Dissertations / Theses: 'Art informel'

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Martin, Sylvia. "Das Unbestimmte in den informellen Werken Conrad Westpfahls... /." Köln : Universität zu Köln, 1997. http://catalogue.bnf.fr/ark:/12148/cb37048726q.

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Evezard, Juliette. "« Un art autre » : le rêve de Michel Tapié de Céleyran, il profeta de l’art informel (1937-1987) : une nouvelle forme du système marchand - critique." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100010.

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L’objectif de cette Thèse est de collecter, d’analyser et de faire connaître le contenu des archives internationales et familiales inédites, rendant compte, par leur diversité, des activités protéiformes de Michel Tapié de Céleyran (1909-1987). Inventant sa profession d’entrepreneur d’art en conciliant plusieurs activités : critique d’art, éditeur, conseiller artistique, courtier et collectionneur, il a mis en relation des galeries internationales en organisant, à travers le monde des expositions de ses artistes. Il a contribué aux destinées internationales de plus de cent-quatre-vingt artistes dont certains noms brillent, dans la constellation Tapié, plus que d’autres : Dubuffet,Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Soucieux de se créer une position pour l’actualité et pour l’histoire, il inventa « Un Art Autre », un véritable système théorique et marchand s’appuyant sur des méthodes de communication qu’il sut créer avec l’aide de ses amis artistes de combat : l’édition au service de son autopromotion, la fabrication de l’événement à partir des expositions itinérantes relayées par la presse, en France, en Espagne, aux États- Unis, en Italie, au Japon et en Iran.« Il Profeta » est le surnom que lui attribuent les artistes italiens, séduits par la personnalité de Michel Tapié qui est venu en Italie apporter la parole de l’art Informel dont il inventa l’appellation The aim of this PhD thesis is to collect, analyse and promote the content ofunpublished international and family archives, highlighting the diversity of MichelTapié de Céleyran (1909-1987)’s activities. Tapié invented his own trade as an artentrepreneur, mixing several occupations: art critic, publisher, art councillor, trader and collector. He also connected together international galleries, organising exhibitions of his own artists, worldwide. He took part in the international fate of more than 180 artists, forming Tapié’s constellation, in which some names still shine more that others, such as Dubuffet, Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Paying close attention to his own status in the current events and in history, Tapié invented « An Art of an Other Kind », which is a true theoretical and tradingsystem. Thus, he relied on communication methods that he created with the help ofhis battle friends: publishing for self promotion, creating a buzz based on travelling exhibitions, with media coverage in France, Spain, United States, Italy, Japan and Iran.« Il Profeta » was the nickname attributed to him by Italian artists, seduced by Michel Tapié’s personality, who came to Italy and brought in the Informal art’s word, which he invented the designation

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Heredia, Martine. "L'art informel en Espagne : d'une praxis à la formulation d'une expérience du monde." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST1004.

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Le monde d’où émerge la peinture informelle est celui d’un temps où, après les horreurs de la Seconde Guerre mondiale, les artistes prennent conscience que l’art ne peut plus se faire de la même manière. En Espagne, ce monde est celui qui n’est pas encore guéri des séquelles de la Guerre Civile et qui a détruit toute forme de culture moderne. Si les artistes préfèrent prendre le parti de donner à voir les matériaux utilisés plutôt que des images identifiables, la peinture informelle ne repose pas pour autant sur un vide de la représentation. En donnant à voir alors la perception en train d’opérer, l’expérience qu’il fait du monde, le peintre tente de changer la façon de le voir. La première étape de ce travail a pour objet d’étudier le cas de l’Espagne comme phénomène singulier, les artistes s’insérant dans les grands courants de pensée européens, alors que l’Espagne sort tout juste de son isolement. Dans une perspective plus esthétique, la seconde étape analyse le processus de création en montrant que la question est de créer des images en l’absence d’images. Les options qui s’offrent à l’artiste passeront par la matière et par le geste ; aussi s’agit-il d’analyser comment les peintres s’attachent à mettre en valeur les matériaux et comment le geste sera déterminant pour établir ensuite une relation spécifique de l’homme à la matière. Dans une troisième étape, la réflexion s’efforce de caractériser la création comme un faire et une recherche à la fois. L’acte de peindre sera alors à envisager comme un effort qui vise à laisser être les choses telles qu’elles sont, en même temps qu’il permet au peintre d’ouvrir le monde qui est le sien The world from which informal painting arises corresponds to a time, after the horrors of the Second World War, when artists became aware that art could not be performed the same way as before. In Spain it reflects the world that has not yet been healed of the sequels of the Civil War as well as the world that has wiped out any form of modern culture. If the artists would rather have the material they use be seen than be plainly identified images, informal painting, nevertheless, does not rest on the absence of representation. That is why getting us to see his perception in the making and the experience he derives from the world, the painter is trying to change the way it is seen. The first stage of this work aims at studying the example of Spain as a unique phenomenon, its artists were involved in the great European movement of thought while Spain had just broken out of its isolation. From a closer aesthetic angle, the second stage analyses the creative process and shows that what matters is to create images out of their absence. The options available to the artist will encompass matter and action; what is at stake, thus, is the analysis of the attempt by painters to emphasize the importance of material, to show how action will be a determining factor to establish, after, a specific relation from man to matter. In a third stage, reflection tries to characterize creation as both the act of making and a quest. The act of painting will therefore have to be considered as an effort meant to leave things be as they are, while, at the same time, it will enable the artist to open up the world that is his universe

