subject:(Live Art)

University of New South Wales

1. Bacon, Sean. The live camera in performance : the Bland Project, this kind of ruckus and measure for measure.

Degree: Media Arts, 2013, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/53313 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12008/SOURCE02?view=true

► This exegesis details the development and execution of three pieces of work that incorporate the use of live camera in performance / theatre. Each work… (more)

Subjects/Keywords: Theatre; Performance; Live camera; Video art; Performance video art; Live art; Interactive installation; Interactive

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Bacon, S. (2013). The live camera in performance : the Bland Project, this kind of ruckus and measure for measure. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/53313 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12008/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Bacon, Sean. “The live camera in performance : the Bland Project, this kind of ruckus and measure for measure.” 2013. Masters Thesis, University of New South Wales. Accessed January 15, 2021. http://handle.unsw.edu.au/1959.4/53313 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12008/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Bacon, Sean. “The live camera in performance : the Bland Project, this kind of ruckus and measure for measure.” 2013. Web. 15 Jan 2021.

Vancouver:

Bacon S. The live camera in performance : the Bland Project, this kind of ruckus and measure for measure. [Internet] [Masters thesis]. University of New South Wales; 2013. [cited 2021 Jan 15]. Available from: http://handle.unsw.edu.au/1959.4/53313 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12008/SOURCE02?view=true.

Council of Science Editors:

Bacon S. The live camera in performance : the Bland Project, this kind of ruckus and measure for measure. [Masters Thesis]. University of New South Wales; 2013. Available from: http://handle.unsw.edu.au/1959.4/53313 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12008/SOURCE02?view=true

Université du Québec à Montréal

2. Liberovskaya, Katherine. Improvisatory live visuals : playing images like a musical instrument.

Degree: 2014, Université du Québec à Montréal

URL: http://archipel.uqam.ca/6764/1/D2709.pdf

► L'inspiration pour cette étude découle de ma pratique artistique de Visuels Live improvisés en collaboration avec musique ou art sonore en temps réel. Depuis que… (more)

▼ L'inspiration pour cette étude découle de ma pratique artistique de Visuels Live improvisés en collaboration avec musique ou art sonore en temps réel. Depuis que j'ai commencé cette démarche au début des années 2000, la forme émergeante des Visuels Live, connue aussi sous les appellations de VJing, Vidéo Live, Cinéma Live et performance visuelle ou visualiste, est devenue de plus en plus populaire et s'est étendue à un large éventail de situations aussi diverses que des évènements de musique expérimentale, des récitals de musique contemporaine, des sessions d'improvisation en free jazz et musique nouvelle, des sets de DJ, des raves, des discothèques et des boîtes, des concerts de musique populaire, des fêtes corporatives, des mariages, des anniversaires, et des célébrations de toutes sortes. Grâce à sa popularité grandissante, cette nouvelle forme commence à apparaître dans la recherche théorique et académique. Cependant, dans la recherche existante à ce jour, les Visuels Live ont tendance à être vus en relation au pictural et au cinématographique ou bien du point de vue du domaine numérique récent. Bien que ma pratique provienne de l'art vidéo, il m'a toujours semblé que ma propre expérience des Visuels Live, tant comme praticienne que spectatrice, a beaucoup plus en commun avec la musique et la performance musicale et sonore. Mon hypothèse est que la pratique des Visuels Live dépend peut-être plus de ses relations avec les courants esthétiques, les traditions et les technologies de la musique occidentale, que de ses origines picturales ou filmiques. L'idée de départ de "jouer" des stimulis projetés pour les yeux, en temps réel, d'une certaine façon organisée, comme la musique peut être jouée par un instrument, est issue de la musique même. Le but de cette thèse doctorale est donc de retrouver les diverses racines musicales des Visuels Live improvisés, depuis le dix-septième siècle lorsque le clavecin oculaire est d'abord imaginé, jusqu'à l'époque actuelle, pour en examiner le rôle dans l'évolution de la pratique telle que nous la connaissons aujourd'hui. Elle tente de retracer les moments clés, du point de vue musical, de la naissance et de l'expansion de la forme. Considérant les Visuels Live en tant que champ de trajectoires et d'interactions potentielles entre passé, présent et différentes forces artistiques et culturelles, cette étude entreprend un parcours média archéologique à travers le contexte des "histoires" des musiques classiques et populaires occidentales pour en "excaver" des conceptions, dispositifs, directions esthétiques, développements, évènements et pratiques, afin de les mettre en rapport avec des aspects de différentes approches d'images en temps réel. Ce survol panoramique tisse son chemin plus ou moins chronologiquement parmi une collection de miniatures études de cas – partant des théories de correspondance couleur/ton de Kircher et Newton, en passant par l'esprit intermédiatique de divers mouvements d'avant-garde européens et nord-américains du vingtième siècle et par l'esthétique de fusion…

Subjects/Keywords: Art médiatique; Interdisciplinarité; Musique expérimentale; Cinéma live; Visuels live

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APA (6^th Edition):

Liberovskaya, K. (2014). Improvisatory live visuals : playing images like a musical instrument. (Thesis). Université du Québec à Montréal. Retrieved from http://archipel.uqam.ca/6764/1/D2709.pdf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Liberovskaya, Katherine. “Improvisatory live visuals : playing images like a musical instrument.” 2014. Thesis, Université du Québec à Montréal. Accessed January 15, 2021. http://archipel.uqam.ca/6764/1/D2709.pdf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Liberovskaya, Katherine. “Improvisatory live visuals : playing images like a musical instrument.” 2014. Web. 15 Jan 2021.

Vancouver:

Liberovskaya K. Improvisatory live visuals : playing images like a musical instrument. [Internet] [Thesis]. Université du Québec à Montréal; 2014. [cited 2021 Jan 15]. Available from: http://archipel.uqam.ca/6764/1/D2709.pdf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Liberovskaya K. Improvisatory live visuals : playing images like a musical instrument. [Thesis]. Université du Québec à Montréal; 2014. Available from: http://archipel.uqam.ca/6764/1/D2709.pdf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

3. Kuburović, Branislava. Performance of wit(h)nessing : trauma and affect in contemporary live art.

Degree: PhD, 2011, University of Roehampton

URL: https://pure.roehampton.ac.uk/portal/en/studentthesis/performance-of-withnessing(06f45b21-bbbb-4d1f-a767-5de5469c736c).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558267

► This thesis investigates traumatic affectivity and a complex mesh of artistic strategies in contemporary live art and performance that allow a certain material renegotiation and… (more)

Subjects/Keywords: 616.89; contemporary live art; traumatic affectivity

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Kuburović, B. (2011). Performance of wit(h)nessing : trauma and affect in contemporary live art. (Doctoral Dissertation). University of Roehampton. Retrieved from https://pure.roehampton.ac.uk/portal/en/studentthesis/performance-of-withnessing(06f45b21-bbbb-4d1f-a767-5de5469c736c).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558267

Chicago Manual of Style (16^th Edition):

Kuburović, Branislava. “Performance of wit(h)nessing : trauma and affect in contemporary live art.” 2011. Doctoral Dissertation, University of Roehampton. Accessed January 15, 2021. https://pure.roehampton.ac.uk/portal/en/studentthesis/performance-of-withnessing(06f45b21-bbbb-4d1f-a767-5de5469c736c).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558267.

MLA Handbook (7^th Edition):

Kuburović, Branislava. “Performance of wit(h)nessing : trauma and affect in contemporary live art.” 2011. Web. 15 Jan 2021.

Vancouver:

Kuburović B. Performance of wit(h)nessing : trauma and affect in contemporary live art. [Internet] [Doctoral dissertation]. University of Roehampton; 2011. [cited 2021 Jan 15]. Available from: https://pure.roehampton.ac.uk/portal/en/studentthesis/performance-of-withnessing(06f45b21-bbbb-4d1f-a767-5de5469c736c).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558267.

Council of Science Editors:

Kuburović B. Performance of wit(h)nessing : trauma and affect in contemporary live art. [Doctoral Dissertation]. University of Roehampton; 2011. Available from: https://pure.roehampton.ac.uk/portal/en/studentthesis/performance-of-withnessing(06f45b21-bbbb-4d1f-a767-5de5469c736c).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558267

University of Sydney

4. Olivieri, Jessica Ann. A Conversational Assemblage: New Ways of Framing Contemporary Art .

Degree: 2017, University of Sydney

URL: http://hdl.handle.net/2123/18615

► The creation of artwork that has multiple outcomes is not a new phenomenon. This mode of presenting projects or bodies of work that include live,… (more)

Subjects/Keywords: Performance; documentation; live; theatre; dance; visual art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Olivieri, J. A. (2017). A Conversational Assemblage: New Ways of Framing Contemporary Art . (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/18615

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Olivieri, Jessica Ann. “A Conversational Assemblage: New Ways of Framing Contemporary Art .” 2017. Thesis, University of Sydney. Accessed January 15, 2021. http://hdl.handle.net/2123/18615.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Olivieri, Jessica Ann. “A Conversational Assemblage: New Ways of Framing Contemporary Art .” 2017. Web. 15 Jan 2021.

