A presente pesquisa tem como principal objetivo estudar a tendência de obras de fotografia contemporânea em apresentar formas híbridas entre a linguagem fotográfica e performática. Para tanto, por meio de uma pesquisa bibliográfica, investigou-se o percurso histórico da fotografia e da performance art para verificar quando essas duas linguagens se encontraram, a fim de definir a noção de fotógrafo-performer. Em seguida, analisa-se a obra Suíte Vénitienne da artista francesa Sophie Calle, para que se possa detalhar os procedimentos de criação, construção e registro do trabalho de um fotógrafo- performer. O conceito de performatividade, oriundo dos estudos da performance e das artes cênicas orientaram a análise. Concomitantemente à investigação teórica foi desenvolvida uma pesquisa prática em que se buscou aplicar os procedimentos estudados para a elaboração de um processo artístico que originou um texto performativo, que acompanham todas as etapas do trabalho, além de duas séries fotográficas, que são analisadas no terceiro capítulo do estudo. Por fim, a pesquisa acabou por articular conteúdos provenientes de diversos campos do saber para compreender a \"atitude performativa\", que perpassa toda a produção artística contemporânea, como uma postura não só estética como ética, e para defendê-la como forma ativa de descobrir novas possibilidades - principalmente no que diz respeito à relação prática/ teoria e à relação corpo/ cidade. / This work has as main objective to study the trend of contemporary photography in presenting works with hybrid forms between the photographic and performative language. Therefore, through a literature search, it investigates the history of photography and performance art to check when these two languages met and to define the notion of photographer-performer. Then, is made an analysis of the work Suíte Vénitienne from the french artist Sophie Calle, so we could detail the procedures of creating, building and recording an artistic project by a photographer-performer. The concept of performativity, arising from performance and performing arts studies, guided our analysis. Concurrently with the theoretical research, it was developed a practical research in order to apply the procedures studied in an artistic process that originated a performative text, that accompany all work\'s stages, and two photographic series, which are analyzed in the third chapter from the study. Finally, the research articulates contents from different fields of knowledge to understand the \"performative attitude\", that permeates all contemporary artistic production, as a posture not only aesthetics but also ethics, and to defend it as a way to actively discover new possibilities - especially in what regards the relationship between theory/ practice and the relationship between city/ body

The following graduate report is the review of my artistic developments after three years of rigorous training in photography at The University of Texas at Austin. After a long period of not producing artwork, my entrance into graduate school at UT was the first step for beginning to take pictures and rethinking my objectives as an artist. I have to confess that when I was applying to graduate school I did not consider art as the profession I wanted develop in my life; instead, I applied to schools that had an strong focus in commercial photography. As a Colombian, most of my concerns were more about how to make a living. In my hometown, the only way to be independent is through a professional job, rather than what in the United States is called blue-collar work, including waiting tables or services in general. When I realized again that I was immersed in an endless dialogue about art, I had to reconsider my objectives to assume the idea of how I was going to combine my creative skills with a strong research in contemporary thinking about the visual image. My three biggest challenges when entering graduate school were finding a subject to begin to photograph again, exploring the idea of being part of a new community considering my arrival from a different country, and developing strong technical photographic skills. My relation to the United States in my artwork was the first thematic. Since I was a child and until my undergraduate research project, I always came to the United States as a spectator that experienced the country from the outside. My longest encounter as an observer was in 2004 when I came to do research on illegal immigrants for my undergraduate theses research. At that time, my approach to photography and art was mostly documentary where the visual result was based on video interviews and formal portraits of a minority I was interested in. I tried to find an explanation for the immense flow of people across the border between the United States and México. Once I was already here, after three years, living in a different city, I realized that I still was interested in photographing people and decided to focus on American stereotypes. Probably one of the issues I began to face was that I discovered that I was not enjoying carrying my camera all the time and thinking as a photographer that documented daily life. My interest was more in using the camera for specific projects rather than documenting my surroundings. At that point, I realized that staging was going to be the main modus operandi for creating artwork. From there I began to think in different projects that were developed throughout the three years of the program. / text

