Open Access Theses and Dissertations

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Pontifical Catholic University of Rio de Janeiro

1. ANA ROSA SARAIVA CATALANO. [en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK.

Degree: 2005, Pontifical Catholic University of Rio de Janeiro

URL: http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409 

[pt] O objetivo desta dissertação é analisar a relação entre a obra de arte, o artista e o espectador a partir da produção de Lygia Clark e Hélio Oiticica. Esses dois artistas foram escolhidos como objeto de estudo por terem direcionado sua pesquisa no sentido de incluir o espectador como agente modificador e até mesmo criador da obra de arte. Ambos são reconhecidos por propor novas questões a respeito ocupação do espaço real pela obra de arte e pela busca da libertação da bidimensionalidade da tela e da moldura. Esta pesquisa se baseia na idéia de que os dois pintores se tornaram referência para a história da arte no Brasil e investiga suas trajetórias desde a participação no grupo Neoconcreto até seus últimos trabalhos, estudando os problemas propostos na produção de cada um, em especial, no que se refere ao diálogo que estabelecem com o público.

[en] The goal of this dissertation is to analyse the existing relationship between the art work, the artist and the spectator within the context of Lygia Clark s e Hélio Oiticica s work. These two artists were chosen as the object of this study because both were committed to proposing new issues regarding the inclusion of the spectator as a direct agent in the modification and even creation of the art work. They stood out in the artistic world by proposing innovating issues, searching to occupy the real space and free themselves from the bidimensionality of the canvas and the easel. The research is based on the premise that both are current references in the history of Brazilian art and investigates the span of their trajectory, from their participation in the Neoconcrete group up to their last pieces, stressing the problematics involved in each one s work and, specially, to what point they were able to establish a direct dialogue with the public.

Advisors/Committee Members: CECILIA COTRIM MARTINS DE MELLO.

Subjects/Keywords: [pt] ARTE BRASILEIRA; [en] BRAZILIAN ART; [pt] NEOCONCRETISMO; [en] NEOCONCRETISM; [pt] ESPECTADOR; [en] SPECTATOR; [pt] PARTICIPANTE; [en] PARTICIPANT; [pt] LYGIA CLARK; [en] LYGIA CLARK; [pt] HELIO OITICICA; [en] HELIO OITICICA

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

APA (6th Edition):

CATALANO, A. R. S. (2005). [en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK. (Thesis). Pontifical Catholic University of Rio de Janeiro. Retrieved from http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409

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

Chicago Manual of Style (16th Edition):

CATALANO, ANA ROSA SARAIVA. “[en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK.” 2005. Thesis, Pontifical Catholic University of Rio de Janeiro. Accessed January 18, 2021. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409.

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

MLA Handbook (7th Edition):

CATALANO, ANA ROSA SARAIVA. “[en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK.” 2005. Web. 18 Jan 2021.

Vancouver:

CATALANO ARS. [en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK. [Internet] [Thesis]. Pontifical Catholic University of Rio de Janeiro; 2005. [cited 2021 Jan 18]. Available from: http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409.

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

Council of Science Editors:

CATALANO ARS. [en] THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK. [Thesis]. Pontifical Catholic University of Rio de Janeiro; 2005. Available from: http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409

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

2. Carneiro Brandao Pereira, Melina. Immersed in Display: Blurring Boundaries in Architecture.

Degree: M. Arch., Design, Architecture, Art and Planning: Architecture, 2013, University of Cincinnati

URL: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367944969 

Participatory modes of spectatorship have recently become increasingly popular in our society. Whether in user-generated media or interactive performances, people are constantly invited to take part in what surrounds them. Although this shift from a spectator to a spectator-participant has recently boomed in media and the entertainment industry, it is a concept that has frequently been explored in other contexts. For centuries artists, architects, and curators have invited spectators to enter the mise-en-scene, the scene of action, to offer insider's perspective of the world we live in. These immersive works, which pull the spectator into the image by blurring boundaries between the real world of the spectator and the virtual world of the image, turn spectators into participants of a virtual reality. This thesis explores the implications of the immersive view in the context of a zoo, a virtual representation of nature. It examines the current application of landscape immersion at the Cincinnati Zoo and uses this knowledge to investigate how architecture is able to immerse visitors to not only bring them closer to the natural world, but also to display them as part of it. The project presents an architecture that is a projection of its environment, a materialization of an image. It explores what architecture would be like if it were a constructed landscape. Advisors/Committee Members: McInturf, Michael (Committee Chair).

