Les arts de la marionnette contemporains interrogent les liens entre geste plastique et geste dramatique, redéfinissant les principes et les enjeux de l’acte de figuration. Les créations issues de ces expériences ont ouvert la voie à une difficile désignation de l’objet-marionnette fixe, matériel et unique, ne permettant plus d’envisager la spécificité marionnettique suivant la dualité entre humains et objets. Consacrée aux « présences de la marionnette contemporaine », la thèse examine la marionnette comme figure et lieu d’une mise en friction des matières, des corps humains, des espaces et des médiums ondulatoires (sons et lumières). Une telle figure, se refusant à toute fixation dans le visible, les formes et les corps, met en drame son procès de défiguration. La spécificité marionnettique tient alors à la persistance d’une présence dramatique, discontinue et fragile, malgré la dislocation du lien entre les deux corps de la figure (matériel et virtuel). Prenant appui sur un corpus central d’oeuvres contemporaines (des Ateliers du spectacle, du Clastic Théâtre, de Phia Ménard, du Morbus Théâtre, de La Mue/tte, de Marta Pereira, des Rémouleurs, de Benjamin Verdonck et de Gisèle Vienne), ainsi que sur de nombreuses installations, expositions et créations scéniques, qui dessinent un aperçu synchronique des marges du champ marionnettique, cette recherche analyse les effets de circulation et de spatialisation des présences dramatiques, découlant de cette défiguration marionnettique. Il s’agit d’y interroger le déploiement d’une écriture spectrale, par la mise en tension de l’opacité d’objets bruts et corps inanimés et de l’évanescence de figures dématérialisées. Suivant une approche esthétique et poïétique, la recherche examine à la fois les principes techniques d’élaboration de ces figures « entre » les corps, leur potentiel dramaturgique de mise en vision du rêve, de la folie, du doute et de l’hallucination, et le type de regard spectatoriel qu’implique le devenir défiguré de la marionnette contemporaine. / Contemporary puppetry reinvents the relationship between dramatic and plastic gestures, inviting us to reconsider the principles and the implications of the act of figuration. The performing art works, generated by these experiences, avoid the designation of a fixed, material and unique puppet-object, so that a binary approach, opposing humans and objects, is no longer sufficient to consider the specificity of puppetry arts. Addressing the “presences of the puppet”, the thesis examines the puppet as a figure and a place for frictions between materials, bodies, spaces and wave mediums (lights and sounds). Such a figure, refusing tobe fixed in the visible, in the forms and the bodies, dramatizes its own disfigurement. Thus, the specificity of puppetry is the persistence of a fragile and discontinuous dramatic presence, despite the dislocation of the two bodies of the figure (material and virtual). Built on a central body of performing art works (by Les Ateliers du spectacle, the Clastic Théâtre, Phia Ménard, the Morbus Théâtre, La Mue/tte, Marta Pereira, the Rémouleurs, Benjamin Verdonck and Gisèle Vienne), and extending to other theatrical creations, installations and exhibitions, which offer a synchronic view on the margins of contemporary puppetry, this research examines the effects of circulation and spatialization of dramatic presence, which derive from the puppet disfigurement. The question is how the artists develop a spectral stage approach, based on the tension between the opacity of inert and inanimate objects and the evanescence of dematerialized figures. From an aesthetic and poïetic perspective, the research looks at the technical principles of the conception of a figure “in between” the bodies and objects, and its dramaturgical capacity to make visible the dream, the madness, the doubt, the hallucination. Finally it considers the specificity of the spectators’ position and work in front of such disfigured puppets.

