1968. Each chapter contextualizes a particular aspect of Warhol's filmmaking in terms of the artistic and cultural circumstances that informed it. Through an analysis of the content of specific films, rather than just their formal or stylistic tendencies, I discuss how the filmmaking process might have functioned for those involved in the films' production, as well as how those films might have functioned for specific spectators. The first chapter is a speculation on how Warhol might have understood filmmaking as a method for creating concrete connections between feelings and things -- for collecting imagery with his camera in order to create a historical catalog of people and their emotions. This first chapter also considers how some art critics in the 1960s used Warhol's early silent films as exemplars for their own anti-formalist art-historical and critical discourses. The second chapter examines the relationship between Warhol's films and the proliferation of amphetamine use amongst his collaborators. Amphetamines functioned to perpetuate for its users a way of life based on an alternative conception of time, and often involved a continued engagement with bad feelings, which fueled much of the creativity of the artistic community whose locus was Warhol's Factory in the mid-1960s. As such, many of Warhol's films from this period exhibit what I term an "amphetamine aesthetic" -- visual clues that suggest the effects of long-term amphetamine use by its participants. The third chapter is an analysis of a single film, Lonesome Cowboys. Participants in the film's production used the conventions of the Hollywood Western film genre to create a circumscribed space for transforming their everyday lives and their relationship to contemporary politics in the late 1960s. All of these chapters explore the effects of Warhol's particular approach to filmmaking, which involved Warhol's own detached style of directing, as well as his cultivation of an ultrapermissive environment in which his collaborators -- actors, directors, writers, and technicians -- felt free to experiment. This environment was predicated on the idea that the boundary between the space in front of the camera and the world beyond it was simultaneously arbitrary and deeply imbricated. Such a fluid boundary between the world inside and outside the scope of Warhol's camera is in part why some spectators, watching his films a half-century after they were made, might still find new meanings for the present in the films themselves. / text

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Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.

Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.

Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.

En tant que préalable à l’appréciation d’une forme, le cadre demeure une question centrale en esthétique de l’image. Où débute une forme, où s’achève-t-elle ? Si le cadre délimite l’image en y circonscrivant un espace au regard, il peut jouer de ses plasticités et renverser ce présupposé en son contraire : la tendance all-over de l’expressionnisme abstrait montre bien des exemples où le cadre se défait dans une ouverture qui rend l’espace à son indétermination, fut-elle fixée à l’avant de notre regard. Le point de départ de cette recherche vient du concept établi par Meyer Schapiro du cadre comme « véhicule matériel » où il y fait distinction entre l’image-objet (absence de limites de surface et visibilité du support) et l’image-signe (limite de surface liée à la représentation). Faisant état de cette différence fondamentale, nous proposons un travail interdisciplinaire – le cinéma expérimental et sa relation avec les autres arts – où l’œuvre d’Andy Warhol servira de fil conducteur. A partir d’une première occurrence appelée cadre-surface, il semble important de revenir sur certains malentendus concernant le Pop art tant sur le plan historique, philosophique, qu’esthétique en proposant le concept de « ready-made illusionniste ». Dans un deuxième temps, le cadre-perception sera l’occasion d’affiner notre travail en revenant sur la position du spectateur face aux images à travers le concept de « Pensée visuelle » développé par Rudolf Arnheim. On verra de quelle façon le cinéma expérimental à tendance structurelle et matérialiste (Michael Snow, Paul Sharits, Peter Gidal) se nourrit de la relation figure-fond établit par la psychologie de la forme (gestalt). Par là, comment le film ouvre aux possibles phénoménologiques d’un autre rapport à l’image ? Enfin, la dernière partie situera le cadre à sa propre destitution physique dans un chemin qui va du cadre-écran au cadre-performance. Devant cette typologie quelque peu taxinomique, nous souhaitons moins y penser un cloisonnement entre les différents types de cadre qu’y trouver force circulaire afin de répondre à l’hypothèse suivante : en quoi la matérialité des premiers films de Warhol nous engage progressivement dans une réflexion ambiguë parce qu’ambivalente autour d’une image spectrale et dématérialisée ? / As a prerequisite to the assessment of a form, the framework remains a central issue in the aesthetics of the image. Where does a form begin, where does it end? If the frame defines the image circumscribing there a space for the eye to see, it can play of its plasticity and overturn this assumption into its opposite: the all-over pattern of abstract expressionism shows examples where the frame opens up to an undetermined space, whether it might have been fixed or not before we set eyes on it. The starting point for this research comes from the concept established by Meyer Schapiro of the frame as a "material vehicle" where he makes a distinction between the image-object (no surface boundaries and visibility of support) and the image-sign (surface boundary associated with the representation). Stating this fundamental difference, we propose an interdisciplinary work - experimental cinema and its relationship to the other arts - where Andy Warhol’s work will serve as a guideline. From a first occurrence called frame-surface, it seems important to revisit some misunderstandings about Pop art, historically, philosophically, and aesthetically, by proposing the concept of "ready-made illusionist". Secondly, the frame-perception will be an opportunity to refine our work by returning to the position of the viewer facing images through the concept of "visual thinking" developed by Rudolf Arnheim. We'll see how experimental film with structural and materialistic tendency (Michael Snow, Paul Sharits, Peter Gidal) feeds on the figre-ground organization established by the psychology of form (Gestalt). Then, how does the film open to the phenomenological possibilities of another connection to the image? The last part will place the frame over its own physical removal on a path that goes from frame-screen to frame-performance. Given this typology somewhat taxonomic, we wish to think of it less as a division between different types of frame than to find circular strength in it, in order to meet the following hypothesis: how does the materiality of early Warhol films progressively engage us in an ambiguous, since ambivalent, reflection around a spectral and dematerialized image?

One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.

This project is concerned with exploring the relationship between postconceptual dance and its state as object. As a practice-led research project it aims to do so both through the written thesis and through artistic practice, which is here presented as a series of video projects that extend representations of dance. Over five chapters I trace the permutation of the ‘object’ from choreographer to spectator, participant, editor, collector and ‘reframer’, arguing for the multiplicity of roles that choreographers, and by extension dancers, take on at the beginning of the 21st century. My interdisciplinary research draws from a variety of theoretical discourses including performance theory, visual cultures and critical theory, and is therefore both relevant to the field of dance studies and beyond the discipline. Given the practice-led nature of the project, my aim has been to expand choreographic performance practices and to increases the range of ‘objects’ that can be considered dance. Therefore, the project resides in the gaps and tensions between practice and theory, performance and documentation, language and dance, text and movement, choreography and objecthood. Throughout I argue that post-conceptual dance operates within an extended field in which dancers and choreographers are expanding the boundaries of the art form, making dance relevant to a broader artistic, cultural, political and social context.