Made available in DSpace on 2016-04-26T18:10:57Z (GMT). No. of bitstreams: 1 Roberto Moreira S Cruz.pdf: 4466258 bytes, checksum: 4ee768cfbe9e374dd6510dd7ca142b03 (MD5) Previous issue date: 2011-06-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis specifically addresses the concept of expanded cinema for the analysis of works which use multiprojections. Review authors as Raymond Bellour, Philippe Dubois, Dominique Paini, Anne Marie Duguet, among others, underlining the approach presented by Gene Youngblood in his book Expanded Cinema (1970). Locate in the historical context of the 1960s until nowadays, cinematographic and videographic experiments that suggested expressive and relevant modes to this definition, working sounds and projected images and their relation with the exhibition space and the viewer. Specifically considers the narrative possibilities observed in filminstallations and audiovisual performances. It analyzes the peculiarities of these formas of display, in relation to proposal narratives in which the enunciation of films establishes a clear correlation with the time of projection. The thesis also presents a specific report on the international exhibition Cinema Sim- Narrativas e Projeções, help by Itau Cultural in 2008, curated by Roberto Moreira S. Cruz. This exhibition was a milestone in the development process throughout the study. Demanded a review of the recent audiovisual productions is within the context of contemporary art / Esta tese aborda especificamente o conceito de cinema expandido para a análise de obras que utilizam multiprojeçãos. Revê autores como Raymond Bellour, Phillipe Dubois, Dominique Paini, Anne Marie Duguet, entre outros, destacando especialmente a abordagem apresentada por Gene Youngblood em seu livro Expanded Cinema (1970). Localiza no contexto histórico dos anos 1960 até a contemporaneidade, as experiências cinematográficas e videográficas que propuseram modos expressivos pertinentes a esta definição, ao trabalhar os elementos plásticos e sonoros das imagens projetadas e a sua relação com o espaço da exibição e o espectador. Considera especificamente as possibilidades narrativas observadas nas experiências cinematográficas em filmeinstalações e performances audiovisuais. Analisa as particularidades destas formas de exibição, em relação às propostas narrativas em que o enunciado dos filmes estabelece uma nítida relação com o momento da projeção. A tese apresenta também um relato específico sobre a exposição internacional Cinema Sim Narrativas e Projeções, realizada pelo Itaú Cultural em 2008, com curadoria de Roberto Moreira S. Cruz. Essa exposição foi um marco no processo de desenvolvimento de toda a pesquisa. Exigiu uma análise de como a recente produção audiovisual se insere no contexto da arte contemporânea

Outros cinemas é uma pesquisa teórico-prática que discorre sobre o deslocamento do dispositivo cinema para os espaços da arte. São tomadas como ponto de partida as práticas pré-cinematográficas, seguidas das práticas com o dispositivo cinema desenvolvidas nos anos 1960 e 1970, no âmbito artístico internacional e nacional. Por fim, trabalhos produzidos por mim e em parceria com o grupo Poéticas Digitais apontam para reflexões acerca do contexto contemporâneo. Sem isolar a problemática brasileira em relação ao conjunto da produção mundial, este trabalho se propõe o desafio de pensar os contextos internacional e nacional da presença do dispositivo cinema como estratégia artística para a espacialização e desmaterialização e a abertura para a participação do público na passagem dos anos 1960 para os anos 1970, além de apontar para um modo de entendimento do contexto contemporâneo por meio de projetos pessoais. Esta pesquisa busca, por meio dos artistas Anthony McCall, Paul Sharits, Stan VanDerBeek e Hélio Oiticica, explorar suas reflexões particulares e confirmar a presença definitiva dos artistas contemporâneos no debate crítico. Por esse viés, o dispositivo cinema é contextualizado em três viradas históricas: na transição para o modernismo, no pós-modernismo e na contemporaneidade. Essas passagens pontuam rupturas e atualizações do dispositivo, ao mesmo tempo que revelam as circunstâncias do deslocamento das salas escuras para o cubo branco. / Other cinemas is a theoretical and practical study addressing the displacement of the of the cinematic apparatus in contemporary art. Precinematic strategies are taken as a starting point, followed by the practices of the cinematic apparatus developed in the 1960s and 1970s, at international and national levels. In conclusion, works developed by me and in partnership with the group Digital Poetics lead to reflections on the contemporary context. Encompassing the Brazilian problematic in relation to the body of international production, this research attempts to undertake the challenge of reflecting about the presence of the cinematic apparatus in both international and national contexts as artistic strategy of spatialization, dematerialization and topening for public participation in the passage of the 1960s to the 1970s, furthermore it indicates to one way of understanding contemporary context through personal projects. This research explores the works of Anthony McCall, Paul Sharits, Stan VanDerBeek and Hélio Oiticica, and these artists\' personal reflections, as it confirms the definitive presence of contemporary artists in the critical debate. From this angle, the cinematic apparatus is contextualized in three historical turns: the transition to modernism, to postmodernism and to contemporaneity. These passages punctuate ruptures and updates of the cinematic apparatus at the same time it reveals the circumstances of its displacement from dark rooms to the white cube.

Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema". This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.

Made available in DSpace on 2015-04-11T13:57:13Z (GMT). No. of bitstreams: 1 Susy Elaine da Costa Freitas.pdf: 2635533 bytes, checksum: d17db594e47ec3b2ba11cc2aeb611751 (MD5) Previous issue date: 2013-07-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Throughout its history, cinema has been a cultural phenomenon of great popularity. On the other hand, the changes it faces along the way are also closely linked to that culture. Likewise, film criticism studies cinema from a theoretical bias taking such transformations into account when its productions is about both filmic forms and the way film criticism is produced and disseminated. In this thesis, one sought to understand how the film criticism is configured from the use of hypertext networks on the web for its production, starting from the point of view of Comuncational Ecosystems to understand a phenomenon that presents itself in an mediatic communication environment. With such purpose, one used the concept of Expanded Cinema, coined by Gene Youngblood (2001), as a basis for studying film criticism created from these networks in their complexity. The concept of Acoustic Space, developed by Marshall McLuhan (1964, 1971, 1980), also provides the basis for thinking about the communication phenomenon in all its complexity and in a systemic way. It was elaborated an observation script for the site chosen for the empirical cut, Metacritic (http://www.metacritic.com) to perform a data collection, which took place between 3 December 2012 and 3 January 2013, in order to monitor the formation of the hypertext network of the film criticism posted on the site. The research concludes that film criticism on the web can be thought as Expanded Criticism that takes place in an acoustic space, since it is beyond a two-dimensional spatiality. The performance of the reading done by the internet user creates this expanded criticism through a haptic visuality that allows one navigate through the content. The enjoyment of expanded criticism is beyond its hypertextual nature and it is also sensory, cognitive and multimedia, implying an experience, from the ecosystemical standpoint, focused on relations. / O cinema se mostra, ao longo de sua história, um fenômeno cultural de grande popularidade. Por sua vez, as mudanças que ele enfrenta nesse percurso também estão intimamente ligadas a essa cultura. Da mesma maneira, a crítica cinematográfica pensa o cinema a partir de um viés teórico levando essas transformações em consideração tanto ao refletir sobre as formas fílmicas quanto na maneira como essa crítica é produzida e veiculada. Nesta dissertação, buscou-se compreender de que maneira a crítica cinematográfica se configura a partir da utilização de redes hipertextuais na web para sua produção, partindo então do ponto de vista dos ecossistemas comunicacionais para compreender um fenômeno que se apresenta em um ambiente comunicacional midiático. Para tal, utilizou-se o conceito de cinema expandido, cunhado por Gene Youngblood (2001), como base para estudar a crítica criada a partir dessas redes em sua complexidade. O conceito de espaço acústico, desenvolvido por Marshall McLuhan (1964; 1971; 1980) também serve de base para pensar o fenômeno comunicacional em toda a sua complexidade e se maneira sistêmica. Foi elaborado um roteiro de observação do site escolhido para o recorte empírico, o Metacritic (http://www.metacritic.com), para a realização da coleta de dados, que aconteceu entre os dias 3 de dezembro de 2012 e 3 de janeiro de 2013, com o intuito de acompanhar a formação da rede hipertextual da crítica veiculada no site. A pesquisa conclui que a crítica cinematográfica na web pode ser pensada como uma crítica expandida que se dá em um espaço acústico, uma vez que está para além de uma espacialidade bidimensional. A performance da leitura feita pelo internauta cria essa crítica expandida através de uma visualidade tátil que permite navegar pelo conteúdo. A fruição da crítica expandida vai além do hipertextual, sendo também sensória, cognitiva e multimídia, implicando em uma experiência, do ponto de vista ecossistêmico, focada em relações.