台灣在文化與流行方面一向受鄰近國日本的影響，舉凡服飾流行、音樂、電影、動漫等，其中影響青少年最大的應該可以說是動漫畫，近幾十年來，動漫畫中的「耽美文學」，又可以說是一股在台灣出版界新興的文體類型。 「BL」漫畫即指「Boy's Love」，又稱耽美漫畫。原本是指女性漫畫家創作給女性讀者看的「少年愛」漫畫，內容以美貌男子之間的愛情為主。BL漫畫算是少女漫畫中比較另類的內容類型，內容唯美浪漫，而「耽美」的日文原意就是「唯美主義」。日本耽美漫畫在台灣從單純的閱讀，到現在發展出作家、網站、同人團體、甚至還有專門的商業出版社；而出版的物品，也從當初的日文翻譯漫畫、動畫到現在國人自行創作的漫畫、小說、周邊產品等。在台灣的耽美迷中，可以初分為兩種：一種只是純粹的耽美文本閱聽人，另一種除了閱聽文本外，還會主動衍生新的創作與文本，而在這些耽美迷的衍生文本中，居然有大半是台灣本土霹靂布袋戲迷所創作的耽美文本。 台灣的本土布袋戲為何會跟耽美牽上關係？日本式的耽美到了台灣又有什麼樣的變化？而這在台灣本土形成的新型耽美中佔最大比率的文本─「霹靂耽美文本」，竟也被日本耽美迷所承認，在日本有了台灣霹靂耽美文本的閱聽人。本研究將從日本的耽美文化在台灣的演化，以及文化逆流的現象，勾勒出一個屬於台灣在地耽美文化的輪廓。 關鍵字：漫畫、動漫、同人誌、Boy's Love(BL)、霹靂布袋戲 / The culture and fashion of Taiwan are historically influenced by Japan. Among many, the Slash Literature, or ‘Boy’s Love’ (BL), is one of rising style in recent decades. BL, which originally means ‘aestheticism’ in Japanese, features aesthetic and romantic in its content. While it is an alternative to mainstream style, BL allures remarkable amount of audience. The audience can be distinguished into two types: passive receiver on the one hand and active creator on the other. Surprisingly, most of the active creator of derivative BL context comes from enthusiasts of Pili Hand Puppet Show, a traditional Taiwanese culture. The locally shaped ‘Pili BL context’ not only is the most popular one in derivative BL context in Taiwan, but is recognized by Japanese BL enthusiasts. Thus, ‘Pili BL context’ is the countercurrent of BL culture back to Japan. This phenomenon prompts research questions of this study: how does Taiwanese Hand Puppet Show relate to BL? What are the transformations of Japanese BL adapted in Taiwan? To answer these questions, this study will investigate the evolution of Japanese BL culture in Taiwan and the countercurrent of ‘Pili BL context’ and will seek to contour the local BL culture of Taiwan. Keywords: Slash Literature, BL, Aestheticism, Subculture, Pili Hand Puppet Show.

Submitted by Kely Elias De Castro (kelydecastro@gmail.com) on 2018-06-26T20:59:32Z No. of bitstreams: 1 TESE Kely E. de Castro.pdf: 10542537 bytes, checksum: 7f2cbd6c409ccb3cddc7f3fb3b3d3e1b (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-07-03T00:07:40Z (GMT) No. of bitstreams: 1 castro_ke_dr_ia.pdf: 10542251 bytes, checksum: 99128fe6aecb04a61a84d12c9226e474 (MD5) / Made available in DSpace on 2018-07-03T00:07:40Z (GMT). No. of bitstreams: 1 castro_ke_dr_ia.pdf: 10542251 bytes, checksum: 99128fe6aecb04a61a84d12c9226e474 (MD5) Previous issue date: 2018-04-13 / O grupo Sobrevento é um dos grandes expoentes do Teatro de Animação brasileiro e, em 2016, completou 30 anos de história conduzido por uma ideologia particular que preconiza a busca pelo constante desafio artístico. Por mais de duas décadas, o coletivo dedicou-se ao estudo de diferentes técnicas de manipulação de bonecos, com o intuito de reinventar seu teatro a cada espetáculo, e se tornou referência na arte da animação. Contudo, após 25 anos, passou a se dedicar ao Teatro de Objetos, vertente que utiliza o objeto puro, abandonando o boneco e o intuito de conferir-lhe vida. O presente trabalho propõe uma investigação da trajetória do grupo Sobrevento com o objetivo de evidenciar as motivações estéticas e ideológicas que causaram a transição do Teatro de Bonecos ao Teatro de Objetos. Para tanto, analisa a primeira década da companhia, abordando os principais aspectos que influenciaram sua formação e suas escolhas estéticas. Examina as técnicas utilizadas no decorrer da carreira do grupo, destacando o estudo da Manipulação Direta, inspirada no Bunraku, bem como as experiências realizadas com o Boneco de Luva Chinês e com o Mamulengo. A discussão sobre o abandono da animação na história da companhia ocorre por meio do estudo dos espetáculos São Manuel Bueno, Mártir (2013), Sala de Estar (2015) e Só (2016). À luz da trajetória do objeto no teatro moderno e contemporâneo, pretendemos revelar fatores expressivos da cena do Sobrevento decorrentes de uma maneira própria de utilizar o objeto em seus espetáculos, enquanto reflexo da busca pela originalidade poética, característica do grupo desde sua criação. / Sobrevento theater group is one of the great exponents of the Brazilian Puppet Theater. In 2016, it has completed 30 years of history driven by a particular ideology that advocates the search for constant artistic challenge. For more than two decades, this