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Cette recherche propose une réflexion sur la pertinence d’un « art –action » actuel, à partir d’une analyse d’actes pour l’art, caractérisés comme « hors limites », à travers une utilisation de la présence physique comme essence et support de l’art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l’Actionnisme Viennois, ou l’Art Corporel.Nous étudions ici, aidés d’artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d’actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s’il y a lieu, aujourd’hui, de parler encore d’actes artistiques politiques, militants, après l’âge d’or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement « héros, sujet, matériau, objet, victime, écran » de cet art-action transgressif. Notre volonté est de saisir l’ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l’authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d’identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l’histoire de « l’art pour l’art », concept porté par la modernité.Ce « hacking » du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l’ultime recours, sauvé par ces modifications douloureuses et radicales ? / This research proposes a reflection on the relevance of a "art -action" current, based on an analysis of the acts for the art, characterized as "off limits", through a use of the physical presence, such as origin and support of the visual art, begun in the 1920s by Marcel Duchamp, and declined throughout the twentieth century with artistic groups as Dada, the Happening, the Viennese Actionnism, or the Body Art.We study here, through artists performers selected around the singular practices of Albrecht Becker, Ron Athey and Lukas Zpira, the possible limits of artistic acts, staging in extreme way, through performances considered shocking, aggressive, including piercings, tattoos, daring an art of faintness sometimes, being played of conventions, the taboos and the social-cultural codes in place. Thus we see whether it is necessary, today, to still speak about artistic acts political, militant, after the golden age of the Seventies, through a choice among many new esthetics of the human body, successively “hero, subject, material, object, victim, screen” of this transgressive acting-art. Our will is to understand the ambiguity contained in the representation, and all the shown symbolic system, compared to a first intention which is disintegration both thematic and formal in the plastic arts. The discussion is thus about the authenticity and the survival of these artistic extremists and transgressive practices, treating the concept of identity or even the genetics, the discussion being also about their avant-gardist position in the history of “the art for art” brought by the modernity, position to be reconsidered in a society called post-modern.Do this “body- hacking” bring us then towards a future virtual human being, a single existence in the digital universes? Is the body lost or, paradoxically the ultimate recourse, saved by these painful and radical modifications?

Made available in DSpace on 2014-07-29T15:22:30Z (GMT). No. of bitstreams: 1 Flavia Martins.pdf: 1499750 bytes, checksum: fda568da0414b9faeb33f02677beea08 (MD5) Previous issue date: 2010-07-05 / In the act of making the body more competitive in the market for appearances and more consistent with the subjectivity of individuals, two trends are evident: the expenditure of time, money and pain in an attempt to enhance the body by processes such as fitness, cosmetics and surgical interventions, and the desire to overcome the physical reality by means of scanning processes of the body, exemplified by the various moving avatars in virtual worlds third dimension such as Second Life. This study aims to identify the projection of contemporary subjectivities in the construction of virtual bodies, spurred by a supposedly imaginary post-human as well as reflect on the nature of the avatar, to identify investments for the construction and improvement of virtual bodies, and analyze the experiences bodily and everyday communication in cyberspace. For this purpose it is necessary for theoretical covering the body, subjectivity and cyberspace, composed by authors such as Foucault (1977, 2000, 2003, 2007), Le Breton (2007), Sibilia (2003, 2004), Deleuze (1988, 1991 ), Rüdiger (2002, 2007), Levy (1996, 1999, 2003), Baudrillard (1991, 1995, 2003), Guattari (1996, 2006), Maffesoli (1996, 1998, 2005), Lipovetsky (2004, 2005, 2007 ), among others. Through virtual ethnographic research technique, proposed by Hine (2004) and Kozinets (1997), was created avatar researcher Lia Olifone, which spent six months in interaction with other avatars within Second Life. In conclusion of this ethnographic experience, we establish the thesis that the avatar in that environment appears to be far beyond a mere representation body, but a locus of free trial, a marker of presence and status, which appears to be closely linked to individual that controls for subjective process. In its construction process, the avatar still has a strong influence of consumer society. It was observed that despite the numerous opportunities offered by reconfiguring the metaverse, there is a tendency to reproduce the social structures and patterns present in the body "first life". However, this reproduction features a one body sociality and aseptic, seeking to root out the negative traits considered, especially with regard to the embodiment, showing some influence of the imaginary post-human. / No ato de tornar o corpo mais competitivo no mercado das aparências e mais coerente com a subjetividade dos indivíduos, duas tendências tornam-se evidentes: o dispêndio de tempo, dinheiro e dor na tentativa de aprimorar do corpo por processos como o fitness, a cosmética e as intervenções cirúrgicas; e o desejo de superação da realidade corporal por meio dos processos de digitalização do corpo, exemplificados pelos diversos avatares que circulam em mundos virtuais de terceira dimensão como o Second Life. O presente trabalho pretende identificar a projeção das subjetividades contemporâneas na construção de corpos virtuais, impulsionadas por um suposto imaginário pós-humano, bem como refletir sobre a natureza do avatar, identificar os investimentos na construção e melhoramento de corpos virtuais, e analisar as vivências corporais e comunicacionais cotidianas do ciberespaço. Para tanto faz-se necessário um aporte teórico que contemple corpo, subjetividade e cibercultura, composto por autores como Foucault(1977; 2000; 2003; 2007), Le Breton (2007), Sibilia (2003; 2004), Deleuze (1988; 1991), Rüdiger (2002; 2007), Lévy (1996; 1999; 2003), Baudrillard (1991; 1995; 2003), Guattari (1996; 2006), Maffesoli (1996; 1998; 2005), Lipovetsky (2004; 2005; 2007), dentre outros. Por meio da técnica de pesquisa etnográfica virtual, proposta por Hine (2004) e Kozinets (1997), foi criado o avatar-pesquisador Lia Olifone, que esteve por seis meses em interação com os demais avatares dentro do Second Life. Como conclusão dessa experiência etnográfica, estabelece-se a tese de que o avatar naquele ambiente revela-se muito além de uma mera representação corporal, mas um lócus de livre experimentação, um marcador de presença e status, que mostra-se intimamente ligado ao indivíduo que o controla por vias subjetivas. Em seu processo de construção, a avatar apresenta ainda uma forte influência da sociedade de consumo. Observou-se que, apesar das inúmeras possibilidades de reconfiguração oferecidas pelo metaverso, existe uma tendência a reproduzir as estruturas sociais e os padrões corporais presentes na primeira vida . Contudo, essa reprodução apresenta uma socialidade e um corpo assépticos, que buscam extirpar os traços considerados negativos, principalmente no que diz respeito à corporeidade, revelando certa influência do imaginário pós-humano.