Vancouver:

Olivieri JA. A Conversational Assemblage: New Ways of Framing Contemporary Art . [Internet] [Thesis]. University of Sydney; 2017. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/2123/18615.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Olivieri JA. A Conversational Assemblage: New Ways of Framing Contemporary Art . [Thesis]. University of Sydney; 2017. Available from: http://hdl.handle.net/2123/18615

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

5. Nunes, Gabriel Brito. f l æ s h - corpo e/é imagem.

Degree: Mestrado, Poéticas Visuais, 2012, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/ ;

►

Considerando o corpo o elemento central da performance arte, o texto a seguir procura compreender que tipo de espaço se reserva nesse campo artístico para… (more)

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Considerando o corpo o elemento central da performance arte, o texto a seguir procura compreender que tipo de espaço se reserva nesse campo artístico para a presença corpórea e o que esta adquire ou perde, quando a imagem deixa de corresponder a um referente físico independente de si, para representar um complexo de processos digitais e analógicos. Este texto tem como premissa o reconhecimento de que a formação do sujeito depende da imagem do corpóreo e, portanto, medita sobre o papel do corpo na produção e na interpretação imagéticas. Inserida em um contexo critico dos desafios pelos quais passa a performance arte através de sua institucionalização - com seus subsequentes processos de hierarquização e estabelecimento de arquivos e documentos - essa pesquisa almeja explorar possíveis efeitos dessa contextura sobre o corpo. Por se desenvolver num formato que considera a escrita como performance, essa dissertação é proposital e excessivamente investida das particularidades e projeções de um corpo específico - o do autor/performer - e baseada nas práticas artísticas concebidas para e em relação com a prática de leitura e de escrita dessa pesquisa de mestrado. Da mesma forma, aqui, o espectador daquelas práticas artísticas - assim como o espectador desse ato performático - é tido como corpo particular no qual a obra de arte ganha seu significado, através da contingência da representação do corpóreo. Por fim, essa pesquisa serve-se de uma discussão sobre o corpo que pretende experienciá-lo ao dele se afastar minimamente, para poder alcançar o que dele não se pode dissociar: a carne

Considering the body as the central element of the discipline of performance art, the following paper seeks to comprehend the nature of the space opened by this artistic disciplino to the corporeal presence in relation to the new condition of the image - when it longer corresponds to a physical referent outside itself, but represents a concatenation of the image, Also, this research aims to critically explore the chalenges inflicted on the body by the institucionalization of performance art through the hierarchical and archiving process of institutional documentation. This dissertation is based on a format that considers writing to be a performace and is thus highly and intentionally invested with the projections and particularities of a specific body - that of this author and performer. Besides, this written research is developed from an in intimate relation to the artistic practices conceivid during the period of two years´s performance acts - as well as, you, the spectator of this performance act - is also seen as particular body - which gives meaning to the artistic object through the contingency of the interpretation of the corporeal representation, Finally this research uses a dicussion about the body - which intends to experience it while minimally distancing oneself from it - in order to reach that part of the body from which it is impossible do disassociate: flesh.

Advisors/Committee Members: Tavares, Ana Maria da Silva Araujo.

Subjects/Keywords: Arte contemporânea; artes visuais; body art; body art; contemporary art; live art; live art; performance; performance; visual arts

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APA (6^th Edition):

Nunes, G. B. (2012). f l æ s h - corpo e/é imagem. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/ ;

Chicago Manual of Style (16^th Edition):

Nunes, Gabriel Brito. “f l æ s h - corpo e/é imagem.” 2012. Masters Thesis, University of São Paulo. Accessed January 15, 2021. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/ ;.

MLA Handbook (7^th Edition):

Nunes, Gabriel Brito. “f l æ s h - corpo e/é imagem.” 2012. Web. 15 Jan 2021.

Vancouver:

Nunes GB. f l æ s h - corpo e/é imagem. [Internet] [Masters thesis]. University of São Paulo; 2012. [cited 2021 Jan 15]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/ ;.

Council of Science Editors:

Nunes GB. f l æ s h - corpo e/é imagem. [Masters Thesis]. University of São Paulo; 2012. Available from: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/ ;

6. Roqueplo, Anne. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project.

Degree: Docteur es, Architecture, 2012, Université Paris-Est

URL: http://www.theses.fr/2012PEST1184

►

La recherche interroge le statut d'une production singulière apparue dans l'art contemporain des années 1990 autour du thème de l'habiter. Notre hypothèse est que cette… (more)

▼

La recherche interroge le statut d'une production singulière apparue dans l'art contemporain des années 1990 autour du thème de l'habiter. Notre hypothèse est que cette production constitue un « projet d'habiter », formule suggérant qu'une attitude semblable rassemble ces artistes dans la volonté de s'approprier le champ de l'habiter selon une vision et des intentions directement connectées à la réalité. L'habiter est entendu dans le cadre de la recherche comme le rapport qualifié de l'homme à son lieu de résidence, que cette qualification relève d'un système, d'un courant architectural, d'un mode de vie, d'une échelle intime ou territoriale. La démonstration de l'existence d'une démarche de projet relative à l'habiter part de la description et l'analyse des actions artistiques selon deux catégories correspondant aux deux premières parties de l'étude : une stratégie de mise en vue et manipulations des propriétés de l'habiter dans ses aspects formels et spatiaux et une stratégie liée à la dimension culturelle de l'habiter. La dernière partie ouvre sur une définition du projet en explicitant la manière dont les oeuvres se situent par rapport à la réalité au travers des méthodes et savoirs convoqués. Au-delà du caractère singulier de cette production qui participe à la reconfiguration du rapport à l'art de l'architecte, une problématique majeure se dégage : celle de la limite de l'espace domestique. Ces artistes plébiscitent le maintien du rôle social de l'architecture par l'intermédiaire de l'habitation selon un rapport à la matérialité et la terre affirmée comme par les opportunités qu'offrent les nouvelles technologies, deux versants de notre réalité quotidienne

This Research questions the issues of an artistic production that emerged in the 1990s, focused on the representation of domestic architectures. The hypothesis is that this production is a "living project", formula suggesting that a same attitude brings together some artists in the will of ownership of the field of inhabit, according to a vision and intentions connected to reality inhabit is understood in this research as the qualified relationship between man and his residence, that this classification depends on a system, an architectural movement, a way of life, an intimate or territorial scale. The existence of a project approach related to the dwell is demonstrated on the basis of the description and analysis of artistic actions, divided in two categories – corresponding to the first two parts of the study : a setting and manipulation strategy of living properties in its formal and spatial aspects, and a strategy related to the cultural dimension of living. The third and final part opens on a definition of the project by explaining how the works are compared to reality through called methods and knowledge. Beyond the singular nature of this production, involved in the reconfiguration of the relationship between art and architects, a major problem emerges : that of the limit of domestic space. These artists plebiscite maintaining the social role of…

Advisors/Committee Members: Eleb, Monique (thesis director).

Subjects/Keywords: Art; Architecture; Habiter; Espace; Limite; Art; Architecture; Live; Space; Boundary

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Roqueplo, A. (2012). Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project. (Doctoral Dissertation). Université Paris-Est. Retrieved from http://www.theses.fr/2012PEST1184

Chicago Manual of Style (16^th Edition):

Roqueplo, Anne. “Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project.” 2012. Doctoral Dissertation, Université Paris-Est. Accessed January 15, 2021. http://www.theses.fr/2012PEST1184.

MLA Handbook (7^th Edition):

Roqueplo, Anne. “Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project.” 2012. Web. 15 Jan 2021.

Vancouver:

Roqueplo A. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project. [Internet] [Doctoral dissertation]. Université Paris-Est; 2012. [cited 2021 Jan 15]. Available from: http://www.theses.fr/2012PEST1184.

Council of Science Editors:

Roqueplo A. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project. [Doctoral Dissertation]. Université Paris-Est; 2012. Available from: http://www.theses.fr/2012PEST1184

University of Southern California

7. Gregg, Samantha. The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967).

Degree: MA, Art and Curatorial Practices in the Public Sphere, 2015, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/568039/rec/7091

► By identifying three key developmental shifts in the early performances (1955-1967) of American artist James Lee Byars this paper argues for the significance of this… (more)

Subjects/Keywords: James Lee Byars; performance art; 1960s; conceptual art; fluxus; live art; documentation

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Gregg, S. (2015). The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967). (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/568039/rec/7091

Chicago Manual of Style (16^th Edition):

Gregg, Samantha. “The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967).” 2015. Masters Thesis, University of Southern California. Accessed January 15, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/568039/rec/7091.

