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Strom, Yuri A. "The Art Material Girl--A Guide to Save and Find Funding for Art Materials." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/66.
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The current economic situation in the U.S. has demanded budget cuts in all areas of American life, including education. Faced with these unprecedented cuts, many arts programs are losing their funding. Many art educators are finding it a challenge to provide art education without compromising the quality of the curriculum and program. Through a comparative analysis of materials and fundraisers and a document analysis of money saving tips, strategies are suggested for art teachers to save and find money.
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Langille, Nicole. "Of Measure and Material." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.
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Freeman, Julie. "Defining data as an art material." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/31793.
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Digital technology, and speci cally digital data, forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human. It is unsurprising that one of the most prevalent materials of our time is used by artists to create work. This thesis defines data as an art material. It investigates the variety of manifestations of data when used in art, through the review of existing artwork and the development of new artworks and visualisations that use a dataset collected for this research. Through the lens of conceptualising data as an art material, a definition and manifesto of data art is put forward (Chapter 2). In addition, a taxonomy for describing data as an art material is proposed and its usage explored by applying it to a number of data art descriptions and by analysing a database of data artworks tagged with relevant terms (Chapter 3). Temporal, biological, and real-time, terms from the taxonomy, are particularly relevant to the way in which digital technology mediates our connection to nature. To explore these forms of data within artwork, a collaboration with Dr Chris Faulkes, Reader in Evolutionary Ecology, facilitated the design and implementation of an electronic system to collect data from a colony of animals. Chapter 4 describes the tracking system which resulted in a real-time stream of biological temporal data. Translations of this data are explored in more detail through the practical application of various computational techniques including scientific analysis (Chapter 5), animation, sonification, data visualisation (Chapter 6) and soft robotic objects (Chapter 7). The thesis demonstrates that an inanimate object, animated through the translation of data, can have a body language through which to effectively convey characteristics of living things (Chapter 8). Finally, public engagement events are presented in Chapter 9, with reflections, contributions and future work concluded in Chapter 10.
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Greening, Daniel John. "Art, landscape and material : subject into media." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.
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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.
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Voegelin, Salome. "Practising timespace-collage : art as material complex." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419777.
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Wagstaff, Brooke Elizabeth. "Material objects of paint." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10197.
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The research paper ‘Material Objects of Paint’ is an extension or review of past endeavours by others to establish a credible argument that paint is capable of being adopted and used beyond conventional means in the creation of a broader range of works in the arena of visual art. The research covers the areas of the visual, theoretical and practical work directed at two objectives: The first objective is to study and report on the work of modernist and contemporary artists, writers and commentators. The second objective is to develop my potential to contribute to a greater knowledge and practical ability to extend the recognition of paint as a tool and vehicle in the area of Visual Arts.
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Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.
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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.<br>History of Art and Architecture
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Gordon, Rebecca Alison. "Rethinking material significance and authenticity in contemporary art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.
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The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attributes to the work’s identity. The artist’s voice has been a crucial source in this re-evaluation, with the voices of Scottish artists, or artists represented by a Scottish gallery or collection, building a picture of the way practitioners think about the significance of materials to their work. These contemporary primary sources have been contextualised with artists’ voices from published compendiums and international case studies. They have revealed the general pragmatism of artists’ approaches, particularly in relation to their creative processes. Therefore, this thesis has based its discussion around seemingly incongruous approaches: a conceptual framework and artists’ practices. However, these poles are reconciled by rooting the investigation at the point of the artwork’s creation. This has meant placing weight on the artist’s intentions for the work and his or her decision-making process, rather than the subsequent interpretations of curators and conservators that inevitably inform the artwork’s institutional afterlife. Doing so has led to a greater understanding of artists’ conceptions of material significance and their thoughts on the identity of their works. This inevitably bears implications for the preservation and display of contemporary art.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.
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Hornbuckle, Rosie. "Design and the material cycle : an investigation into secondary material use in design practice." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21839/.
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Since the UK government's Waste Strategy was introduced in 2000 there has been sustained emphasis on the diversion of waste material from landfill and it has been acknowledged that stable markets for secondary materials must be developed to ensure that the resources used to recover them are not expended needlessly. This thesis looks at the issues surrounding a designer's ability to select secondary materials for the production of new artefacts and proposes a new framework for supporting that activity. While in the past recycled materials have mainly been used either for highly visible 'one-offs' or hidden components the stance taken here is that both creative design and volume production are essential for stable markets in the short term and effective materials cycles in the future. Therefore product and industrial design was the initial focus of this research. The investigation involved three empirical enquiries: Enquiry 1 employed a survey method to explore the design scenario of product and industrial designers and its influence on their ability to select secondary materials. Enquiries 2 & 3 looked at the issues involved in recovering and using secondary materials (focusing on plastic in London), and the tools currently available to support designers. The primary research suggests that the scenario of product and industrial design consultants is not generally conducive to the consideration and use of secondary materials. Specifications for two tools that could improve the situation are proposed: 1) to build knowledge and awareness of secondary materials, and; 2) to improve materials information for design. However the issues with using secondary materials in design practice are manifold and so the research concludes with a framework identifying five central considerations for supporting the use of secondary materials in design practice. This thesis contributes original knowledge in the field of design research by: • proposing specifications for new tools to support the use of secondary materials in design practice; • presenting a range of approaches to sourcing and using secondary materials in design practice; • furthering understanding of the design scenario and how it may inhibit or enable designers to act in specific ways; • challenging existing approaches to material information provision for designers with a new emphasis on dialogue with specialists and the important role of materials librarians.
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Long, T. J. "Material thinking in art : subject, object and the subjectile." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1364563/.
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My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object. As a critical device the subjectile is useful both for discussing art and making it, enabling me to explore my own practice, which seeks to articulate problematic aspects of subjective status and the end limits of the subject. Artaud describes in his writing and depicts in his drawing how his body is in a state of fusion with objects. Or, he adopts a creative process that presents subjective integrity as if it overlaps and is contiguous with objects. The first, rational and empirical direction determines there is no sensation and no animation in objects, so they do not retain in their material mass any attributes of subjectivity. The second direction proposes that objects are hybrid and metamorphic: sensation, and attributes of the subject are contiguous with the material properties of objects. The poetics of corporeality Artaud develops in his works maintains a consistent attitude to extension, proposing that sensation and substantial material qualities of the human body are discovered in objects, especially in art. I argue that the subjectile deploys paranoid devices to understand subjective difficulties. I discuss paranoia and the subjectile in relation to Deleuze and Guattari's understanding of Artaud's 'Body without Organs', and Derrida's essay 'Maddening the Subjectile'. I also draw upon Melanie Klein's object relations theory, which discusses split up parts of the subject that are ambivalent, projected and expelled, enabling discussion of subjectiles as partial attributes of the subject that form part of a broader culture, through the engagement of aesthetic, formal, and historical registers in art.
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Buzz, Lu La. "The states and status of clay : material, metamorphic and metaphorical values." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11639.
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This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.
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Zeligman, Brooke. "Material murmurings." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1600.
