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Adkins, Mathew. "The art of assemblage." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389371.
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Swayze, Eddie. "Techno art /." Online version of thesis, 1995. http://hdl.handle.net/1850/12179.
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Guagliumi, Arthur Robert. "Assemblage art: origins and sources /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910244.
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Thesis (Ed.D)--Teachers College, Columbia University, 1990.Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.
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Whitaker, Pamela. "The art of movement : the Deleuze and Guattari art therapy assemblage." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14908/.
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The purpose of this thesis is to showcase the philosophical and psychoanalytic collaboration of Gilles Deleuze and Felix Guattari in regards to art therapy. The Deleuze and Guattari Art Therapy Assemblage is a composition that includes the environmental, relational and material elements of art therapy as contexts in which to process subjectivity. Key Deleuze and Guattari concepts will be applied to the practice of art therapy, implicating somatic and psychological processing within the production of art therapy artworks. The generative capacity of art therapy constitutes many creative sites in which to transport subjectivity. Rather than a fixed form, subjectivity moves across a territory of different creative features. The cartography of subjectivity is a network of passages through relationships and contexts that implicate it with affects. This kinaesthetic capacity will be underscored in relation to three methods of psychological and somatic awareness (somatic psychology, performance art and authentic movement) that challenge inhibition through improvisation. These three methods stimulate the circulation of desire as a creative and collective enunciation of subjectivity. Deleuze and Guattari represent desire as a liberating potential acting on both body and mind - an opening commencing from constraining circumstances that define and enclose expression. This has specific implications for the treatment of trauma, which can impose a set of limits that condition reactive versus spontaneous responses. The Deleuze and Guattari Art Therapy Assemblage is a practice in which to stimulate improvisational and experimental affects within the making and viewing of artworks. The significance of this practice is its composite of influences. It is an approach that emphasises not only artworks, but also the performance of subjectivity, a happening within an art therapy space offering choices for engagement and the enactment of different somatic and psychological potentials.
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Massaro, Vincent Peter. "Transmogrification /." Online version of thesis, 1990. http://hdl.handle.net/1850/11190.
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Klinkon, Heinrich. "Provocations : raw constructs in mixed media /." Online version of thesis, 1990. http://hdl.handle.net/1850/11608.
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Mazzer, Mary. "Witch's brew." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1208626408.
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Olivieri, Jessica Ann. "A Conversational Assemblage: New Ways of Framing Contemporary Art." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18615.
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The creation of artwork that has multiple outcomes is not a new phenomenon. This mode of presenting projects or bodies of work that include live, photographic, installation and film/video can be traced back at least as far as the Happenings of the 1960s. This thesis proposes that it is timely to address the frameworks that scaffold artwork in order to understand if they support or hinder such practice. In this thesis I propose that the building blocks of these scaffolds are the language of the original and the document. This dichotomy then informs institutional thinking that translates into the way artist and their practice are framed. This thesis proposes that a shift in the paradigm used to discuss these bodies of work is required, towards an embrace of non-hierarchical language that allows contemporary art practice to sit within a conversational assemblage.
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Sellab, Abdelhak. "La matiere et le materiau a travers le collage, l'assemblage et l'accumulation comme reflets du xxe siecle en occident." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20014.
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Avec les nouveautes plastiques dans la peinture occidentale du xxe siecle, le tableau est devenu entierement peint avec des elements etrangers a la peinture a l'huile. La nouvelle matiere collee et assemblee a pris enormement d'importance pour devenir un instrument de travail pour la plupart des artistes. Ces decouvertes et changements n'ont pas laisse le choix aux artistes qui, en integrant d'autres materiaux, ont cree un nouveaux langage. Ce qui leur a permis de manipuler et de varier les materiaux traditionnels a l'aide d'une multitude de jeux de texture et de formes. Ainsi, l'artiste va modifier la lecture des tableaux avec les techniques et combinaisons de materiaux. Il va donc creer des types d'assemblage surprenants. Pour cela, nous avons pris en consideration la matiere en etablissant une vue d'ensemble des tableaux qui refletent la domination et la diversite de la matiere qui designe un certain type de peinture. Ces nouveautes materiologiques et techniques utilisees depuis le debut du siecle s'appuient sur des oeuvres cles, telles que : braque et picasso, schwitters et le merzbleau ou par l'objet, telles que : marcel duchamp, the ready made et combine painting de rauschenberg. En premier lieu, nous avons fais un reperage terminologique et historique de l'assemblage, du collage et de la matiere. Nous avons developpe la conception de la matiere, ensuite nous avons defini et analyse le materiau et ses procedes de fabrication. Nous avons egalement montre comment se manifeste la matiere dans la peinture et explique le developpement de la theorie de la matiere et sa normalisation dans la peinture. Le sujet est traite en deux parties : une partie consacree a l'analyse du texte, des figures ainsi qu'a l'etude d'artistes choisis selon leur importance tant sur le plan theorique que technique. La seconde partie est composee de productions d'artistes cites dans notre analyse et de quelques travaux personnels.
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Noel, Cheryl S. Mrs. "Assembling the Bones: Using Religion, Animal Bones and Sculpture in Art Education." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/99.
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This arts-based thesis is a culmination of how I explore the condition of being mortal
through artwork which includes the use of animal bones and religion. This examination
will determine how my future art curriculum may help students think in personal and
spiritual which provides critical thinking and personal growth.
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Boismenu, Nicholas. "Indirect Measure." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3351.
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This paper is in support of my thesis exhibition “Indirect Measure” May 5th – June 3rd 2017, at the Reece Museum, located on the campus of East Tennessee State University. This document is an account of my examination into what constitutes art and the change in my perception of the utilitarian ceramic vessel during my research into the perceived difference between craft and art. Using broad definitions, I define what I believe art to be and how it is different from, and the same as craft.