group has dedicated itself to the study of different puppet manipulation techniques. Its intention has always been the reinvention of its own theater in each play, and it has become an important reference in the art of puppetry. However, after 25 years, the group began to explore the Theater of Objects, which uses the pure object, abandoning the puppet and the purpose of giving life to it. The present work proposes an investigation about the trajectory of Sobrevento group in order to highlight the aesthetic and ideological motivations that caused the transition from Puppet Theater to Theater of Objects. Therefore, it analyzes the first decade of the company, addressing the main aspects that influenced its formation and its aesthetic choices. All techniques handled during the group's career are considered, but there is further explanation about the study of Direct Manipulation, inspired by Bunraku, as well as the experiments with Chinese Glove-Puppet and Mamulengo. The discussion about the abandonment of puppetry in the company's history happens through the study of three plays, Saint Manuel Bueno, Martyr (2013), Living Room (2015) and Alone (2016). In the light of object trajectory in modern and contemporary theater, we intend to reveal scenic expressive factors of Sobrevento, as they result from a particular way of using the object in its plays. Therefore, it demonstrates the search for poetic originality that has characterized the group since its creation.

Made available in DSpace on 2016-12-08T16:51:56Z (GMT). No. of bitstreams: 1 alex.pdf: 1294416 bytes, checksum: a9e5368eec58f31aaa65300e5119de57 (MD5) Previous issue date: 2012-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis deals with puppet manipulation visible to the audience , focusing on soloist performance. The field of study is defined by the first four editions of the International Puppet Festival, in Florianópolis FITAFloripa, during the years 2007 untill 2010. First of all there are reflexions about different kinds of didacticism in Puppetry, the different age groups desired according to the play, the transformations in the choice and using of modalities of puppetry, and the presence of the direction in brazilian puppet plays. Still having as a reference the quantitative database got from the analysis of the 72 plays that composed the FITAFloripa programme during the period, the research go into the characteristics of the soloist performer activity and the puppet manipulation visible to the audience in Brazil. In this carefully examination it is discussed the relations between the soloist performance and the puppetry and its mains characteristics, followed by a historical research about the first brazilians experiences in the puppet manipulation visible to the audience, with its transformations and distinct ways of performance find in current plays. In the last part of this thesis the plays O Incrível Ladrão de Calcinhas and O Princípio do Espanto are analysed, in order to deepen the study about soloist performance and puppet manipulation visible to the audience. Both plays selected from the FITAFloripa programme present different kind of performance with differences that allows a best ponderation about the subjects. The items developed about the two plays are the soloist performer activity, the puppet manipulation visible to the audience, the direction and the dramaturgy / A presente dissertação trata da animação de bonecos à vista do público, com foco na atuação solo em cena. Parte-se de um campo de estudo delimitado nas quatro primeiras edições, entre os anos de 2007 e 2010, do Festival Internacional de Teatro de Animação de Florianópolis FITAFloripa. Realizam-se primeiramente reflexões sobre as formas de didatismo no teatro de animação, as diferentes faixas etárias almejadas conforme o espetáculo, as transformações nas escolhas e usos de modalidades de animação, além da presença da direção no teatro de animação brasileiro. Ainda tendo como referência os dados quantitativos obtidos pela análise dos 72 espetáculos que compuseram a programação do FITAFloripa no período referido, detalham-se as características da atividade do solista e da animação de bonecos à vista do público no Brasil. Neste aprofundamento discutem-se as relações próprias do solo no teatro de animação e suas principais características, seguido