Este estudo tem como objetivo investigar e sistematizar princípios e procedimentos de formação da cena performativa. A pesquisa se justifica a partir da necessidade de reflexão sistemática sobre a cena contemporânea, dinâmica, sincrética, pulsante, em constante movimento e contaminada pela performance, visando à elaboração de fundamentos que possam auxiliar artistas e educadores cênicos em seus processos de formação. A seleção das referências teóricas se deu a partir da perspectiva de filósofos como DELEUZE, GUATTARI, SPINOZA, MORIN, LEVY, BARTHES, PELBART e de teóricos do teatro contemporâneo como FÉRAL, LICHTE, FERNANDES, ARAÚJO, MARTINS, PAVIS, ANDRÉ e CIOTTI. Propomos a investigação sobre a perspectiva rizomática em processos de formação cênica, a noção de desterritorialização destes processos, os conceitos de nuvem hipertextual e navegação rizomática como abordagem metodológica. Por fim, considerando a navegação rizomática proposta neste estudo, sistematizamos princípios e procedimentos de formação contextualizados na cena performativa contemporânea, através de experimentos cênicos realizados com atores, não-atores e iniciantes, bem como da análise de experimentos performativos da cena contemporânea. As considerações elaboradas pelo presente estudo poderão contribuir para o debate acerca do panorama atual das artes cênicas no que concerne a seus processos de formação, além de desdobrar-se na criação de uma nuvem hipertextual, no ciberespaço, com conteúdo didático desenvolvido durante a pesquisa. / This study aims to investigate and systematize principles and procedures for formation of the performative scene. The research is justified by the need for systematic reflection on the contemporary scene, which is dynamic, syncretic, pulsating, constantly moving and contaminated by performance, aiming at the design of foundations that can assist scenic artists and educators in their training processes. The selection of theoretical references has drawn on the perspective of philosophers such as DELEUZE, GUATTARI, SPINOZA, MORIN, LEVY, BARTHES, PELBART and contemporary theater theorists such as FÉRAL, LICHTE, FERNANDES, ARAÚJO, MARTINS, PAVIS, ANDRÉ and CIOTTI. We propose research on the rhizomatic perspective in scenic formation processes, the notion of deterritorialization of these processes, the concepts of hypertextual cloud and rhizomatic navigation as a methodological approach. Finally, considering the rhizomatic navigation proposed in this study, we systematized principles and training procedures contextualized in the contemporary performative scene, through scenic experiments with actors, non-actors and beginners, having also relied on the analysis of performative experiments in the contemporary scene. The considerations emerging from this study can contribute to debates about the current panorama of scenic arts as far as its formation processes are concerned, besides unfolding into the creation of a hypertextual cloud in the cyberspace, with teaching content developed during the research

