La escultura sonora como objeto y cuerpo sónico: Propuestas creativas dentro del "Groupe de Recherche en Sculpture et Art Sonore" -GReSAS- Quebec, 2005-2011

[EN] Sound sculpture as object and sonic body: Creatives propositions from the "Groupe de Recherche en Sculpture et Art Sonore" -GReSAS- Quebec, 2005 - 2011\nThe subject of this investigation is to deepen our understanding of the analogic equivalence between a sculptural object and sound phenomena in order to comprehend the sculptural and sonic event as a hybrid visual art phenomena, at once spatial and time based art, and in which measure the concept of sonic body integrates into this new dynamic environment.\nThis thesis is built in three chapters: The first chapter traces the evolution of sound sculpture toward installations and sound environments. Chapter two focuses on contaminations of sculptural phenomena by disciplines foreign to the spatial arts, specifically from theater and time based art. The final chapter underscores other significant influences which have tranformed the way of producing sculpture as well as sonic sculptural events collectively, through interactive and participatory strategies. Parallel investigations analize the experimental practices of the 'Groupe de Recherche en Sculpture et Art Sonore' (GReSAS) from Quebec between 2005 and 2011.\nThe general motivation for this research responds to two preoccupations: The way in which one makes sculpture today, and how the contemporary artistic evento generates sense. With these points of departure, the chosen methodology favors an analogous analysis anchored in concret phenomena in order to grasp the theoretical and practical aspects of our general objetive and, simultaneously, allows the development of an experimental framework for open, creative and collective production.\nThree essential objectives of the present thesis are, first of all, to analyze sculpture as sound object in its various manifestations by interesting ourselves in the practical articulation of this movement of sculpture towards a sound object during the XXth century which will allow us to understand the context in which a sound object may attain the possibility of being art. Two, to further comprehend the expansion of sound sculpture towards a sonic body and its possible expressions by examining the evolution of the sculptural field, the manifestations and events where a sound component is imperative and essential to the work. Although, far from a complete inventory of the phenomenon, we have underlined works which are indicative of possible sonic bodies to better understand the binomial space - time, of the inalienable nature of both terms as they are anchored in materiality. Three, to demonstrate that a work may be dependent on its three-dimensional form and on its sound consequences because without these two components there would be no such work of art. Simultaneously, in accordance with our methodology, we apply in a creative way the double conception refered to in the previous points through collective projects realized by the GReSAS from Quebec (since its foundation in 2005 until 2011) to further understand the multiple transformations of the sculptural object toward a sound object and a possible sonic body.\nThe results obtained demonstrate that the concept of a minimum of image is essential to the ontological condition necessary for the sculptural to appear concretely. The expansion of this 'povera' concept into the theatrical leads us to affirm a second ontological condition, that of a minimum of theatricality in action art events and art performance. Equally significant in an open search for meaning is the deleuzian concept of 'mot-valise', when applied to action and art performance, sheading light on a new unicity in art actions and daily life media. Experimentation situates the sonic body in actuality and facilitates a new understanding of this vibrant body.

Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.