Author(s):
Nobre, Ana Lúcia, 1984- 
Date: 2011
Persistent ID: http://hdl.handle.net/10451/3431
Origin: Repositório da Universidade de Lisboa
Subject(s): Fotografia; Performance art; Natureza; Abismo
Document details
O abismo
Description
Tese de mestrado, Arte e multimédia - audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2011 The research currently developed; want to declare the photographic act as performance. This assertion, in our case, is allied itself to nature as physis, in the Greek sense of the word: what is common to all that exists. We build, based on the philosophical theory of Merleau-Ponty, on concepts the like are the reciprocity/reversibility between the sentient subject and the sensible world; the importance of the body in the process of feeling (what unite body and world is not reducible to a quality or a concept); in the overcoming of the binomial subject/object (which derives from the recognition of its founded and derivative nature); the exploration of the perception (pre-objective/pre-predicative by nature) and its domain; the intentionality of the sensible, and the articulation/reciprocity between sensible and intelligible. The conceptual and physical action of the photographer is here assumed as decisive in the formal definition of the photographic image. We define performance as an act that differs from the never-ending space-time flowing in which we are insert, due to a heightened consciousness of the present, of the here and now, by the performer. Itʼs like if we create a frame of the real. Photography and performance are both space-time cuts. Both emphasize the perception of the present time by the subject who produces them, implying always the question of the subject in the act, in creation/production of content and meaning. The act is previous to the work: in fact the act is the foundation of itʼs beginning and also contains within itself the intricate riddle of his disappearance
Tese de mestrado, Arte e multimédia - audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2011 The research currently developed; want to declare the photographic act as performance. This assertion, in our case, is allied itself to nature as physis, in the Greek sense of the word: what is common to all that exists. We build, based on the philosophical theory of Merleau-Ponty, on concepts the like are the reciprocity/reversibility between the sentient subject and the sensible world; the importance of the body in the process of feeling (what unite body and world is not reducible to a quality or a concept); in the overcoming of the binomial subject/object (which derives from the recognition of its founded and derivative nature); the exploration of the perception (pre-objective/pre-predicative by nature) and its domain; the intentionality of the sensible, and the articulation/reciprocity between sensible and intelligible. The conceptual and physical action of the photographer is here assumed as decisive in the formal definition of the photographic image. We define performance as an act that differs from the never-ending space-time flowing in which we are insert, due to a heightened consciousness of the present, of the here and now, by the performer. Itʼs like if we create a frame of the real. Photography and performance are both space-time cuts. Both emphasize the perception of the present time by the subject who produces them, implying always the question of the subject in the act, in creation/production of content and meaning. The act is previous to the work: in fact the act is the foundation of itʼs beginning and also contains within itself the intricate riddle of his disappearance
Document Type
Master Thesis
Language Portuguese
Advisor(s) Gamito, Maria João, 1956-
Language Portuguese
Advisor(s) Gamito, Maria João, 1956-
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