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This thesis, Material Murmurings, comprising of exegesis and creative practice, focuses on the central research question: “How do we understand the materiality of glass and what happens when said materiality is approached through feminist scholarship?” This question forms the basis for an investigation through creative practice and analysis via an interpretive framework of feminist knowledges of the body. The creative practice embraces glass as the central medium with a series of exhibitions that responded to the interpretive paradigm. It is expected that Material Murmurings will highlight and make evident the value of post-technical approaches in glass art which have only recently become an acknowledged form of contemporary visual arts within Australia and, to a lesser degree, the broader international context.
The intention of this thesis is to address the lack of dialogue surrounding glass as a contemporary visual arts material by discussing how female artists have been using glass within their practice through a paradigm of feminist scholarship of the body. A lack of formalised inquiry into the material depth of glass exists. Through formalising this discussion via a framework of feminist knowledges, the study will open up the possibilities for writing about glass, allowing for the expansion of the dialogue surrounding contemporary glass art. The study will also make visible and highlight the breadth and diversity of contemporary glass works being produced particularly by female visual artists, embracing the material itself for its depth and wealth of possible meaning.
The exegesis pays particular attention to the work of female artists who have embraced glass for its materiality. Materiality is understood as the insistence of meaning that a material contributes to a work of art; the qualities, history and function beyond the decorative or aesthetic value that the material contributes to the artwork. My feminist visual arts praxis has provided the motivation for this exegesis and my obsession with glass has driven the choices of artists and theorists discussed. The exegesis demonstrates how glass can be interpreted/read/understood within the visual arts through a feminist lens.
Various exhibitions through the research period culminated in a final exhibition titled Material Murmurings (2013). These exhibitions revealed different ways of critically interpreting and locating glass works beyond the traditional craft paradigm. This research has responded to the contemporary scholarly call for a need for visual arts critical review to be more inclusive of contemporary glass works, and has provided through practice-led research that is inclusive of materiality, praxis and process, a basis for this, with significant outcomes exhibited as artefact/object/publication.
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Berglund, Anna-Karin. "Materialet och traditionens estetik : ett undersökande arbete om ungdomars syn på material." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-569.
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Den här uppsatsen behandlar frågeställningen hur gymnasieelever idag förhåller sig till hemslöjdsrörelsens tradition och syn på material i förhållande till hantverk? Syftet med undersökningen är att lyfta fram och diskutera hur dagens ungdomar förhåller sig till material i jämförelse med den tradition som vuxit fram ur det sena 1800-talets hemslöjds- och sociala reformrörelser. Genom litteraturstudier inom området lyfter undersökningen fram tankegångar om på vilket sätt hemslöjdsrörelsens estetik och därmed förhållande till material, kunnat vinna ett mer allmänt utbrett anseende. I ett designpedagogiskt projekt som tar avstamp i etnologen Charlotte Hyltén-Cavallius teorier om hur hemslöjdsrörelsen värderar olika material, är arbetets avsikt att undersöka i vad mån dessa ideal än i dag präglar gymnasieelevers förhållningssätt till material. Insamlingen av empiriskt material till undersökningen har skett med etnografisk metod i samband med det designpedagogiska projektet, den praktiska undersökningen. Observationer, fältanteckningar, fotodokumentation och samtal har fungerat som hjälpmedel för studien. Undersökningsgruppen har bestått av elever i årskurs tre på gymnasiets estetiska program i en mindre mellansvensk stad. Genom ett tredimensionellt gestaltande arbete, där eleverna utifrån en given uppgift väljer och förhåller sig till ett smörgåsbord av material av traditionell och icke-traditionell, industriell karaktär, besvaras undersökningens frågeställning, praktiskt och visuellt. Resultatet av undersökningen visar på att den undersökta gruppen som en indikation för gruppen ungdomar och gymnasieelever inte värderar material utifrån de kriterier som förvaltas av hemslöjdsrörelsen. Hos den undersökta gruppen har det framkommit att material i första hand svarar för ett visuellt uttryck, en komponent i en bild snarare än som en bärare av traditionsbunden kunskap och värderingar om material. Undersökningsresultatet redovisas i en utställning där resultatet av det designpedagogiska projektet, elevernas praktiska arbeten, tillsammans med undersökningens skrivna del besvarar frågeställningen.
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Smith, Rachel Lucie. "Troubling ceramic art material imaginings in the field of visual art: Ruth Duckworth and Grayson Perry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48394944.
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Ruth Duckworth and Grayson Perry approach clay as a material for creative expression from different perspectives that are firmly located within their individual subjectivities, temporalities, spatial practices and in the wider cultural and socio-political contexts in which their works and methodologies are situated. In this essay Duckworth and Perry bear the burden of representation of being female and male, respectively, and in this respect their artworks reflect their individual responses to gender distinctions. Duckworth explores issues of sex and gender somewhat obliquely by comparison to Perry who takes a strident approach to what he perceives as a form of discrimination against men through their cultural representation as a result of British society’s expectations of masculinity. Perry expresses concepts of gender distinction and transformation through his embrace of transvestism as a way of life combined with heterosexual marriage, and in his work, writings and broadcasts in the media. Duckworth is largely silent and leads a more self-contained private life so that understanding her response to gender can only be a matter of interpretation from her ceramic practice.
The juxtaposition of these two artists provides an opportunity to consider how they each address gender through their work. This comparison also reveals some of the ways that the application of social and cultural interpretations of and responses to sex and gender contributes to a perception of Duckworth and Perry as sharing a degree of outsider status. Neither can be said to be purely an outsider artist yet their use of clay as a means of artistic expression inevitably leads to an association with the divisions and hierarchies within the art world involving art/craft and nature/culture binaries that are intimately connected to sex and gender debates alongside a consideration of primitivism, modernity and post-modernity.
These debates have relevance for a discussion of ceramic craft practice in contemporary Hong Kong and this dissertation draws attention to some of the issues facing the author who is also a practicing ceramic artist. The main focus of this essay is to reflect on the work, and to a lesser extent the lives, of Duckworth and Perry and more briefly Asger Jorn and Isamu Noguchi, whilst drawing some comparisons to the life of a practicing artist in Hong Kong who also works with clay, is female and originates from a different place from the one in which she currently lives and works.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts
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Walton, Jeremy. "Art, aesthetics and supplementarity : re-evaluating the distinctions between the work of art and supporting material." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/25484/.
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This thesis analyses the importance of supplementary material for art history and philosophy by addressing its shifting and problematic relationship to the ‘work of art’. Through the use of philosophical and critical theories, including Heidegger, Benjamin, Adorno, Deleuze and Derrida, the nature and status of artworks are explored through different uses of supplementarity that are identified and developed in order to re-evaluate the cultural significance of supplementarity itself. This theoretical analysis is complemented by a cultural history that demonstrates, through a discussion of changes in artistic practices, theoretical perceptions, markets and ‘cultures of display’, the ways in which conceptions of the work of art and supplementarity are historically contingent. The main body of the thesis is composed of four case studies. In the first, Heidegger’s distinction between art and equipment and his notion of causality is used to analyse Henry Moore’s maquettes, plasters, and bronze works, in order to distinguish preliminary and preparatory material from complete works of art. The second focuses on hierarchy and supplementarity, developing Deleuze’s concept of the simulacrum by showing how the drawings and sketches of Antonio Sant’Elia can be considered works of art, despite being traditionally identified as supporting material. Walter Benjamin’s theory of aura, and Theodor Adorno’s notion of enigmaticalness, are deployed in a third case study that analyses the significance of the relocation of Francis Bacon’s studio from London to Dublin, and the use of biographical material to foreground the creative process. The final case study deploys Jacques Derrida’s analysis of Antonin Artaud’s works on paper that problematises prevailing classifications of art, and Derrida’s interpretation of Artaud’s notion of the subjectile, in order to emphasise the often ambiguous status of ostensibly supplementary material. Overall, the thesis re-evaluates the cultural significance of supplementarity for aesthetics by analysing the ways in which supplementary material affects how works of art are experienced and understood.
