Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.

This experimental research rises from the need to demonstrate how Bateson' s ecological model can be applied and expanded to visual communication. The purpose is to draw the relationships and mechanisms that create for us the world as an energetic vibrant and interconnected network in the contemporary culture, which is mainly based on visual communication, pursuing the goal of suggesting a theory for the metropolitan flows. This study is intended to be developed in two parts and has an anthropological - even if interdisciplinary - imprinting. The first part (narratively theoretical) will be focused on the main concepts of my research (creation of identity and avatars, social body, the city architectural body, relationships, non-lieux, visual communication, in-between, editing - mounting - bricolage, goods visual fetishism, visual anthropology, pattern) through authors the likes of Bateson, Canevacci, Simmel, Benjamin, Bataille, Baudelaire, Augé and more. The second part of this Prague city behave exploration will be evinced through the dialogic methodology (cf. Bakhtin), namely the narrative flow of voices that with the editing technique will create a polyphonic narration, proving my hypothesis. This narration will be strongly supported by the monographic documentary film, titled "Fluxusná...

This experimental research rises from the need to demonstrate how Bateson' s ecological model can be applied and expanded to visual communication. The purpose is to draw the relationships and mechanisms that create for us the world as an energetic vibrant and interconnected network in the contemporary culture, which is mainly based on visual communication, pursuing the goal of suggesting a theory for the metropolitan flows. This study is intended to be developed in two parts and has an anthropological - even if interdisciplinary - imprinting. The first part (narratively theoretical) will be focused on the main concepts of my research (creation of identity and avatars, social body, the city architectural body, relationships, non-lieux, visual communication, in-between, editing - mounting - bricolage, goods visual fetishism, visual anthropology, pattern) through authors the likes of Bateson, Canevacci, Simmel, Benjamin, Augé and more. The second part of this Prague city behave exploration will be evinced through the dialogic methodology (cf. Bakhtin), namely the narrative flow of voices that with the editing technique will create a polyphonic narration, proving my hypothesis.

Instructions for a Walk Off Line engages in a reparative reading of Fluxus and Conceptual artworks, with a focus on the practice of stanley brouwn, to outline a set of strategies for contemporary artists to approach the role of bureaucracy in mediating their relationship with art institutions. This research starts from the observation that modern and contemporary art museums are increasingly invested in inviting underrepresented artists into their spaces without engaging in the necessary structural changes to meet their conditions for being included. Bureaucracy is one of those structural elements that maintains and perpetuates certain norms and excludes those who do not have proximity to them. In the approach to Fluxus and Conceptual works, this thesis relies on intermedia and queer theory to analyse how bureaucratic form, language, and function are appropriated and fused with artistic media to expose normative systems, destabilise them, and deviate from them. stanley brouwn’s Aantal stappen of meters in de richting van diverse steden in the collection of Van Abbemuseum Eindhoven is taken as an exemplary case, as brouwn is known to have a specific set of conditions for the display and dissemination of his work. Situating brouwn’s practice in relation to the strategies of appropriation, exposure, destabilisation and deviation, this research proposes his work and conditions as a relational practice of walking off line. The notion of the line, a recurring formal aspect in brouwn’s work, represents the norm that brouwn and his contemporaries deviate from. The museum staff and the audience are invited into this process through different instructions and conditions for the installation of, and engagement with the work. This thesis demonstrates that these instructions are not static but allow for interpretations and invite playfulness. The strategies in this research are offered in the same way; they are not presented as a single way of walking off line but invite a range of possibilities based on the needs and conditions relevant to the context of working with bureaucracy in the arts today.

This thesis shall address itself to the following: it shall concern itself with a definition of the phenomenon, the directions taken in the philosophical statements made on Conceptual Art, an investigation into the design of the forms used within the movement, and finally, the conceptual movement's historical placement will be considered along with its antecedents in the earlier years of the twentieth century.

O presente estudo integra o trabalho artístico desenvolvido ao longo do curso de doutorado. Por um lado, ele aborda o processo desses trabalhos, em papel e em vídeo, procurando informar ao leitor as escolhas presentes na sua realização, bem como, refletir sobre algumas noções que alimentam o processo. São elas: \"ausência de simbolização\", indissociação, desobstrução, fluxo e \"uso de uma forma mínima\". Por outro, em consonância a essas noções, o estudo procura dar conta de um pequeno grupo de nomes da história da arte que por contiguidade conceitual, metodológica ou formal dialoga com o meu processo. São estudados prioritariamente três artistas: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) e Gordon Matta-Clark (1945 - 1978). As imagens dos trabalhos realizados em papel durante o curso fazem parte desse documento, bem como um DVD com o registro dos vídeos desenvolvidos. / This study is part of the artistic work over PHD course. On the one hand, it addresses the process of this work on paper and on video, seeking to inform the reader the choices present in the implementation, as well as reflect on some notions that feed the process. They are: \"lack of symbolization\", indissociation, unblock, fluxus and \"use of a minimal form\". On the other one, in line with these notions, the study approaches to a group of art historical names that dialogues with my process for conceptual, methodological or formal contiguity. Three artists are studied: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) and Gordon Matta-Clark (1945-1978). The images of the work done on paper during the course are part of this document as well as a DVD with the developed recorded videos.

