A pesquisa "Interface: a projeção como membrana semipermeável" aborda um processo de criação artística que teve origem no início do ano de 2011. Os trabalhos, pensados inicialmente como vídeos, pelos quais foi experimentado romper com a estrutura narrativa do cinema tradicional, foram modificando-se no decorrer da pesquisa, desse modo, abrangendo o olhar sobre a instalação que continha o vídeo e a projeção. Passou-se, então, a explorar diferentes situações de apresentação espacial nas instalações propostas, muitas vezes, utilizando recursos computacionais de modelagem projetiva como suavização das áreas de projeção, delimitação da abrangência projetiva e inserção de múltiplos vídeos, bem como experimentou-se com interferências nas projeções. Para refletir sobre os trabalhos desenvolvidos, partiu-se de alguns artistas e autores que discutem o espaço de exposição e como o observador relaciona-se com ele, como Thommas Zummer, Andre Parente, Malcom Le Grice e Philippe Dubois. Mediante os conceitos de projeção, interface e membrana – abordados sob diferentes perspectivas do conhecimento – considerou-se o espaço de instalação em uma relação multidirecional entre o observador e o espaço de exposição. / The research, "Interface: projection as semipermeable membrane", approaches a process of artistic creation that originated in the beginning of 2011. The works, initially thought as videos, by which it was tried to break with the narrative structure of traditional cinema, were modified in the course of the research, thus covering the view on the installation that contained the video and the projection. Then proceeded to explore different spatial presentation situations in the proposed installations, often using computational resources of projective modeling such as smoothing projection areas, delimiting the projective range and inserting multiple videos, as well as experimenting with interferences projections. In order to reflect on the work developed, it was used some artists and authors who discuss the exhibition space and how the observer relates to him, such as Thommas Zummer, Andre Parente, Malcolm Le Grice and Philippe Dubois. Through the concepts of projection, interface and membrane - approached from different perspectives of knowledge - the installation space was considered in a multidirectional relation between the observer and the exhibition space.

Esta dissertação se limita a registros de experiências e relatos documentais para evidenciar como as novas tecnologias alteram a prática religiosa, e refletir sobre a ressignificação de imagens sagradas do candomblé quando transitam entre meios audiovisuais e seus processos. A pesquisa objetiva seguir por trajetórias de registros do corpo humano em transe por diferentes dispositivos em diversos meios eletrônicos, para reuni-los em uma exposição de fotografias, vídeo e documentário expandido em múltiplas telas e diversos espaços dentro de uma série de instalações. O estudo amplia fronteiras entre o registro documental do evento religioso e sua reconstrução dentro do espaço expositivo, criando teias de relações entre as linguagens do cinema, fotografia, artes visuais e antropologia em espaços arquitetônicos complexos para potencializar uma experiência imersiva e sensorial. / This dissertation focuses on documentary records of experiences and interviews to examine how new technologies are changing religious practices, and how sacred images in the African-Brazilian religion of candomblé are being re-signified in transit between different eletronic and digital media. The research aims to chart the visual documentation of the human body in trance, generated by a wide variety of different devices, as it journeys through different media. The result of this study will generate an exhibition in which photography, video and documentary film will roam freely over multiple screens and various spaces within a particular venue. The study wishes to expand the boundaries between the documentation of a religious event and its reconstruction within the exhibition space, exploring multi-tiered relationships between cinema, photography, visual arts and anthropology in complex environments, in order to maximize the potential of an immersive, sensory experience.

Cette thèse explore comment l’art actuel, plus spécifiquement vidéo, permet d’interroger le rapport entre corps et images. Un lien étroit les unit aujourd’hui ; l’art vidéo, fruit de ce temps postmoderne, paraît assez adapté à son exploration. Tout d’abord, les modalités d’influence de l’image sont déclinées. Quatre sources appuient l’élaboration d’hypothèses : les théories psychanalytiques et phénoménologiques, des faits de société, des productions artistiques (provenant aussi bien d’artistes confirmés que de notre propre pratique) et les théories de l’image (histoire de l’art et esthétique). Une série de conclusions en ont été déduites : l'Homme actuel semble peuplé d’images ; celles-ci participent à la structuration de la perception, concurrencent les souvenirs et concourent à la détermination des formes de l’élaboration mentale. De ce fait, l’image définit significativement le corps postmoderne. Mais plusieurs rapports aux images restent possibles : l’utilisation, l’interaction, l’expérimentation. Ensuite, par le potentiel oscillatoire de l’art vidéo, l’interdépendance corps/image est approfondie. La partie II met en regard corps sensible et corps représenté à travers les traces fluctuantes du référent dans la représentation vidéo – par les couples apparition/disparition, surface/épaisseur, sens/non-sens – afin d’explorer le corps rêvé, vécu et le rapport au corps représenté. La partie III montre le jeu entre la liaison et la déliaison du corps représenté avec le décor – porté par l’incrustation, le remontage et la composition vidéo. Cela permet d’aborder le positionnement et l’articulation, du corps et de sa représentation, aux images. Cette approche désigne également ce qui dans le corps représenté fait corps et ce qui dans son articulation au décor fait obstacle : le corps désirant. / This thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body.

