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Aydin, Ceren Can. "'." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615704/index.pdf.
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This thesis critically analyzes the dynamics wherein the artistic field- the art world per se possessing both 'glocal'
and '
universal'
attributes- has been constructed as an autonomous field within the discourses produced about art. The research focuses on some of the moments during which the field, as becoming an '
institution'
inside the framework of modern state paradigm, has been imbricated and freed from social history by designating some of the fundamental arguments about its epistemological, historical and structural qualities and it shows how '
autonomy'
has been a stake of struggle. The narratives about how '
commodification of culture'
and '
autonomy of the field'
proceed in the '
West'
and in Turkey are discussed in comparison in this ethnographic study that is realized by Constructive Grounded Theory and carried out by centering a group of art professionals living in Istanbul.
2
Romanos, Vassilios. "Modernity and autonomy : Cornelius Castoriadis' defence of democracy." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243395.
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Hawa, Salam. "Autonomy and alienation, elements in the crisis of modernity." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5427.
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Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.
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Rosich, Pagès Gerard. "Autonomy In and Between Polities: A Political Philosophy of Modernity." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/399926.
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This PhD has pursued three different and interconnected objectives, each corresponding to one of the three parts of the PhD. In Part I, a historical reconstruction is provided in order to present the background against which some political paradoxes in the present have to be understood in relation to globalization. On the one hand, it presents a range of historical developments that have helped to describe some lineaments of the modern world as a history of domination that underpins the univocal and reductionist conceptual association between modernity and globalization. A connection is established between this view of modernity and imperialism, and between progress and globalization. On the other hand, it discusses the conceptual shortcomings and historical inadequacy of this understanding of modernity against the background of recent findings and offers an interpretation of modernity as being constituted by a tension between a totalizing and a pluralizing interpretation of the world. An alternative pluralizing interpretation of modernity, which is not related to globalization, linked to the concept of autonomy and is best suited to understanding our current condition, is proposed.
Part II aims, first, at challenging the narrative of the current hegemony of the liberal understanding of autonomy which underpins political globalization and makes unworkable any notion of a collective self; and second, at retrieving philosophically the normative content with which the concept of autonomy is associated. An assessment of the current global situation is offered which aims at showing the need for the construction of a bounded collective self in order to uphold democracy and challenge the modes of domination that contract theory, as a normative framework for institutional social life, perpetuates by means of legitimation or obfuscation.
Part III establishes the historical context in which the views offered in parts I and II have been elaborated. First, a conceptual history of autonomy is provided. To my knowledge, no exhaustive and systematic history of the concept has been researched in scholarship. It has been taken for granted that Immanuel Kant is the inventor of the concept in its modern use, a view reinforced through the impressive work of Jerome B. Schneewind. Allegedly, Kant’s work opens the path to the constitution of individual autonomy as the basic understanding of freedom. In contrast to this understanding, the aim of Part III is to show that in conceptual and in historical terms, autonomy (re)emerges in modernity after its invention in classical Greece as a political concept and as a defining quality of the collective self in its relation with the political Other. At the same time, this part aims at retrieving and grounding historically an alternative interpretation of modernity that challenges the hegemonic and univocal understanding of modernity that has been analysed in Part I. It analyses the different movements of reformation that took place during the first half of the 16th century in the Holy Roman Empire, which culminated in the 1555 Peace of Augsburg, as the experiences under which the concept of autonomy was reintroduced into European modernity. It shows that at the moment when European imperialism was beginning with the “discovery of
America”, alternative interpretations and experiences were already at hand, which aimed at challenging precisely this notion of imperialism. Part III thereby grounds in historico-conceptual terms the interpretation of modernity offered in Part I and the assessment of autonomy offered in Part II.La primera part de la tesi fa un esforç per comprendre el nostre present i les tensions que el constitueixen a través d'una reconstrucció tant històrico-interpretativa i discuteix fonamentalment les teories d'arrel eurocèntrica. Tot i que hi ha raonament teòric, la forma de procedir i argumentar és fonamentalment històrica. Seguint aquest fil, analitzo un seguit de canvis històrics que permeten llegir certs desenvolupaments del món modern com una història de dominació i que, a parer meu, està a la base de l'associació conceptual reduccionista i unívoca entre modernitat i globalització. Des d'aquest angle, estableixo una connexió entre modernitat i imperialisme i entre progrés i globalització per fer-ne la crítica, i proposo una interpretació de la modernitat constituïda per la tensió entre una comprensió totalitzadora o pluralitzadora de món. La segona part de la tesi és predominantment conceptual, encara que es complementa en alguns casos amb observacions històriques. Hi presento l'aproximació interpretativa del concepte d'autonomia i poso en qüestió el seu ús dominant en el present. És en aquest part on s'introdueix i es desenvolupa la filosofia política de la modernitat que correspon a les anàlisis històriques del llibre i on es discuteixen les connexions entre exclusió, dominació i democràcia. La darrera part combina enfocaments històrics, contextuals, interpretatius i conceptuals per poder copsar totes les diverses variables que es posen en joc en la relació entre modernitat i autonomia. És en aquesta part on la història conceptual de l'autonomia és desenvolupada i que té com a objectiu no reduir els fonaments polítics de la modernitat al concepte de sobirania. S'analitzen els diversos moviments de reforma que van tenir lloc durant la primera meitat del segle XVI al Sacre Imperi Romanogermànic i que van culminar l'any 1555 amb la Pau d'Augsburg. Aquest és el rerefons on el concepte d'autonomia es reintrodueix i l'analitzo com un dels conceptes que mostraven en aquell moment la transició d'Europa a la seva època moderna. En contrast, suggereixo que just en el moment en què l'imperialisme global Europeu s'iniciava amb la 'descoberta d'Amèrica', ja estaven en joc interpretacions i experiències alternatives que qüestionaven el concepte de sobirania.
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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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Braddock, Alan C. "Displacing Orientalism Thomas Eakins and ethnographic modernity /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916454.html.
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Thesis (Ph. D.)--University of Delaware, 2002.Principal faculty advisor: Michael Leja, Dept. of Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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COUTO, RENATA DE CAMPOS. "GONZAGA DUQUE: CRITICS ART AND THE EXPERIENCE OF MODERNITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11401@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira.
The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.
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Pigott, Jon. "Materials systems and autonomy in electromechanical sound art." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11587/.