MLA Handbook (7^th Edition):

Gregg, Samantha. “The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967).” 2015. Web. 15 Jan 2021.

Vancouver:

Gregg S. The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967). [Internet] [Masters thesis]. University of Southern California; 2015. [cited 2021 Jan 15]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/568039/rec/7091.

Council of Science Editors:

Gregg S. The plausible, ongoing, and disappearing acts of James Lee Byars: early performance works (1955-1967). [Masters Thesis]. University of Southern California; 2015. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/568039/rec/7091

Brunel University

8. Sanchez-Camus, Roberto. Applied live art : co-authorship in socially engaged and site-responsive performance practice.

Degree: PhD, 2011, Brunel University

URL: http://bura.brunel.ac.uk/handle/2438/6027 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542864

► This thesis looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research… (more)

Subjects/Keywords: 708; Live art; Applied drama; Performance; Site-specific; Community engagement

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APA (6^th Edition):

Sanchez-Camus, R. (2011). Applied live art : co-authorship in socially engaged and site-responsive performance practice. (Doctoral Dissertation). Brunel University. Retrieved from http://bura.brunel.ac.uk/handle/2438/6027 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542864

Chicago Manual of Style (16^th Edition):

Sanchez-Camus, Roberto. “Applied live art : co-authorship in socially engaged and site-responsive performance practice.” 2011. Doctoral Dissertation, Brunel University. Accessed January 15, 2021. http://bura.brunel.ac.uk/handle/2438/6027 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542864.

MLA Handbook (7^th Edition):

Sanchez-Camus, Roberto. “Applied live art : co-authorship in socially engaged and site-responsive performance practice.” 2011. Web. 15 Jan 2021.

Vancouver:

Sanchez-Camus R. Applied live art : co-authorship in socially engaged and site-responsive performance practice. [Internet] [Doctoral dissertation]. Brunel University; 2011. [cited 2021 Jan 15]. Available from: http://bura.brunel.ac.uk/handle/2438/6027 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542864.

Council of Science Editors:

Sanchez-Camus R. Applied live art : co-authorship in socially engaged and site-responsive performance practice. [Doctoral Dissertation]. Brunel University; 2011. Available from: http://bura.brunel.ac.uk/handle/2438/6027 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542864

RMIT University

9. Croft, G. The human body as an instrument: an investigation into its music.

Degree: 2015, RMIT University

URL: http://researchbank.rmit.edu.au/view/rmit:161278

► This project has involved investigating how the history and practice of music which incorporates the sounds of the internal body can be used as a… (more)

Subjects/Keywords: Fields of Research; Sound Art; Improvised Performance; Soundscape Composition; Body sounds; Live art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Croft, G. (2015). The human body as an instrument: an investigation into its music. (Thesis). RMIT University. Retrieved from http://researchbank.rmit.edu.au/view/rmit:161278

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Croft, G. “The human body as an instrument: an investigation into its music.” 2015. Thesis, RMIT University. Accessed January 15, 2021. http://researchbank.rmit.edu.au/view/rmit:161278.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Croft, G. “The human body as an instrument: an investigation into its music.” 2015. Web. 15 Jan 2021.

Vancouver:

Croft G. The human body as an instrument: an investigation into its music. [Internet] [Thesis]. RMIT University; 2015. [cited 2021 Jan 15]. Available from: http://researchbank.rmit.edu.au/view/rmit:161278.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Croft G. The human body as an instrument: an investigation into its music. [Thesis]. RMIT University; 2015. Available from: http://researchbank.rmit.edu.au/view/rmit:161278

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Queensland University of Technology

10. Kerr, Thorin. Performing composition : developing a computer assisted composition system through live coding performance.

Degree: 2009, Queensland University of Technology

URL: https://eprints.qut.edu.au/32175/

► This thesis maps the author's journey from a music composition practice to a composition and performance practice. The work involves the development of a software… (more)

Subjects/Keywords: music; composition; performance; live coding; live programming; computer music; computer assisted composition; algorithmic music; generative art; Impromptu; Csound

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Kerr, T. (2009). Performing composition : developing a computer assisted composition system through live coding performance. (Thesis). Queensland University of Technology. Retrieved from https://eprints.qut.edu.au/32175/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kerr, Thorin. “Performing composition : developing a computer assisted composition system through live coding performance.” 2009. Thesis, Queensland University of Technology. Accessed January 15, 2021. https://eprints.qut.edu.au/32175/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kerr, Thorin. “Performing composition : developing a computer assisted composition system through live coding performance.” 2009. Web. 15 Jan 2021.

Vancouver:

Kerr T. Performing composition : developing a computer assisted composition system through live coding performance. [Internet] [Thesis]. Queensland University of Technology; 2009. [cited 2021 Jan 15]. Available from: https://eprints.qut.edu.au/32175/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kerr T. Performing composition : developing a computer assisted composition system through live coding performance. [Thesis]. Queensland University of Technology; 2009. Available from: https://eprints.qut.edu.au/32175/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Plymouth

11. Buzz, Lu La. The states and status of clay : material, metamorphic and metaphorical values.

Degree: PhD, 2018, University of Plymouth

URL: http://hdl.handle.net/10026.1/11639

► This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance… (more)

▼ This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.

Subjects/Keywords: 738.1; Raw Clay; Performance Art; Live Art; Site-specific Art; Installation; Ephemeral Art; Transitory Art; Body Art; Earth Art; Ball Clay; China Clay; Photography; Video

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APA (6^th Edition):

Buzz, L. L. (2018). The states and status of clay : material, metamorphic and metaphorical values. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/11639

Chicago Manual of Style (16^th Edition):

Buzz, Lu La. “The states and status of clay : material, metamorphic and metaphorical values.” 2018. Doctoral Dissertation, University of Plymouth. Accessed January 15, 2021. http://hdl.handle.net/10026.1/11639.

MLA Handbook (7^th Edition):

Buzz, Lu La. “The states and status of clay : material, metamorphic and metaphorical values.” 2018. Web. 15 Jan 2021.

Vancouver:

Buzz LL. The states and status of clay : material, metamorphic and metaphorical values. [Internet] [Doctoral dissertation]. University of Plymouth; 2018. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10026.1/11639.

Council of Science Editors:

Buzz LL. The states and status of clay : material, metamorphic and metaphorical values. [Doctoral Dissertation]. University of Plymouth; 2018. Available from: http://hdl.handle.net/10026.1/11639

Virginia Commonwealth University

12. Vollmer, Phillip. LIVE ART: A Positive Change in this World.

Degree: MFA, Theatre, 2013, Virginia Commonwealth University

URL: https://doi.org/10.25772/SRE9-0666 ; https://scholarscompass.vcu.edu/etd/3026

► LIVE ART is a program for students with special needs and students who are typically developed. They work collaboratively, with integrated forms of performance and… (more)

Subjects/Keywords: Live Art; LIVE ART; Vollmer; SPARC; Special Education; Performing Arts Education; Arts Education; Cross disciplinary; Cross disciplinary Education; Arts and Humanities; Theatre and Performance Studies

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APA (6^th Edition):

Vollmer, P. (2013). LIVE ART: A Positive Change in this World. (Thesis). Virginia Commonwealth University. Retrieved from https://doi.org/10.25772/SRE9-0666 ; https://scholarscompass.vcu.edu/etd/3026

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Vollmer, Phillip. “LIVE ART: A Positive Change in this World.” 2013. Thesis, Virginia Commonwealth University. Accessed January 15, 2021. https://doi.org/10.25772/SRE9-0666 ; https://scholarscompass.vcu.edu/etd/3026.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Vollmer, Phillip. “LIVE ART: A Positive Change in this World.” 2013. Web. 15 Jan 2021.

Vancouver:

Vollmer P. LIVE ART: A Positive Change in this World. [Internet] [Thesis]. Virginia Commonwealth University; 2013. [cited 2021 Jan 15]. Available from: https://doi.org/10.25772/SRE9-0666 ; https://scholarscompass.vcu.edu/etd/3026.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Vollmer P. LIVE ART: A Positive Change in this World. [Thesis]. Virginia Commonwealth University; 2013. Available from: https://doi.org/10.25772/SRE9-0666 ; https://scholarscompass.vcu.edu/etd/3026

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

13. Tordino, Daniela Mantovani. Vjing - relações híbridas das imagens ao vivo na cultura contemporânea.

Degree: Mestrado, Poéticas Visuais, 2008, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-31052008-180808/ ;

►

Este trabalho analisa a projeção e manipulação de imagens ao vivo no contexto da arte e tecnologia. As performances dos VJs - visual jockeys -… (more)

Subjects/Keywords: ao vivo; art; arte; imagens; images; live; video; video; vj; vj; vjing; vjing

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APA (6^th Edition):

Tordino, D. M. (2008). Vjing - relações híbridas das imagens ao vivo na cultura contemporânea. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27159/tde-31052008-180808/ ;

Chicago Manual of Style (16^th Edition):

Tordino, Daniela Mantovani. “Vjing - relações híbridas das imagens ao vivo na cultura contemporânea.” 2008. Masters Thesis, University of São Paulo. Accessed January 15, 2021. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-31052008-180808/ ;.