Mémoire en recherche-création. / Parmi les technologies explorées dans ce mémoire, nous pouvons compter la géolocalisation, les applications sur téléphone intelligent, les réseaux sociaux et la réalité augmentée. Nous démontrerons qu’elles offrent de nombreuses fonctions qu’il est possible d’utiliser ensemble pour créer ensuite un récit transmédial, un récit se développant sur plusieurs plateformes. La multiplicité des formes de récits, de moyens de raconter une histoire, permet aussi d’investir un univers, fictif ou pas, autrement qu’à travers un seul écran, jeu ou livre. La géolocalisation permet aussi d’ancrer l’histoire et la participante dans un espace physique. Elle peut alors modifier notre perception d’un lieu, un parc, une rue, un immeuble en lui donnant une portée narrative. Les nouveautés apportées par ces technologies et ces façons de recevoir une histoire ont de fortes potentialités pour conscientiser l’individu sans le culpabiliser face à des enjeux qui méritent notre attention urgemment. Cela inclut l’accès restreint à l’éducation dans le pays en développement comme dans l’œuvre Conspiracy For Good ou les violences faites aux femmes abordées dans l’œuvre Priya’s Shakti de Ram Devineni. La création rattachée à ce projet de recherche se concentre sur l’écologie en passant par l’histoire de Montréal. L’objectif est de donner la parole à des arbres de Montréal qui raconteraient les métamorphoses de la ville et leur influence sur la préservation de la nature. La possibilité d’interagir avec l’œuvre semble aussi une bonne piste pour pousser le public à l’action en faveur de l’enjeu abordé tant en partageant ce qu’il aura appris avec une communauté de joueurs ou en suivant les conseils donnés implicitement par l’œuvre. / Among the technologies developed in this dissertation, we will address geolocation, smartphone applications, social networks and augmented reality. The functionalities of all these digital tools can be assembled to create a transmedia narrative, a story developing on multiple platforms. The multiple kinds of narratives also allow to invest a fictional or non-fictional universe differently from only one screen, game or book. As for the geolocation, it roots the story and the spectator in a concrete physical space. Then, it can modify our perception of a place, a park, a street, a building giving it a narrative power. The functionalities brought on by these technologies and the new ways to access a story have a strong potential for raising awareness of contemporary issues without making the participant feel guilty. Some examples of issues addressed in these new kinds of narrative might be the restricted access to education in developing countries as seen in Conspiration For Good or sexist and gendered violence toward women as is the case in Ram Devineni’s Priya’s Shakti. The creation attached to this research project focuses on ecology throughout Montreal’s history. The aim is to give Montreal’s trees a voice, to let them tell us about the city’s metamorphosis and its influence on the preservation of nature. The possibility of interacting with the work also seems to be a good way of getting the audience to act in favor of the issue at hand, either by sharing what they have learned with a community of players or by following the advice implicitly given by the work.

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand. / The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose.

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand. / The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage''s ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art''s techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose.

