Cette thèse, qui met en relation réflexion théorique et création artistique, entend comprendre pourquoi au cours de la contemplation d’une oeuvre d’art notre attention dépasse rarement ses qualités formelles, esthétiques ou conceptuelles.Contrairement à d’autres artefacts que nous rencontrons au quotidien, nous identifions les œuvres d’art au fait qu’elles ne satisfont pas des fins utilitaires. Leur place dans le musée ou la galerie en atteste et conduit à faire en sorte qu'elles n’ont pas d'autre rôle que d’attirer notre attention sur leurs caractéristiques propres. Cette thèse oppose à ce constat un mode de réception qui repose sur l’articulation de l’artefact à un environnement social. Cela suppose un mode de création et d’expression basé sur la fabrication d’instruments ou dispositifs susceptibles d'interpeller le spectateur. / This thesis, which combines theoretical analysis with artistic creation, attempts to understand the reason why, when contemplating works of art, we rarely look beyond their aesthetic, formal or conceptual qualities. Unlike many other objects that we encounter in our lives, works of art are recognizable by the fact that they serve no practical purpose. Their idle existence in galleries and museums confirms this and ensures that works of art fulfill no other function than that of drawing our attention to their inherent qualities. That being the case, this thesis proposes a way of appreciating art that relies on the articulation between an artefact and a social setting. This assumes a way of creating art and expressing ourselves that is grounded on the fabrication of instruments or devices predisposed to engage the beholder.

A travers le parcours de dix rappeurs en France dans les années 2000, cette thèse se propose de renseigner des pratiques artistiques « critiques » ainsi que des pratiques d'engagement politique des artistes. Ce travail de recherche a été effectué à partir d'une enquête de terrain de six années mêlant des entretiens semi- directifs, des observations de type ethnographique, des recueils de données journalistiques et des analyses sociologiques d’œuvres. Il s'intéresse aux manières dont les processus de socialisation influencent les œuvres, les discours et les pratiques. Dans le cadre d'une sociologie de la critique, il cherche à identifier des discours et des manières de faire de la musique rap particulièrement contestataires. Il observe également les modes de valorisation et de mises en scène de ces postures singulières. Les pratiques d'engagement politique, qui voient les rappeurs impliquer leurs ressources artistiques, leurs ressources liées à leur notoriété ou leur individualité « anonyme » dans un travail conjoint avec certaines structures des mouvements sociaux et politiques, sont interrogées. En saisissant les nombreux enjeux qui résident dans l’émergence de ces activités artistiques, la thèse dresse un panorama des constructions sociales des pratiques des rappeurs tout en examinant les façons dont ils souhaitent, à leur tour, construire le social. L’ensemble de ces problématiques permet de proposer un regard sur les apports et les transformations d'une parole artistique et politique, historiquement et socialement située du côté des luttes de l'immigration et du postcolonialisme. / Through an examination of the trajectory of ten French rappers during the 2000s, the present PhD thesis aims to shed light on artists' « critical » artistic practices as well as on their practices of political commitment. The research for this thesis was carried out on the basis of a six-year field investigation, involving semi-structured interviews, ethnographic observation, assembling of data from the press and sociological analysis of works of art. It develops a particular interest for the ways in which socialisation processes influence works of art, discourses and practices. Within the framework of a sociology of critique, it aims to identify discourses and ways of producing rap music in which the protest element is particularly strong. It also observes the modes of valorisation and presenting of these singular attitudes. Practices of political commitment, where the rappers implicate their artistic ressources, their fame or their « anonymous » individuality in common work with certain structures of social and political movements, are examined. By grasping the manifold stakes involved in the emergence of these artistic activities, the thesis attempts to produce an overview of the social construction of the rappers' practices while at the same time it examines the ways in which they aim to construct the social. This set of questions enables us to develop an analysis of the contribution and the transformations of an artistic and political discourse, historically and socially anchored in the struggle postcolonial migrants and its political legacy.