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Rodriguez, Kathryn Lorraine. "The extravaganza awaits." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-130135/.
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Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren." München Schreiber, 2005. http://d-nb.info/98913458X/04.
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Bowdidge, Michael John. "'Surveyable by a re-arrangement' : Wittgenstein, grammar and sculptural assemblage." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7891.
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Certain aspects of sculptural assemblage remain largely unexamined in an academic context. I contend that this mode of practice is not in need of theorisation, but that it can fruitfully be brought into dialogue with philosophy. Doing so may shed light upon assemblage and the contextual thinking which frames it. I undertake the re-evaluation of this medium by means of a reflexive engagement with the processes and concerns of my own assemblage practice. By detailing the shifts and movements of my own making, I explore the tensions and connections inherent in the historical development of this media. I discuss a connection (or family resemblance) between aspects of my sculptural practice and Ludwig Wittgenstein’s methods of grammatical disruption and displacement. I argue that thinking about sculptural assemblage grammatically provides a way of re-framing the relationship between my artworks and their contexts. This in turn facilitates an examination of the practical and philosophical implications of the ‘fittingtogether-ness’ of assemblage. It also brings into view a possible re-thinking of relations in a way that emphasises connective potential rather than difference or similarity.
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Amoda, Olu Moulton Marc. "Seeds of passage." Diss., Statesboro, Ga.: Georgia Southern University, 2009. http://www.georgiasouthern.edu/etd/archive/fall2009/olu_amoda/Amoda_Olu_200908_mfa.pdf.
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"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." Title from PDF of title page (Georgia Southern University, viewed on February 10, 2010). Marc Moulton, committee chair; Bruce Little, Julie McGuire, Gary Dartt, committee members. Electronic version approved: December 2009. Includes bibliographical references (p. 119-121).
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Dannenmüller, Sophie. ""California assemblage" : récupération, contestation, tradition." Paris 1, 2011. http://www.theses.fr/2011PA010530.
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Cette thèse retrace l'histoire de l'assemblage en Californie, c'est-à-dire d'oeuvres tridimensionnelles constituées d'objets et matériaux récupérés. Le "Museum of Unknown and Little Known Objects" (1949) de Clay Spohn marque l'apparition du médium à San Francisco, puis une esthétique du déchet se développe dans les années 1950 au sein d'une communauté underground et rebelle, en marge des courants dominants, avec Wallace Berman, Bruce Conner, Wally Hedrick, George Herms, Jess, Edward Kienholz, Gordon Wagner. En 1961-62, la reconnaissance du médium grâce à "The Art of Assemblage" pousse certains assemblagistes à modifier leur pratique, voire à l'abandonner. Les plus engages exploitent les possibilités plastiques de l'assemblage pour exprimer leur désaccord avec la société américaine des années 1960. En réaction aux émeutes de Watts, des artistes afro-américains comme Noah Purifoy, Betye Saar, John Outterbridge, rejettent les formes d'art conventionnelles et trouvent dans l'assemblage un mode d'expression militant, tandis que des artistes chicanos comme David Avalos et Amalia Mesa-Bains fusionnent l'assemblage et les traditions mexicaines pour engendrer des formes hybrides qui valorisent leur multiculturalisme. Apparue dans les années 1980, la formule "California Assemblage" invite à examiner ce qui est californien dans l'assemblage californien de l'époque notamment chez Alexis Smith, Nancy Rubins ou Michael McMillen et à interroger la notion de tradition. Au début du XXI" siècle le mouvement californien se réinvente dans le nouveau paradigme écologiste et revient au classicisme en réinvestissant son territoire attitre entre peinture et sculpture.
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Wagh, Vaishali D. "Assembling form and space : ceramics as an assemblage." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355258.
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This project examines the relationship between form and the resultant space that it encloses, through a process of assembly. The process consists of assembling materials in Phase 1, and assembling parts cut-out from a homogenous ceramic form in Phase 2. Embedded in the act of assembly is the designer's ability to construct the object in multiple formal configurations. Manipulating the form (solid) results in mutation of the space (void) held within and in-between the solid, and vice-versa. Four formal concepts guide the process of assembly in this study: interplay of solid and void, manipulation of the material skin, dynamic visual motion, and light as a building materialThe research in this paper consists of literature survey, precedent studies on two ceramic artists, and analysis of art exhibits.The significance of this project lies in its ability to blur the boundaries between academic disciplines of metalsmithing and ceramics, art and architecture. Design resulting from the overlap between disciplines has vast potential and can lead to dynamic possibilities.Department of Art
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Manolukas, Emmanuel O. "Catalytic Translations: Architectural Assemblage through Methods of Printmaking." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491305680887989.
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Shiogi, Ann. "Connected Painted Rectangles Experiments in Quantitative Shape and Contrasting Elements." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4670.
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The thesis consisted of a series of paintings in which the canvases were individually painted in a predetermined way, then arranged and assembled more spontaneously in a final wall construction. Narrow limitations, such as working with only horizontal and vertical compositions and contrasting colors were specified. By working within a method or procedure, and by remaining strict to these guidelines, the ideas inherent in the paintings emerged and were then promoted. The dominant ideas that developed out of the process of making the paintings were the use of both "found" shapes -found in leftover lengths of support material-and "found" means of dividing the canvas, found in statistical information culled from current events in the newspaper. Also, the idea of unifying the painting with contrasting shapes, colors, surfaces, and values arose out of the process. The actual results of the painting process became clearer during the "spontaneous assembling of the paintings." The final wall constructions were made by arranging the individual canvases in different configurations and then mounting them on the wall. After the paintings went to the wall, possibilities for alteration and how they interacted with the wall could be seen.
