Synopsis This thesis is focused on the rights, which accompany the performer. Does not aim to focus on the details of individual institutions, but rather to organize informations about the rights attaching to the performer and artistic performance. In four chapters the author tries to depict these rights since their inception, since the creation of an artistic performance to the moment when the performance become a part of public domain, as well as the right to the these free artistic performances. The first chapter is an introduction to the subject, defines the legal concepts - an author, performer, author's work, artistic performance etc. and also covers the concept non- legal - art, in spite of its abstractness, to author of this thesis seems to be crucial in the legal definition of a performer. The second chapter deals with the own performer's rights, property and personality rights and their duration. In the third chapter the autor drala with legal representation of performers by common agent, who represents performers when dealing with the rights to jointly created performance. Furthermore, in the sekond part of this chapter focuses on a different type of legal representation: mandatáry manager collective rights and collective management in general. The last, fourth chapter describes the use of...

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Este estudo tem como objetivo mostrar como Nietzsche, ao engendrar a sua metafísica do artista, realiza uma crítica à cultura moderna alemã. Para isto, realizaremos uma genealogia do conceito de descarga (Entladung), no qual Nietzsche caracteriza sua noção de trágico. Inicialmente, mostraremos que nas conferências O Drama Musical Grego e Sócrates e a Tragédia a noção de trágico em Nietzsche se apresenta no termo êxtase (ecstase). Esta concepção muda com o amadurecimento conceitual da metafísica do artista de Nietzsche a partir do distanciamento do pensamento de Schopenhauer. Assim, em A Visão Dionisíaca do Mundo, o termo Entladung já é empregado, no lugar da noção ecstase. Por sua vez, em O Nascimento da Tragédia, o jovem filólogo associa o termo Entladung ao conceito de Uno Primordial, apresentando de maneira mais acabada sua metafísica. Neste percurso genealógico, pretendemos mostrar que o desenvolvimento da metafísica do artista está atrelado a uma crítica à cultura moderna alemã através de uma associação de sua concepção de trágico ao conceito de catarse (katharsis) aristotélico. / This study aims to show how Nietzsche, engendering his metaphysics of the artist, performs a critique of modern German culture. For this purpose, we will execute a genealogy of the concept of discharge (Entladung), in which Nietzsche characterizes his tragic notion. Initially, we will show that in the conferences \"The Greek Music Drama\" and \"Socrates and Tragedy\" the tragic notion in Nietzsche is presented in the term ecstasy (ecstase). This notion changes with the conceptual maturity of Nietzsches metaphysics of the artist due to his distancing from Schopenhauer\'s thought. Thus, in \"Dionysian Vision of the World\" the term Entladung is already employed replacing the notion of ecstase. In turn, in \"The Birth of Tragedy,\" the young philologist associates the term Entladung to the concept of Primordial One, presenting his metaphysics in a most complete way. In this genealogical journey, we intend to show that the development of the metaphysics of the artist is linked to a critique of modern German culture through a combination of his tragic notion with the concept of Aristotelian catharsis (katharsis).

Sedan Floréns studie om talangscouter 2010 har musikbranschen utvecklats enormt. Då det blivit enklare för oetablerade artister att bedriva sitt artisteri själva över internet utan hjälp av skivbolag har olika medieplattformar upplevt en övermättnad av ’talanger’ inom musik. Denna uppsats visar på i jämförelse med Floréns avhandling hur talangscouternas arbetsroller, eller A&R:s som de kallas inom musikbranschen, ser ut idag och har utvecklats under åren med fokus på fyra kärnaktiviteter hos skivbolagen: Identifiering av talang, inspelning av musik, marknadsföring av musik och artister samt distribution av de fonografiska verken. Med djupintervjuer som metod syftar studien att undersöka talangscouternas personliga medverkan inom dessa aktiviteter och dessutom peka på skillnader i tillvägagångssätt. Även om studien har visat på många likheter har utvecklingen av medieplattformar inte bara har gett dem många nya sätt att upptäcka talang på utan även möjligheten att själva ta större del inom flera av kärnaktiviteterna. Många A&R:s ansvarar även för marknadsföringen av artister själva och distribution av musik är ingenting som man måste förlita sig på de stora skivbolagen för längre.

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Conceive, design, produce, and exhibit a complete video art project that brings together skills and concepts I have learned in my critical studies and studio practice courses.

In a society focused on the individual, how is community formed? As individuals predisposed to the built-in barrier of our body, our skin, how do we mediate between the self and the external? During this mediation on the barriers between our body, ourselves, and the outside world, how is consciousness simultaneously conflicted and built upon? What does it mean to be alive, to be a complex individual surrounded by a multitude of complex individuals? Can we, as a society, learn to focus balance the community and the individual? ONLY WE CAN PULL attempts to answer these questions through a series of first-person singular “I” poems, first-person plural “we” poems, and a range of second- and third-person poems interspersed throughout. The poems in this collection show language as a transformative force, able to shape consciousness, depending on the lens and distance through which one views a person, experience, or moment. In the hopes, ONLY WE CAN PULL is a sample-sized collage foregrounding the multiple, fragile paths that lead to the deceptively simple four-letter word “life.”

Discussion of the artist statement and critique.

The thesis describes the development during the 1990s of visual artists' utilisation of computer-based interactive multimedia and the production internationally, with a focus on Australian artists, of artworks on the CD-ROM media format. Earlier parts of the author's research led to the exhibition, 'Burning the Interface &lt International Artists' CD-ROM&gt', which he co-curated, opening at the Museum of Contemporary Art, Sydney, in 1996, before touring to Perth, Brisbane, Melbourne and Adelaide. The thesis surveys the range of practice by artists working with digital media and the opportunities for exhibition in the public spaces of museums, galleries and the street, and advances scenarios for correcting the laxity of response by the exhibiting institutions to the vigour with which Australian artists represented their work and ideas at this time in national and international forums. Four published artists' work on CDROM are analysed in detail, and a concluding chapter about 'interactive multimedia' and its usefulness as an art medium to the artist introduces the studio practice component of this MFA submission. This takes the form of a prototype 'experimental' version of an interactive multimedia work on CD-ROM, ('Strangers on the Land') a copy of which is contained in a pocket at the rear of the bound version.

Where do we go from here? is a video installation by Atlanta-based artist James O’Donnell that attempts to provoke others into similar contemplation of that existential question through an immersive video and audio installation exploring the self through references to the internal and external; past and future; and connection and disconnection.