MLA Handbook (7^th Edition):

Tordino, Daniela Mantovani. “Vjing - relações híbridas das imagens ao vivo na cultura contemporânea.” 2008. Web. 15 Jan 2021.

Vancouver:

Tordino DM. Vjing - relações híbridas das imagens ao vivo na cultura contemporânea. [Internet] [Masters thesis]. University of São Paulo; 2008. [cited 2021 Jan 15]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-31052008-180808/ ;.

Council of Science Editors:

Tordino DM. Vjing - relações híbridas das imagens ao vivo na cultura contemporânea. [Masters Thesis]. University of São Paulo; 2008. Available from: http://www.teses.usp.br/teses/disponiveis/27/27159/tde-31052008-180808/ ;

University of Lethbridge

14. University of Lethbridge. Faculty of Fine Arts. Mars ain't the kinda place to raise your kids : a performance installation .

Degree: 2016, University of Lethbridge

URL: http://hdl.handle.net/10133/4563

► This paper is in support of my MFA thesis Mars ain’t the kinda place to raise your kids, a performance installation that explores the intersection… (more)

Subjects/Keywords: conceptual art installation; gallery experience; live performance; Mars colonization; postdramatic theatre; theatre experience

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APA (6^th Edition):

Arts, U. o. L. F. o. F. (2016). Mars ain't the kinda place to raise your kids : a performance installation . (Thesis). University of Lethbridge. Retrieved from http://hdl.handle.net/10133/4563

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Arts, University of Lethbridge. Faculty of Fine. “Mars ain't the kinda place to raise your kids : a performance installation .” 2016. Thesis, University of Lethbridge. Accessed January 15, 2021. http://hdl.handle.net/10133/4563.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Arts, University of Lethbridge. Faculty of Fine. “Mars ain't the kinda place to raise your kids : a performance installation .” 2016. Web. 15 Jan 2021.

Vancouver:

Arts UoLFoF. Mars ain't the kinda place to raise your kids : a performance installation . [Internet] [Thesis]. University of Lethbridge; 2016. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10133/4563.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Arts UoLFoF. Mars ain't the kinda place to raise your kids : a performance installation . [Thesis]. University of Lethbridge; 2016. Available from: http://hdl.handle.net/10133/4563

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Melbourne

15. Lee, Katie. Breaking Objects: Activating Artworks Toward New Modes of Thought.

Degree: 2019, University of Melbourne

URL: http://hdl.handle.net/11343/234431

► This research has emerged from the intersection between two ongoing preoccupations: how to exhibit spatiotemporal art practices in such a way that the artwork remains… (more)

▼ This research has emerged from the intersection between two ongoing preoccupations: how to exhibit spatiotemporal art practices in such a way that the artwork remains active as opposed to static or on display; and, an engagement with the knowledge that reductive thinking about things in the world—from complex and interrelated to simplified and separated out—is part of the human condition. In order to better understand these oppositional factors and how they operate both theoretically and practically, I have come to define a number of key terms that I use to describe different modes of thinking alongside our capacity to flip or switch between them. These terms—Object, broken Object, and an oscillation in thinking—also describe the research methodology I have used in my practice-based research. I have developed this methodology across my literature research and dissertation by looking closely at what factors contribute to a mode of perception where things in the world appear to be active, in motion or complex. I have reviewed how this mode of perception might relate to and operate within spatiotemporal artworks and exhibition contexts by considering the physiological, psychological and philosophical factors that contribute to how we perceive the world, and what we think is going on. However, I have also considered factors that influence a more abstract mode of thinking about the world; one whereby we reduce, condense or separate-out complex and interdependent phenomena. This abstract mode of thinking has philosophical, sociological and political as well as physiological bases; all of which influence the way we perceive the world around us. I have considered one particular mode of thinking, Object-Thinking as being dominant in the West, and throughout my dissertation I reflect upon the possible socio-political consequences of this. In my creative, practice-based research I have applied the methodology of making and breaking Objects as well as proposing methods that might facilitate an oscillation in thinking across several research outcomes including: Chair in Cooperation with Orange (Extended) (2015), The Possibility of Performance (2015), Work (in Progress) (2016), Cross-Section (2017), Tool-Things (2017), Set Elements (2019). My final practice-based outcome, No Single Thing (2019) was exhibited at the Margaret Lawrence Gallery between the 26th February and the 1st of March 2019.

Subjects/Keywords: contemporary art; installation art; performance art; live art; performance installation; affect; embodied cognition; philosophy of perception; politics of form; live art audience; performance art audience; gallery; process based practice; kinaesethetic empathy; practice-led research; spatiotemporal exhibition practices; process philosophy; object-oriented ontology; abstraction; complexity theory; movement; art object; curating objects; temporal art practices; temporality

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Lee, K. (2019). Breaking Objects: Activating Artworks Toward New Modes of Thought. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/234431

Chicago Manual of Style (16^th Edition):

Lee, Katie. “Breaking Objects: Activating Artworks Toward New Modes of Thought.” 2019. Doctoral Dissertation, University of Melbourne. Accessed January 15, 2021. http://hdl.handle.net/11343/234431.

MLA Handbook (7^th Edition):

Lee, Katie. “Breaking Objects: Activating Artworks Toward New Modes of Thought.” 2019. Web. 15 Jan 2021.

Vancouver:

Lee K. Breaking Objects: Activating Artworks Toward New Modes of Thought. [Internet] [Doctoral dissertation]. University of Melbourne; 2019. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/11343/234431.

Council of Science Editors:

Lee K. Breaking Objects: Activating Artworks Toward New Modes of Thought. [Doctoral Dissertation]. University of Melbourne; 2019. Available from: http://hdl.handle.net/11343/234431

University of Lund

16. Lebech, Sofie. Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis.

Degree: 2019, University of Lund

URL: https://lup.lub.lu.se/record/37a2eda7-4a4e-466b-933e-d4209050fe93 ; https://portal.research.lu.se/ws/files/75900857/sofie_afhandling_final_maj_lav_version.pdf

► Thinking with Performance: Research-Based Aesthetics in Times of Conflict and Crisis is an artistic research project in which I examine how to critically think with… (more)

Subjects/Keywords: Researchbased performance; Torture; Terror; Autoimmunity; Therapy; Performance art (body art, live art, happenings); Aesthetics and ethics; Documentary; affect theory; Criticality; artistic research; Practicality

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Lebech, S. (2019). Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis. (Doctoral Dissertation). University of Lund. Retrieved from https://lup.lub.lu.se/record/37a2eda7-4a4e-466b-933e-d4209050fe93 ; https://portal.research.lu.se/ws/files/75900857/sofie_afhandling_final_maj_lav_version.pdf

Chicago Manual of Style (16^th Edition):

Lebech, Sofie. “Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis.” 2019. Doctoral Dissertation, University of Lund. Accessed January 15, 2021. https://lup.lub.lu.se/record/37a2eda7-4a4e-466b-933e-d4209050fe93 ; https://portal.research.lu.se/ws/files/75900857/sofie_afhandling_final_maj_lav_version.pdf.

MLA Handbook (7^th Edition):

Lebech, Sofie. “Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis.” 2019. Web. 15 Jan 2021.

Vancouver:

Lebech S. Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis. [Internet] [Doctoral dissertation]. University of Lund; 2019. [cited 2021 Jan 15]. Available from: https://lup.lub.lu.se/record/37a2eda7-4a4e-466b-933e-d4209050fe93 ; https://portal.research.lu.se/ws/files/75900857/sofie_afhandling_final_maj_lav_version.pdf.