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

Made available in DSpace on 2016-04-26T18:16:34Z (GMT). No. of bitstreams: 1 Regiane Caminni Pereira da Silva.pdf: 5088505 bytes, checksum: d2efa35c61f21f1b188a3bee2a53a9d9 (MD5) Previous issue date: 2007-10-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis addresses the issue of representation as a performative language agent in the media communication genres. The main objective is to understand the semiosis of representation, not limited to the artistic context, as well to propose an extension and expansion of the communicative context. This study focuses on productions that configure performers, news casters, commercial and advertising actors, and well-known media characters as media agents, in contemporary Brazilian culture between 1999 and 2007, among the entertainment, news, and advertising genres. This work distinguishes between media agents produced for the media market and those processed by cultural relations. One of the primary assumptions of this work is that television is the privileged paradigm that defines other media, such as printed news media and non-mainstream media in that these media reflect the tele-visual paradigm. This work discusses the actor, fiction, parody and performance as modelling languages of the culture that configures the media agents. The issue is discussed under the approach of culture semiotics, according to studies from Tartu-Moscow School. The methodological procedure of this investigation focuses on the process of recodification based on the work Roman Jakobson and the modelling and cultural texts of Yuri Lotman and Boris Uspenskii. In regards to the theoretical foundation, the perception of the media as ambience is informed by Edgar Morin s theory of mass culture as well as the culture of media described by Lucia Santaella. Patrice Pavis, Marvin Carlson, Algirdas J. Greimas and Paul Zumthor are referenced to understand the actor and performer as language. The concept of the media agent as a hybrid of actor, performer and character, which can be positicioned in one or all three roles is essential for perceiving that in the media universe, we can find a product-agent or a process-agent. The first can degenerate the concept of actor, detrimental to the market demands. The second can be capable of promoting the cultural semiosis as well as valorizing the actor as language, emphasizing the importance of performance in communicative and cultural process / Esta tese trata do problema da representação como linguagem de atuação nos gêneros da comunicação mediada. Tem como objetivo principal compreender a semiose da representação que não se limita ao contexto artístico, mas que propõe uma extensão e expansão a contextos comunicativos. A investigação concentra-se nas produções que configuram apresentadores, telejornalistas, atores em publicidade e pessoas que são notícias como atuantes das mídias, na contemporaneidade brasileira, no período de 1999 a 2007, em gêneros do entretenimento, informativo e publicitário. Preocupa-se em distinguir atuantes produzidos para o mercado de mídias daqueles que são processados por relações com a cultura. Tem como ponto de partida a televisão como medida de representação para outros meios, como o jornal impresso e a mídia exterior, no sentido de que estas mídias refletem a representação televisual. Discute o ator, a ficção, a paródia e a performance como linguagens modelizantes da cultura que configuram os atuantes das mídias. A problemática é tratada sob a abordagem da semiótica da cultura, segundo os estudos do eixo Tártu- Moscou. O procedimento metodológico para a investigação concentra-se nos processos de recodificação, baseados nas idéias de Roman Jakobson e de modelização e textos culturais de Iúri Lótman e Boris Uspenskii. Como articulação teórica, a percepção dos meios de comunicação como ambiências, tem a abordagem sobre cultura de massas de Edgar Morin e o conceito de cultura das mídias de Lucia Santaella. Patrice Pavis, Marvin Carlson, Algirdas J. Greimas e Paul Zumthor são autores referenciais para a compreensão do ator e performer como linguagem. O desenvolvimento do conceito de atuante das mídias, como um híbrido de ator, performer, personagem, ou que pode variar ora por um ora por outro, foi fundamental para perceber que, no universo de mídias, encontramos um atuante-produto e um atuante-processo. O primeiro pode levar a uma degeneração do conceito de ator em detrimento das finalidades do mercado. E o segundo pode ser capaz de promover a semiose cultural, consagrar o ator como linguagem e ressaltar a importância da performance nos processos comunicativos e culturais

'The Artist Will Be Present' explores objects as traces that stem from performed actions, and my body in performance. Part-sculptural objects, video and sound act as performance documents that expand on notions of the ‘live’ encounter. Interest lies in how we get to objects: process in variance to product or closure. And the question of how the body/s of the audience becomes participatory is at the forefront of these operations. From this viewpoint the exegesis aims to broaden existing scholarship on performativity, liveness and the part-sculptural object, exploring the manners in which various cultural practices act to animate objects. I reconsider the Euro-American genealogies of performance/body art (Bruce Nauman, Lygia Clark, Ann Hamilton et al.) in relationship to contemporary art practices in Australia and New Zealand (Alicia Frankvich, Carolyn Eskdale et al.) through the lens of late 19th-and early 20th-century writing on sympathetic magical action. A legacy of cultural anthropology dealing with magic (that was privileged in establishing grounding aspects of structural linguistics) circulates around the British anthropologist Stanley J. Tambiah whose thinking on persuasive analogy in ritual performance draws a crucial link between J. L. Austin’s performative utterance and James George Frazer’s notion of sympathetic magic. From such a perspective the operations of sympathetic mimesis—involving ambivalent similitude and contagion—are discussed in terms of performative and persuasive illocutionary force. This offers another model for articulating an authentic performative document as an encounter with the ‘live.’ A phenomenological method of enquiry, including Maurice Merleau-Ponty’s concept of the chiasm,—along with notions of mimetic incongruence—crucially tease out relationships between the live and the performance document and aim at resisting subject/object dichotomies whereby concepts of embodiment and indeterminate play between artist, objects and audiences are activated. Applied to contemporary debates on performance and ‘objects out of action,’ part objects and images are transformed as partial ‘subjects’: metonymically part of larger wholes as trace (substitution) and contagious contact (liveness). What is lacking in the operations of sympathetic mimesis is precisely what ‘draws out’ the body/s of the audience as they desire closure in object and duration. As these questions turn on the body of the artist/self and the audience/participant in performative installation practice, I offer an analysis of bodies in ritual exchange (donor/donee); subjects and objects as transformers: relations of force over form—liminal, reversible and redolent of lack—that emphasise encounter in difference to recognition. This is to speak of, in the words of Lygia Clark: “Tactile shocks to liberate the body.”

