Master's thesis is devoted to the phenomenon of Secret Walls, an illustrative contest with a distinctive conception. The aim of the theoretical part is to explain the basic bases and contexts of this live art battlement event and describe the means suitable for motivating pupils and students to work on their own work, which is based on and inspired by SW. In short, linking the elements of this immediate art event with teaching art. In the didactic part, the aim is to realize the individual stages of the thematic art series, which is focused on the development of drawing in the pupils of the second grade of primary school and verifies the described motivational elements in practice. The aim of the project is to revive the public space of the town of Rakovník through the Concetre Wall event and to convey an artistic experience for local residents. To motivate them to create their own free time and to point out the relaxing aspect of art. The focus of the work lies in the realization and detailed description of the thematic series of artistic tasks and in the realization of the artistic event in Rakovník. Furthermore, the thesis focuses on the verification of motivational elements for own free work used in the school environment and in public leisure time. Last but not least, definitions and...

[ES] La realización del presente trabajo de investigación tiene como finalidad establecer la relación entre el arte y la vida a partir del proceso creativo del intérprete clarinetista en torno al concepto live art, lo cual conduce a la redimensión del mismo. Teniendo presente que todo proceso creativo toma en gran medida parte de las experiencias de vida, se entreteje un diálogo entre los elementos de la vida, entre lo objetivo y lo subjetivo, en donde se pretende profundizar en el vínculo de la vida y el arte, desde el propio proceso creativo en conexión con la vida, tomando como punto de referencia el concepto live art. Con base en ello se desarrollan una serie de obras de carácter performativo para clarinete vinculadas a dicho concepto. En este proceso de investigación-creación se establece el estudio del concepto live art a partir de sus antecedentes performance, happening y fluxus, poniendo en relieve los aspectos relevantes que giran en torno a la vida, en donde la acción es el componente esencial que conecta el acto artístico y la vida, en un arte que se introduce en la cotidianidad, cuyas fronteras son difusas y los limites creativos no existen, generando obras de carácter heterogéneo difíciles de clasificar dentro de una práctica creativa definida. De ahí la utilización del concepto live art, el cual emerge en nuestra actualidad para abrigar los procesos creativos híbridos que no encajan en las denominaciones artísticas tradicionales, el cual ha sido adoptado aquí desde su estudio, como base para la realización de las acciones poéticas sonoras, obras para clarinete que unen la propia experiencia creativa con la vida, lo que conduce a una nueva dimensión de dicho concepto. Así, como resultado de este trabajo de investigación el arte, la vida y la acción, se complementan para la elaboración de las acciones poéticas sonoras, experiencia creativa de la clarinetista, autora de esta tesis, en un proceso creativo heterogéneo que conecta la propia experiencia tanto del arte como de la vida. / [CA] La realització del present treball de recerca té com a finalitat establir la relació entre l'art i la vida a partir del procés creatiu de l'intèrpret clarinetista entorn del concepte live art, la qual cosa condueix a la redimensió d'aquest. Tenint present que tot procés creatiu pren en una gran mesura part de les experiències de vida, s'entretix un diàleg entre els elements de la vida, entre allò objectiu i allò subjectiu, on es pretén aprofundir en el vincle de la vida i l'art, des del propi procés creatiu en connexió amb la vida, prenent com a punt de referència el concepte live art. Amb base en això es desenvolupen una sèrie d'obres de caràcter performatiu per a clarinet vinculades a aquest concepte. En aquest procés d'investigació-creació s'estableix l'estudi del concepte live art a partir dels seus antecedents performance, happening i fluxus, posant de relleu els aspectes rellevants que giren entorn a la vida, on l'acció és el component essencial que connecta l'acte artístic i la vida, en un art que s'introdueix en la quotidianitat, les fronteres de la qual són difuses i els límits creatius no existeixen, generant obres de caràcter heterogeni difícils de classificar dins d'una pràctica creativa definida. D'ací la utilització del concepte live art, el qual emergeix en la nostra actualitat per a acollir els processos creatius híbrids que no encaixen en les denominacions artístiques tradicionals, el qual ha sigut adoptat ací des del seu estudi, com a base per a la realització de les accions poètiques sonores, obres per a clarinet que uneixen la pròpia experiència creativa amb la vida, la qual cosa condueix a una nova dimensió d'aquest concepte. Així, com a resultat d'aquest treball de recerca l'art, la vida i l'acció, es complementen per a l'elaboració de les accions poètiques sonores, experiència creativa de la clarinetista, autora d'aquesta tesi, en un procés creatiu heterogeni que connecta la pròpia experiència tant de l'art com de la vida. / [EN] The purpose of this research is to establish the relationship between art and life from the creative process of the clarinetist interpreter around the concept of live art, which leads to a new dimension of live art. Bearing in mind that every creative process takes largely from life experiences, a dialogue is woven between the elements of life, between the objective and the subjective, where it is intended to deepen the link between life and art, from the creative process itself in connection with life, taking as a reference point the concept of live art. Based on this, a series of performative works for clarinet