Council of Science Editors:

Lebech S. Thinking with Performance : Research-Based Aesthetics in Times of Conflict and Crisis. [Doctoral Dissertation]. University of Lund; 2019. Available from: https://lup.lub.lu.se/record/37a2eda7-4a4e-466b-933e-d4209050fe93 ; https://portal.research.lu.se/ws/files/75900857/sofie_afhandling_final_maj_lav_version.pdf

University of Wollongong

17. Heywood, Nicola. Undoing Discomfort: being real/becoming other in an embodied performance practice.

Degree: Doctor of Creative Arts, Department of Creative Arts, 2016, University of Wollongong

URL: 0904 CHEMICAL ENGINEERING, 0905 CIVIL ENGINEERING ; https://ro.uow.edu.au/theses/4816

► Undoing Discomfort: being real/ becoming other in an embodied performance practice contextualises new creative research within an interdisciplinary field crossing performance, live art and… (more)

▼ Undoing Discomfort: being real/ becoming other in an embodied performance practice contextualises new creative research within an interdisciplinary field crossing performance, live art and dance. During the doctoral program I have created an experimental body of work, a ten part series in progress since 2010, culminating with the presentation of museum of the sublime: relic10 in February 2016. The pivotal ideas framing the exegetical research revolve around creative and somatic systems that make and unmake the body of the performer, seeking to undo and reshape a performer’s self-perception. Intrinsic to these diverse practices is their common focus on both ‘processes of embodiment and the phenomena of presence’ (Lichte 2008, p.77). Of central interest is their application to the creation and the act of performance, alongside the usefulness and nature of enquiry itself as an open-ended methodology. In arguing for the intelligence of the body-mind, and proposing studio practice as a means of thinking through the world-in-the-body and through the body-in-the-world, this research seeks to make explicit what is often implicit within a somatically receptive creative practice. The ‘world’ of the practitioner in this sense includes histories, other artworks, sounds, and writings on animals as well as scholarship in Theatre and Performance Studies and the body, and particularly the enteric nervous system and gut feeling. In this context, feminist thinkers and writers have been essential, encompassing scholarship drawn from Gender Studies, Philosophy, Theatre and Performance Studies, as well as writings by key theatre, dance and movement artists, in order to discuss the training methodologies and key conceptual movements informing the evolution of my thinking as a performance practitioner. In describing a range of forces that shape and influence my body and body of work, and in particular, the development of the museum of the sublime series, which is the focus of this doctoral research project, the research attempts to elucidate and extend the idea of the ‘corporeal’, by which I mean the tangible materiality of the real body as the site of sensation and the threshold for transformation and transmission, where affect is intensified and reshaped to become performance, to find that discomfort is intrinsic to research and to creative process and a constant thematic element under discussion.

Subjects/Keywords: Somatics; performance; live art; dance theatre; embodiment; sublime; feminist performance; animal studies; Grotowski; Body Weather; BMC; authentic movement; discomfort; becoming

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APA (6^th Edition):

Heywood, N. (2016). Undoing Discomfort: being real/becoming other in an embodied performance practice. (Doctoral Dissertation). University of Wollongong. Retrieved from 0904 CHEMICAL ENGINEERING, 0905 CIVIL ENGINEERING ; https://ro.uow.edu.au/theses/4816

Chicago Manual of Style (16^th Edition):

Heywood, Nicola. “Undoing Discomfort: being real/becoming other in an embodied performance practice.” 2016. Doctoral Dissertation, University of Wollongong. Accessed January 15, 2021. 0904 CHEMICAL ENGINEERING, 0905 CIVIL ENGINEERING ; https://ro.uow.edu.au/theses/4816.

MLA Handbook (7^th Edition):

Heywood, Nicola. “Undoing Discomfort: being real/becoming other in an embodied performance practice.” 2016. Web. 15 Jan 2021.

Vancouver:

Heywood N. Undoing Discomfort: being real/becoming other in an embodied performance practice. [Internet] [Doctoral dissertation]. University of Wollongong; 2016. [cited 2021 Jan 15]. Available from: 0904 CHEMICAL ENGINEERING, 0905 CIVIL ENGINEERING ; https://ro.uow.edu.au/theses/4816.

Council of Science Editors:

Heywood N. Undoing Discomfort: being real/becoming other in an embodied performance practice. [Doctoral Dissertation]. University of Wollongong; 2016. Available from: 0904 CHEMICAL ENGINEERING, 0905 CIVIL ENGINEERING ; https://ro.uow.edu.au/theses/4816

Virginia Commonwealth University

18. Robinson, Jason. Resolution.

Degree: MFA, Fine Arts - Kinetic imaging, 2011, Virginia Commonwealth University

URL: https://doi.org/10.25772/D6RA-5M77 ; https://scholarscompass.vcu.edu/etd/2475

► This paper is an exploration of the concepts and motivations behind the video installation and performance that made up my MFA Thesis Exhibition. My primary… (more)

Subjects/Keywords: VHS; found footage; video art; remix; appropriation; spaghetti western; landscape; live cinema; Arts and Humanities; Fine Arts

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Robinson, J. (2011). Resolution. (Thesis). Virginia Commonwealth University. Retrieved from https://doi.org/10.25772/D6RA-5M77 ; https://scholarscompass.vcu.edu/etd/2475

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Robinson, Jason. “Resolution.” 2011. Thesis, Virginia Commonwealth University. Accessed January 15, 2021. https://doi.org/10.25772/D6RA-5M77 ; https://scholarscompass.vcu.edu/etd/2475.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Robinson, Jason. “Resolution.” 2011. Web. 15 Jan 2021.

Vancouver:

Robinson J. Resolution. [Internet] [Thesis]. Virginia Commonwealth University; 2011. [cited 2021 Jan 15]. Available from: https://doi.org/10.25772/D6RA-5M77 ; https://scholarscompass.vcu.edu/etd/2475.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Robinson J. Resolution. [Thesis]. Virginia Commonwealth University; 2011. Available from: https://doi.org/10.25772/D6RA-5M77 ; https://scholarscompass.vcu.edu/etd/2475

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Iowa State University

19. Ganesuni, Satya Charan. Work-Homes.

Degree: 2018, Iowa State University

URL: https://lib.dr.iastate.edu/etd/16354

► Work homes have been used by the people since ancient times but, today people are preferring more to use work-home ideology because of technological advantages,… (more)

Subjects/Keywords: Design Elements; Integrated spaces; interior components; live/work; Mobile homes; Work-homes; Architecture; Art and Design

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ganesuni, S. C. (2018). Work-Homes. (Thesis). Iowa State University. Retrieved from https://lib.dr.iastate.edu/etd/16354

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Ganesuni, Satya Charan. “Work-Homes.” 2018. Thesis, Iowa State University. Accessed January 15, 2021. https://lib.dr.iastate.edu/etd/16354.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Ganesuni, Satya Charan. “Work-Homes.” 2018. Web. 15 Jan 2021.

Vancouver:

Ganesuni SC. Work-Homes. [Internet] [Thesis]. Iowa State University; 2018. [cited 2021 Jan 15]. Available from: https://lib.dr.iastate.edu/etd/16354.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Ganesuni SC. Work-Homes. [Thesis]. Iowa State University; 2018. Available from: https://lib.dr.iastate.edu/etd/16354

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

AUT University

20. Harvey, Mark Robert Gordon. Performance Test Labour .

Degree: 2011, AUT University

URL: http://hdl.handle.net/10292/2018

► Performance: Test: Labour is a practice-led PhD research project that systematically engages the fields of performance art and dance choreography. The research aims to offer… (more)

▼ Performance: Test: Labour is a practice-led PhD research project that systematically engages the fields of performance art and dance choreography. The research aims to offer new perspectives on the international field of choreography through its negotiations between performance art and dance choreography. The research methodology has been developed across a number of critical approaches in relation to the philosopher Friedrich Nietzsche. Research methods have been particularly developed through a close reading of Avital Ronell’s The Test Drive, a work concerned with a Nietzschean understanding of experimentation. Nietzsche’s concept of playing the fool plays an essential role in this. Within this engagement with the test-subject, the research has drawn from an autobiography of the artist’s bio-political engagements with performance art and dance choreography. This autobiographical perspective has itself been informed by Michel Foucault’s engagements with Nietzsche’s understanding of genealogy. In this sense the thesis examines how specific genealogies of choreographic discourse in performance art and dance have served to contextualize this practice. Key artists in a performance art genealogy for this practice include Vito Acconci, Dan Graham, Bruce Nauman, bas Jan Ader and William Pope L. Artists from a dance choreography genealogy include Yvonne Rainer, Pina Bausch, Jerome Bel, Xavier Le Roy, and La Ribot. Jacques Derrida’s Nietzschean perspective of “otobiographies,” on the essential otherness of the autobiographical, has also informed this process of choreographic testing in terms of how these fields have been constructed via ‘the other’ in the artist’s practice. This perspective has also been informed by Judith Butler’s reading of performativity in terms of interpellation and normativity. This test-practice has especially involved the artist performing choreographed solo minimal endurance actions, that include repetition and spoken text, drawing attention to the processes of choreographing, through the lineages of performance art and dance choreography. These lineages are encountered in relation to the role of the ‘other’. Through performative strategies of repetitions of bodily actions in relation to text, this research at first appears to propose that physical labour can be recognised as the primary aspect in making ‘conceptual choreography’ that Bojana Cvejic refers to as ‘conceptual dance’. Such an approach differs from Cvejic, alluding to how this current genre of choreography does not focus on the role of physical labour. The core discovery of this project is how idiocy can be uncovered through an engagement in choreographic practice, in relation to concepts such as Giorgio Agamben’s bare life, to the degree that neither ‘labour’ nor ‘conceptualising’ can take precedence in practice. The research also creates new conditions of possibility for an understanding of labour as an alternative approach to Andre Lepecki’s questioning of the role of the physical body in choreography, in his call for ‘ontological… Advisors/Committee Members: Jackson, Mark (advisor), Brown, Carol (advisor), Holmes, Lucille (advisor).

