Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Rocking behaviour of multi-block columns subjected to pulse-type ground motion accelerations

Ancient columns, made with a variety of materials such as marble, granite, stone or masonry are an important part of the
European cultural heritage. In particular columns of ancient temples in Greece and Sicily which support only the architrave are
characterized by small axial load values. This feature together with the slenderness typical of these structural members clearly
highlights as the evaluation of the rocking behaviour is a key aspect of their safety assessment and maintenance. It has to be noted
that the rocking response of rectangular cross-sectional columns modelled as monolithic rigid elements, has been widely investigated
since the first theoretical study carried out by Housner (1963). However, the assumption of monolithic member, although being
widely used and accepted for practical engineering applications, is not valid for more complex systems such as multi-block columns
made of stacked stone blocks, with or without mortar beds. In these cases, in fact, a correct analysis of the system should consider
rocking and sliding phenomena between the individual blocks of the structure. Due to the high non-linearity of the problem, the
evaluation of the dynamic behaviour of multi-block columns has been mostly studied in the literature using a numerical approach
such as the Discrete Element Method (DEM). This paper presents an introductory study about a proposed analytical-numerical
approach for analysing the rocking behaviour of multi-block columns subjected to a sine-pulse type ground motion. Based on the
approach proposed by Spanos (2001) for a system made of two rigid blocks, the Eulero-Lagrange method to obtain the motion
equations of the system is discussed and numerical applications are performed with case studies reported in the literature and with a
real acceleration record. The rocking response of single block and multi-block columns is compared and considerations are made
about the overturning conditions and on the effect of forcing function’s frequency.
.

201186

How is it possible that civilization has a global understanding of the abstraction of the human form? At a subconscious level as humans we have the ability to find the form of the body in the most minimal of shapes, objects, landscape and even natural phenomena such as clouds, it is an ability inherent in human nature. This deep-rooted facility to recognise the human form at various levels of abstraction is also developed further by our life experiences, environment and total education; specifically in the fine and applied arts. For this research I have focused on the change between realistic representations of the human form to complete abstraction. I have broken it down to its most basic elements to explore at what point our visual language allows us to recognise and define a shape or object as being influenced by, or connected to, the human form. I have concentrated on extending my own visual language relating to the human form within my own practice. A series of practical research projects has been undertaken and has been supported by a new series of investigative works, drawings and written evidence of the ways in which the figure can be represented, documenting the process via the thesis and final works. As part of my research, I have investigated the way artists working with clay have abstracted the human form focusing in particular on work from the 1950s to the present day using clay, drawing and installation. I have looked at how, over this period, artists have developed their own visual signifiers of the human form within their abstract/representational creations. The aim of this research will be falls into two parts: • To investigate how far one can push the human form in clay before it moves into abstraction • To locate the vanishing point where viewers still identify the human within ceramic abstract sculpture

A arte na igreja do Convento de Santa Maria do Carmo de Lisboa,1389/1755: contributos para o seu estudo cripto-histórico

Tese de mestrado, Arte, Património e Teoria do Restauro, Universidade de Lisboa, Faculdade de Letras, 2010

A iconografia de Santa Maria Madalena em Portugal até ao Concílio de Trento

Tese de mestrado Arte, Património e Teoria do Restauro, Universidade de Lisboa, Faculdade de Letras, 2012

Vox Dei:metáfora(s) da espiritualidade

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

A coleção de escultura da Faculdade de Belas Artes : a formação do gosto e o ensino do desenho

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Escultura, arqueologia e museus transfigurações e mediações contemporâneas

Tese de doutoramento, Belas-Artes (Escultura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

A recepção de escultura clássica na Academia de Belas-Artes de Lisboa

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Disappearing acts : making things + making things go away

Thesis (Master's)--University of Washington, 2014

Decorative news feeds; beacon

'Decorative Newsfeeds' use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

Thomson-Craighead at Studion

Moderna Museet invited Mejan Labs to curate two installations by the British artists Thomson & Craighead. This solo exhibition was in Studion at Moderna Museet, Stockholm. Works included: BEACON when it is shown as a data projection in a gallery. As with the online version and railway flap sign, live web searches are continuously relayed as they are being made around the world -in this case onto a gallery wall in series and at regular intervals as an endless concrete poetry. Decorative Newsfeeds use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