Organizational size is a common way to describe and understand organizations invarious settings: in every-day situations as well as in organizational research. Withinorganization theory, organizational size has been seen variously as a basic feature ofthe organization (an independent variable); as a result of a reaction to the environmentof the organization (a dependent variable); or as a basic criterion for the selectionand categorizing of empirical cases (a selective variable). Often, organizationalsize is measured through the number of employees, budget or turnover; but linked toit are also associations that might not always match the organizational reality as experiencedby those managing and working in the organization. "is mismatch can causeproblems for the organization as for its members, and illustrates that organizationalsize is not only a variable that can be operationalized quantitatively, but a figure ofthought, affecting our expectations of the organization. "e purpose of this thesis isto develop the understanding of organizational size as a figure of thought by describinghow it has been used traditionally and by developing an alternative definition ofthe concept. This is done with the help of a case study of an organization that was perceived as differentin size compared to what it was when measured traditionally. An ethnographicapproach, including shadowing, semi-structured interviews, and the collection ofprinted and digitally stored material related to the case, has generated the empiricalmaterial which has been analyzed through a narrative approach. Understanding organizational size as a figure of thought makes it apparent that thetraditional view of organizational size builds on certain implications regarding theorganization, implications not acknowledging the ongoing organizing aspects. "eempirical case illustrates that the size of the organization is not only a question ofwhere the borders around “the organization” are drawn, but when they are drawn,since it can be seen to be a continuously constructed action net. Two types of actionsare identified: actions of narrativization and actions of realization. Whereas the firsttype involves actions that lead to the emergence of narratives about the organization,the second type constitutes actions that inscribe the organization into differentmaterialities. "ese two types of actions illustrate how the borders around “theorganization” are drawn and help explain the mismatch between expectations of theorganization based on perceptions of its size. "e conclusion is that “organizationalsize” is not only something that is, but something that is done. "ese two dimensionsof the concept are called “the ostensive” and “the performative”, respectively. Eventhough “organizational size” makes “the organization” present, it has limitations as atheoretical concept if its performative dimensions are not acknowledged, since it createsa simplified impression of “the organization” as being a static entity. / QC 20100716

I förskolans utemiljö är det vanligt att det finns en sandlåda på gården. Den är centralt placerad och barnen är där och leker. Enligt den nya Skollagen och förskolans reviderade läroplan ska verksamhetens innehåll vila på vetenskaplig grund och beprövad erfarenhet. Detta gäller även den verksamhet som pågår i sandlådan. Men vad är det som sker när sanden, barnen och lekredskapen möts i sandlådan? Detta är en kvalitativ studie som utifrån ett intra-aktivt perspektiv syftar till att synliggöra hur sanden i sandlådan, lekredskap och de yngsta barnen (1-3 år) skapar möjligheter och villkor för lek och meningsskapande. Utifrån fotografier, anteckningar och videofilm har nya begrepp skapats för att kunna beskriva och förklara det som sker i sandlådan. Resultaten visar på en ständig rörelse där sand, barn och lekredskap förflyttas, förändras och förvandlas. Barn, sand och lekredskap leker tillsammans i ömsesidiga och sammanvävda intra-aktioner. Studiens resultat bidrar till att visa på dessa komplexa processer och hur små barn, med hela sin kropp och alla sinnen, medvetet tillsammans med sanden och lekredskapen skapar ny mening och nya möjligheter. / In the preschool outdoor environment, it is common that there is a sandbox. It is centrally located and the children are there and play. According to the new Education act and Curriculum for the Preschool Lpfö 98 (Revised 2010) the content should be based on scientific evidence and proven experience. This also applies to the activities being performed in the sandbox. But what is happening in the sand, when the children and play equipment come together in the sandbox? This is a qualitative study based on an intra-active perspective, whose purpose is to visualize how the sand in the sandbox, the playground equipment and the youngest children (1-3 years) create opportunities and conditions for play and meaning. Based on photographs, notes and video, new concepts are created to describe and explain what happens in the sandbox. The results show a continuous movement in which sand, children, and playground equipment is moved, changed and transformed. Children, sand and playground equipment play together in mutual and intertwined intra-actions. The findings in the study help to demonstrate how these complex processes and young children, with the whole body and the senses, consciously together with the sand and play equipment create new meaning and new possibilities.

