This diploma thesis Insight brings philosophical reflection on photographic media in the form of installation with video-projection in space. Issues over problems of photographic media (locked doubles, stopped time, framed imprint of reality, real raw depiction) are opening by using story about creation of picture of a rabbit on the moon in the style of open metaphors in a white room. Through this myth photographic medium gets the concrete form - in the form of symbolic environment with objets and signs. The whole work is free personification of photograph in whose inside the audience may find themselves.

Breeze: A Meditation into Movement addresses motion-centered thesis works, the titular work Breeze, Ripple, and Small Things. It examines artistic approaches to employ movement, such as materiality, the use of algorithms, and video projection. Under the same subject matter 'wind', these three works demonstrate the infinite and ever-changing movements that are created by wind. Breeze, a kinetic sculpture, introduces materiality and physical wind to create erratic movement and projected real-time animations, Ripple and Small Things use a set of algorithms and live data for nature-inspired movement and scene transition. By creating unobtrusive motion that permeates the real space, these three works aim to share time and space and deliver a contemplative experience to the viewers. / Master of Fine Arts / Breeze: A Meditation into Movement addresses motion-centered thesis works, the titular work Breeze, Ripple, and Small Things. It examines artistic approaches to employ movement, such as materiality, the use of algorithms, and video projection. Under the same subject matter 'wind', these three works demonstrate the infinite and ever-changing movements that are created by wind. Breeze, a kinetic sculpture, introduces materiality and physical wind to create erratic movement and projected real-time animations, Ripple and Small Things use a set of algorithms and live data for nature-inspired movement and scene transition. By creating unobtrusive motion that permeates the real space, these three works aim to share time and space and deliver a contemplative experience to the viewers.

This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.

Made available in DSpace on 2016-03-15T19:42:09Z (GMT). No. of bitstreams: 1 Ricardo Botini Salgado.pdf: 5669621 bytes, checksum: 364b6a478c13153eb594420ba1504a56 (MD5) Previous issue date: 2011-08-12 / Fundo Mackenzie de Pesquisa / The proposition of this paper is to investigate the use of light and image projection as urban art intervention. A guide to the evolution of projective devices and techniques is presented at the beginning. Given that the focus of this study is on projections in urban environment, aesthetic proposals that explore non-institutional spaces are appointed as places for artistic action. A selection of well-known artists works is presented as an instance of the results obtained through the use of light and image projection in urban environment. Practical experiments obtained by means of intervention acts using digital projection, performed in São Paulo City, are presented in the end / A proposta deste trabalho de pesquisa é investigar a utilização de projeção de luz e de imagens como intervenção artística urbana. Inicialmente é realizado um roteiro da evolução de dispositivos e técnicas projetivas. Como o foco da pesquisa está nas projeções no ambiente urbano, são apontadas propostas estéticas que exploram os espaços não-institucionais como locais de ação artística. Uma seleção de obras de artistas reconhecidos é apresentada para ilustrar os resultados obtidos pelo uso de projeção de luz e de imagens em ambiente urbano. Por fim, são colocadas experiências práticas obtidas com ações de intervenção com projetores digitais na cidade de São Paulo

Implementation of a comprehensive set of forms that visualizes the physical existence originally immaterial artifacts.

The diploma thesis entitled Transparency of Voice and Light presents an audiovisual installation, the theme of which is individual reflection of the environment through the creation of fictional stories. In his work, the author also deals with the possibility of overlaps with own previous works and with the creation of a thematic interconnection. The installation links a set of subjective fictional narratives. The installation is scenographic in nature and represents a platform for telling personal statements and ideas.