Proposta de modelo para obtenção do Work Index das rochas

Este trabalho pretende estabelecer uma relação entre o Work Index e algumas propriedades das rochas. Através da pesquisa bibliográfica foram identificadas varias propriedades com possível influência no valor do Work Index, das quais foram seleccionadas a massa volúmica aparente, a resistência à carga pontual, a composição química, a composição mineralógica e a abrasividade. Adicionalmente a porosidade aberta e resistência à compressão também foram analisadas. Assim foram analisadas 10 amostras de rocha, quatro de granitos, uma de quartzodiorito, uma de ardósia, uma de serpentinito, uma de calcário, uma de mármore e uma de sienito nefelínico, sobre as quais já eram conhecidos os valores de cinco das propriedades referidas previamente, tendo sido determinados os valores das ainda desconhecidas, resistência à carga pontual e a abrasividade que está representada através do resultado do ensaio capon. Devido à dificuldade de execução do ensaio de determinação do Work Index de Bond foram recolhidos dados bibliográficos de valores do Work Index para as amostras de rocha seleccionadas e adoptado o valor médio para cada uma. Os dados obtidos foram tratados estatisticamente através do método de análise de componentes principais assim como através de regressões lineares simples e múltiplas. A análise de componentes principais permitiu identificar várias propriedades da rocha com possível influência sobre o Work Index de entre as analisadas. Foi possível estabelecer uma relação entre o Work Index e quatro das propriedades seleccionadas, designadamente a porosidade aberta, a resistência à compressão, a resistência à carga pontual e a abrasividade.

O conceito contemporâneo e as reflexões sobre arte e estética de Rui Chafes

A recusa da estratificação do tempo, que surge na segunda metade do século XX, resulta da perda de fé numa grande narrativa e modifica a percepção do tempo cronológico: os acontecimentos já não se sucedem ordeiramente, manifestam-se em simultâneo no presente ou são criteriosamente convocados a partir do presente. Esta reformulação do tempo implica a reformulação do conceito de contemporâneo, permitindo questionarmo-nos, tal como Giorgio Agamben: “De quem e do que somos contemporâneos? E, antes de tudo, o que significa ser contemporâneo?” Com esta dissertação pretende-se analisar algumas formulações do conceito de contemporâneo, especialmente a partir de Giorgio Agamben, Walter Benjamin, Hannah Arendt e Georges Didi-Huberman, com a intenção de compreender as implicações da temporalidade na experiência estética e as possibilidades que as conceptualizações elaboradas oferecem à constituição de uma comunidade humana. Na segunda parte do trabalho, relaciona-se a problemática da contemporaneidade com as reflexões sobre arte e estética do escultor Rui Chafes através do seu texto “A História da Minha Vida”, um relato das principais influências da formação artística do narrador. Este relato ultrapassa os limites cronológicos, onde o artista olha para trás definindo o seu próprio tempo presente e o seu passado. O presente surge como a inteireza que resume a atenção do artista e nos descreve a sua caminhada através do tempo artístico. O narrador revive na primeira pessoa o percurso dos artistas que desde a Idade Média ao Barroco – trabalharam anonimamente a pedra e a madeira em nome dos mestres e ao fazê-lo assume-se como o escultor-aprendiz que recusa a promoção a mestre, e revela em si, através dos valores supremos do trabalho, da sabedoria e da experiência, toda a arte que o precedeu.

In Search of the Origins of Modernism: Venice and the Crisis of Classical Architecture in the mid-eighteenth century

This paper attempts to prove that in the years 1735 to 1755 Venice was the birthplace and cradle of Modern architectural theory, generating a major crisis in classical architecture traditionally based on the Vitruvian assumption that it imitates early wooden structures in stone or in marble. According to its rationalist critics such as the Venetian Observant Franciscan friar and architectural theorist Carlo Lodoli (1690-1761) and his nineteenth-century followers, classical architecture is singularly deceptive and not true to the nature of materials, in other words, dishonest and fallacious. This questioning did not emanate from practising architects, but from Lodoli himself– a philosopher and educator of the Venetian patriciate – who had not been trained as an architect. The roots of this crisis lay in a new approach to architecture stemming from the new rationalist philosophy of the Enlightenment age with its emphasis on reason and universal criticism.