Résumé: Limits of work of copyright in visual art This diploma thesis primarily deals with the concept of copyright work in the current Czech law and its relation towards works of contemporary visual art. The main aim of this thesis is to carry out a complex analysis of conceptual features of work of copyright under the Czech Copyright Act No. 121/2000 Coll. (including key and not always properly interpreted terms such as work of art, originality, or creativity) and then to apply these features to examples of the world's major works of visual art from the twentieth and twenty-first century. Author of this thesis tries to find out whether even specific works of visual art "meet legal requirements" imposed on works of copyright and thus may enjoy the copyright protection in the Czech legal system. It is the effort to identify boundaries between works of copyright and objects which are not under the protection of copyright law what is reflected in the title of this diploma thesis. Text of this thesis is divided into two main units. The first unit, which is the core of the thesis, is called "Limits of work of copyright", the second unit is called "Limits of appropriation". In the general part of the first unit the author tries to focus deeply on theoretical inquiry about the concept of work of copyright under...

(in English): My goal in this diploma thesis is to verify the claim that "dandy is a work of art". The figure of Dandy is often defined by the claim that it truly is a work of art. Dandy is after all defined like that by the founders of the debate on dandysm (Barbey d`Aurevilly, Charles Baudelaire and Oscar Wilde) and also by contemporary theoreticians of dandysm (such as Francois Coblence, Daniel S. Schiffer and Karin Becker). However, despite the numerous occurrences of the definition, the claim was never extended into general theory of dandy as work of art. I am here trying to do that. First, I am looking for a definition that best suits the concept of dandy according to the founders. I confront the concept of dandysm with several definitions of art (mimetic, expressive, formalistic, institutional or functionalist). With the definition that the comparison shows as the most appropriate - the functionalist theory of art - I continue to operate. With a structuralist definition of Jan Mukařovský. From the structuralistic point of view I answer the basic questions connected within the discourse of aesthetics with the concept of the work of art. I am looking for a basic material (material norm) that would create the identity of dandy as a specific kind of artwork. Based on that, I distinguish artistic...

De l'ornement architectural à l'ornement liturgique, de l'ornement langagier à l'encadrement du tableau, de l'ornement musical au tatouage, les formes variés de l'ornement témoignent d'un champ d'application illimité qui couvre tous les domaines de l'art. Si chez Kant l'ornement offre un exemple typique de beauté libre, la philosophie et la théorie de l'art lui attribuent souvent un contenu moral ou symbolique l'associant tantôt à la convenance tantôt à la dégénérescence. En tant que forme primitive d'expression artistique il est rattaché aux arts premiers et à la production artisanale, aux antipodes de la véritable création artistique tout autant que du dessin industriel ou architectural. Sa dimension cosmique, d'autre part, fait que des artistes et des historiens le mettent au centre de leur conception de l'art, le considérant comme la manifestation principale du « vouloir artistique » ou une expression privilégiée de l'impulsion artistique vers l'abstraction. Si la spécificité de l'ornement consiste en son caractère accessoire qui lui assigne un statut ontologique particulier entre l'ergon et le parergon le rendant synonyme de « style », sa transversalité met en question les hiérarchies issues de la théorie de la mimesis et brouille les limites entre art et décoration, majeur et mineur, d'autant plus que les notions dérivées de l'« ornemental » ou du « décoratif » dépassent le domaine des arts appliqués et s'emploient pour designer la forme ou la fonction d’œuvres d'art. À ce titre l'étude des différents aspects de l'ornement et des réponses théoriques qu'il a suscitées, renouvelle la réflexion sur le statut de l'art et sa relation avec la vie. / From architectural decoration to liturgical ornament, from rhetorical ornament to painting frames, from musical ornament to tattoo, the various forms of ornament testify to an unlimited scope that covers all artistic and cultural fields. Despite its being considered, from a kantian point of view, as an example of free beauty, philosophy and theory of art often attribute a moral or symbolic content to ornament, associating it to either convenience or degeneracy. As a primitive form of artistic expression, ornament is related to tribal art and to craft rather than true artistic creation or modern design. Its cosmic dimension, however, leads some artists and historians regard it as the basis for their conception of art, as the chief manifestation of the “will to art”, or as a primary expression of the artistic impulse that leads to abstraction. Since its specific character consists in that of an accessory, ornament receives an intermediate ontological status between the ergon and the parergon. Its transversality challenges the hierarchy of art forms and genres which is based on the theories of mimesis, and blurs the boundaries between art and decoration, high and low, since the derived terms of "ornamental" or "decorative" apply not only to decorative arts but also to the style and the function of art works. The study of the different aspects of ornament and of the theoretical responses it raised, contributes to regarding our understanding of the status of art and its relation to life.