La Dynamique de la Persistance Identitaire se veut, à travers l'autoportrait plastique, une analyse des notions du moi et du surmoi. L'autoportrait soulève pour la majorité des artistes, des plus anciens aux plus novateurs, la question de l'identité à travers l'apparence, le caractère, mais aussi des origines sociales et culturelles et son exacerbation amène à un narcissisme qui fut le moteur de l'activité de nombreux maîtres parmi les plus illustres. Se remémorer certaines périodes de la vie, des souvenirs heureux ou malheureux de situations vécues, conduit à l'introspection, où le temps est une notion majeure artistique et nécessaire à la structuration psychologique d'un individu. De nombreux artistes se sont penchés sur leur image en employant de nombreuses techniques plastiques traditionnelles et, depuis peu, expérimentales (expériences tridimensionnelles). Ces représentations, à l'aide des nouveaux outils informatiques accessibles à tous, sont désormais modifiables à volonté, apportant un choix illimité d'altérations réversibles en mode uniquement virtuel. Dans un travail initial (Evolution Identitaire) ce dessein interroge l'autoportrait de l'auteur à l'aide de dessins unicolores éclairés de rehauts de blancs ou chaque visage apparaît trait par trait pour constituer l'individu. La Dynamique de la Persistance Identitaire remet en question ces trente et un visages représentés le plus objectivement possible pour dévier de l'image réelle à l'image rêvée, par la technique du Makeover, très utilisé sur internet et donnant ainsi une possibilité de reconquête de l'identité, à la recherche d'une esthétique optimisée, adaptée au choix de l'artiste: deux cent dix-sept dessins, toutes réalisations confondues, sont ainsi conçus. Cet ensemble est diffusé à travers une exposition et une vidéo et il est adaptable à plusieurs espaces sous trois formes complémentaires :une double frise chronologique en parallèle d'autoportraits format A4 sur un papier légèrement teinté où sont confrontées représentations objectives et subjectives des formes suivant les critères des lois de la Gestalt. une vidéo projection ou les visages se dévoilent progressivement, donnant ainsi naissance à une technique dite "dessin évolutif', proche de l'animation, et donnant vie à l'individu avec le morphing en étape ultime qui dévoile avec fluidité un nouveau visage rectifié selon les désirs de l'auteur, une longue frise chronologique format A2 blanc où l'image vécue est couplée et confronté à l'image idéalisée, sur une même représentation, par deux couleurs différentes pour signifier les corrections accomplies. Cette recherche devrait être complétée, dans l'avenir, toujours avec pour moteur la recherche de réalisations d'autoportraits tridimensionnels, à l'aide de technologies pointues, telles anamorphoses et imprimante 3D. / Dynamics of identity Persistence wants, through the plastic self-portrait, an analysis of the concepts of ego and superego. Self Portrait raises for the majority of artists, from the oldest to the most innovative, the question of identity through the appearance, character, but also social and cultural origins and exacerbation leads to a narcissism that was the engine the activity of man y of Art masters. Remember certain periods of life, happy or unhappy memories of life situations, leads to introspection, where time is a necessary artistic and psychological structuring an individual major concept. Many artists have focused on their image using many traditional engineering plastics and, more recently, experimental (three-dimensional experiments). These representations using new tools accessible to all are now modified at will, bringing unlimited choice reversible alterations only virtual mode. In initial work (Identity Evolution) this design questions the portrait of the author with one colored drawings illuminated highlights of each face appears white or line by line to form the individual. Dynamics of identity Persistence puts into these thirty questions and faces presented as objectively as possible to deviate from the actual image to the perfect picture, the technique Makeover, widely used on the Internet and giving an opportunity to reconquer identity, the search for an aesthetic optimized, adapted to the choice of the artist: two hundred and seventeen drawings, ail outputs combined, are well designed. This package is distributed through an exhibition and a video that is adaptable to many spaces in three complementary ways:-A double timeline of self-portraits in parallel on A4 paper with a lightly tinted face objective and subjective representations of forms depending on the requirements of Gestalt's laws. -A video projection where faces are gradually revealed, giving rise to " evolutionary drawing " , close to the animation technique, and giving life to the individual with the morphing ultimate step reveals a new face smoothly corrected according to the wishes of the author. -A long white frieze chronological format A2 where the image is coupled lived and confronted with the idealized image, on the same representation by two different colors to signify the completed corrections. This research should be completed in the future, always with engine research achievements of three-dimensional self-portraits, with pointed and such anamorphic 30 printer technologies.

(Not) Drawing The Line: Technology Re-examined is the culmination of interdisciplinary research exploring the nature of materiality and process in the fields of art, science, and technology. Exploration and experimentation in these diverse disciplines have helped to illuminate many of the ideas and concepts that have guided the overall research process. These explorations have also honed the ability to critically examine how technology is perceived and represented, post-internet.   This document illustrates the processes involved in the conception and creation of a body of work manifested through visual and technological problem solving, investigative research of materials and technologies, and the fundamental concerns of art, technology, form and pattern. These empirical areas of research are punctuated by literary texts on the philosophy of art and technology that have informed many of the visual comparisons represented. This body of evidence is an exploration of the idea that the evolution of technological developments can often be attributed to the creation of art through the heuristic experimentation and visual explorations of the artist. / Master of Fine Arts / (Not) Drawing The Line: Technology Re-examined is the result of exploration and research in the areas of studio art, science, and technology. Many of the ideas and concepts presented in this documentation are a result of curiosity-driven research which uses materials and processes to help form connections across disciplines. In most examples, the materials used are common or familiar items such as the #2 pencil, reflective surfaces such as a mirror, or clay used for ceramics. The intention behind the work documented in this thesis is to help the viewer look at these everyday materials in a different way than their common use suggests through visual comparisons and wordplay. Its goal is to suggest that a new use or discovery may be presented in common materials and that solutions to complicated problems could be found right under our noses, so to speak. at its core, it is a commentary on technology, its uses, and perceptions during our current, post-internet place in history