A presente pesquisa tem como principal objetivo estudar a tendência de obras de fotografia contemporânea em apresentar formas híbridas entre a linguagem fotográfica e performática. Para tanto, por meio de uma pesquisa bibliográfica, investigou-se o percurso histórico da fotografia e da performance art para verificar quando essas duas linguagens se encontraram, a fim de definir a noção de fotógrafo-performer. Em seguida, analisa-se a obra Suíte Vénitienne da artista francesa Sophie Calle, para que se possa detalhar os procedimentos de criação, construção e registro do trabalho de um fotógrafo- performer. O conceito de performatividade, oriundo dos estudos da performance e das artes cênicas orientaram a análise. Concomitantemente à investigação teórica foi desenvolvida uma pesquisa prática em que se buscou aplicar os procedimentos estudados para a elaboração de um processo artístico que originou um texto performativo, que acompanham todas as etapas do trabalho, além de duas séries fotográficas, que são analisadas no terceiro capítulo do estudo. Por fim, a pesquisa acabou por articular conteúdos provenientes de diversos campos do saber para compreender a \"atitude performativa\", que perpassa toda a produção artística contemporânea, como uma postura não só estética como ética, e para defendê-la como forma ativa de descobrir novas possibilidades - principalmente no que diz respeito à relação prática/ teoria e à relação corpo/ cidade. / This work has as main objective to study the trend of contemporary photography in presenting works with hybrid forms between the photographic and performative language. Therefore, through a literature search, it investigates the history of photography and performance art to check when these two languages met and to define the notion of photographer-performer. Then, is made an analysis of the work Suíte Vénitienne from the french artist Sophie Calle, so we could detail the procedures of creating, building and recording an artistic project by a photographer-performer. The concept of performativity, arising from performance and performing arts studies, guided our analysis. Concurrently with the theoretical research, it was developed a practical research in order to apply the procedures studied in an artistic process that originated a performative text, that accompany all work\'s stages, and two photographic series, which are analyzed in the third chapter from the study. Finally, the research articulates contents from different fields of knowledge to understand the \"performative attitude\", that permeates all contemporary artistic production, as a posture not only aesthetics but also ethics, and to defend it as a way to actively discover new possibilities - especially in what regards the relationship between theory/ practice and the relationship between city/ body

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Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.

Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.

Magistro darbo objektas – šiuolaikinis Lietuvos dokumentinis kinas. Darbo tikslas – darbo objektą išanalizuoti komunikaciniu bei kultūriniu aspektais. Pagrindiniai darbo uždaviniai – nustatyti dokumentinio filmo definiciją, ištirti dokumentinį kiną herojaus vaizdo vaidmenimis, įvardinti lietuviškų dokumentinių filmų struktūrų bei novatoriškumo tendencijas. Naudojantis kino bei fotografijos teksto kokybinės analizės metodu bei pasirinktomis komunikacijos ir kultūrų teorijomis, prieita prie išvados, kad senoji dokumentikos kaip tikrovės atspindžio definicija nebeatitinka reiškinio empirikos, todėl teikiamas naujas apibrėžimo variantas; taip pat, – kad tam tikri protagonistų vaidmenys yra būdingi tik tam tikriems dokumentikos žanrams; ir kad mūsų dokumentikos specifiką sąlygoja nacionalinis kūrėjų charakteris bei kultūrinis pagrindas. Atlikus tyrimą nustatyti trys pagrindiniai komponentai: žanrinis lietuvių dokumentinio kino laukas, jo struktūrinės sąrangos bei jame veikiančių herojų tipai. Naratyvai suskirstyti į dvi – uždarojo ir atvirojo pobūdžio struktūras. Toks struktūravimas patvirtino prielaidą, jog pasirinktas filmo naratyvas lemia vaizduojamųjų vaidmenis, jų santykį su tikrove, verbaliką. Išsiaiškinta, jog lietuvių dokumentikos kontekste tarp kitų figūruoja du žanrai: publicistika bei poetika; pirmasis jų suvokiamas sklandžiai, nes primena televizinį produktą, antrojo percepcija yra kur kas sudėtingesnė dėl nekonvencionalaus turinio, todėl jam priimti būtina speciali... [toliau žr. visą tekstą] / The paper deals with the analysis of contemporary Lithuanian documentary film in the field of communication and culture theories, where “contemporary” film is considered to be made more or less in the last ten years. It analyses the object in the terms of innovation of definition, iconography of the protagonist and structures of narratives. The definition of documentary film is examined on the one hand from the journalistic point of view, characterizing it as a fact-based film that depicts actual events and persons; on the other hand, in the film theory sight it is considered to be a manipulative narration of the story, taken out of reality. A central question is if characteristics of factuality is remaining the main one talking about the documentary film, as the examples of Lithuanian poetic documentaries are far-off exposing of reality. That is why this study suggests a new definition of the object, putting a director’s role in the narrative above actual reflection of factuality: a documentary is called here a director’s viewpoint (in the case of Lithuanian poetic genre – a meditation) on the phenomena of the objective reality. Qualitative film text analysis and the communicational approaches of John Fiske, Marshall McLuhan and Jean Baudrillard’s ideas provide the theoretical framework for the study. Documentary films are analyzed as the object of science of communication. It is focused on reading the communicational codes and conventions in different genres of documentary... [to full text]