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Newton, Audrey. "Spaces of Tension and Material Disruptions." Thesis, The University of Sydney, 2018. https://hdl.handle.net/2123/22358.
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Spaces of Tension and Material Disruptions is a project that examines how material and space provoke the vibrancy of a sculpture or sculptural assemblage that is a part of an art installation. To explain vibrancy, I am referring to vibrancy defined by Jane Bennett in her 2010 text, Vibrant Matter, A Political Ecology of Things. She refers to matter’s vibrancy as the furtive energy or force of things within an assemblage’s agency. Using this reference of vibrancy, Spaces of Tension and Material Disruptions suggests that physical space in places and sites can add or detract to a spectator’s experience of witnessing a sculptures vibrancy. This paper questions theatrical methodologies of excess used in the history of Installation Art and reflects on the sculptural, expanded spatiality and phenomenological discourse and practices explored by North American Minimalist, Post Minimalist and Land Artists. Spaces of Tension and Material Disruptions argues that this prominent era of art inadvertently touched on this idea of sculptural vibrancy and in doing so, paved the way for contemporary sculptors to approach space and object so that it creates a unified relationship between the artist, artwork and audience.
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Jordan, Anne. "Material Meaning." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2789.
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The synthesis of old and new, analog and digital, and hand- and computer-based methods provides designers with an opportunity to work beyond the constraints of the computer and take advantage of the aesthetic effects that actual materials bring to visual communication. Designers who choose to actively participate in their process – bringing the aesthetic effects of working materially into the realm of the digital – will likely learn to reject an approach that relies too heavily on passive digital tools. Active participation in the design process can extend our creative vocabulary and humanize visual communication.
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Walker, Linda Jean Huffman. "Art From Nature." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1432.
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Seeing beauty in the simplest aspects of nature inspires me to create art as a testament to our world. Being raised on a farm in rural Virginia gave me an appreciation of a reverence for all life. The inherent forms along with color and value establish nature as the master of aesthetics. An early introduction to Japanese art showed me that all nature was worthy and significant as subjects for art. Using materials derived from nature, cotton, linen, wool, silk, adds a tactile quality that I believe elevates the enjoyment of art.
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Tränkle, Marion. "Material agency and performative dynamics in the practices of media art." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/8767.
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This dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively perform. It examines how Lars Spuybroek’s architectural design method of Material Machines (2004), and both the tactile potential as well as tactical uses of materials as generators to the formtaking process, might describe an open and active artistic strategy for employing the experimental capacities of such materialization processes. Building on philosophical and conceptual arguments that trace concepts of agency (Bruno Latour’s Actant-Network theory) and enactment (Karen Barad’s concept of intra-acting), the thesis introduces the two installation works ANI_MATE (described as a performative pneumatic stage machine) and ON TRACK (described as a mechanic-robotic installation). These apply the introduced artistic strategies. The analyses of these two artworks traces the particular capacities of the materials involved (respectively, their elasticity or viscosity) to negotiate forces of physical movement, which effect the system to transiently or irreversibly transform. ANI_MATE is a machine that is artist-operated and that explores the relationship between liveanimation procedures and the transformability and flexibility of its material environment. In contrast, ON TRACK’s performative machine ecology removes human agency. The machines act autonomously, giving rise to chance in the artistic system and allowing agency to emerge from the dynamic interconnectivity between materials, parts, and processes, eventually producing an entropic scenario of spilling resources. The thesis concludes that, in the context of a post digital paradigm in-development, such artistic practice offers a new strategy for an emergent aesthetics within contemporary physical-digital performance.
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Pyk, Oscar. "Form, funktion, material, färgexperiment : soffa i trä med resårplymå." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2731.
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Sadokierska, Iwona, and Fanny Stålnäbb. "Bildskapande i förskolemiljö - Art in preschool environment." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32164.
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Detta examensarbete syftar till att undersöka och synliggöra hur det arbetas med tvådimensionellt bildskapande. Vi har för avsikt att utforska vad barn och pedagoger säger om bildskapandet på förskolan. Med utgångpunkt i Reggio Emilias pedagogisk filosofi och Vygotskijs teorier om skapande och utveckling vill vi få förståelse för vad skapande innebär i förskolan. Med hjälp av intervjuer med både pedagoger och barn visar vi hur två förskolor utan uttalad specifik pedagogisk inriktning arbetar med bildskapande. Resultatet av intervjuerna behandlats utifrån tre olika områden; bildskapande, material och utveckling. Det visar att pedagogerna pratar om bildskapande som en utvecklande och intressant aktivitet i förskolan. De talar om att nästan alla barn är intresserade av bildskapande och att tankar kring det kompetenta barnet är en stor del av hur pedagogerna tänker kring bildskapandet. Däremot visar barnintervjuerna att barn ofta bildskapar på sina egna villkor och när de själva inte styr aktiviteten så har de förståelse för att pedagogerna vill att de lär sig någonting nytt. Den stora skillnaden som vi har upptäckt mellan Vygotskijs skapande teorier och Reggio Emilia filosofi är att enligt Vygotskij utvecklas barn inom bildskapande enligt utvecklingsstadier som är bundna till en viss ålder. Medan inom Reggio Emilia förskolorna har man funnit att om pedagogerna arbetar målmedvetet och på djupet med barnens bilder utifrån deras intressen så genomgår barnen Vygotskijs utvecklingsstadier, men de är inte bundna till en viss ålder så som han beskriver utan de utvecklas tidigare.
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Rynn, Sarah. "Reprocessing interference : an artistic exploration of the visual material generated by interference." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8199.
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Includes bibliographical references (leaves 45-47).<br>My body of work is concerned with the constructed promise of telecommunication - that is, the promise to connect people all over the world via telephone lines, computer networks and, most recently, satellite signals. The development of and access to networked systems has brought about this "utopian promise" (Mitchell 2005: 305), an ideal of instant connectivity that allows a user to be in contact with others through technological devices over vast distances. Connectivity supposedly enables users to develop and sustain relationships on the Internet. However, the question arises whether telecommunication technologies are living up to their promise. My title, Reprocessing Inte/ference: An artistic exploration of the visual material generated by inte/terence, refers to the concepts pertaining to this promise and also to the failure of the promise, focusing on the notions of distance and interference. It further encapsulates my working method, a process of degrading and filtering both my own and found footage.
24
Greedy, Paul Maxwell. "Listening to Objects: Sound as an Expression of Material Flux." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.