linked to this concept are developed. In this research-creation process, the study of the live art concept is established from its antecedents performance, happening and fluxus, highlighting the relevant aspects that revolve around life, where action is the essential component that connects the artistic act and life, in an art that is introduced into everyday life, whose boundaries are blurred and creative limits do not exist, generating works of heterogeneous character difficult to classify within a defined creative practice. Hence the use of the concept of live art, which emerges nowadays to shelter the hybrid creative processes that do not fit in the traditional artistic denominations, which has been adopted here, as a basis for the realization of the poetic sound actions, works for clarinet that unite the creative experience with life, which leads to a new dimension of this concept. Thus, art, life, action, complement each other for the elaboration of poetic sound actions, creative experience of the clarinetist, author of this thesis, in a heterogeneous creative process that connects the experience of both art and life. / Rodriguez Chavez, AA. (2022). Creación artística sonora del intérprete clarinetista a partir del concepto live art: Acciones poéticas sonoras (2016-2021) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190628

[ES] Natural Hysteria... es una investigación basada en una practica transdisciplinaria que documenta el proceso de producción de un ciclo de performances basadas en el texto: rituales, presentaciones teatrales, acciones callejeras y presentaciones de video, canciones y talleres. Es una respuesta artística al deterioro de nuestro medio ambiente y los ataques contra la diversidad cultural y biológica que están llevando a cabo un sistema capitalista basado en la acumulación de riqueza a toda costa que nos esta' llevando al borde de un colapso ecológico. Se procede a través de un análisis de otras prácticas artísticas disidentes que comparten una perspectiva queer, feminista, postcolonial o ecológica que las vincula a los conceptos explorados en mi trabajo para contextualizarlo en el campo expandido de las artes contemporáneas. La "histeria" alternativa que forma la base conceptual de este proyecto tiene sus inicios en los albores de la edad moderna y traza una historia de dominación de los "otros": se centra principalmente en las mujeres, en el género y en los disidentes sexuales, las personas de color y los animales. La explotación de los recursos naturales y humanos es una consecuencia de una cosmovisión basada en el establecimiento de oposiciones binarias que permiten que el "otro" sea clasificado y dominado. Por ejemplo: hombre / mujer, blanco / negro, hetero / homosexual, cultura / naturaleza. La construcción de estos "otros" - "femenino", "nativo", "queer", "naturaleza" - excluye a estos sujetos de la construcción de una identidad dominante que, sin embargo, depende de estas categorías para su existencia. En el Renacimiento, los campos de las ciencias y las humanidades no estaban separados. La visión mecanicista del mundo no había superado por completo las creencias paganas en la magia y en una fuerza espiritual que reside en todos los seres. Esta visión era una reliquia de la era precristiana y finalmente sería erradicada por las fuerzas unidas del Estado y la Iglesia a través de los procesos de la Inquisición, la caza de brujas, la colonización y la nueva religión de la "Ciencia". Todos estos procesos han producido un gran cambio en nuestra relación con la naturaleza, que en la actualidad se considera una entidad totalmente inerte. La naturaleza ya no forma parte de nuestro ser y se ha convertido simplemente en materia prima. La colonización continua hoy bajo una política neoliberal que utiliza el concepto de desarrollo para requisar territorio de los pueblos indígenas a fin de explotar sus recursos naturales. Esto se justifica clasificando estas personas como primitivas porque su modo de vida se basa en vivir en equilibrio con la naturaleza. La funcio'n de una práctica artística poli'ticamente comprometida es desafiar la noción de que no existe una alternativa al sistema actual. El marco teórico y artístico de esta investigación ha conducido al desarrollo de un alter ego performativo, el chaman transgénero Geyserbird, y a la configuración de una serie de performances que incluye rituales participativos, instalaciones con presencia y la reapropiacio'n queer de espacios industriales abandonados. El chama'n transge'nero es un ser espiritual que va más allá de las limitaciones del sistema de genero binario y se conecta con las culturas indígenas. El despliegue de esta figura en un contexto contemporáneo invita al publico a imaginar otras posibilidades para si' mismos y para nuestra sociedad. / [EN] Natural Hysteria... is a trans-disciplinary practice led investigation which documents the process of production of a cycle of text based performances -rituals, street actions, theatrical presentations, and video presentations, songs and workshops. It is an artistic response to the deterioration of our environment and the attacks on cultural and biological diversity being carried out by a capitalist system based on the accumulation of wealth at all costs which is leading us to the border of an ecological collapse. It proceeds through an analyses of other dissident artistic practices which share a queer, feminist postcolonial or ecological perspective linking them to the concepts explored in my work in order to contextualise it in the expanded field of the contemporary arts. The alternative "hysteria" that forms the conceptual basis of this project has its beginnings in the dawn of the modern age and traces a history of domination of those "others": focusing mainly on women, gender and sexual dissidents, people of colour and animals. The exploitation of natural and human resources is a consequence of a worldview based