Depuis la fin du XXe siècle, notre monde a été affecté par une grande mutation des activités humaines. Dans cette mutation, les sciences de la cognition jouent sans doute un rôle central. Le développement des sciences cognitives, surtout depuis sa phase de Seconde Cybernétique, fait émerger de nouveaux paradigmes et offrent au monde humain la nouvelle génération des technologies de l'informatique – le numérique. En parallèle avec les technologies numériques qui ont profondément transformé le rapport sensible de l’être humain au monde, les dispositifs scientifiques et conceptuels mis en œuvre dans la Seconde Cybernétique ont également provoqué un grand retentissement dans tous les domaines scientifiques et philosophiques occidentaux. Ces dispositifs nous conduisent à ré-évaluer les connaissances déjà modélisé dans le cadre de la modernité à partir d’une approche totalement nouvelle, celle du système évolutif. Le retentissement de la Seconde Cybernétique a un impact fort dans le domaine de l'art. D'une part, les technologies numériques offrent à la création artistique de nouveaux moyens techniques de modélisation de l'œuvre d'art en s'accompagnant de l'apparition de nouvelles expressions artistiques, de nouvelles esthétiques et de nouveaux enjeux pour les représentations artistiques. D'autre part, les dispositifs conceptuels et scientifiques mis en place par la Seconde Cybernétique ont conduit les théoriciens de l'art et les esthéticiens à réévaluer les phénomènes artistiques (l’œuvre d’art, l’activité artistique, la perception esthétique, l’évolution culturelle de l’art, etc.) dans une perspective totalement nouvelle de l’esprit : le naturalisme de l’esprit. Mes travaux tentent de proposer une réflexion sur l’œuvre d’art en relation avec la cognition à partir des dispositifs scientifiques, technologiques et conceptuels constitués dans le cadre de la Seconde Cybernétique, mais aussi à partir des dispositifs conceptuels issus de l’art lettré traditionnel chinois. Les deux paradigmes de pensées du réel, tout en étant à l'origine de deux cultures très éloignées et très différentes, révèlent par contre un même principe de l'appréhension du monde. À partir de ce principe, la réalité doit être analysée en tant que phénomène d’émergence en cours relevant d'un rapport d'interaction ; le monde se définirait comme réseau des relations dynamiques capables de s'auto-organiser pour l’émergence de nouvelles structures. Cette approche du réel nous conduit à reposer la question de l’œuvre d’art, à la fois en tant qu’objet de création et en tant qu’objet de réception esthétique, à partir des nouveaux paradigmes liés aux processus d’émergence comme processus biologiques ou processus numériques. Cette thèse peut être résumée par les quatre points suivants : 1. L’art relève d’une capacité cognitive créatrice qui résulte de la phylogenèse de l’espèce humaine et qui est individualisé par le développement ontologique de chaque personne. 2. L’art, comme culture, relève d’un système d’appréhensions cognitives du réel ; ce système s’organise dans le même principe que l’algorithme évolutionniste basé sur la variation, l’accumulation, la sélection darwinienne et l’hérédité. 3. L’œuvre d’art relève d’une extériorisation expressive de l’artiste, de ses états mentaux, de son imaginaire du réel se produisant dans son cerveau ; la création de l’œuvre d’art s’inscrit dans un processus d’émergence qui relève d’un rapport dialectique s’effectuant entre un schéma mental se produisant dans le cerveau de l’artiste et son extériorisation progressive en œuvre d’art par les actions. 4. Les systèmes numériques, à la fois en tant qu’outils technologiques autant que paradigme de représentations du monde, constituent une interface d’interaction entre les différentes cultures dans le cadre de la création artistique. / Since the end of 20th century, our world has been affected by a grand mutation of human activities. The cognitive science plays the central role without any doubt in this mutation. The development of the cognition science, especially since its second cybernetic phase, does emerge new paradigms and offers a new computer science generation, digitization, to the world. In parallel with the digital technologies that has profoundly transformed human senses to the world, the scientific and conceptual devices implemented in the second cybernetics have also