Les formes d'aparellament i els episodis de contagi entre la pràctica artística i l'audiovisual i el multimèdia en el context de canvi de la societat cultural dels darrers trenta anys són els objectius d'aquesta tesi. La seva gènesi es troba en la formalització hipermèdia (textos, imatges, sons i vídeos) d'aquesta i en la voluntat d'articular, organitzar i regular el marc referencial i metodològic, així com el corpus epistemològic, de manera ramificada.Sota una ordenació sincrònica i interactiva dels procediments d'interrogar-se pel què (detecció), de veure on i què ha suposat (anàlisi) i de conèixer com i de quina manera (descripció), s'extreu una valoració del conjunt complex de les aportacions fetes per l'art a la comunicació.Les etzibades, sense estrèpits, en l'estructura rígida de la comunicació encoratjades per l'art; les conseqüències de l'exercici d'un sentit crític envers la mediació i d'una conscienciació de l'ecologia dels mitjans; les influències en la renovació de la percepció d'espai i de temps mediàtic, formen part del plec de conclusions. La contribució de l'art a l'aparició de noves tipologies de l'expressió audiovisual i multimèdia; la inferència d'elements provinents de l'art en la configuració d'una sensibilitat post en la comunicació actual són descrits en aquesta tesi no lineal (versió original hipermèdia) que ara teniu a l'abast en forma lineal (versió textual en PDF). / Las formas de aparejamiento y los episodios de contagio entre la práctica artística y el audiovisual y el multimedia en el contexto de cambio de la sociedad cultural de los últimos treinta años son los objetivos de esta tesis. Su génesis se encuentra en la formalización hipermedia (textos, imágenes, sonidos y vídeos) de la misma y en la volundad de articular, organizar y regular el marco referencial y metodológico, así como el corpus epistemológico, de manera ramificada.Bajo una ordenación sincrónica e interactiva de los procedimientos de interrogarse por el qué (detección), de ver dónde y qué ha supuesto (análisis) y de conocer cómo y de qué manera (descripción), se extrae una valoración del conjunto complejo de las aportaciones realizadas por el arte a la comunicación.Los golpes, sin estrépitos, en la estructura rígida de la comunicación, alentados por el arte; las consecuencias del ejercicio de un sentido crítico para con la mediación y de una concienciación de la ecología de los medios; las influencias en la renovación de la percepción de espacio y de tiempo mediático, forman parte del conjunto de conclusiones. La contribución del arte a la aparición de nuevas tipologías de la expresión audiovisual y multimedia; la inferencia de elementos procedentes del arte en la configuración de una sensibilidad post en la comunicación actual son descritos en esta tesis no lineal (versión original hipermedia) que ahora tienen a su alcance en forma lineal (versión textual en PDF). / "From artistic practice to audiovisual and multimedia communication"The mating of forms and episodes of contagion between artistic practice and audiovisual and multimedia in the context of change in the society of culture over the last thirty years are the subject of this dissertation. Its genesis lies in the hypermedia formalization (texts, images, sounds, and videos) of the latter and in the desire to give structure, organization and rules to the referential and methodological framework, as well as the epistemological corpus, in a ramified fashion.Under a synchronic, interactive ordering of procedures of asking about what (detection), seeing where and what it has involved (analysis), and learning how and in what way (description), we extract an assessment of the complex set of contributions made by art to communication.The blows, noiseless, to the rigid structures of communication, encouraged by art; the consequences of the exercise of a critical sense toward mediation and of an increased awareness of the ecology of the media; the influences on the renewal of the perception of media space and time make up part of the set of conclusions. Art's contribution to the appearance of new typologies of audiovisual and multimedia expression; the effect of elements originating in art on the shape of a post sensibility in present-day communication are described in this non-linear dissertation (original hypermedia version), now available in linear form (PDF text version).