Topics fragmentary , symbolism and memory are the basic elements of creation and thinking Adele Sobotková (1987 ) . In her installation made of clay and covered with a udusaných objects together with the soil can walk, touch , read, intervene . This raises a cryptographic magical space full of mysterious objects in the video that represent clusters of personal hieroglyphic symbols and structures without the possibility of accurate decryption. These enigmatic characters are like glass or water , are changing , floating landscapes and refer to feelings of uncertainty, and forgetting the past, which is not entirely clear - is revealed as a mirage . Hologram is a representation of reality or reality that no longer exists but in time, or never existed , dream hi - technology , the current symbol of immortality, infinite and preservation in time. " Holographic hieroglyph " is a fluid phenomenon with varying meanings depending on its reading , the transcript or constant metaphor memories and the zpřítomňování hand in hand zpřítomňování a revival oblivion . Unclear character that has certainly not decipher , and yet we have it all in front of him , we see him from all sides , but also through him is the present and yet unreal . Great recording of uncertainty. (press release of the exhibition Holographic Hieroglyph in the Youth Gallery in Brno)

Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle. / Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art.

Ritual is a notion that the art world has increasingly reclaimed. From critical writing that zealously identifies rituals to artists who qualify their work as ritualistic, the notion circulates, poking at the boundaries of art practice. The pattern raises critical questions for art history: does it vanish the distinction between art and social practices, casting art's separation from ritual as a passing historical phase? What are the distinctions in the first place between representing and producing a ritual? These concerns come to the fore with moving images, given that ritual has long been at the heart of ethnographic film, while the very act of filming is becoming central to a growing number of social customs. Addressing these relationships, this thesis focuses on video work since the late 1990s. The thematic research moves through three case studies: series of works by Mike Kelley, Pierre Huyghe, Ryan Trecartin and Lizzie Fitch, while keeping a comparative view towards other observers and producers of ritual in premodern painting, ethnographic filmmaking, post-internet practices, mainstream cinema, and homemade videos. Among the most influential artists at the turn of this century, Kelley, Huyghe, Trecartin and Fitch share the singular practice of restaging, for and through film, the rituals that surround them, from high school hazing and carnivals to coronations, corporate team-building, Halloween, Valentine and May Days, suburban street fairs, birthdays, and the new observances of social media. Through close study of the artworks and of moving image tropes that shape social imaginaries, the thesis suggests that these artists produce new insights into contemporary human behaviour. While art and ritual tend to be tackled as coded objects to be deciphered, holding condensed information about the societies to which they point, anthropological theory that considers ritual for what it does (rather than what it symbolises) invites us to examine them instead as practices where portions of social reality are produced - formalised and reinvented.

Genom spatial närvaro i en experimentell medieteknisk filminstallation siktar arbetet på att ge kännedom om det naturliga fenomenet sömnparalys (SP). Det här görs genom en medieteknisk undersökning som blandar mytologi, som tros ha uppstått på grund utav SP, med verkliga fakta om SP. Arbetet resulterade i en animerad film i 3D som presenterades i en filminstallation. Upplevelsen av installationen ska simulera hur det känns att drabbas av fenomenet. Tanken är att deltagarna ska kunna identifiera SP i deras dåtid och framtid och få veta att det är en naturlig process och ej är farligt. Arbetet togs fram genom designperspektiven x for change och edutainment som låg till grund för filminstallationen. / Through immersion in an experimental media technological video installation this work aims to give awareness of the natural phenomenon sleep paralysis (SP). This was done through a research in media technologies that mixes mythology, that is believed to be based on SP, with real facts about SP. The work resulted in a 3D animated movie that was presented in a video installation. The experience is supposed to simulate how it feels to be affected by the phenomenon. The idea was that the participant will be able to identify SP in their past and future and to know that it is a natural process that is not dangerous. The work was done through the design perspectives x for change and edutainment that was the foundation for the video installation.