Subjects/Keywords: Performance; Visual Arts; Choreography; Idiocy; Nietzsche; Practice led research; Performance art; Live art; Labour; Testing; Post-minimalism; Derrida; Foucault; Judith Butler; Vito Acconci; Bruce Nauman; Jerome Bel; La Ribot

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APA (6^th Edition):

Harvey, M. R. G. (2011). Performance Test Labour . (Thesis). AUT University. Retrieved from http://hdl.handle.net/10292/2018

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Harvey, Mark Robert Gordon. “Performance Test Labour .” 2011. Thesis, AUT University. Accessed January 15, 2021. http://hdl.handle.net/10292/2018.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Harvey, Mark Robert Gordon. “Performance Test Labour .” 2011. Web. 15 Jan 2021.

Vancouver:

Harvey MRG. Performance Test Labour . [Internet] [Thesis]. AUT University; 2011. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10292/2018.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Harvey MRG. Performance Test Labour . [Thesis]. AUT University; 2011. Available from: http://hdl.handle.net/10292/2018

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

De Montfort University

21. Spowage, Neal. Physical interaction with electronic instruments in devised performance.

Degree: PhD, 2016, De Montfort University

URL: http://hdl.handle.net/2086/13237

► This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist… (more)

Subjects/Keywords: 621.3815; Collaborations; Sculptural Instruments; Bricolage; Subversion; Skip Diving; Appropriation; Negotiating Varying Levels of Expertise; Video Documentation; Video Art; Work; Labour; Effort; Gender Dynamics in Performance; Intimacy; Democratic Roles; Live Art; Music; Performance Art; Noise Music; D.I.Y. Elecronics; Junk Sculpture; Hardware Hacking; Gender Stereotypes; Gender; Musical Instrument; Interaction; Serendipity; Community; Commensality; Live Performance; Sound; Artecacts; Electronic Music; Creativity

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APA (6^th Edition):

Spowage, N. (2016). Physical interaction with electronic instruments in devised performance. (Doctoral Dissertation). De Montfort University. Retrieved from http://hdl.handle.net/2086/13237

Chicago Manual of Style (16^th Edition):

Spowage, Neal. “Physical interaction with electronic instruments in devised performance.” 2016. Doctoral Dissertation, De Montfort University. Accessed January 15, 2021. http://hdl.handle.net/2086/13237.

MLA Handbook (7^th Edition):

Spowage, Neal. “Physical interaction with electronic instruments in devised performance.” 2016. Web. 15 Jan 2021.

Vancouver:

Spowage N. Physical interaction with electronic instruments in devised performance. [Internet] [Doctoral dissertation]. De Montfort University; 2016. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/2086/13237.

Council of Science Editors:

Spowage N. Physical interaction with electronic instruments in devised performance. [Doctoral Dissertation]. De Montfort University; 2016. Available from: http://hdl.handle.net/2086/13237

Victoria University of Wellington

22. Lamb, Naomi. VJing: A New Zealand Case Study.

Degree: 2010, Victoria University of Wellington

URL: http://hdl.handle.net/10063/2202

► This thesis analyses some key factors of what is often considered a marginalised cultural and creative practice, VJing. The term VJ historically refers to Video… (more)

Subjects/Keywords: Remix; VJ content; Live video performance; Kiwi VJs; Video art; Video jockeys

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APA (6^th Edition):

Lamb, N. (2010). VJing: A New Zealand Case Study. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/2202

Chicago Manual of Style (16^th Edition):

Lamb, Naomi. “VJing: A New Zealand Case Study.” 2010. Masters Thesis, Victoria University of Wellington. Accessed January 15, 2021. http://hdl.handle.net/10063/2202.

MLA Handbook (7^th Edition):

Lamb, Naomi. “VJing: A New Zealand Case Study.” 2010. Web. 15 Jan 2021.

Vancouver:

Lamb N. VJing: A New Zealand Case Study. [Internet] [Masters thesis]. Victoria University of Wellington; 2010. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10063/2202.

Council of Science Editors:

Lamb N. VJing: A New Zealand Case Study. [Masters Thesis]. Victoria University of Wellington; 2010. Available from: http://hdl.handle.net/10063/2202

University of Melbourne

23. Viggers, Elisabeth. Connections: nothing exists in isolation.

Degree: 2011, University of Melbourne

URL: http://hdl.handle.net/11343/36861

► Connections: Nothing Exists in Isolation explores interrelationships between performance and computer-based technologies, investigating connections between the past and the present. Research concentrates on the evolution… (more)

Subjects/Keywords: sound design; music; composition; theatre; performance; gesture; Wii; controller; derivative; art; music technology; connections; computer music; computer performance; wacom; evolution; dance; mime; flute; original; interactive; show; live; isolation; narrative; creative

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APA (6^th Edition):

Viggers, E. (2011). Connections: nothing exists in isolation. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/36861

Chicago Manual of Style (16^th Edition):

Viggers, Elisabeth. “Connections: nothing exists in isolation.” 2011. Masters Thesis, University of Melbourne. Accessed January 15, 2021. http://hdl.handle.net/11343/36861.

MLA Handbook (7^th Edition):

Viggers, Elisabeth. “Connections: nothing exists in isolation.” 2011. Web. 15 Jan 2021.

Vancouver:

Viggers E. Connections: nothing exists in isolation. [Internet] [Masters thesis]. University of Melbourne; 2011. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/11343/36861.

Council of Science Editors:

Viggers E. Connections: nothing exists in isolation. [Masters Thesis]. University of Melbourne; 2011. Available from: http://hdl.handle.net/11343/36861

University of North Texas

24. Oliveiro, Mark, 1983-. Compositional approaches within new media paradigms.

Degree: 2016, University of North Texas

URL: https://digital.library.unt.edu/ark:/67531/metadc849618/

► "Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media… (more)

Subjects/Keywords: New media; Interactivity; Computer music; Hypermedia; Fixed-media audio; Pitch tracking; Live electronics; Performance art; Composition (Music); Electronic composition.; Electronic music.; Mixed media (Music); Multimedia (Art); Art music; Scores; Academic theses

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APA (6^th Edition):

Oliveiro, Mark, 1. (2016). Compositional approaches within new media paradigms. (Thesis). University of North Texas. Retrieved from https://digital.library.unt.edu/ark:/67531/metadc849618/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Oliveiro, Mark, 1983-. “Compositional approaches within new media paradigms.” 2016. Thesis, University of North Texas. Accessed January 15, 2021. https://digital.library.unt.edu/ark:/67531/metadc849618/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Oliveiro, Mark, 1983-. “Compositional approaches within new media paradigms.” 2016. Web. 15 Jan 2021.

Vancouver:

Oliveiro, Mark 1. Compositional approaches within new media paradigms. [Internet] [Thesis]. University of North Texas; 2016. [cited 2021 Jan 15]. Available from: https://digital.library.unt.edu/ark:/67531/metadc849618/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Oliveiro, Mark 1. Compositional approaches within new media paradigms. [Thesis]. University of North Texas; 2016. Available from: https://digital.library.unt.edu/ark:/67531/metadc849618/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Southern Cross University

25. O'Dempsey, Kellie Anne. The spectacle of performance drawing.

Degree: 2011, Southern Cross University

URL: https://epubs.scu.edu.au/theses/248

► This exegesis addresses a series of Performance Drawing events staged between March 2008 and March 2011. Collectively, the series is titled The Spectacle of Performance… (more)

▼ This exegesis addresses a series of Performance Drawing events staged between March 2008 and March 2011. Collectively, the series is titled The Spectacle of Performance Drawing. Using a practice-led research methodology, this document discusses my drawing performances as emergent practice and research. The data from this research consists of a collection of drawings, photographs, digital video recordings and diaristic accounts of my experiences while engaged in Performance Drawing. The research process is constructed and described throughout this exegesis and the research artefacts were created through discussion, performance and reflexion. My multi-disciplinary practice is expanded and investigated in order to broaden my understanding of the potential of drawing. The aim of the project is to develop my practice – the emergent and skilled process of drawing, through a strategy of using Performance Drawing itself as a mode of enquiry. This exploration endeavours to identify new understandings and methods of image generation in live drawing. Using this strategy, I seek to create an inclusive form of cultural interaction which incorporates the artist, the act of drawing as performance and the audience. Through performance as enquiry via drawing, I identify and unravel notions of public and private space that reflect aspects of my identity. This investigation discusses the interconnected experience of human engagement through Performance Drawing as an immediate means of response, the aleatoric processes of collaboration and improvisation, the contemporary definition of site-specific practice, the artist as social leveller, the potential for apolitical social interconnectedness through performance, and the possibilities of transformation through art-making. Responding to music, to the performances of collaborators, and to the audience I spontaneously translate my experiences into line, form and gesture. These drawings become the dialogue of my performance. This research has resulted in a series of public performance installations, the generation of new imagery and the discovery of a projector-drawing device that will enable this experience to be shared by a larger audience. Central to my practice is the notion that human contact through the cultural experience of visual art is transformational.