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980 pelo canal Antenne 2. Esta dissertação tem como objetivo contextualizar essa fase da obra godardiana em parceria com Miéville, indicando procedimentos internos à produção dessa série que cristalizaram o processo de experimentação iniciado por Godard em trabalhos antecedentes (sobretudo nas produções com o Grupo Dziga Vertov, assim como na série Six fois deux: sur et sous la communication, de 1976) e que desaguaram na sua produção posterior em vídeo, particularmente Histoire(s) du Cinéma (1989). Este trabalho é dividido em dois capítulos: Tour e Détour. O primeiro situa historicamente a produção da série, contextualizando o diálogo que ela estabelece com videoartistas contemporâneos a Godard e Miéville que, desde o final da década de 1960, viam a televisão como um lugar passível de ser povoado pela arte. O segundo capítulo, Détour, parte da noção de desvio e busca investigar como ela se materializa na construção formal da série. Nesse sentido, o texto incorpora a própria noção de desvio a fim de propor uma análise da obra que privilegia alguns de seus elementos: o quadro, a margem, a manifestação do feminino, o uso do slow motion, os gestos e o rosto. A conclusão aponta para o esquecimento ao qual France/tour/détour/deux/enfants foi submetida como um exemplo da tendência televisiva em anular toda e qualquer tentativa de criação de caráter experimental e crítico realizada em seu seio, seja fadando-as à desaparição, seja relegando-as a um estado de exceção. / France/tour/détour/deux/enfants is a TV show in 12 episodes produced by Jean-Luc Godard and Anne-Marie Miéville for the French television in 1979. The series was broadcast in April 1980, by the channel Antenne 2. This dissertation is aimed at contextualizing this period of Godards work in partnership with Miéville, and indicating internal procedures of this series which crystallized the experimental process initiated by Godard in his early works (especially with the Dziga Vertov Group, as well as in the previous TV series Six fois deux, sur et sous la communication, 1976), and which would lead to his later video production, particularly Histoire(s) du Cinéma (1989). This work is divided into two chapters: Tour and Détour. The first chapter historically situates the production years of the series and contextualizes the dialogue it establishes with video-artists from those years, who started to see television as a place that could be occupied by art. The second chapter takes the concept of detour as its starting point and proposes an analysis on how one can see this notion in the formal construction of the series. In this sense, I incorporated the very notion of detour in order to propose an analysis that would favor some of the works elements: the frame, the margin, the manifestation of the feminine, the use of slow motion, the gestures and the face. The conclusion indicates how France/tour/detour/deux/enfants was forsaken as an example of the television trend to override any attempt of experimental and critical creation conducted from within, whether condemning it to disappearance, or relegating it to a state of exception.

A acolhida que as imagens eletrônicas e sintéticas vêm recebendo por parte da crítica é reveladora de um novo otimismo tecnológico e abre espaço para a discussão sobre as conseqüências das novas tecnologias sobre a sociedade. Fala-se, em relação a estas imagens, de um novo regime de visibilidade e de um novo imaginário – numérico – que transgride nossos códigos perceptivos e cognitivos e nossa relação simbólica com o mundo. Contudo, a desvinculação destes sistemas imagéticos de qualquer prática social mais ampla e da produção imagética que as antecedeu – especialmente a pintura, a fotografia e o cinema – é ilusória. Em muitos casos, os elementos apontados como marcas de ruptura são muito mais a potencialização de questões já presentes na história da arte do que a constituição de um novo sistema representativo. A potencialidade aberta por estes novos processos de enunciação da imagem deve, portanto, ser pensada a partir de uma perspectiva mais longa, inserida na lógica cultural do Capitalismo contemporâneo. Com isso, na esteira das colocações de Walter Benjamin e de Adorno, trataremos de ver o que as configurações sociais contemporâneas e o advento das novas tecnologias fazem com a arte, situando as imagens eletrônicas dentro das relações de produção de seu tempo. / The welcome that electronic and synthetic images have from the critique reveals a new technological optimism and gives room to the discussion of the consequences of the increasing interference of new technologies in society. Related to these images, is discussed a new regime of visibility and a new imaginary – run by numbers – that transgresses our perceptive and cognitive codes and our symbolic relation with the world. However, the well- known idea of an epistemic breach between the new images and the previous image production systems (in particular painting, photography and cinema) is illusory. Very often, the elements presented as marks of the rupture are in a great deal more the enhancement of questions already present in art history than the constitution of a new representational system. The open possibility created by these new processes of enunciation of image must, therefore, be interpreted from a wider perspective, rooted in the cultural logic of contemporary Capitalism. Thereby, following the path of Walter Benjamin and Adorno, we shall try to see what the contemporary social configurations and the advent of new technology do to art, placing the electronic images inside the productive relations of its time.

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.

The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.