O presente estudo integra o trabalho artístico desenvolvido ao longo do curso de doutorado. Por um lado, ele aborda o processo desses trabalhos, em papel e em vídeo, procurando informar ao leitor as escolhas presentes na sua realização, bem como, refletir sobre algumas noções que alimentam o processo. São elas: \"ausência de simbolização\", indissociação, desobstrução, fluxo e \"uso de uma forma mínima\". Por outro, em consonância a essas noções, o estudo procura dar conta de um pequeno grupo de nomes da história da arte que por contiguidade conceitual, metodológica ou formal dialoga com o meu processo. São estudados prioritariamente três artistas: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) e Gordon Matta-Clark (1945 - 1978). As imagens dos trabalhos realizados em papel durante o curso fazem parte desse documento, bem como um DVD com o registro dos vídeos desenvolvidos. / This study is part of the artistic work over PHD course. On the one hand, it addresses the process of this work on paper and on video, seeking to inform the reader the choices present in the implementation, as well as reflect on some notions that feed the process. They are: \"lack of symbolization\", indissociation, unblock, fluxus and \"use of a minimal form\". On the other one, in line with these notions, the study approaches to a group of art historical names that dialogues with my process for conceptual, methodological or formal contiguity. Three artists are studied: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) and Gordon Matta-Clark (1945-1978). The images of the work done on paper during the course are part of this document as well as a DVD with the developed recorded videos.

Cet essai s'inspire des diagrammes de Georges Maciunas et des corrélations qu'il a ainsi établies sur les filiations artistiques de Fluxus. Ces oeuvres, comme les entrevues que Maciunas a accordées aux médias, ont déterminé la perception que nous avons aujourd'hui de cette entité artistique. Nous référons donc à plusieurs endroits aux articles de journaux et aux entrevues parues dans la période où Maciunas était vivant, car ceux-ci viennent confirmer que Maciunas a proposé une certaine histoire de Fluxus et qu'elle a été adoptée. Nous questionnerons donc certains acquis au sujet de Fluxus, dont l'idée que ces artistes étaient des « misfits » dans leur époque. Nous revisitons l'histoire du XXe siècle, inspirés par les liens que Maciunas effectue dans ses diagrammes. Puis, nous mettons en contexte les théories des contemporains de Fluxus, comme celles des historiens et commentateur plus récents qui ont élaboré de nouvelles emprises, parfois relationnelles, parfois contextuelles, sur ces oeuvres au départ dites conceptuelles. En croisant les différentes sources aux oeuvres de Fluxus, il se dégage un portrait de ce regroupement d'artistes qui fait ressortir leur attachement à l'avant-garde artistique du XXe siècle tout comme l'influence qu'ils ont eue sur l'évolution de l'art conceptuel, puis de l'art relationnel et contextuel. Nous en concluons que Fluxus s'est imposé comme façon de faire et continue aujourd'hui à nourrir la réflexion sur ce qu'est l'art. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Fluxus, George Maciunas, Yoko Ono, Avant-garde, Art conceptuel, Art relationnel, Art contextuel, Art du XXe siècle.

This document contains a synopsis of Toshi Ichiyanagi’s compositional style, a discussion of his musical philosophy, and an analysis of Trio Webster. Ichiyanagi is a renowned Japanese composer who studied in New York under John Cage’s mentorship. He is also the first composer to introduce Cage’s concept of chance operation to Japanese society. Trio Webster realizes the true exchange of Western and Eastern cultures, and it is accomplished because of Ichiyanagi’s unique experience and philosophy as an international composer. The concept of Japanese classical music and Japanese aesthetics are observed in Trio Webster which is the basis for the depth of the work. Eastern concepts, especially Japanese, can be ambiguous and may be difficult for Westerners to fully appreciate. This study shows the cosmos beyond the practical analysis of Trio Webster and is meant to serve as a guide for those who will perform the works of Ichiyanagi, especially Trio Webster, in the future. This study was facilitated through research and interviews with Ichiyanagi and members of the Webster Trio. Ichiyanagi’s interview is included as an appendix to this document.

No description available.