Diploma work New Flesh? The Limits of the Body in the Films by David Cronenberg deals with the human body as one of the main motives in the filmography of the Canadian director David Cronenberg. Its mission is to implicate new approaches to the human body in the theories of postmodern philosophy, philosophy of media and posthuman therories, which fundamentally transform the principles of previously applied concept of body and mind dualism and point out that media and new technologies has a significant influence on our perception of a human body. New approaches to the human flesh and fleshliness are applied in the final part of this work through the interpretation of selected movies by David Cronenberg - Videodrome and eXistenZ. The main point of this work is to show the complete change of conception and perception of the human flesh, which is summary reviewing here as a "new flesh". Key words body - controlled body - body extension - reality - hyperreality - media - new technologies - cyborg - post-human - body horror - new flesh

The aim of my work is to reflect expression coincidence that reflects the theoretical basis of cellular automata and quantum mechanics. I think that art should point to examples of accurate knowledge and in this way spread among potential viewers. This is how I try to get closer to the subjective utopian society WERP-VEGA. I am not entirely convinced that fine arts can change the political situation or address fundamental civilization complications, but I believe that art is able to predict freely one of the possible scenarios of the future because one is only able to do what he can imagine.

本文試圖探究行動電話於當代普及所帶來的影響。一直以來，網際網路及隨之而生的「模控空間」都被看作是我們這個時代最重要的媒介與文化發展。然而，晚近十年間的電子媒介技術發展卻顯示出，行動電話已然成為網際網路之外同樣影響人們日常生活甚鉅的一種媒介。甚至，如同Howard Rheingold所指出的，它已逐漸地改變了我們當下與未來的生活形式。循此，簡言之，本文的目的即在於，試圖理解行動電話所帶來的是什麼樣的生活世界，以及這又是如何可能的？在回答此一問題時，本文所採取的基本理論觀點與分析架構乃是一種試圖超越過去技術決定論的新取徑。亦即，立基於「人─技術─世界」相互關連的關係性基礎上，本文主張，人們日常使用與操作技術的實作實際上總是展開於技術物所形塑的結構脈絡之中，同時，此一結構脈絡本身卻也是由人們的實作過程「有方法地」反身維繫與再建構的。換言之，本文將說明，實際上行動電話普及所帶來的影響不僅僅導因於技術特性的結構作用，同時也是人們日常實作持續建構與維繫的結果。 更清楚地說，在論文中我們指出了行動電話普及所導致的結構性變遷與影響為（1）由行動電話「水平嵌合」的延伸形式所帶來的「混雜實在」。也就是說，行動電話的使用者實際上是處於一種「雙面舞台」的情境之中。透過行動電話的中介，人們如今理所當然地將其脈絡視為是混雜交織著虛擬／物質、遠處／近在的指涉。（2）源自於行動電話「流動」的技術特性而逐漸形成的「即刻化時間」與「個人化社會空間」的時空框架。正是在這一轉變的時空框架中，浮現了本文稱之為「隨傳隨到的個人社群」的新形態人際關係樣態。而這些結構性的變遷與影響，在本文看來，同時也是人們日常實作持續「有方法地」完成、維繫與再生產的產物。以俗民方法學為基礎，本文回到實際日常使用與操作行動電話的實作過程中，探究人們是如何有方法地完成「打行動電話」的日常生活。例如，我們指出了「體現」與「轉譯」乃是人們操作行動電話理所當然地依賴著的方法；此外，由於「打行動電話」的實作仍「在」當下既存的互動場景之中，其完成也就有賴於「協同實作」的打造；人們的實作也顯示出，並不只是由於行動電話的技術特性與設計，更是因為人們總是有方法地管理、完成「打行動電話」的過程，人際之間的連結才呈現為「個人化即刻連繫」之樣態。 總之，藉由這些觀察與分析，本文試圖指出行動電話造就的「結構」實際上也是實作建構的產物。然而，雖然本文主張人們實際上參與了框限著自身的「結構」的建構，但這並不意味著人們就必然只能如此生存著。相反地，從「人─技術─世界」的相互關連來看，既然我們的日常生活並非單純由「技術」所決定的、既然我們的生存樣態同樣也取決於自身的「實作」，本文在最後試圖說明的便是，我們也就總是有著「不必然如此」的可能性。藉由三個案例的呈現，本文說明了「多元」的行動電話使用與操作實作如何可能。些實作並不是意圖正面對抗、顛覆既那些與行動電話實作相關的既有「常識」與「預設」，但在其迴避、繞道、偏離與走出的各種形式中，我們卻能清楚地看到實際行動電話的使用與操作中，如何不斷地逾越了既有的軌跡與秩序。換言之，回過頭來，本文試圖說明的是，「理解」行動電話同時也意味著我們必須要在各種「捨」與「得」的權衡之中做出選擇。在每一刻的行動電話操作實作之中，我們不僅選擇了如何完成當下的秩序，同時也選擇了走向什麼樣的「行動未來」。這不僅是「如何生活」──亦即，如何使用行動電話的選擇──的問題，同時也是關於「如何存在」──亦即，在更根本的層次上成為什麼樣的存有──的反思。 / This thesis attempts to discuss the impacts brought by the prevalence of mobile phones. Although the Internet and the cyberspace have been thought as the most important media and cultural development of our age, the progress of the electronic media in recent decade has showed that mobile phones have also brought important structural changes in our life. Accordingly, what we want to understand is how mobile phones have changed our life world. In response to this question, the thesis adopts a new approach which goes beyond the traditional technological determinism. That is, based on the interrelationship of the “human-technics-world”, it proposes that the everyday technological practices always unfold in the context structured by our technics, and the structured context itself is also, at the same time, constructed reflexively by user’s technological practices. First, the thesis indicates the structural changes brought by mobile phones as follows: (1) the “hybrid reality” emerging from the extending and mediation of mobile phones; (2) the “immediatization of time” and the “individualization of social space” resulted from the widespread use of mobile phones. Second, based on ethnomethodology, we explore how the user accomplishes the everyday “using” of the mobile phone skillfully and reflexively. The investigation shows that, for example, (1) the user, while using the mobile phone, depends upon the methods of “embodiment” and “translation”, and takes them for granted; (2) the accomplishments of the using practices actually are the products of the “cooperation” between the user and the members at the scene because the user is still “in” the present situation; (3) the using practices also show that the “individualized and immediatized connection” which emerges as the figure of our interpersonal relationship is not only due to the technical characteristics of mobile phones, but also the product of user’s skillful using practices. Third, although the thesis advocates that the everyday using practices reflexively construct the structural changes which in turn shape the practices themselves, it also attempts to point out that we still have the possibility of transgressing the given structural constraints. We explicate, by three cases, how different and multiple ways of mobile phone using are possible. These “variant practices” do not represent the opposition and the subversion of the given structure shaped by mobile phones, but indicate that we still could choose different ways of using, and different kinds of life.

This thesis aims to develop a new methodological concept better to understand art and curating in a post-human setting. Departing from a post-humanist ontology, my initial idea was to analyse contemporary artworks dealing with food and trace and substantiate a figuration of the gut/intestinal system (connected to post-human notions as the ideas of trans- corporeality, vibrant matter, etc.) and how it could create a productive reading of these works. During my research on food-related art projects, I realised that the gut-figuration has broader implications and could function as a tool to understand the contemporary art world and curating at large, through a post-human lens. Accordingly, I suggest my thesis to be a contribution to what I would like to name an “intestinal turn”, a contemporary post-humanist, trans-corporeal understanding of art that could change how art is perceived and how the subjectivity of the artist, and curatorial work, could be understood today.