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Groom, Simon. "An art autre. Michel Tapie and the informel adventure in France Japan and Italy." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251675.

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Bouteiller-Laurens, Caroline. "Jean Degottex (1918-1988), un parcours singulier." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040109.

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Jean Degottex, né en 1918 et décédé en 1988, est un peintre qui a exercé des années 1938 jusqu'à sa mort, soit pendant cinquante ans. Se tournant assez tôt dans sa pratique vers une peinture gestuelle, il est vite remarqué pour cela par André Breton qui y voit la mise en pratique de l'automatisme qu'il recherchait dans l'écriture. Il n'a cependant jamais adhéré au surréalisme tout en étant sensible à certains de ses aspects. La poésie en particulier est une de ses sources d'inspiration majeure. Curieux de l'Orient et de ses calligraphies, il montre un intérêt plus particulier pour l'Asie. Après une rupture importante au milieu des années 60, il reprend son travail en se focalisant tour à tour sur le cercle, la déchirure ou encore la ligne afin de mettre en évidence les caractéristiques plastiques de la matière : la toile, le papier, le bois sont ainsi ouverts, écorchés, disséqués et montrés tels quels, afin de ne rien cacher des processus à l’œuvre dans le travail du peintre. Sensible aux climats sociaux de son temps, la peinture est pour lui une façon de militer. A partir de la biographie du peintre, basée sur ses propres archives, ce travail met en évidence ses contacts, ses réseaux et sa place en France et dans le Monde. L'analyse s'arrête sur ses outils et ses méthodes de travail et montre également l'importance du temps et de la chronologie car elle éclaire la logique interne à l’œuvre, permettant de passer d’une pièce ou d'une série (appelée Suite chez Degottex) à la suivante Jean Degottex, was born in 1918 and died in 1988. He worked from 1938 to his death, during fifty years. Early using gestural painting, he is recognized by André Breton for that, who is seeing in this manner the perfect automatism in painting, the same automatism he was seeking in writing. Degottex never subscribed to Surrealism, but he was receptive to some of its aspects. Poesy is one of his major sources of inspiration. Interested in East and its calligraphies, he showed a special interest for Asia. After an important break in his work in the middle of the Sixties, he went back to his work by making a focus on the circle, the rip or the line, with the will to show all the plastic characteritics of the material. Canvas, paper or wood are opened, skinned, dissected and shown as is, with the desire to hide nothing of the processes at work in the painter's work. Sensitive to the social climate of his time, painting was for him a way to militate. From his biography, based on his own archives, this work highlights his contacts, his networks and his place in France and in the World. The analysis put an emphasis on his tools and working methods, and also shows the importance of time and chronology, as it sheds light on the painter's work internal logic, moving from a piece or a series (called Suites by Degottex) to the next one

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Palou, 1961. "Luís Claramunt. Cuaderno de Bitácora." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668217.