de um levantamento histórico acerca das primeiras incursões brasileiras na animação à vista do público, com suas transformações e distintos modos de atuação encontrados na atualidade. Na última parte do trabalho analisam-se os espetáculos O Incrível Ladrão de Calcinhas e O Princípio do Espanto, a fim de aprofundar o estudo sobre a atuação solo e a animação de bonecos à vista do público. Ambos os espetáculos escolhidos na programação do FITAFloripa apresentam as duas formas de atuação com diferenças que permitem refletir melhor sobre os temas. Os itens aprofundados acerca dos dois espetáculos são a atividade do solista, a animação à vista do público, a direção e a dramaturgia

Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 ROBERTO.pdf: 518630 bytes, checksum: fbfef8edee4d11a7fc02ede4ec399772 (MD5) Previous issue date: 2013-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research discusses the relashionship between body and objects in the Puppet Theatre. To think about these direct and tactile relashionships whith materials and objects, is to think about the act of animation. This act is more than simulation of life in one inanimated object, animation is also transformation. Body and object have their physical and metaphorical caracteristics changed when are in contact. The present research is about these changes and how they can happen. One question of this research is about how body and others materials works in tactile contact. The current research is based in texts where the proximity between body, objects, materials and space creates contact images. This contact, reveals qualities perceived only by touch, creating one space of tactile interactions between human body and other external materials. The concepts that are discussed in this text, emerges from this moment: the moment of interaction between body and object / A presente pesquisa tem como objetivo levantar questionamentos sobre as relações entre corpo e objeto no Teatro de Animação. Pensar nessa relação direta, tátil com os materiais, é pensar também que tal relação não se limita apenas ao ato de simular vida em um objeto inanimado. Corpo e objeto têm suas características físicas e metafóricas reelaboradas quando estão em contato e é refletindo sobre tais alterações e mudanças, que esta pesquisa se desdobra. Como o corpo e o objeto se modificam nesse diálogo tátil, é uma das questões presentes. Os questionamentos levantados sobre como corpo e objeto atuam na transformação um do outro, nessa pesquisa, se dão a partir de reflexões sobre textos que suscitam imagens onde o contato entre corpos, objetos, materiais e espaço é a matriz das relações. O contato entre corpo e objeto revela qualidades que a distância não podem ser percebidas e é desse momento, desse espaço de interações táteis entre corpo humano e outros materiais considerados externos, que emergem os conceitos discutidos

Made available in DSpace on 2016-12-08T16:51:59Z (GMT). No. of bitstreams: 1 114037.pdf: 2441864 bytes, checksum: b9e78a3d20e9a224a0d901ebb9cb39e0 (MD5) Previous issue date: 2013-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research focuses on the voice in Puppet Theater a term that embraces different kinds of performances, characterized by hybridity and the dynamics of the animate/inanimate present in Puppet Theater, Mask Theater, Shadow Puppetry, Visual Theater, etc. The voice is approached, in Puppet Theater, as a creator of presence and meaning, according to Hans Ulrich Gumbrecht s theory of presence production. I investigate how the voice can generate presence in relation to specific Puppet Theater poetics. The voice, in singular, refers to its essence as an oscillation between presence and meaning. However, since the voice unfolds itself in different cultural, poetic and historical contexts, actually the voice is plural in its several manifestations. By setting out the following problem, when voice is in Puppet Theater? , I seek to identify poetics that are also defined by its voice presence. Once identified such poetics, I seek to distinguish the voice s generating and constituting elements that establish it as presence and meaning, in relation to its poetics. During the investigation, I contemplate authors and artists that reflect about the use of voice in Puppet Theater and research their procedures, as