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Sound art is a difficult to categorise and broad genre description that draws together modes of creative practice which use sound as a medium or a subject. The field is considered to be critically underrepresented and under-theorised despite an increase of attention and popularity since the 1990s (Licht 2007, 2001, Cox 2009). This is partly as a consequence of an analytical and historical emphasis on textual and conceptual approaches which dominated the arts through the 1970s and 1980s (Cox 2011, 2013). In particular, acknowledgement of the influence of object-based and kinetic sculpture within the field of sound art is found to be inadequate (Chau 2014, Keylin 2015). This thesis presents an original body of sound art practice as a means through which to uncover and explore connections between sound art, experimental composition, kinetic art and sculpture. The term 'electromechanical' is used to identify this work, highlighting its particular concerns with the use of electrically animated or amplified materials. Through the production, exhibition, critical appraisal and contextualisation of the work new observations and distinctions within the field are presented. These include the identification of a 'closed system aesthetic' and the distinction between robotic and process driven approaches to electromechanical sound art. A further contribution to the field consists of a detailed consideration of sound art emerging from an intersection of experimental music and sculptural practices during the 1960s. The original works produced for the project, and their production are documented and described in detail alongside existing canonical and contemporary examples of sound art. Analysis of these works is informed by materialist and object-orientated critical positions, and science and technology studies. The method of art practice as research is described and extended in an original way that encompasses and applies a systems approach to creative practice.
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Guentchev, Daniel. "The Speech of the World: Art and Normativity in Modernity." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/465.
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This dissertation explores the significance of figurative art for contemporary cultural life. It is motivated by the fact that such art is often regarded as a thing of the past and largely replaced by works born of more recent movements. I argue that figurative art bears possibilities that are not yet exhausted, and moreover that there is something about our age that calls for the creation of figurative works. The first part addresses a diagnosis of modernity offered by Gregg Horowitz. For him, the triumphant attitude of the age hides our inability to digest a series of traumatic losses - the loss of nature's normativity, of art's significance for cross-generational transmission of values, and of history's demand to carry forward the values of previous generations. He sees in art the opportunity to bring such traumatic loss to reflection, and calls for the aesthetics of mourning as art's contemporary vocation. In order to demonstrate the importance of an element of mourning, the discussion of Horowitz is followed by an account of Gianni Vattimo's attempt to retrieve art from a position of inessentiality. The lack of a tragic moment in his project highlights some of the drawbacks connected to such an omission. In the second part of the project I insist that, though the element of mourning is necessary, we should not stop there in the search for art's contemporary vocation. Using the phenomenology of Heidegger and Merleau-Ponty I sustain the hope that we may recover some form of continuity without disregarding the trauma of loss. Figurative art is particularly suitable for this task because it is more likely to preserve the integrity of its subject matter rather than breaking it down into its constitutive parts, potentially carrying forward elements of past modes of relating to our world.
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Barragán, Maite. "Mediating Modernity: Visual Culture and Class in Madrid, 1926-1936." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/455066.
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Art HistoryPh.D.
This dissertation examines the differing responses to modernity in the visual culture of Madrid from 1926-1936. I trace the debates generated by the anticipation, apprehension, or expectations to the ongoing processes of modernization. My work is guided by the understanding that the metropolis is both a physical and psychological space, and that the resulting visual culture is imbued with those experiences of Madrid. Thus, the questions and concerns of the period are instilled in the visual arts, regardless if the city is explicitly represented in them or not. Although Madrid was not a model of industrialization, the city’s inhabitants acknowledged and reacted to the attempts to modernize the city as well as the ongoing political and social transformations. My study examines diverse media alongside the popular press of the period. By examining individual works of art alongside periodicals, my dissertation reveals the relationship between the thriving popular culture, the elite culture, and an emergent mass culture. In the first chapter, I introduce how these different kinds of culture have been defined, as well as Madrid’s current place within art historical scholarship. In the second chapter, I look at how the construction of the Gran Vía avenue was presented in the press to investigate the social effects of the reorganization of Madrid’s center. The third chapter analyzes the development of the public persona of writer Ramón Gómez de la Serna and how he used his image as an advertisement for modernity. In the fourth chapter, I examine the film Esencia de verbena, directed by Ernesto Giménez Caballero. The film pictured Madrid’s traditions but also invoked Surrealist aesthetics. By bringing together ideas of international modernity and local folklore Giménez Caballero showed how popular culture was a useful resource for the local avant-garde. In the final chapter, I focus on the sculpture of artist Alberto Sánchez to demonstrate how his seemingly depoliticized artworks actually engaged in a critical discourse about the economic and social conditions resulting from modernization. This dissertation challenge the current understanding of the distinctions between the popular, elite, and mass cultures in Spain. Such categories cannot fully express the complexity of the visual culture of Madrid in the 1920s and 1930s. Instead, I argue that Madrid’s inhabitants negotiated and mediated modernity by blurring the boundaries and exploring the interconnections between these different cultures.
Temple University--Theses
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Roberts, Ann Patricia. "Painting by mouth : art, modernity and disability : Bartram Hiles (1872-1927)." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6062/.
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The subject of this thesis is the Bristol artist, Bartram Hiles (1872-1927) who lost both arms in a tram accident at the age of eight and subsequently taught himself to draw and paint by mouth. Using the themes of art, modernity and disability, this thesis recovers Hiles’ career as a mouth-painting artist, not as biography but as a focused study located in nineteenth and early twentieth-century culture. Using disability studies as a principle point of reference, it does not draw on traditional medical and social models associated with this discipline. Instead, it employs a culturally located framework as its point of departure that also gives historical context to Hiles’ disability within the late Victorian and Edwardian period in which he was active as a professional artist. Hiles is little known today and the study has been driven by primary archival research into his formal art education and professional career as a mouth-painting artist. Employing an inter-disciplinary approach, each chapter is structured as a specific historical, cultural and physical context in which to locate Hiles’ art practice and professional career. Such contexts include medicine and science, the periodical press, agency and support, art and design practice, celebrity culture and the Edwardian artists’ club. The thesis employs discourse and representation but also draws on material and visual cultures of both medicine and art for its analysis. The study frames Hiles’ art practice within the modernity of the late nineteenth century as a transforming space to locate him as a modern subject who sought to re-interpret the act of painting. The thesis argues for Hiles to be seen as a modern man who used the opportunities afforded by modernity for individuals to re-make and re-fashion themselves, and to pursue new pictorial forms and spaces to exhibit his art. Negotiating the complexities of strategy and self-presentation, it positions Hiles as a figure of an increasingly commodified celebrity culture rather than a disabled man who led a life of marginalization. From this analysis Hiles emerges as a man and an artist fully able to navigate the modern world, and whose disability and unconventional method of painting illuminates the ambivalences of the late nineteenth century and early twentieth century towards difference, otherness and perceptions of normality.