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Merrington, Peter John. "Festival as process : art, territory, assemblage and mobility in North East England, 2003-2012." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3426.
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This thesis examines the geographies of a new festival of contemporary art, film and music in North East England between 2003 and 2012. As a hybrid process of cultural production, renewal and consumption, the arts festival offers an important site to examine how cultural encounters are produced and performed through a set of entwined place based imaginaries. Using the curatorial practice of AV Festival as a case study, the thesis assembles histories of art, curating, cultural policy and regional geography to evaluate how the organisation sought to advocate a progressive sense of place. The thesis addresses how AV Festival was situated within its locality in three ways. Firstly, analysing the ecology of relations that created AV Festival demonstrates how the artistic ethos of a new cultural organisation was shaped to mediate the perceived demands of the regional cultural economy of North East England. In doing so, the thesis makes an important contribution to regional cultural history with a particular emphasis on how festival was deployed as a strategy towards economic and social regeneration, a subject that is underrepresented in scholarly work. Secondly, two significant artwork commissions are examined in order to show how AV Festival developed a particular practice of situated artistic commissioning. Drawing on the concepts of territorialisation and mediation, analysis of the YoHa project, Coal Fired Computers (2010) shows how curatorial and artistic practice can intervene in ideas of locational identity. Building on this, the discussion of the recreation of John Cage’s 1966 performance, Variations VII in 2008 in Gateshead demonstrates how the hybridity of AV Festival was performed as an assemblage of proximate and distant social, material and cultural relationships, the scale of which did not necessarily converge neatly around territories or temporalities. Finally, the thesis emphasises mobility as a critical concept for understanding the arts festival. Examining AV Festival as a mobility system shows how festivals privilege corporeal and material co-presence. Through tracing the movements of people and objects in AV Festival, the thesis explores the concepts of slowness and friction and demonstrates how the process of festival can intervene and disrupt normative spatial rhythms. Set against the pluralisation of arts festivals, including visual art biennials, in Europe and beyond, over recent decades and a broader festivalisation of cultural institutions, this thesis makes a significant contribution to the field in offering a reconceptualisation of festival. The thesis reimagines festival as a relational process, showing how festival necessitates a continual assembly and dispersal within the production, renewal and consumption of public culture. The study provides theoretical support to those interested in the intersections between art, festival and place in the twenty-first century.
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Nurenberg, Kenneth Martin. "On Approach: Making From and Towards the Image of the War Victim." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345485114.
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Sharma, Manisha. "Indian Art Education and Teacher Identity as Deleuzo-Guattarian Assemblage: Narratives in a Postcolonial Globalization Context." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339617524.
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Patrick, Steven Edward. ""I Would Not Begrudge to Give a Few Pounds More": Elite Consumer Choices in the Chesapeake, 1720-1785 The Calvert House Ceramic Assemblage." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625573.
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Ferreira, Paulo Nin. "O espírito das coisas: um estudo sobre a assemblage infantil." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-14042009-190858/.
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Esta dissertação estuda a assemblage infantil, através do seu processo de criação e recriação durante a atividade de construção, procurando entender seu significado enquanto experiência lúdica e linguagem expressiva que produz conhecimento. Parte da hipótese que entender a relação entre a percepção e a expressão envolvida nessa atividade é crucial para a compreensão do processo de aprendizagem da linguagem visual pela criança. Partindo das concepções teóricas de Rhoda Kellogg sobre o desenho infantil, Jean Piaget e D.W.Winnicott sobre o brincar da criança, Walter Benjamin e Gaston Bachelard sobre narrativas e imaginação na infância e o Paradigma Indiciário de Carlo Ginzburg, essa dissertação reflete sobre a natureza da criação artística na infância. A pesquisa foi desenvolvida com quatro grupos de crianças, entre 4 e 7 anos, em Oficinas de Construção em escolas da cidade de São Paulo, durante 2007 e 2008, ancoradas em 15 anos de experiência de trabalho, na forma de pesquisa-ação. Os resultados indicam que a assemblage é uma linguagem expressiva muito significativa para a infância, tornando possível o desenvolvimento de ricas narrativas que equilibram o conhecimento subjetivo e o objetivo de maneira harmônica e profunda, e que amplia a experiência social e cultural da criança. Também aponta que o Paradigma Indiciário de Ginzburg tem gênese na infância e que é possível identificar as suas características na atividade lúdica e expressiva de construção de assemblages. As assemblages infantis são produto de narrativas lúdicas construídas sobre indícios materiais e imateriais que refletem as conexões entre percepção, expressão, imaginação, memória e elementos inconscientes.This dissertation studies children assemblages through their process of creation and recreation during constructive activities, seeking for understanding their meaning as a playful and expressive language that produces knowledge. Our hypothesis is that the comprehension of the relation between perception and expression, involved in this activity, is crucial to the understanding of childrens learning process of visual language. Drawing from the theoretical conceptions of Rhoda Kellogg about childrens drawing, Jean Piaget and D.W. Winnicott on children play, Walter Benjamin and Gaston Bachelard on narratives and imagination in childhood and Carlo Ginzburgs Evidential Paradigm, this dissertation reflects upon the nature of artistic creation in childhood. This research was conducted with two groups of children aged 4 to 7 in assemblage construction classes in São Paulo schools, during 2007 and 2008, embedded in 15 years of previous experience, in the format of research in action. We have found that assemblage is a very powerfull, meaningfull and expressive language for children, enabling then to develop rich narratives that balance subjective and objective knowledge in an harmonic and profound way, and enlarges their social and cultural encounters. It also indicates that Ginzburg Evidential Paradigm has a genesis in childhood and that it is possible to identify its features in playful and expressive activities of assemblage. Children assemblages are the product of playful narratives constructed upon material and imaterial evidence, thus reflecting connections among perception, expression, imagination, memory and unconscious elements.