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This research paper examines the use of sound in art as a means to explore processes of movement, transformation, and change as they operate within the physical relationships that exist between energy, matter and space. It situates the author’s own material-based sound art practice in relation to its primary historical and contemporary influences, identifying critical developments in art making that offer creative, conceptual and practical insights into the nature of physical processes. In doing so, the paper locates the origins of sound art within late 20th century sculpture, experimental music, and installation practice, and introduces a number of key concepts that form the underlying theme of sound as a manifestation of temporal and material flux. This theme is developed through a focus on energy, considering how sound can be deployed to model and access energetic flows. The discussion is framed around particular art practices that employ the mediation of sound to explore the physical dynamics of sound energy and its expressive relations to space and matter. The paper explains how environmental aspects of sound conjure certain modes of listening, and explores the use of simple sounds and methods of technological transduction as means to evoke and make perceivable the intangible qualities of natural processes. The creative works produced over the course of the author’s research reflect the practical and conceptual objectives that drive this research paper. These works deploy experimental methods drawn from the field of science (particularly acoustics) to guide their particular approach to sound as a material medium. Such works include Mandala (2012) and Sifting (2014), which incorporate Cymatic systems aimed at conveying the dynamics of sound energy in visual form, and Pressure Vessel (2014) which explores processes of thermo-acoustic transduction and the propagation of acoustic energy in space. A sustained investigation into the system of electro-acoustic transduction developed by American experimental composer Alvin Lucier’s Music on a Long Thin Wire (1977) also forms a central line of enquiry within this research-based practice, resulting in a series of works that culminate with Untitled, Wire No. 6 (2017). Through its various manifestations, this prolonged experiment witnesses the affects of material and environmental variables on Lucier’s system. A number of these works are discussed at length within the research paper.
25
Woodall, Alexandra Caroline. "Sensory engagements with objects in art galleries : material interpretation and theological metaphor." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37942.
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This thesis aims to explore sensory engagements with material objects. In other words, it investigates the physical encounter between a person and a thing, particularly through a focus on the sense of touch. It does so within the art gallery context. It looks at the capacity of such embodied practices to inspire creative response to objects, an approach which, the thesis argues, does not necessarily rely on knowing contextual information or fact, but rather allows for responses including imagining and making. The research coins the term ‘material interpretation’ to describe such an approach to the interpretive process. The work is interdisciplinary in nature: building on studies of materiality in the museum context, it draws especially from sensory anthropology and studies of material culture. Significantly however, the research develops an entirely new field of critical dialogue. Uniquely and unusually, by bringing museology together with concepts from the discipline of theology, the thesis develops an unprecedented approach to exploring interpretation practice through a lens of what it calls ‘theological museology’. Arising from the researcher’s professional practice and experience of interpretation projects in which such sensory engagements with objects were given priority, the research comes from a practical grounding. As such it argues that material practices be embedded within the institution through a strategic approach to creative and inclusive interpretation. The research takes a qualitative approach and is based on case studies. These include exploring a collection in storage (the Mary Greg collection at Manchester Art Gallery); projects based on artist-made interpretive objects called Object Dialogue Boxes (including at Museums Sheffield); and the creative use of a city’s handling collection (the Artemis Collection in Leeds).
26
Ives, Harley. "The Material Qualities of the Moving Image and the Painterly Gesture." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/19674.
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This thesis examines how qualities of process errors in the moving image might be adapted and applied aesthetically in ways analogous to painterly gesture. In recent history, materialist film-makers, signal process artists and glitch artists have foregrounded these artefacts of process as a means to promote anti-illusionism in art. To achieve this, residual artefacts of faulty equipment became the work of art, independent of the original image, and without consideration for how such process artefacts might interact with the original content of the moving image. This thesis and the accompanying body of work argues that the material immediacy of the artefact can be retained whilst simultaneously complementing an original subject. In doing so, the work is a collaboration between artist and process resulting in the transformation of the artefact into a seemingly material gesture. Working in this mode opens up a space to properly explore the aesthetic potential of decay in the moving image.
27
Waentig, Friederike. "Plastics in art a study from the conservation point of view." Petersberg Imhof, 2002. http://d-nb.info/989014312/04.
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28
Johnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.
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This thesis is an investigation of ritual practice in
the Dynamic Figure rock art of Jabiluka in Mirarr Country,
Australia. Painted across western Arnhem Land, Dynamic Figure art
constitutes the earliest easily recognisable body of rock art in
this region of northern Australia. Despite its antiquity, its
most striking attributes are the extremely detailed depictions of
human figures with a plethora of material culture, that are
engaged in a range of narrative scenes. This thesis explores how
the material culture, scenes and other attributes of Dynamic
Figure art are acutely associated with ritual and the insights
this rock art provides into past ritual behaviour. The highly
detailed work of Dynamic Figure artists has enabled the
identification of ritual indicators derived from archaeological
and anthropological investigation of ritual practice. These
ritual indicators provide insights into aspects of the esoteric
and actual performative forms of ritual behaviour. These detailed
depictions also provide further insights into people’s
lifeways, revealing evidence about society, gender, initiation
and material culture during the period of Dynamic Figure art
production. In this thesis, I demonstrate the value of rigorous
analysis and investigation of one type of rock art from a defined
study area, in contrast to previous studies in the region with
broad spatial and temporal boundaries. This focused approach
incorporates the multi-vocal sources available in northern
Australia to consider inquiries not possible of broader studies.
The Dynamic Figure art of Jabiluka demonstrates the significance
of ritual places, headdresses and aspects of both continuity and
discontinuity in art production in northern Australia and further
highlights the significance of rock art to understand ritual
practice and people’s past lifeways.
29
Rosenthal, Dalia. "O elemento material na obra de Joseph Beuys." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285092.
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Orientador: Ernesto Giovanni Boccara<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T14:01:53Z (GMT). No. of bitstreams: 1
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Previous issue date: 2002<br>Resumo: JosephBeuys(1921-1986), artista plástico do pósguerra alemão,conhecido em todo o mundo,é consagradocomoumdosartistasmaisinfluentese divulgadosdesteséculo.Um nome que está intimamente ligadoaousoincomume bizarroquedeuaosmateriaisqueutilizavaemsuas ações,esculturase trabalhosgráficos.Na entradado novo milênio,Beuyscontinuaa ser intensamente interpretado, discutidoe analisado. Os materiais básicos queBeuysutilizouemsuasobrascomo gordura, cobreoufeltro, os uais constituem a tela de fundo de todooseutrabalho, sãoabordadoscomomateriaisquecontêm energiasacumuladasde formapotenciale comgrandespossibilidades detransformação. Beuys compreendia estes materiais como símbolos e energias presentes no contextodasociedade do trabalho artístico(Tashem, 1992). Este modo inovador com que tratou os materiaisartísticos,explorandotodasas suas possibilidades deassociações, determinou a ua posterior importância à toda uma forma de pensar efazer na arte contemporânea.Oobjetivopropostonestadissertaçãoé o deinvestigara vida,o pensamento e a obrade JosephBeuys,enfocandonautilizaçãoparticular que este artista deu aos materiais artísticos<br>Abstract: Not informed.<br>Mestrado<br>Artes<br>Mestre em Artes
30
Shemilt, Emile Josef. "Material tensions : a practice-based study of the tension between the 'material' and the 'image' in digital moving image art." Thesis, University of Dundee, 2010. https://discovery.dundee.ac.uk/en/studentTheses/3e8707f1-df7f-48ed-9516-f5b499fcb41b.