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Donahue, Nathaniel J. "Decorative Modernity and Avant-Garde Classicism In Renoir's Late Work, 1892-1919." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3602655.
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Renoir's late work represents a paramount contribution to the history of modernism that has often been overlooked and obscured according to a paradigm of reactionary escapism. This dissertation instead positions Renoir's staunch commitment to the decorative arts, and his advocacy of decorative and classical styles of painting in the late work, as central to the political and cultural debates of its time--both as a link to the traditions of the eighteenth century that satisfied politically conservative cultural nationalists, and as a badge of avant-garde formalism among new collectors of modern art such as the Steins, Maurice Gangnat, Paul Guillaume, and Albert C. Barnes. Renoir's response to modernity was less one of denial than one of protest against a mode of production that diminished the hand crafted sensuality of the object in favor of machine made efficiency. This interpretation re-imagines the dominant teleology of Modernism by re-installing the decorative and the Symbolist movement as the important aesthetic revolutions they were for Renoir and his young admirers: the Nabis, Picasso, Maillol, and Matisse. During his late career Renoir adopted successive hybrid styles that combined decorative and classical forms and which encouraged synesthetic responses in the viewer. His pictures of music-making, dress-up, millenary, and the notorious late bather paintings and sculptures unabashedly revel in the depiction of decorative motifs and tactile flesh, ultimately locating the origins of aesthetic form in the slippages between the senses of sight and touch.
Ultimately Renoir's late work serves as an alternative paradigm of modernity, one that complicates the traditional narrative predicated on Greenbergian purity, media specificity, and flatness. Instead, Renoir presents a body of work which traffics in opposites: a decorative style that is willfully heterogeneous, synesthetic, and which explores the liminal space between the pictorial and the sculptural. As an antihero of modernism, a detailed understanding of Renoir's late work expands our understanding of this period by intertwining decorative, classical and avant-garde painting styles in a web connecting the diverse aesthetic movements and social upheavals of the late nineteenth and early twentieth centuries.
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Hutchins, Katharine. "Choreographing Modernity: Loïe Fuller and Her Influence on the Arts." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/75.
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This thesis, which studies the effect Loïe Fuller had on artists at the turn of the 20th century, redefines her role in art and society. An American dancer born in 1862, Fuller is often hailed as one of the forefathers of modern dance and a technological engineer, but she is too rarely shown in control of how the audience perceived her. This work gives an overview of Art Nouveau and the Universal Exposition of 1900 in Paris in which she performed. It closely examines her impact on painters, illustrators, and lithographers: Henri de Toulouse-Lautrec, Will Bradley, and Jules Cheret. It also studies her influence on sculptors: Raoul Larche, Agathon Léonard, and Pierre Roche; architect Henri Sauvage, and writer Stéphane Mallarmé. In this work, Fuller is not solely presented as the physical embodiment of Art Nouveau but as an active shaper of artistic movements of her time. It portrays her as active rather than passive.
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KAISER, ANDREW. "CONSTRUCTING MODERNITY: JAPANESE GRAPHIC DESIGN FROM 1900 TO 1930." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147717044.
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Winskell, Samantha Kate. "Dada and Russia : Zurich and Berlin, 1915-1922." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294791.
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Le, Roux Neil. "A case of emergence : autonomy and self-organisation in conceptual art practice." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86383.
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Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.
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Schiavo, Bruno. "Autonomia e campo ampliado: Peter Eisenman, Rosalind Krauss e The Institute for Architecture and Urban Studies (1964-1984)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-20122016-145452/.
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A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional.The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.
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Holt, Ysanne Hope. "The English landscape, modernity and the rural scene 1890-1914." Thesis, Northumbria University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367408.
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This thesis is concernedw ith artists' representationso f the English landscape and rural scenery from the last decade of the nineteenth century up to the outbreak of war in 1914. While isolated aspects of the period in relation to landscape painting have been explored in the form of individual monographs and exhibition catalogues, there have been no overall studies. Equally there has been no sustained attempt to examinet he closei nterconnectionsb etweend epictionso f the rural, and experiences of modernity and the urban that characteriseth ese years. As a result there has been no opportunity to explore the different and complex ways in which ideals of Englishness were negotiated over time amongst a diverse group of painters. This thesis is a contribution to a debate which has emerged in other disciplines and in work within other art historical periods, an investigation of the role of paintings, their public reception and critical interpretation, in the context of the contemporary production and reinforcement of ideas about race, national identity and the construction of native traditions. The paintings discussed here of Stott, Clausen, Steer, John, Knight, Tuke, Gore, Spencer and Nash have all been selected because in different ways, they exemplify the diverse strands of the debate about Englishness around turn of the century. In order to engage properly with the broader effects of these representations, this thesis explores related areas of enquiry about the significance of ruralism and the countryside, as they have emerged in social and rural history, cultural studies, as well as current investigations in the fields of cultural geography and the study of tourism. These areas establish the centrality of ideas about the rural as a focus for unity and order, and as a site upon which imaginative solutions to the problems of modernity could be developed, in ways that have been left out of art historical accounts of the period as a whole. A fundamental aim here is the study of the cumulative effects, by 1914, of a consistent commodification of the countryside and of its populations by and for urban spectators.
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Hernandez, Velazquez Yaiza Maria. "Art criticism in the age of curating : from judgment to autonomy." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/41970/.
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Since the turn of the century art criticism in the West has repeatedly declare itself "in crisis". This crisis had several iterations: the loss of stable formal criteria by which to criticise artworks in the wake of conceptual art and a related abdication of aesthetic judgement; the increasing dominance of the art market as the arbiter of artistic value; the functional replacement of art critics by curators, and the inadequacy of extant models of criticism in the face of contemporary practices that challenge traditional critical categories, practices that despite operating in the institutional field of art seem to dissolve into non-artistic activities. This work reads most of these positions as remaining too attached to a model of criticism grounded on aesthetic judgement, even when this is described as "aesthetic experience", "aesthetic framing", "affective intensity" or others. Against such an attachment, this work argues that it is artistic autonomy as the self-reflexion and autopoiesis of the artwork - as already advanced by the early German Romantics and developed by Walter Benjamin and Theodor Adorno - that remains crucial: art as critique rather than a critique of art. With this in mind, rather than understanding the rise of curating as a threat to criticism, this work proposed that in the aftermath of what Thierry de Duve has called "art in general", it is within the institutional forms that have started to emerge in the wake of this new understanding of curating, that artistic autonomy can continue to be developed in the context of a globalised artworld.