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This PhD “Film by Practice” sets out to question and explore the nature of film poetry. The poetry of the cinematic image is described by the filmmaker Jean Epstein as the “unveiling of the magic inherent in the visual object beyond the capacity of words to define” (Epstein, cited in Sitney, 1978: xxiii). This is a daunting task that the study interprets through the moving image with particular reference to the magical temporal art of trance possession, which is processed within the genre of experimental ethnographic documentary and intercultural film. This thesis is an experiment in form, taking the filmmaker Maya Deren’s notion of film as comprising of “narrative horizontals” and “poetic verticals” (Deren and Sitney, 1971: 178) explored through a practical investigation of movement and time in space both beyond and within the film frame, studied through the art installations Divine Horsemen (2005) and People Inbetween (2007). It is focused through a reading of Gilles Deleuze’s Bergsonian philosophies of cinema as “movement-images” and “time-images” (Deleuze, 1989: xvi, xvii), exhibited as multi-screened video art installations that evolve within the space and hence exist in a perpetual state of “becoming”. Whether this is the sounds and images that change depending on where they are viewed, or the narrative theme of the works as “becoming other”. The themes of “in-betweenness” and the “mix” are investigated through these two video documentary artworks; first, by a third party restaging/remixing of the experimental ethnographic footage of Haitian Voodoo trance possession shot by Maya Deren, unfinished and posthumously released as Divine Horsemen the Voodoo Gods of Haiti (1985); and second, diaspora and the intercultural are explored through the first person personal. Intercultural documentary and experimental ethnography filtered through me with specific reference to my own triangular ethnicity, being British, Sri Lankan, though classified as Dutch Burgher, a “lost white tribe” (Orizio, 2000: 2): a journey into racial “becoming” as an “in-between” belonging to a diasporic community.

Pour respecter les droits d'auteur, la version électronique de ce mémoire à été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Dans l’ensemble de ses œuvres, l'artiste canadien David Rokeby cherche à comprendre l’impact des images numériques de surveillance et de leurs divers dispositifs d’enregistrement et de diffusion sur le spectateur. Comment ces images peuvent-elles modifier notre perception de l'espace et, surtout, changer notre configuration du temps? Ce questionnement est le point de départ de notre étude de Seen, une installation visuelle de David Rokeby, exposée pour la première fois à la 8e exposition internationale d’architecture de la Biennale de Venise en 2002 et également présentée au Musée des beaux-arts de Montréal en 2007. Seen met en place un dispositif de surveillance électronique qui semble capter, en temps réel, les passants de la Place San Marco à Venise. Toutefois, ces images ne reflètent pas exactement le moment présent : elles sont traitées, en temps réel, par un programme informatique qui sépare les éléments immobiles des éléments mobiles, les corps en mouvement de l’architecture, et conserve les traces du mouvement. Nous sommes alors menés aux hypothèses suivantes : l’usage d’un tel dispositif de surveillance ne constitue-t-il pas une réflexion sur le passage du temps ? Cette description temporelle d’un lieu ne serait- elle pas une façon détournée d’archiver notre mémoire collective? Il s'agit donc d'examiner comment, en observant l’espace public, l’artiste propose une nouvelle lecture de notre histoire, bâtie non pas autour de l’archivage de ses monuments, mais autour de l’expérience humaine et temporelle. / Throughout his work, Canadian artist David Rokeby seeks to understand how digital surveillance images, and their various modes of recording and transmitting, impact the viewer. How can these images alter our perception of space and, more specifically, change our configuration of time? This question serves as the starting point to our study of Seen, a visual installation shown for the first time in 2002 at the 8th International Architecture Exhibition of the Venice Biennial and later presented at the Montreal Museum of Fine Arts in 2007. Seen is an electronic surveillance installation, which appears to record, in real-time, the pedestrians’ movements through Piazza San Marco in Venice. In truth, these filmed images do not reflect the present moment per se, but are treated in real-time by a computer program which separates the motionless from the mobile; the moving bodies from the architecture, and saves only brief moments or traces of movement. This raises the following questions: Can the use of such a surveillance device be understood as comment on the passage of time? Can this temporal description of a place constitute an alternative means to preserving our collective memory? In the course of our research, we shall examine how, by observing a public space, the artist suggests a new reading of history, built not around the archiving of its monuments, but around human and temporal experiences.