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This practice-informed research is an exploration of the tension that exists between a representational image and the material of its construction in moving image art. In this thesis, I discuss the viewer's role in perceiving and sustaining the tension. In developing this research, I have created three moving image artworks in digital media. Inspired by Jackie Hatfield's statement that 'the ascendancy of any one theory, history or lineage ... is due to the scarcity of writing relative to other art forms' (Hatfield, 2004, p.14), I describe this tension in moving image art in relation to the art forms of sculpture and narrative. Contemplating the viewer's attempt to perceive an illusion despite an apparent awareness of a work's material form; and discussing the viewer's attempt to perceive/construct narrative from a restricted number of elements; has enabled me to establish a background to the research. It is reinforced with reference to Peter Gidal's Theory and Definition of Structural-Materialist Film (1976) and his statements such as 'the attempt to decipher the structure and anticipate/ re-correct it ... are the root concern' (Gidal, 1976, no page number). In further developing the viewer's role in perceiving and sustaining tension, I relate this concept to my own practice. As an artist, I am interested in the represented presence and absence of the human form. Inspired by my early practice as a sculptor, I discuss the viewer's perception of tension in relation to the tensions inherent in the materialist conception of being. I then develop this idea in relation to my three moving image artworks created to further this research. In this instance, I discuss the viewer's perception of tension in relation to the psychoanalytic process of 'projection' and discuss the conflict between what is seen and what is perceived. To conclude the research, I discuss how accepting different elements from different directions is part of the creative process. As a way of emphasizing the viewer's role in perceiving tension, I use the final chapter of this thesis 'Developments on the Research' to argue the persistence of tension in other artworks.
31
Amborn, Johan. "Från ax till möbel : förnyelsebara material som möbler." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2713.
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Förnyelsebara och/eller miljövänliga plaster som t.ex. biokompositer är ett eftersatt område inom möbelindustrin, där utvecklingen hittills ofta har inriktats på återvunna material. Jag har koncentrerat mitt projekt till detta område med inriktning på det förnyelsebara materialet veteglutenkomposit(VG) i samarbete med forskningsföretaget STFI-Packforsk och gjort ett flertal experiment i materialet. Det slutgiltiga resultatet har blivit en komposterbar stol i VG och ett flertal urnor samt materialprover. En av de stora fördelarna med materialet är att det är komposterbart och redan efter några veckor bryts ner vid kompostering, vilket bidrar till att dess miljöpåverkan blir så liten som möjligt. Vetegluten är en restprodukt från produktionen av etanol och kan när det blandas med glycerol och pressas under högt tryck och värme bilda materialet VG. Tack vare att det är en restprodukt så är råvarupriset väldigt lågt och materialet har därmed potentialen att vara mycket prisvärt. Det finns redan idag ett flertal förnyelsebara material på marknaden där majsplast är ett exempel men de är ofta inriktade mot förpackningsindustrin där livslängden för produkten ofta är begränsad. Några av de frågorna jag försökt besvara är: Kan plast vara ett förnyelsebart material? Behövs det ny design för nya material? Hur kan man applicera förnyelsebar plast på produkter inom möbelindustrin?<br>Magisterexamen 2008
32
Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.
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33
Andrews, Noam. "Irregular Bodies: Polyhedral Geometry and Material Culture in Early Modern Germany." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493270.
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The dissertation explores the centrality of the Platonic Solids, and polyhedral geometry generally, to the artistic and mixed-mathematical cultures of Renaissance Germany. Beginning with Albrecht Dürer’s groundbreaking treatise on geometry, the Underweyung der Messung (1525), the dissertation redefines sites of early modern experimentation to include the graphical spaces in which new geometrical knowledge was practiced, invented, contested, manipulated, discarded, and presented. The research describes the historical contexts and development of the practice of polyhedral geometry over the course of the 16th century, expanding from Dürer to the lesser-known textbooks for practical geometry that his work inspired in Germany, and continuing with epitomes of the polyhedral genre, namely Wenzel Jamnitzer’s Perspectiva corporum regularium (1568) and the drawings of the Augsburg artisan Lorentz Stöer. The dissertation then follows the migration of polyhedra into intarsia and turned-ivory artifacts used for teaching applied geometry to European aristocracy, and concludes by addressing the polyhedral cosmology of the astronomer Johannes Kepler. By tracing the lifespan of polyhedra from their use as perspectival tools and pedagogical devices in Renaissance workshops into courtly Kunstkammern and onto the precious surfaces of domestic objects, the dissertation uncovers the influence that the decorative arts had on the conceptualization of geometrical knowledge and its new engagement with materials and concepts of materiality.<br>History of Science
34
Morris, Michael J. "Material Entanglements With the Nonhuman World: Theorizing Ecosexualities in Performance." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435325456.
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35
Couzins, Richard. "Inside out : the under-theorised object and material voice in fine art practice." Thesis, University of Brighton, 2014. https://research.brighton.ac.uk/en/studentTheses/43e6e0bf-6b83-4b78-a232-0dbbed6c3c41.
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The human voice is significant to culture and communication and its agency differs across the heterogeneous discourses within which it is listened to and produced. This thesis assesses what the voice does in Fine Art practice where it is under-theorised but often used by artists. The research questions are: how does a voice register as a material and an object (physical material presence), rather than equating only to the subject who produces it? And how can an artist produce a direct address with their voice? The thesis examines the nature of direct vocal address in Fine Art practice with the installation Trialogue (2013) and with the discussion of case studies that privilege the voice. Trialogue uses three screens to emphasise the action of voices and vocal genres. Four single screen video works are played over three screens during which the audience hears a jazz singer, children and my voice. We are familiar with our voices presenting our selves, but in Fine Art practice the voice is reproduced, and behaves as a material and object. Artworks and theories divide around the reduction and parameters of voice as production of a human subject and as an object in the material world. Therefore the voice is described with a combination of phenomenological, psychoanalytical and cultural theories. The thesis critically examines theories of Dolar (2006), Ihde (2007), Sperber and Wilson (1995), and Bakhtin (1986) in relation to the phenomenon of the voice in Fine Art practice. The thesis describes how the genre, physical space, consequences of reproduction, and action of listening are emphasised by critical Fine Art practice. Bakhtin describes all utterance as having a genre, and phenomenological theories relate voice to perceptual hierarchy and its relationship with the visual realm. The voice is described as a partial object in psychoanalytical theory. The idea of palimpsest is used as a partial space to situate the object voice. The chapters theorise the voice in Fine Art practice as: object and reproduction; the relationship voices have with images in moving image art practice; and the voice and self.
36
Nowacki, Brenna M. "Verification and Calibration of State-of-the-Art CMC Mechanistic Damage Model." University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1461761780.
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37
Bristow, Maxine. "Pragmatics of attachment and detachment : medium (un)specificity as material agency in contemporary art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12033/.
