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Doctoral Thesis
DOI
Document
Author
Full name
Vanderlei Baeza Lucentini
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Matuck, Artur (President)
Basbaum, Sergio Roclaw
Dotta, Silvia Cristina
Gosciola, Vicente
Katzenstein, Tamara Vivian
Vicente, Eduardo
Title in Portuguese
Telectropera: performances, estéticas, histórias, tecnologias e corpos sonoros
Keywords in Portuguese
Arte computador
Arte digital
Arte performática
Arte tecnológica
Música contemporânea
Abstract in Portuguese
A presente pesquisa tem como objeto a criação, as relações ancestrais midiáticas e alguns modelos analíticos, técnicos e estéticos que se relacionam diretamente com as concepções de três obras e seus protótipos de minha autoria que se inserem no campo da performance que habita o espaço telemático. Em Ciclo dos Fósforos Riscados, Chuva Residual-Choreophonia e Memórias Fractais ocorre a convergência entre a performance art e suas aplicações tecnológicas; a música assistida por computadores e seus respectivos processos de manipulações sonoras; as relações espaço-temporais da presença humana; a perlaboração de velhas mídias; os processos de síntese e manipulações imagéticas em tempo real e diferido; o self como texto. Nessas zonas de conflitos contínuos ocorre a formação de um gênero performático pessoal denominado Telectropera.
Title in English
Telectropera: performances, aesthetics, stories, technologies and sound bodies
Keywords in English
Art technology
Computer art
Contemporary music
Digital art
Performance art
Telectropera
Abstract in English
This study has as its object the act of creation, the primordial mediatic relationships and some analytical, technical and aesthetical models. All in relation with the three works of art and their prototypes conceived by me, set as performances in the telematic sphere. The Cycle of Used Matchsticks, Residual Rain Choreophonia and Fractal Memories are characterized by the convergence between Performance Art and their technological applications; music assisted by computers and their respective processes of sound manipulations; the spatio-temporal relationships of the human presence; the working through (perlaboration) of old medias; the processes of synthesis and image manipulations in real time and in deferred time; the self as text. In these continual conflict zones occurs the formation of a new performatic personal style denominated Telectropera.
 
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Publishing Date
2019-10-16
 
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