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Feinberg, Marilyn K. "Metaphor in fiber, metal and stone /." Online version of thesis, 1994. http://hdl.handle.net/1850/11975.
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Van, Fleet Alan. "The Hero's Journey." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/246.
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My ongoing series of assemblages are an expression my modern mythology through the juxtaposition of esoteric symbols and my collection of beloved action figures. Though myth is founded in partial truths and allegories, it has the unique capability to speak about our relationships to one another and the universe. My artwork conceives of anime, comics, and videos games as part of our contemporary mythology.
Inspired by a fusion of pop culture and spirituality, I also draw on the magical properties attributed to flowers, gemstones and other materials to create shrines, altars, and other objects. Juxtaposing these properties, found in my research of esotericism and mythology, with action figures establishes symbolic connections that act as an interface to the spiritual symbolism explored in each piece.
The collision of masking tape, shoe polish, flowers; gemstones and repurposed objects result in re-contextualizations of characters from popular culture. My practice suggests new possibilities for cultural symbolism reflective of my own unique experiences and values and as an active expression of creative freedom in our experiences of the divine. My assemblages re-examine traditional categorizations in art and culture, such as sacred and profane and high and low, while attempting to demystify the veil that separates the experiential from the transcendent.
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Collie, Natalie Estelle. "Pieces of a city : the art of making speculative cities, bodies, & texts." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/59618/1/Natalie_Collie_Thesis.pdf.
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This practice-led doctorate involved the development of a collection – a bricolage – of interwoven fragments of literary texts and visual imagery explor-ing questions of speculative fiction, urban space and embodiment. As a sup-plement to the creative work, I also developed an exegesis, using a combina-tion of theoretical and contextual analysis combined with critical reflections on my creative process and outputs. An emphasis on issues of creative practice and a sustained investigation into an aesthetics of fragmentation and assem-blage is organised around the concept and methodology of bricolage, the eve-ryday art of ‘making do’. The exegesis also addresses my interest in the city and urban forms of subjectivity and embodiment through the use of a range of theorists, including Michel de Certeau and Elizabeth Grosz.
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Oechsler, Monika. "Interstitial space : the Eagle Document : performativity and spatio-temporal assemblage in the contemporary moving image installation space (MIS)." Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/08db6f60-822e-4ed3-96ac-577b307369d7.
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This study investigates the perceptive modalities constituted by the multi-screen projection installation and its architectural and spatial forms. The thesis explores the hypothesis that the affective spatial experience created by the spatially configured moving image space (MIS) produces changed spectatorial positions from that of the single screen (or one-directional multi screen). The research asks: How can we understand the spatially configured multi-screen projection installation as constituting a changed aesthetic perception for the spectator? The MIS comprises two major temporalities, the multi-image structure and the mobile spectator whose physical interaction articulates the receptive process. Thus, perception in the MIS is not purely constructed through vision. Instead, the spatio-temporal assemblage shapes other direct sense phenomena. These are the spatial intensities produced by the spatial field, i.e. variable sensations of spatial receptivity, which are not mediated by the gaze but experienced directly by the body. Further, the mobile gaze of the moving spectator intersects with the moving images, and constructs vision as fluid and transient. Merleau-Ponty (2006), first published 1945, proposed that the mobile orientation of the body in space creates changing points of reference and alters both vision and embodied experience of space. The analysis of two inter-related concepts aims to contribute to a new understanding of the MIS. The first is the interstitial modality established by the screen architecture which engenders temporal and spatial gaps that interrupt the process of perception. Interstitiality here serves as an analytical tool in discerning the specific spectatorial positions instituted by individual installations. The second is the process of inter-animation which is constituted by the corporeal interaction of the spectator in the animated space of the MIS. Spatial and temporal effects act upon the body of the viewer. In turn, the viewer negotiates the unfamiliar space and multiple interstices through intuitive reaction. Deleuze (1994), first published 1968, suggested that spatial intensities and differences create immediate sensory impact which is experienced as intuition. Intuition intervenes in the visual process and expands perception from observation and reflection to intuitive action.
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Smith, Nicole R. "Wangechi Mutu: Feminist Collage and the Cyborg." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/51.
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Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.
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Rambaud, David. "L'insecte comme métaphore de l'assemblage : une recherche entomologique et historique sur les conditions d'apparition de l'objet manufacturé dans l'art." Paris 8, 2009. http://octaviana.fr/document/150986920#?c=0&m=0&s=0&cv=0.
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Plusieurs thèmes traversent les aspects en apparence si différents de cette recherche : l'insecte d'abord, qui est à l'origine de la démarche plastique et devient l'agent et le guide de notre déambulation dans l'histoire. De petites fabrications dérisoires faites de résidus récoltés au cours d’itinéraires dans Paris, sont à l'origine de multiples questionnements sur l'assemblage. L'institution de quelques règles de fabrication permet, à leur image, de parler essentiellement d'assemblages figuratifs réalisés par récupération d'objets manufacturés. L'entomologie, à la méthodologie si rigoureuse, servira aussi à valider certains principes de classification pour étudier les processus cognitifs et les ressorts associatifs qui président à la création artistique. Toute fabrication, intellectuelle ou tangible, est surdéterminée par les matériaux qui la constitue. Le préalable de ce travail consistera donc à désenchevêtrer le réseau sémantique des notions qui en bâtissent les grandes lignes, comme celles de collection, de classement, de combinaison, ou encore de ressemblance, pour établir qu'il existe un faisceau de relations entre la possibilité même de l'apparition de l'assemblage comme genre référencé et la prise de conscience par la peinture de ses propres enjeux dans une sorte de retour auto-réflexif. La mouche peinte en sera l'annonciatrice emblématiqueSeveral themes cross the seemingly so different aspects of this study : first the insect, which is the origin of this artistic research and then becomes the agent and the guide of our wandering through history. Tiny and trivial making made of junks picked up during walks in Paris are the reason for many questionings on the notion of assemblage. The institution of a few making rules allows us, in their image, to talk essentially about figurative assemblages made by the recycling of manufactured objects. Entomology, with its meticulous methodology, will also be used as a tool to validate some classification principles in order to study the cognitive process and the associative resorts which govern artistic creation. Every making, intellectual or tangible, is overdetermined by the materials it is made of. The precondition to this work consists in disentangling the semantic web of notions from which derive the main lines such as collection, classification, combination, or even similarity, to establish that there is a bundle of relation between the very possibility of the emergence of assemblage as a referenced genre and the realization by painting of its own issues, in a sort of self-reflexive turning back. The painted fly will become its emblematic forewarning
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Santamaria, Sylvia S. "Darwin or Frankenstein?" ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2639.