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This research arises out of my situated experience and the subsequent indeterminate positioning of my practice in-between the traditional disciplinary fields of textiles and fine art. Through a body of studio enquiry and accompanying theoretical and reflective commentary, the research questions whether a practice and knowledge base that is historically grounded in the interrogation of medium specific conventions can continue to be viable within a post medium/ postmodern contemporary art context. Implicit within this are two further considerations concerning the relationship between aesthetic and extra-aesthetic contexts and the tensions between subjective and material agency that arise in negotiating these positions. Through a sculptural and installational practice I propose a constellatory opening up of textile in conjunction with other materials, in terms of material agency and ‘productive indeterminacy’, where boundaries become blurred, meaning is unable to settle and fundamental categorical divisions between subject and object are destabilised. The processual inter-relational model of ‘attachment/detachment’ is offered as a conceptual framework and overarching practice methodology that maintains these productive tensions and opens up a complexity through which the medium specific can be mapped in a fluid and fragmentary way. Three interdisciplinary concepts; ‘camouflage’ (Neal Leach/architecture), mimetic comportment (Theodor Adorno/philosophy) and ‘complicity’ (Johanna Drucker/contemporary art) provide theoretical models which allow for assimilation and differentiation and embodied adaptive behaviour. Drawing particular reference from Adorno’s notion of mimetic comportment, the research involves a mode of behaviour that actively opens up to alterity and returns authority to the indeterminacy of the aesthetic encounter in a way that overturns the centrality of the subject. This is manifest through a range of practice strategies - ‘thingness’, ‘staging’ and the confluence of ‘sensuous immediacy and corporeal containment’ - which forge connections where distinctions remain mutable and mobilise a productive tension between subjective attachment and detachment. The research takes the ‘affective turn’, and increasing interest in the agency of material across the arts, humanities and social sciences over the course of the last decade, as contexts which mark a shift away from concerns with signification and which focus instead on the corporeal intensities of material/matter. Acknowledging the critical currency afforded to textile in terms of signifying agency, the project is notable in placing an emphasis on materially embodied experience that privileges aesthetic artifice, complicit formalism and an ambiguous abstract sculptural language over more overt strategies of representation. The research offers a reinscription of medium specificity in terms of material agency, where contrary to modernist conceptions of self-contained aesthetic autonomy there is a simultaneous concern with the distinct material properties of the medium and what they do in the social world. The research reveals that it is the ontological condition of textile as simultaneously social and material that has paradoxically accounted for its historical cultural ambivalence and its cultural significance. Moreover, it demonstrates that it is the interweaving of the sensuous and semantic so effectively mobilised through textile that gives rise to its affective indeterminacy. This affords it agential capacity as a transformative sensuous mode of knowledge production and artistic medium where boundaries between subject and object are destabilised and aesthetic considerations can be continuous with an engagement with social, historical and cultural contexts.
38
Rahaim, Margaret. "Material-digital resistance : toward a tactics of visibility." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1685/.
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This research considers the ways in which digital, networked technologies influence contemporary everyday life and creative practice. Through studio practice and writing, I ask how a contemporary condition of everyday life, characterised by the suppression of distance in speed of communication and the ubiquitous presence of surveillant apparatuses, affects the way we understand and use the image. I also consider the role of the digital image in both destabilizing and reinforcing human agency. In the past, tactical creativity was protected by a level of invisibility from the vision of authority, as described by Michel de Certeau. With the the spread of networked technologies, that invisibility is no longer possible. I take Vilem Flusser’s methodology of ‘playing against the camera’—a recipe for overcoming of the functionalist relationship between human and image technology—as a possible model for establishing my own and identifying other artists’ practices as tactics of visibility. I seek to develop a material consciousness of the digital image based on ontologies that assert the materiality of its processes and effects. In studio work, I blend manual and digital techniques for image-making in order to expose the structure of the digital image. I attempt the work of the apparatus outside the apparatus, by performing digital processes by hand, creating a model of difference and refining a physical sense of the disparity between human and computer scales through the reassertion of the body in a process of making. Using Kendall Walton’s notio of photographic transparency, I make an argument for the affective potency of the ‘poor image’, evidenced in artwork and mass media, as inseparable from its materiality. I fictionalize aspects of this transparency, depicting an impossible reality and allowing me to model present anxieties stemming from the rise of digital image production. I find that transparency and the instantaneity of the digital network are responsible in part for the obfuscation of digital materiality, as well as a confused sense of spatial relationships and personal interconnection. Image quality is politicized by connotations of credibility or agenda as it bends to the need for ever-faster communications. Though certain characteristics of the digital image encourage or sustain an ignorance with regard to its materiality, these characteristics can also be exploited to foreground materiality in art practice that aligns itself with the spirit and purpose, if not the invisibility, of de Certeau’s tactics, and the critical methods of resistance to a programme of technology suggested by Flusser.
39
Kern, Susan A. "The Jeffersons at Shadwell: The social and material world of a Virginia family." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623475.
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From the 1730s through the 1770s Shadwell was home to Jane and Peter Jefferson, their eight children, over sixty slaves owned by them, and numerous hired workers. Archaeological and documentary evidence reveals much about Thomas Jefferson's boyhood home. Shadwell was a well-appointed gentry house at the center of a highly structured plantation landscape during a period of Piedmont settlement that scholars have traditionally classified as frontier. Yet the Jeffersons accommodated in their house, landscape, material goods, and behaviors the most up-to-date expectations of Virginia's elite tidewater culture. The material remnants of Shadwell raise questions about the character of this frontier and how the Jeffersons maintained a style of living that reflected their high social status.;The Jeffersons' wealth made it possible for them to enjoy the fashionable material goods they desired and also meant that they had the ability to influence the character and development of their community in profound ways. In providing their family with a home and consumer goods that served the familiar functions of elite society, they also fostered the growth of a local community of craftspeople whose skills the Jeffersons needed. The Jeffersons' slaves worked agricultural jobs but also were cooks, personal servants, and nurses to children and had a variety of skills to support the Jeffersons' material needs and heightened social position. The number of African Americans at Shadwell meant that slaves had opportunities to form effective families and communities. The Jeffersons' various agricultural investments required the building of infrastructure that small planters nearby could also use. Social connections and economic clout translated into political influence; the Jeffersons and their peers affected how their county grew and also how Virginia grew.;Archaeology at Shadwell gave new meaning to many of the historic documents as the material culture recovered there prompted fresh reading of much that seemed familiar. The results of the research offer new views of the Jefferson family and their role in settling Virginia, a rich description of the lives of both house and field slaves who worked for them, and a few new perspectives on Thomas Jefferson himself.
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Lima, Fábio Rogério Batista [UNESP]. "O graffiti como patrimônio cultural material." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153543.