caused a great impact in almost all scientific and occidental philosophic aspects. These devices made determinant concepts for all contemporary theories of evaluative system in the world. We propose to, based on this concept, revaluate all modelled knowledge in the context of modernity. The impact of the second cybernetics has a strong impact in the art’s field, as well as in the theoretical studies of the art in the creation of art’s works. On one hand, digital technology, especially the artificial intelligence systems and devices from the second cybernetics, provides the artistic creation of new techniques for modelling the artwork accompanied by the emergence of new arts, new look and new challenges for the performing arts. On the other hand, conceptual and scientific arrangements put in place by the second cybernetics, led the art theorists and designers to evaluate the artistic phenomena (the work of art, the artistic aesthetic perception, cultural evolution, art, etc.) in a totally new perspective in mind: naturalism of spirits. My work attempts to propose a reflection on the work of art related to cognition which based on scientific, technological and conceptual devices, set up within the framework of the second network device, but also from the ancient chinese concept from the mind, especially taoist and chinese lettered thoughts.The two paradigms of thinking, while the origin of the two cultures are very remote and different, but released from the same principle of the understanding of the world. Based on this principle, the reality must be analysed as a phenomenon of the emergence ; the world would be defined as a network of relationships and self organize to the emergence of new structures.This approach leads us to raise the question on the issue of work of art, at the same time as a subject of creation, as an object of esthetic reception and an artifact which is a network of intersubjective relations (culture), based on the new paradigms associated with processes of emergence like biological processes or digital processes. This thesis can be conclute by the four following points: 1. art is a creative cognitive ability, which is the result of the phylogeny of human beings and is tailored to the ontological development of each individual. 2. Art, like culture, releases a real concern cognitive system. this system is on the same principle as the evolutionary algorithm based on the change, the accumulation, darwinian selection and heredity. 3. the work of art is an representation of the artist's expression, of his mental states, of his imagination of the real occurring in his brain; the creation of a work of art is a part of the process of development which releases a dialectical relationship between a mental pattern produced in artist’s brain and his progressive expression of work of art. 4. the digital systems, at the same time as technological tools as well as the paradigm of representations of the world, build up an interface of interaction between different cultures in the context of artistic creation.

In my thesis, I focus on the role of an author in a work of art, and film in particular, based on Jan Mukařovský. Firstly, I describe Mukařovský's structuralist concept of an art work. Thus, following Ferdinand de Saussure's ideas, he views a work of art as an autonomous sign. At the same time, he uses de Saussure's terms langue and parole. In this text, I explain Mukařovský's terms of an aesthetic function, a norm and a value. I also examine the difference between an individual and a subject of art, and between intentionality and unintentionality. I compare Mukařovský's view of the author with other theorists, namely, Umberto Eco, Roland Barthes and Michael Foucault. Hence, I show historical changes within the concept of the author, and also explain Pierre Levy's cyber-cultural understanding of it. In addition, I discuss other authors, who bring together film arts and the interplay of signs. In particular, I introduce James Monaco and Jerzy Plaževski, and connect their thoughts with ideas of Mukařovský. These authors create a bridge between the concept of a film author and Mukařovský, who does not discuss this authorship in particular. The focus here is on Jaroslav Vančát's theory of a multi-layered film, examining three layers of film with different authors. Focusing on films with actual actors,...