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Through sculpture and drawing, I create my own versions of natural specimens primarily based upon the visual unity of disparate organisms. Invented specimens are composed using a variety of processes employing a mixture of atypical materials following the (20th, 21st century) Postmodern shift away from formalist and traditional uses of any singular medium. As well as a variety of art materials, the specimens are hybrids of organic and biomorphic elements, blurring boundaries between botanical, animal, fungal, metal, and mineral. Is my approach perhaps like Charles Darwin, observant and studious naturalist, or am I more like Dr. Frankenstein, science fiction maker of monstrosities?
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Berard, Marie-France. "On the experience of encountering art in museum spaces : an inquiry with Gilles Deleuze's concepts of desire and assemblage." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63780.
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Framed by the theoretical concepts of assemblage and desire from philosopher Gilles Deleuze, and his collaborative writings with psychoanalyst Félix Guattari (Deleuze and Guattari, 1983, 1987), this study inquires into the qualities and productive potential of the art encounter in a gallery setting. The study brings together my practice in the field of art museum education, and my interest in the art encounter to inquire what the art encounter does. Thinking with Deleuzian concepts enacts a view of the art encounter as a milieu of experimentation where affects move a body to create assemblages, connections with things, human and non-human bodies, expressions, qualities, ideas, spaces. Assemblages allow desire (as a force) to circulate; desiring-assemblages move bodies to produce connections with other human or non-human entities, thoughts, they produce subjectivation as a mode of existence.
For Deleuze, one does not 'have' an experience of an artwork or exhibition detached against the background of life; experience is a milieu which contributes to actually making life. My study inquires how working within a philosophy conceived in terms of relationality, connections, flows and multiplicity (rather than fixed identities) enact a view of the art encounter as a milieu of immanent ethics. By immanent ethics, Deleuze means that encountering increases the potential for new connections, it can actualize the possibilities already in life. The experience of encountering art is inviting one into experiences of living.
This post-qualitative study followed a process of research as assemblage formed by: the research site at the Vancouver Art Gallery, and the dynamic constellation of interconnected objects, bodies, ideas such as my field notes, photographs, the writing of personal narratives of my encounterings in the gallery space, and scholarly texts. Throughout the research process, two guiding questions remained present: 1) With the production of data in autobiographical fieldnotes, how does Deleuze’s concepts of desire and assemblage help me inquire about my art encounters, and what insights can I bring forth on the art encounter? 2) In what ways does thinking with Deleuzian concepts enlarge received discourses in art education and museum education about the art encounter within the art museum?Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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MacDonald, Philip. "A reassessment of the copper alloy artefacts from Llyn Cerrig Bach, Anglesey assemblage." Thesis, Cardiff University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391161.
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Knochel, Aaron D. "Seeing Non-humans: A Social Ontology of the Visual Technology Photoshop." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316451835.
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Vanderveken, Nathalie. "Perdre le fil : du patron préfabriqué à la configuration d'espaces incertains." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26081.
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Tableau d'honneur de la Faculté des études supérieures et postdorales, 2015-2016Le texte qui suit fait état des recherches et explorations réalisées dans le cadre du programme de maîtrise en arts visuels. Il trace le développement d’une pensée émergeant d’un dialogue entre mon processus de création, les travaux réalisés et certains concepts et idées liés tant au discours philosophique, artistique, qu’au domaine de l’architecture et de la mode. Ce discours reflète les différentes dimensions actuelles de ma pratique, leurs modulations et ouvertures, afin de motiver un corpus matérialisant un usage non normé des patrons de couturière. Constitués de dessins et d’assemblages, les travaux présentés découlent d’une démarche exploratoire caractérisée par un travail de déconstruction, d’hybridation et de réagencement des patrons et de ses codes, donnant lieu à une reconfiguration de l’organisation et de la structure du vêtement. Appréhendé comme doublure, le vêtement se présente comme un objet ouvert et indéterminé qui, troublant à la fois les modèles identitaires et l’organisation du corps usuels, invite à bâtir de nouvelles façons de percevoir le sujet.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Metz, Brittany. "The memory of forgotten things." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4984.
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This thesis investigates my lack of childhood memories and documents how my artwork stands in as a substitute for that lost memory. The first part of the thesis analyzes my early life and influences; the second part analyzes my art making and process. The narrative style of writing is intentionally autobiographical to mimic the narrative style and structure of the thesis installation. My upbringing, interests, creative process, access to materials, and inspiration are fully explored. The impact my early life has on my current work is evident. Real memory is combined with created memory in the thesis multi-media installation. I wish to transport the viewer into the dreamlike space I have constructed with found objects and multi-media materials by offering an immersive experience into my world.ID: 029809878; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 16).
M.F.A.