Made available in DSpace on 2016-04-26T18:15:23Z (GMT). No. of bitstreams: 1 Pablo Souza de Villavicencio.pdf: 4929271 bytes, checksum: 19e7a39f44cb5c6dac1e2f1e61ed0f5a (MD5) Previous issue date: 2015-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This doctoral thesis analyses the contemporary audiovisual trend called cinema installation. It examines a few projects dealing with the relationship between space, audiovisual and spectator (interactor) that make up artistic environments. Equally, it emphasises the building of a space in body movements and interactors gestures, such as the audiovisual temporality and interactivity, focusing on man-machine interface. Cinema installations can include: a) the "multi-screen cinema", invented by Abel Gance, with the film Napoleon (1927); b) immersive environments, e.g., Stan Vandereek s Movie-drome (1963-65), c) immersing and interactive environments, e.g., Jeffrey Shaw s Place Ruhr (2000). Some concepts discussed in this study are: the database as a particuliar cultural form of digital media, the spatial editing, replacing sequential editing from traditional cinema (Manovich); the transcinema (Maciel) and the on-going cinema (Parente). Claire Bishop s art installation; Katja Kwastek s aesthetics of interactivity in digital art,; and Frank Popper s artistic environments and aesthetic-technological logic are also investigated. During the archaeological reading path of cinema installation the origins of immersive environments are considered from a Virtual Art perspective (Grau).The method comprises: a) literature review of texts that discuss poetical forms in interactive audiovisual environments; b) critical discussion of networking concepts that help elaborating the definition of cinema installation; c) research, selection and mapping of works, according to the proposed mapping poetry of Lucia Leão; d) analysis of selected works. The results achieved through the research were: critical reading of the concepts and proposals related to the language of audiovisual and interactive installations, and of expanded cinema (Youngblood); developing a concept of cinema installation; cartography of experimental projects named as cinema installation poetry ; analysis of projects; and finally / A presente tese de doutorado propõe e analisa uma tendência audiovisual contemporânea que denominamos: cineinstalação. Analisamos projetos que problematizam as relações entre espaço, audiovisual e espectador (interator), que compõem os ambientes artísticos. Privilegiamos as construções do espaço nos deslocamentos corporais e na gestualidade dos interatores, tal como, as temporalidades do audiovisual e a interatividade, enfocando a relação humano-máquina. As cineinstalações compreendem: a) o cinema multitelas, inventado por Abel Gance, no filme Napoleão (1927); b) os ambientes imersivos, por exemplo, o Movie-drome (1963-65), de Stan VanDerBeek; c) ambientes imersivos e interativos, por exemplo, Place Ruhr (2000), de Jeffrey Shaw. Alguns conceitos discutidos na tese são: o banco de dados como forma cultural característica das mídias digitais; a montagem espacial, que substitui o modo sequencial de montagem do cinema tradicional (Manovich); os transcinemas (Maciel) e o cinema em trânsito (Parente); a arte da instalação de Claire Bishop; a estética da interatividade na arte digital, de Katja Kwastek; e os ambientes artísticos e a lógica estético-tecnológica, de Frank Popper. E no trajeto de leitura arqueológica das cineinstalações, buscamos as origens dos ambientes imersivos, a partir da ideia de Arte Virtual (Grau). A metodologia compreende: a) revisão bibliográfica de textos que discutem as poéticas em ambientes audiovisuais interativos; b) discussão crítica da rede de conceitos que estão em diálogo para a formulação do conceito de cineinstalação; c) pesquisa, seleção e mapeamento de obras, segundo a proposta de cartografia de poéticas de Lucia Leão; d) análise de obras selecionadas. Os resultados alcançados em nossa pesquisa foram: leitura crítica dos conceitos e propostas relacionadas com a linguagem das instalações audiovisuais e interativas, e do cinema expandido (Youngblood); a construção do conceito de cineinstalação; cartografia de projetos experimentais que denominamos como poéticas da cineinstalação; análise dos projetos