Subjects/Keywords: Architecture; immersion; landscape immersion; Cincinnati zoo; projection of image; blur boundaries; spectator-participant

…the degree in which the spectator-participant, or [2] In other words, he sits… …spectator-participant one dips or plunges into another. In immersive is dipped into an… …orchestrated image displayed i.e. he becomes a spectator-participant. Though immerging or of… …Virtual Reality through Head-Mounted Display this project the spectator-participant enters a… …of vision field of vision of-view dictated by the spectator-participant (fig.2.4… 

Page 1 Page 2 Page 3 Page 4 Sample image Sample image Sample image Sample image
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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Carneiro Brandao Pereira, M. (2013). Immersed in Display: Blurring Boundaries in Architecture. (Masters Thesis). University of Cincinnati. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367944969

Chicago Manual of Style (16th Edition):

Carneiro Brandao Pereira, Melina. “Immersed in Display: Blurring Boundaries in Architecture.” 2013. Masters Thesis, University of Cincinnati. Accessed January 18, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367944969.

MLA Handbook (7th Edition):

Carneiro Brandao Pereira, Melina. “Immersed in Display: Blurring Boundaries in Architecture.” 2013. Web. 18 Jan 2021.

Vancouver:

Carneiro Brandao Pereira M. Immersed in Display: Blurring Boundaries in Architecture. [Internet] [Masters thesis]. University of Cincinnati; 2013. [cited 2021 Jan 18]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367944969.

Council of Science Editors:

Carneiro Brandao Pereira M. Immersed in Display: Blurring Boundaries in Architecture. [Masters Thesis]. University of Cincinnati; 2013. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367944969


University of Melbourne

3. DIAS, MARCOS. Rethinking urban space through mediated performance.

Degree: 2015, University of Melbourne

URL: http://hdl.handle.net/11343/55710 

This thesis explores the contemporary mediated city, in which everyday social and spatial exchanges are mediated by pervasive communication technologies. Centred on a detailed ethnographic account of Blast Theory’s participatory art performance A Machine To See With during the Brighton Digital Festival 2011, the thesis investigates the changed status of embodied encounters in the city. Employing a theoretical approach based on Deleuze and Guattari’s framework of machinic assemblages, participatory art in public space is conceptualised as a collection of machines where agency is distributed and where the outcome is always emergent and unpredictable. The analysis of A Machine To See With as a collection of machines is extended towards reflecting on the technological apparatus that mediates our everyday lives in the contemporary mediated city and some of its pressing issues: the misinterpretation of communication failures; the normalisation of surveillance; the ethics of remote data storage; and our increasing dependence on technology to navigate urban space and negotiate embodied encounters. The field research is conducted through a close observation of Blast Theory’s performance. It is based on a methodological approach that assembles a ‘performative account of performance’ by combining Actor-network theory, multi-sited ethnography and mobile methods of research. The thesis proposes that emerging patterns of social interaction and reconfiguration of public space are mediated by an assemblage of narrative, technology and urban space in contemporary society. Forms of encounter mediated through biotechnological systems of trust displace older forms of social engagement. The field research conducted on A Machine To See With identified three overlapping modes of participation: playful, exploratory and critical. These modes are indicative of the process of artistic narration and participant translation that is triggered by the performance and its interpretation as an ‘open work’ despite its prescriptive narrative. The field research also revealed how perceived ‘failure’ of participants to follow the narrative prompts and their unexpected encounters with both human and non-human actants in urban space could potentially become affordances.

Subjects/Keywords: media studies; performance studies; urban studies; social interaction; participatory art; public space; pervasive technologies; trust; narrative; machinic assemblages; Deleuze and Guattari; Actor-network theory; Bruno Latour; multi-sited ethnography; George Marcus; mobile methods; performative account; performative city; machinic city; mixed reality; cinema; mobile phone; avant-garde art movements; Neo-Concretism; performative turn; aesthetic machines; spectator-participant; actant; dissensus; cosmopolitanism; posthumanism; trajectories; media city; Blast Theory; Rimini Protokoll; Graffiti Research Lab; Brasilia; Vertov; Umberto Eco

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

APA (6th Edition):

DIAS, M. (2015). Rethinking urban space through mediated performance. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/55710

Chicago Manual of Style (16th Edition):

DIAS, MARCOS. “Rethinking urban space through mediated performance.” 2015. Doctoral Dissertation, University of Melbourne. Accessed January 18, 2021. http://hdl.handle.net/11343/55710.

MLA Handbook (7th Edition):

DIAS, MARCOS. “Rethinking urban space through mediated performance.” 2015. Web. 18 Jan 2021.

Vancouver:

DIAS M. Rethinking urban space through mediated performance. [Internet] [Doctoral dissertation]. University of Melbourne; 2015. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/11343/55710.

Council of Science Editors:

DIAS M. Rethinking urban space through mediated performance. [Doctoral Dissertation]. University of Melbourne; 2015. Available from: http://hdl.handle.net/11343/55710

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