Masters
Visual Art and Design
Arts and Humanities
Studio Art and the Computer
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Folgado, Enrique. "State of the art PVDF-based architectures from RAFT/MADIX polymerization of VDF : synthesis, self-assembly and potential membrane application." Thesis, Montpellier, 2019. http://www.theses.fr/2019MONTS132.
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Cette thèse présente de nouvelles approches pour la préparation d’architectures basées sur le PVDF. La synthèse et la caractérisation de différents copolymères amphiphiles à base de PVDF et de peptides cycliques-PVDF conjugués sont décrites. La polymérisation RAFT/MADIX du monomère VDF gazeux et différentes chimies ont été utilisées pour la préparation des copolymères à bloc. Des copolymères triblock ABA à base de PVDF ont été obtenus par addition de Thia-Michael grâce à une stratégie « one-pot » impliquant à la fois des PVDF-Xanthate (ou P(VDF-co-HFP)-Xanthate) et des PEG-diacrylates. Des copolymères dibloc PNIPAM-b-PVDF ont été préparés par polymérisation RAFT de VDF à l’aide de macroCTAs PNIPAM. La synthèse des séquences peptidiques, la préparation des peptides cycliques (PC) et la synthèse des conjugués PVDF-CP sont également décrites. Enfin, des membranes à base de PVDF ont été préparées par un procédé de séparation de phase (NIPS) utilisant un des copolymères a bloc amphiphiliques comme additif. La performance de la membrane et l’évolution des propriétés de la membrane sur une période de 9 mois ont également été étudiéesThis thesis presents new approaches for the preparation of PVDF-based architectures. The synthesis and characterization of different PVDF-based amphiphilic block copolymers and cyclic peptide-PVDF conjugates are described. RAFT/MADIX polymerization of gaseous VDF monomer and different chemistries were employed for the preparation of the BCPs. PVDF and P(VDF-co-HFP) ABA triblock copolymers were obtained through Thia-Michael addition by a “one-pot” strategy involving both PVDF-Xanthate (or P(VDF-co-HFP)-Xanthate) and PEG-diacrylates. PNIPAM-b-PVDF diblock copolymers were prepared by RAFT polymerization of VDF using PNIPAM macroCTAs. The synthesis of peptide sequences, cyclic peptide (CP) preparation and the synthesis of PVDF-CP conjugates is also described. The self-assembly in solution of all the novel PVDF-based BCPs and CPs was also studied. Finally, PVDF blend membranes were prepared by non-solvent induced phase-separation (NIPS) process using one of the amphiphilic BCPs as an additive. The performance of the membrane and evolution of membrane properties over a period of 9 months was also studied
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Neuner, Stefanie. "A Seamless Journey." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1586.
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Tatum, Simon J. "Repurposing Tourism: Visions from an Itinerant Artist." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619483698972973.
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Davies, Eranah Laura Ann. "SKELETON WOMAN: EMBRACING THE UNKNOWNALLOWS FOR SURPRISES." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429968887.
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Miežytė, Ugnė. "Emigracija." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120702_110953-22905.
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Diplominis darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo.Teorinėje dalyje apžvelgiama asambliažo koncepcija, idėja, analogai. Aprašoma darbo eiga, priemonės, atlikimo technika.Kūrybinis darbas susideda iš trijų darbų kolekcijos. Kiekvienas darbas (130cm. x 130cm.) atliktas ant MDF - vidutinio tankio medienos plaušų plokštės, naudojant: popierinius rankšluosčius - „paloma“, universalius klijus - „lipalas“, gipsinį tinką - „knauf rotband“, aliejinius dažus.Kūrybinio darbo – asambliažo - kolekcijoje „Emigracija“ nagrinėjama problema – jaunų žmonių išvykimas svetur dėl ekonominių priežasčių. Žmonės dabar emigruoja dėl geresnio gyvenimo, nes, Lietuvoje leidžiama darbdaviams pasipelnyti iš darbo jėgos. Savo kūrybiniame darbe šią temą ar koncepciją interpretuoju simboliškai. Man svarbu pats žmonių „išnykimo“ faktas. Tai lyg „kryžiukų - nuliukų“ žaidimas. Tik neaišku kas žaidžia- manipuliuoja žmonėmis.Diploma paper consists of two parts: theoretical description and practical creative job. In the theoretical part I discuss the conception, idea and analogs of assemblage. I explain also the course of the work, means, the technique of implementation. The craetive job consists of the collection of three works. Every work (130cm x 130cm) is implemented on MDF – average density fibreboard using paper towels, universal glue, gypsum plaster and oil color. In the creative work‘s collection „Emigration“ the problem of people leaving to other countries is analyzed. Now people emigrate due to expectations of better life, as, according to Rimas Armaitis,in Lithuania employers try to gain too much from their employees. However, in my creative work I analyze this theme symbolically. For me the fact of „disappearing“ people is most important. That is like the game of „crosses and nills“. Just it is not clear who plays and manipulates with people.
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Delaune, Benoît. "Le cut-up chez William S. Burroughs : modèle plastique, création littéraire." Rennes 2, 2003. http://www.theses.fr/2003REN20019.