Subjects/Keywords: Performance art; visual arts; fine arts; live drawing; aleatoric process; drawing; performance drawing; drawing performance; multi-disciplinary emergent practice; cultural interaction; site-specific practice; Art and Design; Art Practice; Interactive Arts; Performance Studies

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APA (6^th Edition):

O'Dempsey, K. A. (2011). The spectacle of performance drawing. (Thesis). Southern Cross University. Retrieved from https://epubs.scu.edu.au/theses/248

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

O'Dempsey, Kellie Anne. “The spectacle of performance drawing.” 2011. Thesis, Southern Cross University. Accessed January 15, 2021. https://epubs.scu.edu.au/theses/248.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

O'Dempsey, Kellie Anne. “The spectacle of performance drawing.” 2011. Web. 15 Jan 2021.

Vancouver:

O'Dempsey KA. The spectacle of performance drawing. [Internet] [Thesis]. Southern Cross University; 2011. [cited 2021 Jan 15]. Available from: https://epubs.scu.edu.au/theses/248.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

O'Dempsey KA. The spectacle of performance drawing. [Thesis]. Southern Cross University; 2011. Available from: https://epubs.scu.edu.au/theses/248

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

26. Fisk, Jennifer N. Performing Boundaries: An Expansion of the One to One Performance Framework.

Degree: MA, Art History (Fine Arts), 2013, Ohio University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817

► This thesis outlines performance art and the One to One framework used by Stephanie Fisk during her time at Ohio University. There is a brief… (more)

Subjects/Keywords: Art History; Fine Arts; Performing Arts; performance art; One to One; Live Art

…statements about the work. I started to become more interested and involved in live art, also… …fascinated by performance after attending the National Review of Live Art in Glasgow, Scotland… …performances rooted in the aesthetics of live art. This structure allows the spectator an opportunity… …of the frameworks and history of live art that my work responds to, I provide a historical… …narrative of performance art in Chapter 1, “Live Art: Movements, Artists, and Pieces Relevant to…

10 more images…

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APA (6^th Edition):

Fisk, J. N. (2013). Performing Boundaries: An Expansion of the One to One Performance Framework. (Masters Thesis). Ohio University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817

Chicago Manual of Style (16^th Edition):

Fisk, Jennifer N. “Performing Boundaries: An Expansion of the One to One Performance Framework.” 2013. Masters Thesis, Ohio University. Accessed January 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817.

MLA Handbook (7^th Edition):

Fisk, Jennifer N. “Performing Boundaries: An Expansion of the One to One Performance Framework.” 2013. Web. 15 Jan 2021.

Vancouver:

Fisk JN. Performing Boundaries: An Expansion of the One to One Performance Framework. [Internet] [Masters thesis]. Ohio University; 2013. [cited 2021 Jan 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817.

Council of Science Editors:

Fisk JN. Performing Boundaries: An Expansion of the One to One Performance Framework. [Masters Thesis]. Ohio University; 2013. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817

Università Cattolica del Sacro Cuore

27. FORNASARI, ELEONORA CLAUDIA MIRELLA. PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES.

Degree: 2018, Università Cattolica del Sacro Cuore

URL: http://hdl.handle.net/10280/42961

►

La presente tesi di dottorato ha come oggetto la trasposizione televisiva di tre romanzi character driven: Heidi, Pippi Calzelunghe e The Story of Tracy Beaker.… (more)

▼

La presente tesi di dottorato ha come oggetto la trasposizione televisiva di tre romanzi character driven: Heidi, Pippi Calzelunghe e The Story of Tracy Beaker. Questi, analizzati soprattutto dal punto di vista della protagonista femminile, sono stati studiati, così come i relativi adattamenti, utilizzando un modello metodologico di analisi che poggia le sue basi teoriche sia nell'estetica della letteratura per ragazzi sia nelle teorie dell'adattamento e della sceneggiatura. Il mercato audiovisivo e la tipologia di spettatori cambiano rapidamente e ciò rende necessaria un'attualizzazione non solo tematica, ma anche stilistica dell'opera originaria, alla ricerca di un compromesso tra la fedeltà al testo iniziale, necessaria per permettere al target l'immediata riconoscibilità dell'opera e dei personaggi, e l'esigenza di rispettare le richieste della contemporaneità. A livello accademico, lo studio degli adattamenti della letteratura per l'infanzia si è concentrato quasi esclusivamente in ambito cinematografico e non televisivo, nonostante quest'ultimo fornisca molti spunti di riflessione tanto sul processo di adattamento in sé quanto sulla serialità. Il presente lavoro si propone perciò di andare a riempire il gap teorico sull'argomento, ponendosi necessariamente a cavallo di due ambiti, -la letteratura e l'audiovisivo. Di conseguenza, l'approccio privilegiato è più letterario che pedagogico e si interseca con gli studi sull'adattamento e sull'industria audiovisiva.

This PhD dissertation investigates the adaptations from children's novels into television series, with a focus on three character-driven stories: Heidi, Pippi Longstockings and The Story of Tracy Beaker. Starting from the original novels, investigated mostly from the point of view of the female protagonist, the study then analyses the corresponding television adaptations, whether animated or live action, through a methodology that has its theoretical basis both in the aesthetics of children's literature and in the screenwriting theories. Nowadays, the audiovisual market and therefore the public are changing rapidly, making it necessary to update the thematic and the stylistic features of the original works from which the adaptations are drawn. Actually, adaptation is often a compromise between the contemporary market demand and the fidelity to the content, necessary to fulfil the expectations of the target audience. Surprisingly, there is a scarcity of critical literature on children's television adaptations, even if they represent a very rich topic as they raise specific issues both on the adaptation process itself and on serialisation. The present work, therefore, aims to fill the existing gap in the field of children's adaptations, placing itself where two critical areas, literature and media, meet. Consequently, the primary narrative approach intersects with studies on adaptation and audiovisual industry.

Advisors/Committee Members: MARCHETTI, ANTONELLA, FUMAGALLI, ARMANDO.

Subjects/Keywords: M-PED/02: STORIA DELLA PEDAGOGIA; M-FIL/05: FILOSOFIA E TEORIA DEI LINGUAGGI; L-ART/06: CINEMA, FOTOGRAFIA E TELEVISIONE; adattamento, letteratura per l'infanzia, Heidi, Pippi Calzelunghe, Tracy Beaker, serialità televisiva, personaggio femminile, storie character driven, animazione, live action, adaptation, children's literature, Heidi, Pippi Longstockings, Tracy Beaker, television serialisation, female character, character driven stories, animation, live action

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APA (6^th Edition):

FORNASARI, E. C. M. (2018). PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES. (Doctoral Dissertation). Università Cattolica del Sacro Cuore. Retrieved from http://hdl.handle.net/10280/42961

Chicago Manual of Style (16^th Edition):

FORNASARI, ELEONORA CLAUDIA MIRELLA. “PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES.” 2018. Doctoral Dissertation, Università Cattolica del Sacro Cuore. Accessed January 15, 2021. http://hdl.handle.net/10280/42961.

MLA Handbook (7^th Edition):

FORNASARI, ELEONORA CLAUDIA MIRELLA. “PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES.” 2018. Web. 15 Jan 2021.

Vancouver:

FORNASARI ECM. PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES. [Internet] [Doctoral dissertation]. Università Cattolica del Sacro Cuore; 2018. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10280/42961.