on the establishment of binary oppositions that allow the "other" to be classified and dominated. For example: man / woman, white / black, hetero / homosexual, culture / nature. The construction of these "others" - the "feminine", the "native", the "queer", "nature" - excludes these subjects from the construction of a master identity that, nevertheless, depends on these categories for its existence. In the Renaissance the fields of the sciences and the humanities were not separated. The mechanistic view of the world had not completely overcome pagan beliefs in magic and in a spiritual force which resides in all beings. This vision was a relic of the pre-Christian era and would finally be eradicated by the united forces of State and Church through the processes of the Inquisition, the witch hunts, colonization and the new religion of "Science". All of these processes have produced a huge change in our relationship with nature, currently seen as a totally inert entity. Nature is no longer part of our being and has became nothing more than raw material. Colonisation continues today under a neoliberal politics which uses the concept of development to requisition territory from indigenous people in order to exploit its natural resources. This is justified by qualifying these people as primitive because their way of life is based on living in equilibrium with nature. The function of a politically engaged artistic practise is to challenge the notion that no alternative exists to the current system. The theoretical and artistic framework of this investigation has led to the development of a performative alter ego, the transgender shaman Geyserbird, and to the configuration of a series of performances which included participatory rituals, installations with presence and the queer appropriation of abandoned industrial spaces. The transgender shaman is a spiritual being who goes beyond the limitations of the binary gender system and connects to indigenous cultures. The deployment of this figure in a contemporary context, invites the public to imagine other possibilities for themselves and for our society / [CA] Natural Hysteria... e's una investigacio' basada en una pra¿ctica transdisciplina¿ria que documenta el proce's de produccio' d'un cicle de performances basades en el text: rituals, presentacions teatrals, acciones al carrers i presentacions de vi'deo, canc¿ons i tallers. E's una resposta arti'stica a la deteriorament del nostre medi ambient i els atacs contra la diversitat cultural i biolo¿gica que esta¿ duent a terme un sistema capitalista basat en l'acumulacio' de riquesa costi el que costi que ens esta¿ portant a la vora d'un col·lapse ecolo¿gic. Es procedeix a trave's d'una ana¿lisi d'altres pra¿ctiques arti'stiques dissidents que comparteixen una perspectiva queer, feminista, postcolonial o ecolo¿gica que les vincula amb els conceptes explorats en el meu treball per contextualitzar-ho en el camp expandit de les arts contempora¿nies. La "histe¿ria" alternativa que forma la base conceptual d'aquest projecte te' els seus inicis en les albors de l'edat moderna i trac¿a una histo¿ria de dominacio' dels "altres": se centra principalment en les dones, en el ge¿nere i en els dissidents sexuals, les persones de color i els animals. L'explotacio' dels recursos naturals i humans e's una consequ¿e¿ncia d'una cosmovisio' basada en l'establiment d'oposicions bina¿ries que permeten que l'"altre" sigui classificat i dominat. Per exemple: home / dona, blanc / negre, hetero / homosexual, cultura / naturalesa. La construccio' d'aquests "altres" - "femeni'", "natiu", "queer", "naturalesa" - exclou aquests subjectes de la construccio' d'una identitat dominant que, no obstant aixo¿, depe'n d'aquestes categories per a la seua existe¿ncia. En el Renaixement, els camps de les cie¿ncies i les humanitats no estaven separats. La visio' mecanicista del mo'n no havia superat per complet les creences paganes en la ma¿gia i en una forc¿a espiritual que resideix en tots els e'ssers. Aquesta visio' era una reli'quia de l'era precristiana i finalment seria eradicada per les forces unides de l'Estat i l'Esgle'sia a trave's dels processos de la Inquisicio', la cac¿a de bruixes, la colonitzacio' i la nova religio' de la "Cie¿ncia". Tots aquests processos han produi¿t un gran canvi en la nostra relacio' amb la naturalesa, que en l'actualitat es considera una entitat totalment inerta. La naturalesa ja no forma part del nostre e'sser i s'ha convertit simplement en mate¿ria preval. La colonitzacio' continua avui sota una poli'tica neoliberal que utilitza el concepte de desenvolupament per a requisar territori dels pobles indi'genes a fi d'explotar els seus recursos naturals. Aixo¿ es justifica classificant aquestes persones com a primitives perque¿ la seua manera de vida es basa en viure en equilibri amb la naturalesa. La funcio' d'una pra¿ctica arti'stica poli'ticament compromesa e's desafiar la nocio' que no existeix una alternativa al sistema actual. El marc teo¿ric i arti'stic d'aquesta investigacio' ha condui¿t al desenvolupament d'un alter ego performatiu, el xaman transge¿nere Geyserbird, i a la configuracio' d'una se¿rie de performances que inclou rituals participatius, instal·lacions amb prese¿ncia i la reapropiacio' queer d'espais industrials abandonats. El xaman transge¿nere e's un ser espiritual que va me's enlla¿ de les limitacions del sistema de ge¿nere binari i es connecta amb les cultures indi'genes. El desplegament d'aquesta figura en un context contemporani convida al pu'blic a imaginar altres possibilitats per a ells mateixos i per a la nostra societat. / Bell, G. (2018). NATURAL HYSTERIA (a queer response to ecocide): An exercise in Living Art, Participatory Rituals and Queer Ecology -or- How I discovered Geyserbird, the Transgender Shaman within [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/111925

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.