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William S. Burroughs, dans la Trilogie (La Machine molle, Le Ticket qui explosa, Nova Express), dont la période d'écriture s'étend de 1960 à 1968, a utilisé de multiples procédés d'écriture, dont le cut-up. Nous avons essayé de définir et d'analyser la place de ces techniques d'écriture dans le travail de Burroughs. Nous avons défini la place dans ces procédés des modèles plastiques et des techniques de collage et de montage. Nous avons également analysé ces procédés sous l'angle de l'intertextualité et de l'intratextualité. Enfin, nous avons confronté l'écriture de Burroughs à des théories qui lui sont immédiatement postérieures, comme le concept d'hétérotopie (Michel Foucault), et les théories du corps sans organe et des machines désirantes selon Gilles Deleuze et Félix Guattari, avant de saisir la politique des stratégies textuelles mises en œuvre par l'emploi du cut-up dans des textes narratifsWilliam S. Burroughs, in his famous Trilogy he has written from 1960 to 1968 (The Soft Machine, The Ticket That Exploded, Nova Express) has defined and used several writing techniques known as cut-up. We analyse those techniques, and their importance in Burroughs' writings. We compare the cut-up to collage, montage and plastic techniques and explain its particularities. We also compare cut-up with the different theories of intertextuality, and some concepts defined by Michel Foucault, Gilles Deleuze and Félix Guattari, in use to understand what kind of textual strategies are developed in Burroughs' writings
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Serinet, Bruno. "La part du désastre : la pratique de l'assemblage comme rituel de résistance." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H301.
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Cette thèse interroge une expérience individuelle de pratiques artistiques effectuées dans le contexte géographique de l'île de la Martinique. Pour celui qui le vit, l'exil offre la possibilité d'adopter des points de vue distanciés tout en conservant l'implication dans les problématiques les plus actuelles et les plus universelles. Ce travail questionne les relations entre la création artistique et ce qui semble la nier, à savoir tous les phénomènes désastreux. En art, la mise en œuvre peut être comprise comme le montage d'un assemblage. L'artiste relie des fragments entre eux pour composer des objets qui ne constituent ni une unité ni un enchevêtrement hasardeux, mais plutôt des structures ouvertes et instables cultivant l'indétermination. Adoptant cette conception que l'art et la vie sont indissociables, l'approche développée dans ce texte explore les liens entre l'idée d'assemblage d'éléments disparates et les questions soulevées par les relations entre l'individu et les contextes ou encore entre les singularités et les communautés. Le désir de créer persiste malgré la perspective incontournable du désastre. Envisagée sous cet angle, la pratique artistique peut se concevoir comme un rituel de résistanceThis thesis examines a personal experience of artistic practices realised in the geographical context of the island of Martinique. For the one who lives it, the exile offers the possibility of adopting viewpoints distanced while retaining involvement in the most current and most universal problems. This work questions the relationship between artistic creation and what seems to deny it, namely all the disastrous phenomena. In art, the implementation can be understood as the setting of an assembly. The artist connects fragments together to compose objects that are neither a unit nor a hazardous entanglement, but rather an open and unstable structure cultivating indeterminacy. Adopting this conception that art and life are inseparable, this work explores the links between the idea of assembly of disparate elements and issues raised by the relationship between the individual and the contexts or between singularities and communities. The desire to create persists despite the unavoidable prospect of disaster. Seen from this angle, the artistic practice can be understood as a resistance ritual
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Bahlner, Sofia. "Experimania." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7800.
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I have made an investigation in how I can encourage curiosity in textiles with a specific interest in its structures. I have found that repetition is one efficient way to make a separate building element disappear into its own mass and instead be viewed as a surface. I researched how different surfaces are created by experiment with materials and techniques and looked into the big role tactility plays when curiosity in textiles are created but as well realized that a haptic experience can be reached not only with skin but through the eyes. The experiments and elaborations I made took my ideas beyond my starting point and further than I first could imagine. I explored and questioned hierarchies and values of materials by the way I used and combined them. By doing so I realized and discussed the dilemma of being positive to the idea of letting people experience my work through touching and the issue with sustainability, duration and demolishing the patterns while doing so. Through this paper I aimed to find a definition for what fiber art can be today. I didn´t find one or totally uniform answer but it seems to me that it´s a movement that stretches over diverse material fields and has an underlying power to push boundaries and traditions and break free from classifications.
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Raby, Erica M. "Accumulation." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240255325.
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Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Darice Polo. Keywords: Installation; assemblage; mixed-media; drawing; playful arrangements; doodling; envrionmental art; intuitive process; mixed-media drawings; environmental concerns; ecological concerns; fragile environment; site-specific; craft-based methods; post-consumer. Includes bibliographical references (p. 28).
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Albrecht, Marissa. "Pedestrian." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8598.
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My feet are my transportation while living in the college town of Provo, Utah. When walking, I am drawn to designs found at construction sites and office workplaces, methods of labor that are executed sequentially. These designs lead me to think about laborious jobs that I have had and time performing mundane, repetitive tasks. Walking, photographing, gathering, and transporting used material to a workspace are the preliminary actions for my art practice. Creation emerges by relating material from varying environments through their inherent patterns, sizes, and shapes. I organize elements of the everyday in a new harmonious context with each other. At the core of my art practice, I present an altered way of looking at commonplace materials.
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Mainguy, Serge. "Objets trouvés, matière retrouvée." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26290.
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Ce mémoire veut refléter l'exercice d'introspection proposé par le cheminement de la maîtrise en arts visuels. Il accompagne la réalisation d'un corpus d'œuvres en pratique sculpturale qui se conclue par une exposition à la Galerie des arts visuels de l'Université Laval. Cette étape de mon cheminement artistique se veut un moment privilégié pour approfondir mon dialogue avec la matière, source première de mon travail sculptural. C'est la matière provenant d'objets banals, voués à la destruction, qui est retrouvée, réutilisée, revalorisée. Elle est devenue un matériau différencié par l'usage auquel elle a été destinée. Ses qualités formelles acquises sont source d'inspiration. Son passé participe à son avenir. D'objets d'utilité de la vie quotidienne, ils deviennent objets de connaissance qui font naître de nouveaux réseaux de sens. La métamorphose leur donne une nouvelle vie en les transformant en objets qui n'ont pas d'autre finalité que d'être vus.