Council of Science Editors:

FORNASARI ECM. PICCOLE DONNE CRESCONO: STORIE AL FEMMINILE DALLA LETTERATURA PER L'INFANZIA ALLA SERIALITA' TELEVISIVA. TRE CASE STUDIES. [Doctoral Dissertation]. Università Cattolica del Sacro Cuore; 2018. Available from: http://hdl.handle.net/10280/42961

28. Simmons, Josh C. Fukushima Meltdown Reactor: Burn Everything.

Degree: MM, Music Composition, 2015, Bowling Green State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428239598

► Elainie Lillios, Advisor Fukushima Meltdown Reactor: Burn Everything is a six-movement, fifteen-minutemultimedia work composed for performance by the multimedia trio, Netmoire, whoseperforming forces include saxophone,… (more)

Subjects/Keywords: Music; Fine Arts; Performing Arts; multimedia; digital art; nuclear; performance art; MaxMSP; Ableton Live

11 more images…

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APA (6^th Edition):

Simmons, J. C. (2015). Fukushima Meltdown Reactor: Burn Everything. (Masters Thesis). Bowling Green State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428239598

Chicago Manual of Style (16^th Edition):

Simmons, Josh C. “Fukushima Meltdown Reactor: Burn Everything.” 2015. Masters Thesis, Bowling Green State University. Accessed January 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428239598.

MLA Handbook (7^th Edition):

Simmons, Josh C. “Fukushima Meltdown Reactor: Burn Everything.” 2015. Web. 15 Jan 2021.

Vancouver:

Simmons JC. Fukushima Meltdown Reactor: Burn Everything. [Internet] [Masters thesis]. Bowling Green State University; 2015. [cited 2021 Jan 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428239598.

Council of Science Editors:

Simmons JC. Fukushima Meltdown Reactor: Burn Everything. [Masters Thesis]. Bowling Green State University; 2015. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428239598

University of Plymouth

29. Raven, Natalie Louise. Bodycloth in performance art.

Degree: PhD, 2020, University of Plymouth

URL: http://hdl.handle.net/10026.1/15953

► Bodycloth is a term coined to describe a third entity which emerges when the boundaries between body and cloth (as separate elements) collapse. This artistic… (more)

▼ Bodycloth is a term coined to describe a third entity which emerges when the boundaries between body and cloth (as separate elements) collapse. This artistic research thesis analyses a variety of inter-relations between body and cloth, as well as various modes of adornment and utilisations in order to understand the performance, experience, and presence of bodycloth in performance art. Drawing upon a wide range of contemporary and historical examples of textiles represented in relation to the body in art history – including as sculpture, painting, dance, tableau vivant and performance art – the main method of this research investigation is the production and execution of live performance. That is, it is primarily through artworks that I choreograph myself that I investigate body and cloth (also referred to interchangeably as fabric or textile) as material and cultural phenomenon, excavating and reflecting upon the embodied knowledge and processes as a maker using textiles in search of bodycloth. Taking a feminist approach, I contextualise my research in relation to other artists such as Yoko Ono, ORLAN, Cindy Sherman, Ana Mendieta, and Marina Abramović alongside critical feminist theorists such as Hélène Cixous, Luce Irigaray, Laura Mulvey, Julia Kristeva, and Judith Butler. Early chapters examine semiotic processes, whereby textiles in relation to the body are staged and framed in terms of their meaning-making capabilities in performance art. The thesis then shifts from considering how cloth and body operate meaningfully in performance, to the cultural implications and revelations which arise as a result, especially those related to the re-presentation of identity and gendered religious practice. In later chapters, I discuss how my performance research attempts to destabilise binary assumptions which uphold and sit within the mechanics of patriarchal power. As a whole, the thesis demonstrates how body and cloth can form part of a resistant feminist methodology revolving around re-presentations of women and womanhood, offering a tool for fluid self-stylisation. In addition, the emergence of bodycloth realised through processes of 'indwelling' and 'sensorial play' opens up an emancipatory third space existing beside/beyond the realm of representation. Alongside this written element of the thesis, a live performance forms part of my submission as a whole. Details of this performance are shared in the conclusion.

Subjects/Keywords: performance; sculptural body; bodycloth; textiles; visual art; performance art; body in performance; performance to camera; feminist; abject; art history; binary; Black Mountain; choreography; Christian iconography; cloth; emancipatory third space; embodiment; fabrication; fluidity; indwelling; identity; lived experience; live performance; live art; materiality; mimicry; new materialism; performance making; performance studies; queer; non-binary; representation and non-representation; re-presentation; re-staging; resistant; self empowerment; sensorial play; subversive; to-be-looked-at-ness; affect; fabric; process of performance making; feminist performance art; patriarchy; women's lived experience; womanhood; tableau vivant; sexed body; gendered body

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Raven, N. L. (2020). Bodycloth in performance art. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/15953

Chicago Manual of Style (16^th Edition):

Raven, Natalie Louise. “Bodycloth in performance art.” 2020. Doctoral Dissertation, University of Plymouth. Accessed January 15, 2021. http://hdl.handle.net/10026.1/15953.

MLA Handbook (7^th Edition):

Raven, Natalie Louise. “Bodycloth in performance art.” 2020. Web. 15 Jan 2021.

Vancouver:

Raven NL. Bodycloth in performance art. [Internet] [Doctoral dissertation]. University of Plymouth; 2020. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10026.1/15953.

Council of Science Editors:

Raven NL. Bodycloth in performance art. [Doctoral Dissertation]. University of Plymouth; 2020. Available from: http://hdl.handle.net/10026.1/15953

AUT University

30. Lyons, Marcia. Open limit: field as witness .

Degree: AUT University

URL: http://hdl.handle.net/10292/7415

► This PhD project is undertaken through a creative works process, culminating in a series of experiments produced during candidature, polyphonically named Open Limit; field as… (more)

▼ This PhD project is undertaken through a creative works process, culminating in a series of experiments produced during candidature, polyphonically named Open Limit; field as witness. A polyphonous textual, folding practice and critical engagements, the textual investigates in ways that refuse writing as commentary on practice or practice as counter-point of theoretical plaeaus. The PhD ‘dissertation’ is presented as an active processual encounter where sound and image fuse, and in this refuses an orthodox containment of research to the stasis of the book, or to the geo-fixity of an exhibition architecture. “...Language is a virus, oooooo” — Laurie Anderson, O' Superman (1981) Desert: Untitled (2011-13) is the latest in a series of prescribed investigations, born out of the performative uncanny in which the human body — with its psychic drives and physical thresholds — is exposed to actual site energies, inspired by John Cage's description, as the telepathic in live media. Unfolding across a series of geographical realities (ice, deep sea, desert), over the span of three years, the work explores site as an entity with its own psychology and momentum (wind, temperature, seismic, sonic), introducing the notion of a subtle alchemy: field as witness. This is an intro-ducting into different kinds of analog and networked situations in which an audience and a site's energies are in play, fusing more with the contemporary environment in the moment. Within a dynamic sense of standing -in, -with or -among remote and local energies, I invite viewers to access a living presence within their own improvisational moves. Remote frequencies become a kind of character study, suggesting a porosity, awaiting entry and passage, as well as the 'wide open,' as an endless metaphor for field. Each geographical circumstance has its own field of intensity. This idea of a site voicing is formulated in relationship to the increased complexity and intensification of a field witnessing, prompting more intricate forms of site development. Exploring forces in live performance, the desert coordinate, takes this principle as a governing sensibility. In this sense, Desert: Untitled, is a live field study excerpt of Open Limit: Field as Witness. In my research trajectory, Open Limit has developed a more recognizable character, that is, a vision and voice that fuses endurance in live-site performance, and incorporates ‘physicalized’ projections and sometimes text. I regard it as participatory—a ‘brew’ inhabiting the live-worlds and traditions of the public art and witnessing sphere, but thickened with cross-pollinating performative disciplines — film, sound, theatre and live media — that help weave a context for developing a system of activated viewing. The desert coordinate is the culmination of three years of research expeditions (geo- psi- tele-) in which a fundamental questioning of ‘encounter’ thematically explores the performative nature of site/nonsite – narrative/non-narrative. I use the notion of activated-cinema to give a name to this… Advisors/Committee Members: Jackson, Mark (advisor), Johnson, Rosser (advisor).

Subjects/Keywords: Telepathic; Wild-track; Algo-cinema; Field-as-witness; Live-media; Network-fiction; Method-writing; Augmented reality; Performance Art; Digital media

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APA (6^th Edition):

Lyons, M. (n.d.). Open limit: field as witness . (Thesis). AUT University. Retrieved from http://hdl.handle.net/10292/7415

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lyons, Marcia. “Open limit: field as witness .” Thesis, AUT University. Accessed January 15, 2021. http://hdl.handle.net/10292/7415.

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lyons, Marcia. “Open limit: field as witness .” Web. 15 Jan 2021.

Note: this citation may be lacking information needed for this citation format:
No year of publication.

Vancouver:

Lyons M. Open limit: field as witness . [Internet] [Thesis]. AUT University; [cited 2021 Jan 15]. Available from: http://hdl.handle.net/10292/7415.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

Lyons M. Open limit: field as witness . [Thesis]. AUT University; Available from: http://hdl.handle.net/10292/7415

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

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