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Previous issue date: 2018-03-22<br>Não recebi financiamento<br>Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida,
identificada como aquela em que as relações humanas e sociais são caracterizadas por não
terem configuração de solidez ou como aquela em que não se conserva forma por muito
tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é
reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância
da preservação da memória artística para as futuras gerações também tem mudado. Com o
grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se
disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros
da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante
disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte
efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental
do graffiti, convertido em recurso digital, apresentará elementos para sua consolidação como
patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento
documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os
aspectos da informação líquida e da ecologia da informação e as novas formas de
disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivoexploratória
tendo como universo de pesquisa projetos de exposições digitais de arte urbana.
omo resultado, verificou-se que o uso estratégico das tecnologias de informação e
comunicação e a aplicação efetiva dos padrões de representação de obras de artes são fatores
determinantes para garantia do armazenamento, recuperação e acesso ubíquo ao patrimônio
cultural material. A proposta de representação documental de graffiti apresenta o padrão de
estrutura de dados R ore - Resources Association Visual versão 4 0, por sua melhor
adequação à descrição da manifestação de arte do tipo graffiti, por possibilitar a correlação
entre obra, imagem e coleções Nesse sentido, foi possível elaborar uma proposta de aplicação
contendo três novos elementos descritivos: "citação cultural", "citação espaço temporal" e
"citação ideológica" como forma de trazer o contexto em que o graffiti foi criado e apresentar
elementos que viabilize a efetivação do graffiti como patrimônio cultural material.<br>Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human
and social relationships that are caracterized by not having solid aspects in it or that one
which doesn´t keep its format for too long; changes are constant and inconsistencies are lived.
The nature of this liquidity is know by the lightness, mutability and mobility of relationships.
The importance of artistic memories preservation has also changed. With the breakthrough in
playback technologies and exposition techniques to majority of people has made works of art
disseminate easily just like images. These manifastations are in the city walls, places that have
their surfaces changed and erased daily. In view of this, one questions how the documentary
treatment of graffiti as a manifestation of ephemeral art takes place? As a consequence of this
thesis, it is pointed out that the documentary treatment of graffiti, converted into a digital
resource, will present elements for its consolidation as material cultural patrimony. The
purpose of this paper was to propose how the graffiti documentary treatment, converted into
an imagery resource, considering the ubiquity, the aspects of net information and information
ecology, and the new ways of making access available, were proposed. The study presents a
qualitative approach, of a descriptive-exploratory nature having as research universe projects
of digital exhibitions of urban art. As a result, it has been found that the strategic use of
information and communication technologies and the effective application of the standards of
representation of works of art are determining factors for guaranteeing storage, retrieval and
ubiquitous access to material cultural heritage. The graffiti document representation proposal
presents the VRA Core - Resources Association Visual Version 4.0 data structure standard,
due to its better adaptation to the description of the graffiti - type art manifestation, as it
allows the correlation between work, image and collections. In this sense, it was possible to
elaborate an application proposal containing three new descriptive elements: "cultural
citation", "citation space" and "ideological citation" as a way to bring the context in which
graffiti was created and present elements that make feasible the graffiti as material cultural
heritage.
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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.
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Vernon, Mitzi Renee. "A place for learning: a phenomenology of geometry and material." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53112.
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This work is comprised of two parts: The Inspiration and The Institution.
The Inspiration concerns what originated the work—the conception of the idea. It lies within the realm of those things which are timeless. Therefore, it is what gives character to the building of the place or the institution. The inspiration is the beginning.
The Institution is the formulation of the work--the "building" of the idea. It is a place crafted with the methods of its time. ln this sense, the institution is circumstantial, and therefore representing the end. However, in its completion there is the reflection of its beginning, its inspiration.
What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.¹
What inspires this work is the architecture of the ancient communities of the Anasazi. More specifically and fundamentally, the inspiration for this work lies in the phenomenon of geometry and material in these ruins. Further, it is seated in such ideas as concentricity or nestedness and the opening of a wall. These are the ideas which are timeless. This is the beginning and the end.
What formulates the work is a school. As an institution of learning, it already constitutes fertile ground for teaching. Therefore, with architecture as the medium, the building can teach about the play of geometry and the use of material. The function of the school is purely circumstantial, and it has little to do with the inspiration. Still, the geometry and material of the place made are founded in the inspiration. Hence, the architecture will continue to be a place for learning regardless of the functions of its past or future.
The aspiration of the work is the development of a work of architecture as a place which nurtures the position of learning and as an institution which becomes a revelation of its inspiration.<br>Master of Architecture
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Harrius, Caroline. "The Repulsive Flower : A material based research about art history, gender and decorative porcelain." Thesis, Konstfack, Institutionen för konsthantverk (KHV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7239.
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In this project I am investigating my relationship with western traditional porcelain produced between 1700 and 1900 from a gender perspective. While looking at what has been feminine coded within the late history of ceramics I made the horrible realization that I do not value this kind of ceramics. The 21th century Scandinavia with stripped down, clean surfaces, filled with cool people dressed in black leaves little room for romantic, billowy vases decorated with flowers. I have produced a series of 30 porcelain vases, all decorated in the same way with a botanical pattern. They are installed in an old wooden shelf, packed tightly together. With this installation I want to discuss what part art history has made it to the museums and what parts has been stored away and labelled as tasteless knick knack. How has gender affected this? For some reason all my artistic role models has been male painters and not female ceramicists.
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Gollannek, Eric Frederick. ""Empire follows art" exchange and the sensory worlds of Empire in Britain and its colonies, 1740-1775 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 427 p, 2008. http://proquest.umi.com/pqdweb?did=1625773591&sid=9&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Oliveira, Sérgio Augusto de [UNESP]. "Sal: uma abordagem sobre o elemento material na obra de arte." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110342.
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Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0
Previous issue date: 2014-06-24Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1
000796356.pdf: 8165198 bytes, checksum: 4a75a1149f4785e419b1cf7e3ecdf935 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Neste trabalho apresenta- se o processo de construção de pesquisa artística desenvolvida a partir do elemento material sal. O desenvolvimento da pesquisa se deu a partir da produção plástica do autor, no intuito de refletir sobre o aspecto material na produção do trabalho de arte; tendo o sal como objeto de estudo, a partir do viés matérico na arte, ao mesmo tempo em que assume os sentidos físico, simbólico e formal, resultando em esculturas, instalações e residência artística, bem como também traduz um universo próprio do material , do seu ci clo de transformação diante das interferências do tempo e espaço, metaforizando- o através de aspectos cotidianos, culturais e sociais.<br>This work presents the process of building artistic research developed from the material element salt. The research development occurred from the plastic production of the author in order to reflect on the material aspect in the production of art work; taking salt as an obje ct of study, from material view in art, while assuming the physical, symbolic and formal senses, resulting in sculptures, installations and artist residency and also reflects its own material universe, the processing cycle before the interference of time a nd space, metaphorising it through everyday, cultural and social aspects.
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Christiansson, Susanne. "Plast möter traditionellt hantverk : ett undersökande möte belyst genom lampskärmen." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-502.