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Wheaton, Pat. "High style and society : class, taste and modernity in British interwar decorating." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/24563/.
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This thesis explores the way in which interior decorating developed as a practice during the interwar period in Britain and seeks to address broader contexts of gender, class, taste and styles. While traditional design histories have tracked the development of the interior design model through a direct sequence of movements and ideologies through the nineteenth and twentieth centuries, this thesis addresses issues which have been problematic within the context of art and design history. It acknowledges the more linear dimension of the original strand and seeks to offer a complementary appraisal which considers and appreciates the role of class, wealth and privilege and deconstructs boundaries which have marginalized gender and obscured certain important influences. The study examines the way in which decorators, many of whom were female, negotiated a design agenda which engaged with modernity without fully renouncing hard-fought signifiers of their class, taste and individuality. It argues that in the development of its practices, significant alliances were formed with fashion and that the vital role performed by media representation and social commentary underpinned its commercial profile and provided the public locus of its discourse. The nature of professional decorating is explored against a background of emerging practices in the first decades of the twentieth-century which included the antiques trade; grand scale establishments such as Lenygon & Morant, White Allom, Thornton-Smith and Keebles; department-store studios including those at Heal’s, Waring & Gillow and Fortnum & Mason; and individual practitioners and designers including Syrie Maugham, Sibyl Colefax, Dolly Mann and Ronald Fleming. In a period rife with social and political upheavals and conflicting ideologies as well as technological advancement and life-style changes, the study’s analysis aims to provide a broader understanding of the way in which decorators proactively negotiated such conditions and presented a cultural and aesthetic response to modernity through the diversity of their styles.
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Somers, Seán Gary Adam. "Yeats and the art of ancestral recall : twilight, modernity, and Irish-Japanese interculturality." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5623.
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This dissertation examines the processes through which the works of W. B. Yeats, as representative of Irish
folklore generally, became absorbed into Japanese modernism. The Celtic Twilight, as one example, had enormous
appeal to Japanese literary figures, including Akutagawa Ryûnosuke, Yanagita Kunio, and Tanizaki Jun'ichirô,
particularly in his famed essay, In 'ei raison [In Praise of Shadows]. Such authors were intrigued by Yeats's
evocations of the ancestral as a phantasmal resonance through which cultural memories, and social histories, could be
accessed and questioned. Overall, the notion of Keruto [the Celt] to the Japanese imagination provided alternative case
studies of European-ness, ones that challenged developing prejudices in Japan at that time. Gaelic languages and
cultures, geographically and sociologically marginal, embodied the tensions between an ancestral past and a
non-descript fliture in a provocative way. Yeats's poetry and prose, exploring this growing fissure in modernity, made
frequent use of what Marilyn Ivy terms the discourses of the vanishing. And, such ancestral vanishings, recognisable
in many Japanese texts as both poetic allegory and social reality, draw much of their conceptualization from Irish
examples.
Previous readings of Yeats's connections to Japan have focused on a sense of his bungling reinvention of no
drama: an Orientalist example of mishandled Asian-European unidirectional discourse. However, by considering the
intercultural dialogue taking place, I wish to offer more complex readings, ones that account for the enormous
scholarly activity between Ireland and Japan at that time. Yeats's no (a term he rarely used himself) can best be
understood in comparison to his Japanese contemporaries. For example, Yeats's drama, in terms of style and content,
influenced the works of Izumi Kyôka's neo-nô [kindai no]. As in Yeats, the ancestral is invoked, and interrogated,
through the chronotopic performance of neo-nô. Cultural memory, engaged through performative necromancy,
becomes a dynamic twilight [tasogare], through which recovery and re-narratavisation is possible.
I contend throughout that a fresh sense of a shared world literature between Ireland and Japan was not the
result of isolated translations, nor Orientalist/Occidentalist dabblings. Intercultural artistic networks consciously
developed between scholars and poets, ones that facilitated the exchange of knowledge during an historical period of
rapid transition. At stake for Ireland and Japan were contentious, problematic issues. These include the construction
of cultural identity, the ethics of translation, anachronism as strategy, and the crisis of heritage in the face of
modernisation. Intercultural textuality, however, provided a method for investigating the dissolution of cultural
memory into the nebulous, vanishing traces of the ancestral twilight.
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Schoeber, Felix. "Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.
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This thesis describes and analyses the development of the most prestigious large- scale exhibitions of the Taipei Fine Arts Museums from its opening in 1983 until 2009, concentrating on the Trends of Modern Art in the R.O.C. series of the 1980s , the introduction of the Taipei Biennial in 1992, and the Taiwan Pavilion in Venice from 1995 until 2009. Its focus lies on the transformation of the museum space and the status of the work of art. Several threads of questions run through this thesis: an attempt to analyse and illuminate the specific modernity and its inherent contradictions that characterized the museum space; the specific status of the object of art (and the artist) within the museum space; and lastly the image of the nation and its transformations as it is projected through these exhibitions. The first part of this thesis concentrates on how modernism was enacted in the first museum of modern and contemporary art in Taiwan (and one of the first in Asia), how a Chinese modernism was anointed through the exhibitionary system, and how this was challenged and finally abolished in favour of a new exhibitionary system, the Taipei Biennial. This part also analyses the rupture between those two exhibitions, and how the latter inaugurated a new and different status of the work of art, not merely an aesthetic object, but an element of a cultural narrative and discourse. The second part of the thesis shifts its focus on how the work of art was re-framed through the discourse of Taiwanese identity. Using as a starting point the writings of Benedict Anderson, the idea of the nation as a universe or microcosm of knowledge is used to describe a new pattern of representation of the nation that emerged since 1995, with the inauguration of the Taiwan Pavilion at the Venice Biennale. This part of the thesis concentrates on how this new and pluralist pattern of nationalism was created, repeated, and re-confirmed, but also re-written over the years, projecting an archetypical image of an “imagined community” or a microcosm of knowledge of the nation, rooted in the past, projected into the future, and centred around a synthesis of the nature of its territory and the urban experience of the capital. The third part of the thesis describes how the subaltern position of local artists and curators in relation to the museum have re-shaped their analysis of the nation, and how the notion of centrality of the nation was de-constructed once the question of the voice of a nation, but most of all of its curators and artists within a globalised world came to the fore.
