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To explore documenting practices in detail that use the time-based medium of film to engage with performance art’s negotiation of duration and disappearance, this article addresses Stuart Brisley’s and Ken McMullen’s 16 mm film “Being and Doing”. “Being and Doing” is an experimental, highly subjective documentation of live art practices of the late 1970s and early 1980s in Eastern and Western Europe. The film’s highly concentrated and rhythmically elaborate montage assembles photographs, sound recordings, footage of communal rituals, and artists’ performances with a voice-over narration by Brisley. Starting from a detailed analysis of particular montage sequences the article elaborates on the inventive aesthetics of “Being and Doing” as a conjunction of body art practices and a process-oriented mode of documentation, which is concerned with the frame as the essential constituent of film form.

Ode to Amiel is a feature-length experimental essay film by Phyllis Redman, made as part of the requirements for earning a Master of Fine Arts in Film in the Entrepreneurial Digital Cinema track from the University of Central Florida. The film explores one woman's reaction to trauma and depersonalization disorder through the journal entries of 19th Century Swiss philosopher, Henri Frederic Amiel. Passages from Amiel's Journal Intime provide the narrative and voice over for the lead character, a grieving mother who finds herself locked behind an inescapable, invisible and immaterial barrier that separates her from the outside world. Following the guidelines of the film program, the film was produced on a micro-budget (under $50,000) level. The goal was to create a film that was effectively a no-budget film, one similar in process to that of Tarnation, an award-winning experimental film created for $200. With an actual shooting cost of under $1,000, Ode to Amiel met this challenge. This is the record of the film's progression from development to picture lock, in preparation for distribution.

Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision. / The Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision. / The Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

<p> Although interest in brain-computer interfaces (BCIs) from researchers and consumers continues to increase, many BCIs lack the complexity and imaginative properties thought to guide users towards successful brain activity modulation. In this research, an experimental story brain-computer interface (ES-BCI) was developed, with which users could interact using cognitive strategies; specifically, thinking about the story and engaging with the main character of the story through their thought processes. In this system, the user’s frontal alpha asymmetry (FAA) measured with electroencephalography (EEG) was linearly mapped to the color saturation of the main character in the story. Therefore, the color saturation of the main character increased as FAA recorded from the participant’s brain activity increased above the FAA threshold required to receive visual feedback. A user-friendly experimental design was implemented using a comfortable EEG device and short neurofeedback (NF) training protocol. Eight distinct story scenes, each with a View and Engage NF component were created, and are referred to as blocks. In this system, seven out of 19 participants successfully increased FAA during the course of the study, for a total of ten successful blocks out of 152. Results concerning left (Lact) and right (Ract) prefrontal cortical activity contributions to FAA in both successful and unsuccessful blocks were examined to understand FAA measurements in greater detail. Additionally, electrodermal activity data (EDA) and self-reported questionnaire data were investigated to understand the user experience with this ES-BCI. Results suggest the potential of ES-BCI environments for engaging users and allowing for FAA modulation. New research directions for artistic BCIs investigating affect are discussed. </p>