[pt] A tese aborda a relação entre os artistas Hélio Oiticica e Jack Smith em meio à efervescente atmosfera de Nova York nos 1970. Embora pouco conhecido no Brasil, Smith foi um importante personagem da cultura underground, sendo apontado como um dos precursores da arte de performance e do cinema expandido. Oiticica, durante os primeiros meses em que viveu em Nova York (1970-1978), relatou a amigos sua perplexidade ao entrar em contato com esse artista estadunidense, aproximando-se também de personagens e manifestações que faziam parte da sua esfera, como o ator Mario Montez e o Teatro do Ridículo. A partir de cartas do artista brasileiro e dos arquivos de Jack Smith, a pesquisa investiga de que maneira essa relação desenvolveu-se em termos pessoais e profissionais. No lugar de buscar pontos de semelhança e diferença, a tese procura friccionar a obra desses artistas a partir de seus buracos, faltas, gargalos e intervalos. Nesse sentido, o encontro entre eles será o ponto de partida para a discussão de questões dentro de suas próprias obras, como a relação que cada um estabeleceu com práticas arquivísticas, a ampliação do exercício de possibilidades de gênero e sexualidade, assim como de reflexões e projetos derivados de suas reivindicações contra cinemas convencionais. Além de trabalhos mais conhecidos de Oiticica, como Cosmococa - program in progress (1973-1974) e o artigo Mario Montez, tropicamp (1971), serão analisadas obras e documentos de Jack Smith, a exemplo de um roteiro inédito que o artista escreveu no Rio de Janeiro, em 1966, chamado Carnaval in Lobsterland. / [en] This dissertation concerns the relationship between artists Hélio Oiticica and Jack Smith in the bustling atmosphere of 1970 s New York. Even though Smith is little know in Brazil, he was an important artist in New York s underground culture, often pointed as one of the forerunners of performance art and expanded cinema. During his first months in New York (1970-1978), Oiticica wrote to his friends about how perplexed he was at Smith and his work, comparing him to characters and manifestations that were part of his sphere, such as actor Mario Montez and the Teatro do Ridículo. Departing from the Brazilian artist s letters and Jack Smith s files, this research investigates how their relationship has developed in personal and professional terms. Rather than looking for points of similarity or difference, this dissertation aims to put the work of these artists in friction - from their holes, absences, apertures and gaps. In this sense, their meeting will be the starting point for the discussion both of questions in their own work and of the relationship each of them has established with archival practices, the expansion of exercises on the possibilities of gender and sexuality, as well as reflections and projects derived from their claims against conventional cinema. In addition to Oiticica s best known works, such as Cosmococa - program in progress (19730-1974) and the article Mario Montez, tropicamp (1971), this thesis will analyze some of Jack Smith`s works and documents, such as an unpublished script he wrote in Rio de Janeiro in 1966, called Carnaval in Lobsterland.

La problématique essentielle de la présente recherche découle de l’intuition qu’il y aurait à l’intérieur du régime contemporain de l’art, et ce malgré le caractère à première vue très hétérogène de ses expressions artistiques, un moment esthétique commun, un moment commun de forme et d’investigation conceptuelle, qui s’est défini, tout au long de ce travail, comme la notion d’esthétique de la durée. Ce terme théorique, qui englobe aussi bien un certain nombre d’installations, d’images contemporaines en mouvement conçues pour l’exposition à l’intérieur des espaces muséaux ainsi que de productions cinématographiques, n’est pas réductible au concept de la durée bergsonienne, même s’il s’y apparente par certains aspects, notamment par l’idée du devenir en tant que changement d’état et de qualité, devenu le principe esthétique d’une grande majorité des œuvres contemporaines. La notion de durée se trouve ainsi à l’origine d’une nouvelle conceptualisation de la forme de l’œuvre d’art et travaille au cœur même de la constitution d’une pensée esthétique singulière qui définit le régime contemporain de l’art en tant que régime de pensée indépendant que nous proposons de qualifier de conceptuel. / The main topic of this work develops from the intuition that there would be, inside the contemporary regime of art - despite the impression of extreme heterogeneity that its artistic expressions could give at first sight - a common aesthetic moment, a common moment of form and conceptual investigation, that will be defined throughout this work as the notion of Aesthetics of Duration. Such a theoretical notion refers to a certain number of installations, contemporary moving images created for museum space as well as cinematographic productions. However, it does not only involve Henri Bergson’s concept of Duration even though the theory echoes it in several ways, such as the idea of becoming as a change of quality. The approach turns out to be at the origin of a new conceptualization of the very form of works of art. Deeply influencing the development of a singular aesthetic approach, The Aesthetics of Duration defines the contemporary artistic regime as an independent regime of thought that could be qualified as conceptual.