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Wachter, David. "Thinking at a Threshold. Nietzsche and Benjamin on Experience and Art In Modernity." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029177133.
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Boyd, Jane E. "The mapping of modernity impressionist landscapes, engineering, and transportation imagery in 19th-century France /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 319 p, 2009. http://proquest.umi.com/pqdweb?did=1818417341&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Salem-Wiseman, Jonathan. "Beyond the artist-God?, mimesis, aesthetic autonomy, and the project of philosophical modernity in Kant, Nietzsche and Heidegger." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0022/NQ33549.pdf.
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Keyes, Edwin James. "Facilitating Student Autonomy: An Exploration of Student-Driven Curriculum Development and Implementation." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7034.
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In order to improve his own teaching practice, the researcher observed and studied student-driven approaches to public art education that not only achieved the aims of the national standards, but also encouraged secondary students' engagement with art in personally relevant ways. Inspired and informed by these observations and studies, the researcher developed a curriculum based more on student concerns, which was studied using action research. The action research approach was driven by experimentation with the curriculum's content as well as its implementation and is fundamentally about improving the researcher's own teaching practice. Hence, the study focuses largely on the researcher's curriculum and teaching. Relationships or correlations between intrinsic motivation, engaging with art in critical ways, and classroom autonomy are explored in the present study. This thesis investigates what students might accomplish when given more autonomy over their projects and learning opportunities. This study focused largely on how a student-driven approach changed the researcher's own feelings and understandings about teaching and learning. The results of the present study lead to a variety of conclusions regarding teaching, curriculum, and student learning.
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Huang, Qing. "Fashioning Modernity and Qipao in Republican Shanghai (1910s-1930s)." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429701221.
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Olsen, Trenton B. "Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883)." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4198.
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My thesis investigates Ivan Kramskoi's well-known work Unknown Woman (1883). In reviewing the criticism concerning Unknown Woman written in the wake of the eleventh peredvizhniki exhibition in which it was first shown, Kramskoi's painting attracted praise, perplexity, and condemnation. One of the major interpretations (though not commonly discussed) was that this work was meant to allude to female sexuality or prostitution in Russian society. The purpose of my thesis is to reinstate the pertinence of this reading, one which has been obfuscated or ignored in the majority of ensuing twentieth and twenty-first century scholarship. The second purpose of this work is to explore some of the ambiguities and complexities inherent in this work in order to better understand some of the complexities facing modernizing Russian society. It is perhaps impossible to state Kramskoi's motivations for painting this work or his attitude towards his subject concretely, but as I will suggest, he experienced both attraction toward and apprehension of the sexuality of his subject. However, this anxiety was also combined with a desire to invoke recognition if not empathy for the plight of the individual prostitute, a desire which can be found in other artistic productions of the age. In addition to Kramskoi's motivations in creating this work, I look at the way this work indicates the social issues of late nineteenth-century Russia. This was a time where ideas of national identity, class, and gender roles were in flux due to the developments of modernity. Unknown Woman encapsulates the complexity of this social milieu, and I examine the largely overlooked elements of the woman's gaze, wardrobe and physical location in order to better understand the questions and persuasions that existed in this period of late nineteenth-century Russian modernity.
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Kontopoulou, Anna Alkistis. "Curation of autonomy : participatory art's potential to enunciate alternative social forms." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38121/.
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This thesis provides a dialectical conception of relational aesthetics, the state of art given definition by Nicolas Bourriaud’s text Relational Aesthetics (2002), by focusing on the ‘value form of participation’ and the ways in which this gets subsumed into capitalist circuits, to fit its purpose within ‘culture’. One of the original contributions of this research project within the field of political art, or art that aims to be political, is its in-depth critique of relational art’s political economy from the perspective of an engaged practice. The thesis also provides insights into the role of the curator as the interlocutor of this exchange. As part of this analysis I examine the changes in the formal character of this relation of domination, by analysing the ways in which the classic opposition between autonomous art and the culture industry has mutated today. The thesis supplements its Marxist analysis with Jacques Lacan’s theories of discourse to examine the particularities of how art practices are subsumed into University discourse, and in order to further analyse how artistsstudents’ struggle with subjection to the value form is determined by the capitalist economy. By combining the Marxist and Lacanian perspectives I conceptualise the artist-student as the subject or social embodiment of surplus value and surplus jouissance. My research interest is guided by my own position as a ‘transversal’ practitioner and by my desire to ‘curate’ a relative kind of autonomy that manages to de-link the symbolic from value and re-distribute the surplus of participation back to social movements and the communities that support them. The thesis thus is also informed by my commitment to organising educational and curatorial initiatives that imagine a dialogue between organising and art, as guided by practices of political or militant listening processes exemplified, for example, by the political aesthetic collaboration Ultra-Red, found in the fields of grassroots organising and specific forms of political education, as discussed by Paulo Freire. Hence another contribution to the field of social practice art is my concern as a researcher-practitioner to press current discourse on relational art further, from a critique of contradictory social processes to an embodying of critical agencies.
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Griner, Downi. "Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3362.
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How might a curriculum based on Self-Determination Theory (SDT) influence student motivation and art making in a 9th grade art classroom? The researcher devised a negotiated curriculum called The Master Artist Program based on the SDT theory of intrinsic motivation. The implementation of this curriculum was designed to explore the question of how a curriculum based on SDT theory would influence student motivation and art making in a 9th grade art classroom. This curriculum was implemented in a ninth grade art class on an optional basis for the course of nine weeks. The results of data analysis, illustrated by relevant vignettes, revealed features indicative of intrinsic motivation as well as peer interaction and community.
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Gillespie, Jethro D. "The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2848.
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In an attempt to help a class of high school AP Studio Art students find a more authentic sense of autonomy and ownership with their own art projects, the author has constructed a portable art gallery space designated for the exhibition of student artwork. Through a theoretical framework of post-structuralism, as well as a hybrid methodological approach, including tenets of both action research and grounded theory, he was able to explore how de-centralizing traditional, pedagogical notions of power in the classroom and utilizing contemporary art education practices affected AP Studio Art students' experience in the art classroom. By placing an emphasis on student exhibitions, the author was able to foster an environment of greater student autonomy and meaningful art making in the classroom.