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Delfiner, Judith. "Le renouveau de Dada aux États-Unis, 1945-1957." Paris 1, 2006. http://www.theses.fr/2006PA010584.
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Cette recherche envisage le renouveau de Dada dans l'art américain, sa genèse et ses manifestations, de l'après-guerre à la fin des années 1950, développement élaboré dans l'ombre de l'expressionnisme abstrait et qui n'apparut au grand jour qu'au cours de la décennie suivante. Dada y est abordé moins comme un mouvement que comme un principe, dont la réactivation au lendemain de la Seconde Guerre mondiale donna lieu à une production singulière. Sur la côte Est, le Black Mountain College semble avoir été le creuset de ce phénomène en accueillant les esprits les plus novateurs de l'époque, notamment John Cage autour duquel se forma très rapidement un petit cercle composé de Merce Cunningham, Robert Rauschenberg et Jasper Johns, d'où émergea une nouvelle sensibilité qualifiée de « néo-Dada» dès 1957. Questionnant les limites entre l'art et la vie, ils opérèrent un décloisonnement des genres artistiques et renouèrent singulièrement avec les pratiques du ready-made, de l'assemblage et de la performance. Parallèlement, de jeunes artistes s'engageaient dans une voie similaire en Californie. À Los Angeles, Wallace Berman et George Herms devenaient les pionniers d'un nouvel art de l'assemblage empreint de spiritualité et marqué par la poésie et le jazz, tandis qu'à San Francisco, Jay DeFeo, Wally Hedrick, Bruce Conner et Jess se révélaient les figures les plus marquantes d'une scène artistique expérimentale largement inspirée de Dada. L'examen des interactions entre ces deux pôles ainsi que la question de l'identité du renouveau de Dada aux États-Unis occupe le dernier temps de ce parcours qui s'achève par une réflexion autour de la notion problématique de « néo-avant-garde ». 1
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Estabrook, Richard William. "Social Landscapes of Transegalitarian Societies: An Analysis of the Chipped Stone Artifact Assemblage from the Crystal River Site (8CI1), Citrus County, Florida." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3723.
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The research undertaken in this dissertation was designed to explore how the institutionalized social inequalities in prehistoric Woodland society are reflected in the differences in the procurement, in the life history, and the final discard locations of the flaked chert stone tools from the Crystal River site (8CI1). The Woodland period (1000 BC to AD 1000) was a time of both stability and change in Native American society. Many of the core institutions such as subsistence, hunting and ceramic technology, and residence remained relatively constant while religious and political institutions underwent dramatic changes. This study focuses on how these social inequalities were manifested in the chipped stone tool assemblage from this site.
The Crystal River site is an Early to Middle Woodland-period mound complex located in coastal Citrus County, Florida. Dedicated as a National Historic Landmark site in 1991, the Crystal River site is internationally known and respected. Despite extensive work at the site conducted by Bullen and others during the 1940-60s, little was actually published about the material remains excavated from the site. Work resumed on the site in the 1980s and has continued as required by park maintenance and repair issues. Since 2007, remote sensing and other non-invasive technologies have been employed to advance research further at the site. This research returned to the flaked stone materials recovered during the periods 1903-1964 and 1984-2001 to illuminate site activities better without additional ground-disturbing activities.
Multiple techniques were employed to develop the data sets that were used to investigate the research questions addressed in this study. The GIS-based weights-of-evidence procedure was used to predict the locations of chert outcrops within a 50 km study area. This model validated the existing quarry cluster method of determining the provenience of Florida cherts. A cost-path analysis was used to identify those chert sources that would have been most accessible to the site's inhabitants. These techniques defined a series of coastal chert outcrops that form the newly-proposed New Coastal quarry cluster.
A chaîne opératoire or operational sequence approach was adopted for the analysis of the chipped stone assemblage. A waste flake analysis, a hafted biface classification, and a raw material provenience classification were conducted for all flaked-stone materials. Use-wear determinations were made using both low-power (10-70x) and high-power (50-400x) magnification analysis techniques. A life history approach was taken to the hafted biface assemblage and hafted biface retouch index (HRI) values were determined for all hafted bfaces and biface fragments.
The provenience analysis demonstrated that the majority of the chert used by the inhabitants of Crystal River came from outcrops and quarries south of the site along the coastal marshes and the western margins of the Brooksville Ridge. These resources are all within a short canoe trip from the site. Two life history trajectories are suggested for the chipped stone tools from Crystal River. The majority of the chert was obtained from local sources. The second life history was defined for a small subset of the hafted bifaces that were transported from quarries located outside the core subsistence catchment of Crystal River site.
Four research hypotheses were developed to test propositions related to the ways in which institutionalized social inequalities are reflected in the patterning of the chipped stone artifact assemblage at the Crystal River site. Although only some of these hypotheses were supported, the results of this investigation do support much of the research that has previously been conducted with the lithic assemblages from Woodland mound complexes in Florida. Chert acquisition is heavily reliant on local lithic sources. Chert procurement appears to be embedded in the collection of other resources. Stone tool use at the site follows the typical expedient flake tool/local raw material pattern that has been documented for other Middle Woodland sites in the region. There was no evidence to suggest that thermal alteration was used to enhance the quality of either the local cherts or those brought to the site from more distant sources. The analysis identified two distinct life histories for at least part of the stone tool assemblage. Many of the hafted bifaces, formed tools and flake tools recovered from the site were made from local cherts. These tool where likely made, used, and discarded at Crystal River. Some of the hafted bifaces and flake cores were made from cherts found on the outer edges of the 50 km study area defined for this investigation. These items were brought to the Crystal River site, used, resharpened, and broken in transit, and finally replaced by new tools at the site. The broken fragments of these tools were discarded in the midden debris to eventually become part of the archaeological record from this now-famous site.