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Det här arbetet bygger på en undersökning om vilka likheter/skillnader det finns mellan uttrycken i produkter av plast och produkter av ett mer traditionellt hantverk, vad som uppstår i ett gestaltande möte mellan plast och traditionellt hantverk belyst genom lampskärmen, och vilka värderingar ungdomar har när det gäller materialet plast och hur dessa kan behandlas i skolan. Syftet med undersökningen är att arbeta med och titta närmare på ett samtida material som plast i kombination med ett mer traditionellt hantverk, dess utryck och de värderingar som läggs i materialet plast. Jag vill också att elever, precis som jag själv, genom ett undersökande arbete ska kunna få en bättre förståelse för var våra värderingar kommer ifrån och vad olika uttryck kommunicerar. För att försöka förstå och komma närmare mina frågeställningar har jag med hjälp av litteraturen gjort en historisk tillbakablick av plastens mot- och medgångar och vad ett traditionellt hantverk innebär sen sekelskiftet och fram till idag. Med kvalitativa intervjuer på Svensk Hemslöjd och på Kartell, ett framstående italienskt plastmöbelföretag har likheter och olikheter i uttrycken av lampskärmar och andra produkter i de bådas butiker tydliggjorts och analyserats. I min egen gestaltande undersökning utgår jag från ett antal handgjorda lampskärmsskelett där mina försök till möten mellan plast och ett traditionellt hantverk synliggörs på ett skissartat sätt och där jag reflekterar över vad som uppstår i mötet. De olika delarna i uppsatsen behandlar alla en ambivalens som formgivning med ett samtida material som plast innebär idag. Äktheten, men också miljöfrågor kommer upp när värderingar av plast diskuteras. Undersökningen resulterar i en större medvetenhet om vilka uttryck i historien som ger upphov till de värderingar som finns idag när det gäller plast och ett mer traditionellt hantverk, men även reflektioner kring materialet plast och dess betydelse idag. Är mötet mellan det traditionella hantverket och materialet plast på väg in i en ny tid?
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El-Danasouri, Andrea. "Kunststoff und Müll : das Material bei Naum Gabo und Kurt Schwitters /." München : Scaneg, 1992. http://catalogue.bnf.fr/ark:/12148/cb35614994x.
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Winberg, Marlene. "Annotations of loss and abundance : an examination of the !kun children's material in the Bleek and Lloyd Collection (1879-1881)." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/21627.
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The Bleek and Lloyd Collection is an archive of interviews and stories, drawings, paintings and photographs of and xam and !kun individuals, collected by Wilhelm Bleek and Lucy Lloyd between 1870 and 1881 in Cape Town. My dissertation focuses on the !kun children's material in the archive, created by Lucy Lloyd and the four !kun boys, !nanni, Tamme uma and Da, who lived in her home in Cape Town between 1879 and 1881. Until very recently, their collection of 17 notebooks and more than 570 paintings and drawings had been largely ignored and remained a silent partner to the larger, xam, part of the collection. Indeed, in a major publication it was declared that nothing was known about the boys and stated that "there is no information on their families of origin, the conditions they had previously lived under, or the reasons why they ended up in custody" (Szalay 2002: 21). This study places the children centre stage and explores their stories from a number of perspectives. I set out to assess to what extent the four !kun children laid down an account of their personal and historical experiences, through their texts, paintings and drawings in the Bleek and Lloyd project to record Bushmen languages and literature. In order to do this, I have investigated the historical and socioeconomic conditions in the territory now known as Namibia during the period of their childhoods, as well as the circumstances under which the children were conveyed to Cape Town and eventually joined the Bleek- Lloyd household. I have looked at Lucy Lloyd's personal history and examined the ways in which she shaped the making of the collection in her home. I suggest that a consideration of the loss and trauma experienced by Lloyd may have predisposed her to recognition and engagement of, or at least, accommodation of, the trauma experienced by the !kun boys.
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McAuley, James. "Material masterpieces : art collecting and the formulation of French-Jewish identity from Dreyfus to Vichy." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ffdd3e1e-efaa-4b05-b398-b1c9eb947656.
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This thesis relies on an extensive series of previously unexploited archival materials in France, Britain, and the United States to examine the role of art collecting among French-Jewish elites after Dreyfus and before Vichy. The families who constituted France's fin-de-siècle Jewish establishment - among others, the Rothschilds and the Reinachs, the Éphrussis and the Foulds, the Camondos and the Cahen d'Anvers - all shared an intense interest in collecting art and material objects. This interest they pursued with passion throughout a period in which the position of French Jews was increasingly uncertain. The Dreyfus Affair had challenged the promise of assimilation and the social station of the "israélite," while economic circumstances and waves of immigration from Eastern Europe had exacerbated extant French anti-Semitism. As plutocrats, many of these elite families were often even the targets of that anti-Semitism, yet they pursued their material interests regardless. Today, the collections they created - mostly of eighteenth-century French art - are their most enduring legacies, either in the form of individual public museums or as additions in other national museums. To that end, this thesis argues that material culture was central to the experiences of these families as Jews and as people in the French fin-de-siècle. The central contention of this thesis is that material culture was a crucial way in which these elites experienced Jewishness in private and especially in public. Beginning with Hannah Arendt (1951) and Michael Marrus (1971), most of the many studies of this fin-de-siècle milieu have tended to consider these individuals in the respective discourses of politics and culture. Few have emphasized their actual lived experiences as people with complex inner lives. Collecting, as archvial materials suggest, was a means of achieving personal sanctuary and solace in the midst of significant personal tragedies as well as an increasingly hostile external environment. It was also a significant means of preserving public dignity. Even fewer studies, after all, have emphasized the way in which French anti-Semitism of the late nineteenth century - from the likes of the journalist Édouard Drumont and the critics Edmond and Jules Goncourt - was often expressed in the language of material culture: Jews were attacked for "inauthentic" aesthetic tastes and for "invading" the realm of French cultural patrimony. As this thesis argues, Jewish elites responded to that material critique in material terms, amassing exhaustive collections of art and objects that, in their eyes, celebrated France and its glorious past. As many of their last wills and testaments suggest, the network of museums they created in the 1920s and 1930s were all subtle arguments for the compatibility of Frenchness and Jewishness. The Holocaust, of course, fundamentally altered the meaning of these museums as well as the memories of those who established them. This dissertation concludes with a reflection on these museums as "lieux de mémoire," material manifestations not only of vanished people but also of a vanished culture.
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MacCulloch, Laura. "Ford Madox Brown : works on paper and archive material at Birmingham Museums and Art Gallery." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/611/.
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This collaborative thesis focuses on the extensive collection of works on paper and related objects by Ford Madox Brown (1821-1893) held at Birmingham Museums and Art Gallery (BMAG). It is the first academic study to use Brown's works on paper as the basis for discussion. In doing so it seeks to throw light on neglected areas of his work and to highlight the potential of prints and drawings as subjects for scholarly research. The thesis comprises a complete catalogue of the works on paper by Brown held at BMAG and three discursive chapters exploring the strengths of the collection. Chapter one focuses on the significant number of literary and religious works Brown made in Paris between 1841 and 1844 and examines his position in the cross-cultural dialogues taking place in Europe in the mid-nineteenth century. Chapter two uses the dual definition of the word 'construction' to examine how his interpretation of history was affected by contemporary changes in historiography, and to discuss his practical approach to composing a history painting. Chapter 3 studies illustrations he made for publication. Progressing chronologically, it explores his changing attitude towards illustration as a medium and argues that these works had increasing importance for his artistic career. The catalogue is the most up-to-date and informative inventory of the collection and includes new identifications, titles and dates and exegeses.