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Ng, Man-Yee Sandy. "Lin Fengmian (1900-1991) : figure painting and hybrid modernity in twentieth century Chinese art." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430075.
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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.
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Kingham, Victoria. "Commerce, little magazines and modernity : New York, 1915-1922." Thesis, De Montfort University, 2010. http://hdl.handle.net/2086/3899.
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This thesis examines the theme of commerce in four magazines of literature and the arts, all published in New York between 1915 and 1922. The magazines are The Seven Arts (1916-1917), 291 (1915-1916), The Soil (1916-1917), and The Pagan (1916-1922). The division between art and commerce is addressed in the text of all four, in a variety of different ways, and the results of that supposed division are explored for each magazine. In addition ‘commerce’ is also used in this thesis in the sense of conversation or communication, and is used as a way to describe them in the body of their immediate cultural environment. In the case of The Seven Arts, as discussed in Chapter 1, the theme of commerce with the past, present, and future is examined: the way that the magazine incorporates the European classical past and rejects the more recent intellectual past; the way it examines the industrial present, and the projected future of American arts and letters. In the case of The Soil and 291 (the subjects of Chapters 2 and 3) there is extensive commerce between them in the sense of intercommunication, a rival dialogic demonstrating both ideological and economic rivalry. These two chapters comprise an extensive examination of the relationship between the magazines, and shows how much of this involves commerce in the financial sense. The fourth magazine, The Pagan, is concerned with a different sense of commerce, in the form of its rejection of the American capitalist system, and is critically examined here for the first time. The introduction is a survey of examples from the whole field of American periodicals of the time, particularly those immediately relevant to the magazines described here, and acts to delineate the field of scholarship and also to justify the particular approach used. The conclusion provides a summary of the foregoing chapters, and also suggests ways in which each magazine approaches the dissemination, or ‘sale’ of the idea of the new.
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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.
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Solet, Francis. "Redéfinir le statut ontologique de l'art : art moderne, art postmoderne, art contemporain." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0345.
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Au sein d’un même espace muséal, qui est exclusivement dédié à l’art contemporain nous constatons la présence simultanée de formes traditionnelles d’art à côté d’installations. Il nous semble que ces œuvres d’art sont trop différentes pour être réunies sous la même appellation Art Contemporain. Dans cette étude nous analysons les présupposés philosophiques de la Modernité et de la Postmodernité, puis après avoir disqualifié la postmodernité, nous prenons l’Exposition à la Kunsthalle de Bern, en 1969, Quand les attitudes deviennent forme, comme date de naissance de l’art contemporain, et les œuvres qui y sont présentées comme la forme paradigmatique de l’art contemporain. La caractéristique essentielle des œuvres d’art contemporain,c’est qu’elles sont créées in situ et qu’elles peuvent être démontées et réinstallées. Ceci pose des problèmes de persistance d’identité dans le temps, à travers ces différents intervalles temporels. Nous analysons la théorie endurantiste des objets tridimensionnels et la théorie perdurantiste des objets quadridimensionnels. Nous adoptons comme principe méréologique de composition des parties temporelles, le principe installation réinstallation, qui permet de justifier la persistance d’une mêmeté de ces Œuvres d’art Contemporain au cours du tempsWithin the same museum space, which is exclusively dedicated to contemporary art, we find traditional forms of art beside installations. It seems to us that these works of art are too different to be labelled: Contemporary Art.In this study we analyze the philosophical assumptions of Modernity and Postmodernity and after having disqualified postmodernity, we claim that the Exhibition at the Kunsthalle in Bern, in 1969, When attitudes become form, is the birth date of art contemporary, and those works represent the paradigmatic form of contemporary art.The essential characteristic of contemporary art works (OAC) is that they are created in situ and can be dismantled and reinstalled. There is a problem of persistence of identity over time, during these different intervals of time. We analyze the endurantist theory of three-dimensional objects and the perdurantist theory of four-dimensional objects. We adopt the mereorological principle of composition of the temporal parts, the principle installation resettletment , which justify the persistence of a sameness of these contemporary art works through time
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Maggs, David. "Artists of the floating world : rethinking art/sustainability relations in the late days of modernity." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46995.
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This research is an attempt to reroute art-sustainability relations through the metaphysical juncture of Modernism’s fading dichotomies, i.e. fact-value, subject-object, culture-nature. For many this relationship has fallen short, particularly in the form of infocentric, instrumental engagements aimed at behaviour change. But if we read sustainability as a problem of worldview and artistic agency as ontological in nature, might something more promising emerge? To explore this, four artists were commissioned to produce work in response to an analysis of sustainability built around Bruno Latour’s ‘Modern Constitution’. The interests were twofold, to investigate the challenge of engaging art’s ‘ontological agency’ in light of prior art-sustainability frustrations; and to explore practical and ontological dimensions of operating ‘beyond’ the dichotomies of Modernity.
The first interest concerns the prescriptive challenge of artistic agency—how do we ‘use’ art? Outcomes include the following explorations: A distinction between art’s behavioral and ontological agencies; a proposed category of ‘artistic ontologists’ to house scholarship aligning ontological agency with aesthetic, expressive, and imaginative priorities; a view of art as ‘double agent’, necessarily ‘of’ and ‘against’ encompassing rationalities; and the argument that a healthy view of art is fundamentally epistemological, a means to learn not teach.
Regarding a ‘post’ Modern or ‘post-normal’ world, this research proposes to shift sustainability from the well-worn challenge to prove the world real to the more perplexing challenge to prove the world imaginary. This entails a shift from ‘substantive’ approaches to sustainability (facts drive values) to ‘procedural’ approaches, where sustainability emerges from the interactions of immanent human and non-human agencies. Practical concerns include structuring emergent dynamics within collective processes and shifting expertise accordingly. Ontological dimensions explore particular ‘qualities of immanence’ that might shape our imaginings in fruitful ways, while pursuing a genuine exit from Modernity nonetheless. Building on Mike Hulme’s arguments, I suggest sustainability in an imaginary world involves ‘flipping the sustainability predicate’, turning a problem we are trying to solve into one that solves us. This engages John Robinson’s work on ‘regenerative sustainability’ by arguing that regenerative approaches may not only be more compelling, but increasingly in line with emerging logics of a post-normal world.