“What is Zen for Film?”, I was asked on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite the many discussions that preceded the meeting, when it came to the question of what the main—and the only—artwork of this exhibition was, we felt as if we’d been left in the dark. Is Zen for Film an idea, a concept—or rather, an event, a performance, or a process? In its original form, Revisions: Zen for Film combined a research project, pedagogy, an exhibition, and an exhibition catalogue. Revised again in the following pages, Revisions is an exercise in slow looking. It questions the ambition of constructing the work with a fixed identity, a product that moves seamlessly from the studio to the world of dissemination, distribution, and display. Instead, Zen for Film will appear once again as an assemblage of people, things, and events, a vibrant materiality destined for a changeable future.

Cette thèse vise à répondre à la question L’entreprise d’ameublement IKEA peut-elle être envisagée comme les prémices de réalisation d’une œuvre d’art totale ? La réflexion est menée en deux grandes parties distinctes. La première se concentre sur le concept wagnérien d’œuvre d’art totale. Grâce à la littérature scientifique sur le sujet, il est montré l’importance du wagnérisme pour la culture occidentale du XXe siècle et l’intérêt du concept au sein du champ des études intermédiales. Puis, l’exposition des origines du concept et de plusieurs applications ou réappropriations, telle que celle du Bauhaus, permet d’en souligner la nature socioesthétique et d’en distinguer deux dimensions : une purement idéaliste, celle de l’utopie sociétale en devenir (l’œuvre d’art totale accomplie) ; et une dimension plus concrète, visant l’atteinte de cet idéal grâce aux arts, ce que je nomme les amorces partielles de l’œuvre d’art totale (outil de mise en place de l’œuvre d’art totale). Enfin, en vue de l’étude d’IKEA, l’attention se concentre sur la dimension concrète du concept et est ainsi proposée une liste de caractéristiques propres aux amorces partielles permettant d’évaluer l’objet d’étude. Celle-ci concerne : l’impact massif des actions de l’objet étudié, l’expression d’ambitions sociales, voire utopiques, par celui-ci, et sa capacité à représenter un « commun » du peuple. La seconde partie entièrement dédiée à IKEA vise à vérifier la correspondance entre l’entreprise (les actions de ses acteurs, ses produits et ses effets) et les trois caractéristiques identifiées des amorces partielles de l’œuvre d’art totale. Ceci est réalisé à partir de trois recherches différentes : une étude stylistique comparative entre certaines icônes du design du Bauhaus et du design scandinave avec les produits IKEA ; l’exposition du storytelling mis en place par l’enseigne et l’observation des déclarations de son fondateur, Ingvar Kamprad ; une étude des mises en scène d’aménagements intérieurs au sein des catalogues et des showrooms de la marque. Les résultats de l’ensemble semblent indiquer qu’IKEA est un élément socioculturellement structurant de notre rapport aux objets du quotidien et de notre domesticité . Et que, sous condition d’une authenticité des valeurs exprimées par l’entreprise et d’une correspondance de celles-ci avec les actions mises en place par ses acteurs, elle pourrait peut-être atteindre ses ambitions de créer « a better everyday life for the many people ». En ce sens, IKEA pourrait être considérée comme une manifestation d’une amorce partielle, tout en étant porteuse d’une évolution conceptuelle bien plus fondamentale qu’il n’y paraît. / This thesis aims to answer the question Can the IKEA furniture company be seen as the beginnings of a total work of art? The reflection is carried out in two main parts. The first part focuses on the Wagnerian concept of the total work of art. Through the scientific literature on the subject, the importance of Wagnerism for twentieth-century Western culture and the interest of the concept within the field of intermedial studies are shown. Then, the exposition of the origins of the concept and of several applications or reappropriations, such as that of the Bauhaus, allows us to underline its socio-aesthetic character and to distinguish two dimensions: a purely idealistic one, that of the societal utopia to become (the accomplished total work of