well as those who treat it as a background to or even outlaw it from the scene. I survey the bibliography on the subject, bring examples from national and international performances seen in the last three years in Brazil, and use material drawn from interviews, seminars and courses realized in this period. Along this research, some recurring vocal procedures in Puppet Theater are individuated, and in some cases, these revealed themselves as specific to an art form characterized by the separation between the puppet-object and its sound source. During the investigation I came to realize that, although the Brazilian Puppet Theater quite often uses speech in its performances, there is significant absence of voice as I have defined above: voice as an oscillation between presence and meaning. Based on Adriana Cavarero s philosophical studies, which describe the de- vocalization process of a civilization centered in the logos (understood as reason), I realized that this process is mirrored by the Puppet Theater scene. The twentieth century emerges as a century in which performances are based on the sense of vision, promoted by a civilization centered on the image. The sense of vision has taken over all the other senses, promoting the de-vocalization of the logos, leading to a de-vocalization of the scene. The aim with this research is to - identify the vocal havens and to investigate the procedures that establish this oscillation between presence and meaning in Puppet Theater s voice, in relation to its poetics. This purpose is key to the re-vocalization in contemporary Brazilian Puppet Theater. / Esta pesquisa trata a voz no Teatro de Animação - termo que abraça diversas formas espetaculares híbridas centradas na dinâmica do animado/inanimado, como o teatro de bonecos, de máscaras, de sombras, visual, etc. A voz é abordada, no Teatro de Animação, como produtora de presença e sentido, conforme a teoria de produção de presença de Hans Ulrich Gumbrecht. Investigo como a voz gera presença numa relação com determinada poética no âmbito do Teatro de Animação. A voz no singular refere-se à sua essência como oscilação entre presença e sentido. Todavia, como a voz surge em diferentes contextos culturais e poéticos, ou seja, históricos, a voz na realidade é plural nas suas diversas manifestações. A partir da questão quando a voz é no Teatro de Animação? , procuro identificar poéticas que engendram o princípio pelo qual a voz é. Uma vez identificada a poética, busco distinguir os elementos que geram e constituem a voz, instaurando-a como presença e sentido, numa relação com a sua poética. Na investigação, contemplo autores e artistas que refletem sobre o uso da voz no teatro de animação e exploram seus procedimentos, assim como aqueles que a relegam a segundo plano ou mesmo a banem da cena. Faço um levantamento bibliográfico do assunto, recorro a exemplos de espetáculos nacionais e internacionais assistidos nos últimos três anos no Brasil e utilizo material colhido em entrevistas, seminários e cursos realizados nesse período. Durante a exposição desta pesquisa são individuados procedimentos recorrentes de uso da voz no Teatro de Animação que, em alguns casos, revelaram-se como específicos da linguagem cuja característica é a separação entre boneco-objeto e fonte sonora. Durante a investigação, constato que, embora a voz seja muito utilizada em cena no Teatro de Animação no Brasil, há uma significante ausência da voz como a defino acima: voz como oscilação entre presença e sentido. A partir dos estudos filosóficos de Adriana Cavarero, que descreve um processo de desvocalização numa civilização centrada no logos entendido como razão, chego à conclusão de que esse processo se espelha na cena do teatro de animação. O século XX desponta como um século cuja espetacularidade teatral é calcada na visão, reflexo de uma civilização centrada na imagem, em que o sentido da visão tem primazia sobre os outros sentidos, promovendo a desvocalização do logos, levando a uma desvocalização na cena. Tal conclusão faz com que o propósito da pesquisa - identificação dos redutos vocais e investigação dos procedimentos que instauram uma oscilação de presença e sentido na voz no Teatro de Animação, numa relação com as poéticas - seja fundamental para a revocalização da cena no Teatro de Animação contemporâneo no Brasil.

Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 Caroline.pdf: 3747586 bytes, checksum: fc28c84c05397cae209821f7cd5f5b9d (MD5) Previous issue date: 2008-12-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study is based on the understanding that the puppet theater has undergone intense changes during the twentieth century. In this context, the technique is occupying an important space in the puppeteer practice. It results in a number of reflections and knowledge relevant to the work of the interpreter. The focus of this research is study principles specifics to interpretation by means of object. It consisted to organize these principles by reference to the ideas of authors specialist in this art. This route has been illustrated by spectacles. After readings and reflections, it was organized in three points: the first deals with relevant issues to the relationship between the puppeteer and the object, the second point raises thoughts about the neutrality and the third deals with matters relating to the movement in the animation of the object / Este estudo se apóia na compreensão de que o teatro de animação sofreu intensas transformações no século XX. Nesse contexto, a técnica vem ocupando um importante espaço na prática do ator-animador, consolidando um conjunto de reflexões e saberes pertinentes ao trabalho desse intérprete. A pesquisa tem como foco o estudo dos princípios específicos à interpretação mediada pelo objeto, consistindo em organizá-los, tomando como referência as reflexões de autores especialistas nessa arte. Esse percurso investigativo foi enriquecido pelo diálogo com alguns espetáculos. Após as leituras e reflexões realizadas o material foi organizado em três eixos: o primeiro trata de questões pertinentes à relação entre o ator-animador e o objeto; o segundo eixo levanta reflexões sobre a neutralidade e o terceiro eixo trata de questões referentes ao movimento na animação do objeto

L’acteur est-t-il l’objet d’une nouvelle mise en cause radicale, un siècle après Maeterlinck, Jarry et Craig ? La discussion prend aujourd’hui une tournure inédite. Il ne s’agit plus d’écarter l’homme de la scène pour le remplacer par une marionnette idéale. Les acteurs artificiels, avatars, robots et autres doubles, semblent désormais pouvoir devenir autonomes. La question n’est pas seulement : qu’est-ce qui manque, lorsque l’acteur manque ? Mais aussi, qu’est-ce qui ne manque pas ? Pour étudier ce sujet, cette thèse s’appuie sur trois œuvres qui ont fait événement à l’orée du XXIe siècle : Les Aveugles de Denis Marleau, Stifters Dinge de Heiner Goebbels, et Re : Walden de Jean-François Peyret. Elle introduit la conjecture anthropologique d’une « disparition » de l’homme. Expression problématique, qui est à entendre de prime abord au sens d’un retrait ou d’une instrumentation de l’acteur, mais qui sous-tend en arrière-plan d’autres enjeux : brouillage des frontières entre vivant et artificiel, perte du lien au monde, déclin de l’humanisme, effondrement écologique. Si l’homme devait disparaître, c’est peut-être au théâtre qu’il résisterait le plus longtemps à sa disparition. Mais la proposition peut s’inverser : n’est-ce pas là qu’il ne cesse de s’effacer avec le plus d’ostentation, jouant depuis toujours avec les oppositions apparence / réalité, apparition / disparition ? La thèse explore ces problématiques, en s’intéressant aussi bien à la scénographie, à la dramaturgie, à la relation acteur spectateur, et aux nouvelles machines qui transfigurent le dispositif scénique en une anamorphose visuelle, sonore, éminemment troublante, de l’être humain en train de disparaître. / Is the actor thrown back into doubt again, one century after Maeterlinck, Craig and Jarry ? The topic happens to be brought up to date. But the purpose is no longer to get rid of the actor, so that he could be replaced by puppets. Artificial actors, like avatars, robots and other doubles, are likely to get their autonomy soon, on stage. The question is not only : what is missing, when the actor is missing ? But also, what is not missing ? This thesis is based upon three performances that stroke the minds on the first decade of the 21st century : Les Aveugles by Denis Marleau, Stifters Dinge by Heiner Goebbels, and Re :Walden by Jean-François Peyret. Our conjecture is about human disappearing on stage, with a special focus on anthropological aspects. The notion of « disappearing » means, at first sight, the withdrawing of actors, but we show that other deep challenges stand in the background : body instrumentation, interferences between life and artificial, disconnection to the phenomenal world, mankind decline and ecological disasters. If the human being is supposed to disappear soon, it’s probably on theatre stage that he will stand for a while. At the same time, isn’t it on stage that he has been playing for ever with appearing and disappearing, reality and illusion ? This thesis explores these problems, dealing with all the aspects : scenography, dramaturgy, actors and spectators, technology and new machines that are completely transforming the stage into a visual, sound, and highly confusing anamorphosis, by which the human being is involved in a vanishing process.