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Turner, Sarah Victoria. "'Spiritual rhythm' and 'material things' : art, cultural networks and modernity in Britain, c.1900-1914." Thesis, Courtauld Institute of Art (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601487.
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Seyhun, Canan. "The Role Of The Architect And Autonomy Of Architecture: An Inquiry Into The Position Of The Early Modern Architect And Architecture: Le Corbusier And Maison Curutchet." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12604843/index.pdf.
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This thesis is an inquiry into the position of architecture both as a cultural product and as an autonomous discipline. The purpose to search for architectural autonomy is to discover architecture&rsquos internal values that can make architects become more aware of their tools and potentials. That kind of research is to discover the boundaries of the discipline of architecture, which interrelates with many other disciplines. In order to explore architectural autonomy, this thesis explores the internal qualities of architecture with relation to the external ones. The scrutiny of these internal qualities is to direct architecture through its own realm and to discover its significant values and internal potentials. Architectural autonomy is explored in this thesis in the framework of Modern Movement. The technological inventions and the social and cultural developments are considered as influential forces in the discipline and practice of architecture. This study attempts to identify the concept autonomy, not as a property indicating to an architecture that is completely independent from its cultural environment, but as a value implying to architecture&rsquo
s interior qualities that are significant in the discipline&rsquo
s boundaries. Architecture is examined with relation to its cultural circumstances
by arguing that architecture is not only a part of culture but also one of the constituents of it. Besides fulfilling cultural values, architecture has the ability to transform culture, with its own internal values. In this regard, the issue of autonomy gains importance in maintaining architecture a cultural value.
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Steadman, Samuel E. "Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2883.
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Student motivation is investigated in this study as a means of abrogating apathy within a public high school Jewelry course. The study is an attempt to answer a personal question of whether students could be internally motivated to a level of excitement that they would take ownership for their personal learning and the learning of their classmates. The study also addresses four main points that cause apathy, or are caused by apathy, they are: zero sum competition, compassion and support for classmates,ownership of the physical facilities, and the development of a conscientious public. Through a desire to test data on autonomy, high school students in a Jewelry 2 course were given freedom to choose what projects they made, what materials and processes they used, and what grade they received at the end of the semester. The study was a classroom action research project. Narrative analysis was used as a reflective tool to organize the data into thematic events that tracked the strengths and weaknesses of the study. Key teaching strategies were introduced in this study, including the following: personal goal setting by students to formulate an individualized curriculum; self-grading; and process diaries that the students wrote in daily to track their progress on their goals, and for use as a tool of accountability. The teaching strategies were designed to increase students' intrinsic motivation, creativity, sense of ownership for their personal learning and the learning of their fellow students, to develop a caring environment, and to develop ownership of the physical facilities of the school.
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Kristensen, Juliette C. "Writing acts : the rise of mechanised writing and the body of modernity, 1711-1905." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/23726/.
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Alongside the telephone and camera, the typewriter is one of the most influential technologies of the late nineteenth century, often understood as being born fully formed and successful in 1874, with the arrival of the Sholes & Glidden Type-Writer on the open market. Yet prior to this machine, there had been over 150 attempts at inventing a mechanised writing machine, stretching back to the early eighteenth century; and after this date, there were a large number of writing machines that presented significantly different design propositions to keyboard-typebar mechanism for the typewriter. This thesis sets out to explore the pre- and early history of the typewriter, beginning with the first recorded appearance of a writing machine in 1711 and ending in 1905 when, at a meeting of the Union Writing Machine Company, the design of the typewriter became stabilised. In its exploration, this thesis sets out to answer the double question: how has the body written and how has writing 'written' the body. Through these writing machines and alongside a history of writing and a history of machine-body relations, this question is answered through four tropes of mechanised writing: copying, fragmentation, dexterity, and agency. Beginning in the early eighteenth century, this thesis begins with a comparative analysis of automata, early typewriting machines, polygraphs, pantographs, physiognotraces and handwriting pedagogy to argue that the Enlightenment's writing technologies and techniques were expressive of and formative to a discourse of copying and imitation. It then argues that as the human body became discursively fragmented into discrete units, through physiognomy, phrenology, anthropometry and Bertillonage, writing itself transformed from a process of continuity to one of fragmentation. It also argues that this process of fragmentation was part of the late-nineteenth century's pursuit of media transparency. This thesis then examines the absorption of women's bodies into the labour market of late-nineteenth century Western capitalism as typewriter operators, arguing that the very domesticated dexterity ascribed to these bodies and articulated through the new theories of evolution and biological science, was a bodily skill through which women were able to subvert the cultural norm of 'angels of the home' to become commercial workers. Finally, this thesis turns to the question of agency and mechanised writing, though an analysis of an 'other' form of mechanised writing machine of the late nineteenth century, the index typewriter. Arguing that these machines are similar technologies to the Ouija Board, the thesis focuses on the phenomenon of nineteenth century Spiritualism, arguing that it can be understood not only as a deeply technological practice, but also one to which the act of writing was fundamental, as the inscription method through which a ventriloquism of agency could be performed. Through this analysis of pre-twentieth century typewriters and typewriting, this thesis argues that as writing is a bodily act, it is both formative to and a reflection of the key discourses of modernity.
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Tinch, Rebecca H. "Locating Modernity: Japonisme, Gender, and Enchantment at the 1893 World’s Fair." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1336132958.
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Pereira, Fernanda Mota. "Memórias de vi(n)das nos tempos de Mrs. Dalloway e meu amigo Marcel Proust romance." Programa de Pós-Graduação em Letras e Lingüística da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10967.