art); and a more concrete one, aiming at the attainment of this ideal thanks to the arts, what we call the amorces partielles (partial triggers) of the total work of art (a tool for fulfillment of the total work of art). Finally, in view of the study of IKEA, attention is focused on the concrete dimension of the concept and a list of characteristics of the amorces partielles is proposed to evaluate the object of study. This concerns: the massive impact of the actions of the object studied, its expression of social, even utopian, ambitions, and its capacity to represent a "commun" (common) of the many people. The second part, entirely dedicated to IKEA, aims to verify the correspondence between the company (the actions of its agents, its products and its effects) and the three characteristics identified as amorces partielles of the total work of art. This is achieved through three different research projects: a comparative stylistic study between certain Bauhaus and Scandinavian iconic design objects and IKEA products; the exposition of the storytelling set up by the brand and the observation of the statements of its founder, Ingvar Kamprad; a study of the staging of interior design in the brand's catalogues and showrooms. The results of all these studies seem to indicate that IKEA is a socio-cultural element shaping our relationship with everyday objects and our domesticity. And that, provided that the values expressed by the company are authentic and correspond with the practices adopted by its agents, it could perhaps achieve its ambitions to create "a better everyday life for the many people". In this sense, IKEA could be seen as a manifestation of an amorces partielles, yet at the same time as the bearer of a much more fundamental conceptual shift than it appears.

[pt] O propósito desta pesquisa é qualificar O Livro Vermelho de C. G. Jung como obra de arte. Para isso buscou-se primeiramente quais os conceitos e critérios de validação do livro como tal. Circunscritas as espécies que transitam nessa categoria – livros raros e livros de artista – contemplamos, por meio de um percurso histórico pela história do livro, suas especificidades, pressupostos e aproximações, pois, se por um lado, semelhante aos manuscritos medievais iluminados, tal publicação revigora o livro como obra de arte, por outro lado o processo de criação da obra rompe com o paradigma da feitura do livro através de um processo colaborativo e especializado em vigor desde aquela época, no qual, tradicionalmente, o autor escreve textos, não produz livros. Essa mudança de paradigma vem a ser um dos principais pressupostos da categoria que recoloca na história o livro como obra de arte por meio do campo do livro de artista – em seu sentido lato –, segundo o qual o autor não apenas escreve, mas faz o livro, e estuda-se a si mesmo no processo, então como circunscrevê-lo? Com isso esperamos atingir o objetivo subjacente ao tema central – resgatar o valor cultural e artístico do livro, ressaltando o potencial plástico e criativo que ele oferece. / [en] The purpose of this research is to qualify The Red Book of C.G. Jung as a work of art. For this, we first sought what concepts and validation criteria of the book as such. Circumscribed the species that pass through this category – rare books and artist books – we contemplate, through a historical journey, through the history of the book, its specificities, assumptions and approximations, because, if on the one hand, similar to the illuminated medieval manuscripts, such publication reinvigorates the book as a work of art, on the other hand, the process of creation of the work breaks with the paradigm of book making through a collaborative and specialized process in force since that time, in which, traditionally, the author writes texts, does not produce books. This paradigm shift is one of the main assumptions of the category that relocates in history the book as a work of art through the field of the artist s book – in its broad sense – according to which the author not only writes, but makes the book, and is studied to himself in the process, so how to circumscribe it? With this we hope to achieve the objective underlying the central theme – to rescue the cultural and artistic value of the book, highlighting the plastic and creative potential it offers.