The main topic that is researched in this study is: what performative architecture is and its role in the design process and product. In the scope of performative architecture the aim is to focus what a building does rather than what it is and the fact that architecture should have the capability of being adaptable to changing time, conditions and environment. A design problem is taken under consideration and designed from the scope of performative architecture. The design problem is the transformation of the Defence Line around Amsterdam, designing new buildings with the recent technologies as additions to the forts remaining from 1900&rsquo / s. A &ldquo / performative model&rdquo / , which supports design from the conceptual stage until production of scale prototypes is structured by the author for this specific design problem. This performative model is used as a case study for the research of the role of the computational design tools in the design process and product of performative architecture. In addition to the design process, the role of using computer

Through a layered account format combining theory, performative autoethnographic vignettes, and dialogical exchanges, the author explores the performances of Supermotherhood as they materialize within her life and potentially within the lives of, and through interactions with, other mothers inside and outside of her immediate peer group. The author analyses the ways the pervasive ideology of perfect mothering manifests itself within motherhood culture, and how it ultimately impacts maternal agency, self worth, and by extension, the family unit, and the culture of motherhood-mothering in general. Guided by a feminist poststructuralist approach, the author argues that the Supermom, or rather, Super Mom meta-identity offers all subjective labels and ideologies of mothering a place to become and celebrate possibility, individuality, transition, and maternal empowerment. Keywords: mothering; feminism; performative identity; autoethnography; poststructuralist feminism; maternal empowerment; layered account

'The Artist Will Be Present' explores objects as traces that stem from performed actions, and my body in performance. Part-sculptural objects, video and sound act as performance documents that expand on notions of the ‘live’ encounter. Interest lies in how we get to objects: process in variance to product or closure. And the question of how the body/s of the audience becomes participatory is at the forefront of these operations. From this viewpoint the exegesis aims to broaden existing scholarship on performativity, liveness and the part-sculptural object, exploring the manners in which various cultural practices act to animate objects. I reconsider the Euro-American genealogies of performance/body art (Bruce Nauman, Lygia Clark, Ann Hamilton et al.) in relationship to contemporary art practices in Australia and New Zealand (Alicia Frankvich, Carolyn Eskdale et al.) through the lens of late 19th-and early 20th-century writing on sympathetic magical action. A legacy of cultural anthropology dealing with magic (that was privileged in establishing grounding aspects of structural linguistics) circulates around the British anthropologist Stanley J. Tambiah whose thinking on persuasive analogy in ritual performance draws a crucial link between J. L. Austin’s performative utterance and James George Frazer’s notion of sympathetic magic. From such a perspective the operations of sympathetic mimesis—involving ambivalent similitude and contagion—are discussed in terms of performative and persuasive illocutionary force. This offers another model for articulating an authentic performative document as an encounter with the ‘live.’ A phenomenological method of enquiry, including Maurice Merleau-Ponty’s concept of the chiasm,—along with notions of mimetic incongruence—crucially tease out relationships between the live and the performance document and aim at resisting subject/object dichotomies whereby concepts of embodiment and indeterminate play between artist, objects and audiences are activated. Applied to contemporary debates on performance and ‘objects out of action,’ part objects and images are transformed as partial ‘subjects’: metonymically part of larger wholes as trace (substitution) and contagious contact (liveness). What is lacking in the operations of sympathetic mimesis is precisely what ‘draws out’ the body/s of the audience as they desire closure in object and duration. As these questions turn on the body of the artist/self and the audience/participant in performative installation practice, I offer an analysis of bodies in ritual exchange (donor/donee); subjects and objects as transformers: relations of force over form—liminal, reversible and redolent of lack—that emphasise encounter in difference to recognition. This is to speak of, in the words of Lygia Clark: “Tactile shocks to liberate the body.”

Title from second page of PDF document. Includes bibliographical references (p. 114-120).