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Made available in DSpace on 2013-05-16T17:13:18Z (GMT). No. of bitstreams: 1 dissertacao Fernanda Pereira.pdf: 786156 bytes, checksum: 54ec8e400810b12b6886f249bfc44f7e (MD5) Previous issue date: 2007
Este estudo tem como tema a memória em sua relação com as configurações e reconfigurações do sujeito estético, em especial, dos protagonistas, nos romances Mrs. Dalloway, de Virginia Woolf, e Meu Amigo Marcel Proust Romance, de Judith Grossmann. A partir desse eixo, ou seja, a memória subjetiva, enfocada no primeiro capítulo, foram abordadas duas outras categorias de memória, que compõem dois capítulos da dissertação, a saber, a cultural e a de leituras. Categorias que foram discutidas separadamente apenas por uma questão didática, uma vez que elas se entrecruzam no processo de constituição da subjetividade. No tocante ao sujeito, nesta dissertação, optou-se por estudá-lo no âmbito estético, embora, em alguns momentos, desconsiderando o recorte da pesquisa, tenham sido tecidas breves considerações sobre as escritoras. Constituíram como objetos de investigação, também, aspectos da modernidade e da pós-modernidade, pensados através de Mrs. Dalloway e Meu Amigo Marcel Proust Romance, respectivamente, considerando a relação entre tais contextos e a identidade das personagens nesses romances. Questões que foram desenvolvidos, principalmente, no primeiro e no segundo capítulo, por versarem sobre identidade e contexto cultural. É pertinente ressaltar que as reflexões sobre esses contextos consideraram traços modernos que incidem na narrativa de Judith Grossmann, e pósmodernos, presentes no texto de Virginia Woolf. Tal investigação envolveu, também, a relação que as personagens têm com o tempo, que é categorizado em mítico e linear, seguindo os tipos apresentados por Alfredo Bosi (1992), e o tempo monumental, definido por Paul Ricoeur (1997), que interferem na constituição dos sujeitos estéticos e em sua postura diante do mundo e da arte, em específico, a literária.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Cruz, Conchitina. "Authoring autonomy| The politics of art for art's sake in Filipino poetry in English." Thesis, State University of New York at Albany, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10240433.
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This study examines the autonomy of art as a governing principle in the artistic practice of Filipino poets in English. The Western modernist ideal of art for art’s sake was transplanted to the Philippines via the educational system implemented during the American occupation in the early twentieth century. As appropriated in colonial Philippines, what is historically regarded as a form of artistic resistance to the capitalist and rapidly industrializing society of the West is traditionally read as a withdrawal of participation by colonial and postcolonial literary writers from the political realm. The writer who subscribes to art for art’s sake supposedly fetishizes form in itself and simply has no stake in lived realities and no role in the production of a national literature. Authoring Autonomy interrogates the division between aesthetics and politics that occurs when the autonomy of art is presumed to be incompatible with the work of social transformation. It accounts for the potential and limits of autonomy as a form of critical intervention through studying the work of three Filipino poets: José Garcia Villa, Edith Tiempo, and Jose F. Lacaba. Drawing from the work of critics who have problematized the politics of aesthetic autonomy, including Theodor Adorno and Roberto Schwarz, this study examines how Filipino poets have authored autonomy in ways that comply with, disturb, or resist the status quo. It also includes a poetics essay and a collection of poetry, which articulate, both critically and creatively, my poetic practice as informed by my understanding of how autonomy is authored in ways that are cognizant of postcolonial conditions and anxieties.
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Burton, Samantha. "Re-mapping modernity : the sites and sights of Helen McNicoll (1879-1915)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83172.
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Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.
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Protheroe, Keren Louise. "Bloom and blotch : the printed floral and modernity in the textile designs of Winifred Mold and Minnie McLeish 1910-1929." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/27838/.
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As the early European avant-garde designers sought to repress the decorative in design, allegiance to the sensuality and symbolism of floral pattern triggered a sense of ambivalence amongst many English designers and design reformers. Minnie McLeish and Winifred Mold designed ornamental patterns for England's leading mass-market textile manufacturers and this thesis examines their work of 1910 - 1930. Offering McLeish and Mold as case studies, it explores the extent to which women designers exploited the medium of popular floral chintz to forge careers in a previously male-dominated profession. It asks to what extent the eclecticism of their practice - which employed both modern and traditional floral motifs and tropes - exemplified a quintessentially English and essentially modern early twentieth-century paradigm. Rejecting the notion of modernity as an unequivocal rupture in the design historical continuum it offers a close critical reading of specific commodities - printed floral textiles - and their production within the cultural context of consumption to illustrate how contemporaries negotiated 'producing the modern' and 'being modern' using combined narratives of continuity, tradition and progress. The fashionable chintz, and women designers' role in its production, are argued as evidence of what Wilson has described as 'modernity's other' in which the historically influenced, soft, colourful and abstracted surfaces of printed textiles represent the massproduced, the popular, and the irrational in direct reaction to Modernism's scientific ratlonalísrn." The historiography of modern design has largely dismissed floral design as narrowly derivative and as such, like many of those involved in its design and production, it has been rendered marginal in the written history of twentieth-century English modern design. By positioning Minnie McLeish's and Winifred Mold's designs within current discourse on the role of women designers and the decorative in interwar Modernism this thesis furthers our understanding of the history of the designer in the early twentieth century and argues that popular floral fabrics despite their romantic and nostalgic symbolism operated as unlikely agents of modernisation in the 1920s modern interior.
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Evrard, Guillaume Marc Francois. "Directing the eye : stories of modernity and tradition at the 1878 Paris Universal Exhibition." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9886.
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On the basis of the art and architectural displays at the 1878 Exposition Universelle Internationale à Paris, this thesis investigates the conflicting claims of nationalism; the late nineteenth-century tensions between tradition and modernity; and the disparities between the intentions of the organizers and the perceptions of the visitors. Creating connections between methodological and theoretical issues of interest to art history and museum studies, the argument explores further and refines our understanding of what has been constitutive of Exhibitions. This thesis takes the 1878 Exposition Universelle Internationale à Paris as its focus, in order to further appreciate the extent to which Exhibitions were able to influence their visitors’ minds and bodies. It scrutinizes a wide range of material generated as part of the national participation of the United Kingdom to this event in specific case studies for both breadth and depth of understanding. The examination of material published in 1878 newspapers provides evidence of a critical gaze within the Exhibition boundaries. International and universal Exhibitions have been significant events in producing and conveying various messages about diverse topics to unprecedentedly large audiences. Their rich content entailed the production and consumption of diverse experiences and meanings beyond attempt of controlling bodies and behaviours. The study of the British participation in the 1878 International Street or Rue des nations uncovers the tensions between symbols, taste and technology in architecture. Original research in the archives of the Royal Academy of Arts, London, gives a particular insight in the role of a key institution in the preparation of a national visual arts exhibition in the 1878 Paris Exposition. The examination of the reception of a particular artwork provides a useful counterpoint to these first institutionally-oriented analyses. Focusing on W. P. Frith’s The Railway Station (1862) offers a different perspective to understand the way a vast array of contemporary meanings could impact the reception of a particular work. The investigation of the critical reception of British paintings in 1878 France emphasizes the strength of cultural narratives beyond the specific vision for the Exhibition.