With this paper we intended to simplify deployment and management of monitoring agents for a Network Monitoring System. We found interest on the subject since the time consumed to deploy and manage agents was found to be very inefficient. During a lecture with the Swedish based company Op5 AB at the Linnaeus University in Kalmar, Sweden, we presented the complex of problem. The lecturer showed great interest in a solution on the subject and we found it to be a great thesis subject for the Bachelor degree in Computer Science. By the year of 2016 it is expected that the number of network connected devices will grow threefold, there will be four times as much IP traffic and the data storage demand will increase tenfold. [8] This growing demand will also affect the requirement on the Network Monitoring System and in turn the monitoring agents. In this paper we created a baseline, which consisted of a timing regarding the time consumption for manual deployment, configuration and management of the monitoring agents. We also developed an automated way for deployment, configuration and management of monitoring agents by integrating a Content Management Software called Puppet, combined with several scripts. To simplify the management and deployment furthermore a widget was developed for Op5’s Web based User Interface called Ninja. The developed solution was measured against the baseline and a result regarding time consumption was presented. The result fell into a discussion on the subject of automatization and the time savings that it may result in due to less frequent human errors and a less repetitive work processes.

Denna essä behandlar mitt masterprojekt "Oviss Väntan". Projektet resulterade i en videoinstallation bestående av animerade loopar som visades på två skärmar med hörlurar och en ljuddusch på Bildmuseet i Umeå, Sverige i maj 2021. Min uppsats börjar med en presentation av mig själv och min bakgrund som animatör. Jag beskriver min konstnärliga praktik, hur jag arbetar och vad jag har påverkats av. Detta följs av en presentation av själva projektet, där jag diskuterar viktiga delar av projektet, såsom teman och atmosfär, material, form och visualisering. Denna uppsats kommer att slutföras före utställningen på Bildmuseet. Därför kommer bilderna i uppsatsen att fokusera mer på processen och tillvägagångssättet än på det färdiga arbetet. Verket "Oviss väntan" bygger på en tanke om att alla fiktiva karaktärerfaktiskt existerar. Karaktärerna bor med varandra i ett hus där de väntar på att få användas. Filmen porträtterar detta hus, där karaktärerna är inhysta i de olika rummen. Genom animationens olika material och tekniker speglas deras väntan och önskan att göra sig redo för att komma ut i världen. Filmen förmedlar ett känsla av väntan men också av längtan. Jag tror att dessa teman har förstärkts av den rådande pandemin. En väntan som vi inte vet när den kommer att ta slut - om den ens slutar. Ett annat av mina teman är ensamhet. Denna ensamhet som kan finnas i en lägenhet även om endast väggar och golv skiljer oss från andra. Karaktärerna i filmen rör sig i loopar. Genom dessa loopar, tillsammans med musik, ljud och röster, rör sig filmen framåt. Rytmen och dess känsla skapar en form, och ett icke- narrativt berättande. En rörlig målning. / This thesis deals with my master’s degree project "Suspense" with the Swedish title “Oviss väntan". The project resulted in a video installation consisting of animated loops displayed on screens with headphones and a sound-shower at Bildmuseet in Umeå, Sweden in May 2021. My essay begins with a presentation of myself and my background as an animator. I describe my artistic practice, how I work and what I have been influenced by. This is followed by a presentation of the project itself, where I discuss important parts of the project, such as themes and atmosphere, materials, form and visualization. This essay will be completed before the exhibition at Bildmuseet. Therefore, the images in the essay will focus more on the process than on the finished work. "Suspense" is based on the idea that all fictional characters exist in real life. The characters live together in a fictional house where they are waiting to be used. The film portrays this house, where the characters are housed in the different rooms, with a variation in materials and animation techniques. The film conveys a mood of waiting but also of longing. I believe that these themes have been enhanced by the current pandemic. A suspense we do not know when it will end - if it even ends. Another of my themes is loneliness. This loneliness that can exist in an apartment even though only walls and floors separates us from others. The characters in the film will move in loops. Through these loops, along with music, sounds and voices, the film moves forward. The rhythm and its feeling will create a form, with a non-narrative structure. A moving painting.