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La tesis trata de la extensa, valiosa y desconocida obra del singular pintor Luis Claramunt, (Barcelona 1951- Zarautz 2000). La obra se ha analizado y clasificado a través de la investigación llevada a cabo en el archivo del propio artista, archivo cedido al MACBA (Museo de Arte Contemporáneo de Barcelona) por su familia, con motivo de la exposición antológica que el Museo le dedicó en el año 2012. La tesis también incorpora los testimonios de personas de diferentes ámbitos de su entorno. Con este material se ha realizado una personal clasificación de su pintura en tres etapas y trece series temáticas. Series ordenadas cronológicamente y contextualizadas en el panorama artístico internacional, a las que se incorporan dibujos, fotografías, artículos de prensa, los textos de los críticos del momento, y los del propio artista. Las series también se acompañan de los testimonios de la familia, amigos y galeristas. Voces que sitúan la obra en el contexto en el que fue creada. El resultado es un bricolaje de documentos, muchos de ellos inéditos, de diferente origen, índole y formato, que permiten percibir el peculiar y rico mundo del artista, su visión plasmada en su obra, su mirada, su vocación de narrador. En esta recopilación adquiere un especial interés el estudio del contenido y significado de sus libros autoeditados, sus documentos más personales e intimistas que realizó en la última etapa de su vida. La clasificación de la obra, la exploración en la vida de Luis Claramunt y el análisis de la forma y contenido de sus cuadernos, son las herramientas utilizadas para presentar la obra y el artista y así tratar de aventurar una interpretación particular de las líneas que siguen sus trabajos, presentados buscando su procedencia en su particular cuaderno de bitácora. The scope of this thesis is to give insight on the extensive, valuable and relatively unknown artwork of the singular painter Luis Claramunt (Barcelona 1951-Zarautz 2000). Such artwork has been analysed and classified after carrying out an investigation into the archives of the artist, which were transferred to MACBA (Museum of Contemporary Art of Barcelona) by the family when in 2012 the museum held an anthological exhibition. In this thesis it can also be found the testimonies of relevant people from the different circles of the artist. With such material the artwork has been classified into three stages and thirteen thematical series. Such series are sorted chronologically and contextualized with the international artistic panorama, which include drawings, photographs, press articles, critical writings of the time, as well as those of the artist himself. Along with the series, testimonies of relatives, friends and gallerists can also be found. The result yields a vast number of documents, a significant amount of which had never been published, from different origins, nature and format that allows the reader to perceive the unique world of the artist. Within this recompilation, it is compellingly interesting the study of the content and meaning of the artist's self-published books, the most intimate element of his artwork, developed during the latter stage of his life. The methodology used to present the artwork and the artist includes the classification of the artwork, research into the Luis Claramunt's life and analysis of form and content, this approach allows a unique interpretation of the tendencies followed by his pieces and presents it looking far its origins in the artist's particular logbook.

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Coletta, Elisa. "Hubert Damisch : pour une perspective oblique dans la production d'un historien et philosophe de l'art." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0039.

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La recherche vise à esquisser le profil intellectuel d’Hubert Damisch, à travers une analyse de sa production et une description du milieu dans lequel il travaille et des rapports qu'il a établi avec d'autres savants de son temps. Après une analyse de sa formation qui vise à définir les matrices théoriques de sa pensée, la recherche décrit un parcours à travers ses textes voué à relever les traits spécifiques de sa pensée. Des premiers essais consacrés à l'art contemporain aux textes des années Quatre-vingt-dix placés sous le label de l'iconologie analytique, l'analyse reconstruit la recherche d'un auteur qui n'a cessé de mettre en perspective les disciplines différentes ; qui a fait de la conscience qu'il y ait une pensée au travail dans l'art le point de départ d'une série d'études où la considération du rôle que l'art joue dans l'horizon de la connaissance se noue à Ia conscience de la capacité des œuvres de signifier à travers la spécificité visuelle de leurs instruments ainsi que d'agir au-delà du temps dans lequel elles ont été crées. Le caractère oblique de la recherche indiqué le titre renvoie au point de vue sémiotique à partir du quel on a choisi de conduire l'analyse. L'exigence de vérifier la réception italienne de cet auteur -connu surtout dans le milieu sémiotique, c'est avec le label du sémioticien que l'histoire de l'art italienne circonscrit sa pensée -nous on induite à faire de la réflexion sémiotique de cet auteur le point de départ d'un parcours voué à dévoiler les matrices de sa position sémiotique, et dans une perspective plus générale à reconnaître les raisons et les racines du travail de Damsich en tant que historien et philosophe de l'art The search is aimed at outlining Hubert Damisch's intellectual profile, through an analysis of his work and a description of the environment in which he works and the relationships he has established with other scholars of his time. After an analysis of his background that aims at defining the abstract matrices of his way of thinking, the search describes a path through his texts devoted to pointing out the particular features of his ideology. From the initial trials devoted to contemporary art in the texts of the Nineties given the label of analytical iconology, the analysis has recreated the search of an author who never stops putting the different disciplines into perspective; one who, so there was an ideology in the way of working art, made awareness the starting point of a series of studies where the reflection of the role that art plays in the prospects for acquiring knowledge takes shape from an awareness of works' ability to have meaning through the visual specificity of their instruments as weil as to act beyond the time in which they were created. The sidelong nature of the search indicated in the heading sends you back to the semiotic point of view from which you choose to conduct the analysis. The requirement to check how the Italians receive this author -known above ail in the semiotic milieu, it's with the label of semotician that the history of Italian art defines his way of thinking -leads us to make a semiotic reflection about this author the starting point of a path devoted to unveiling the matrices of his semiotic position, and in a more general outlook to recognise the reasons and the roots behind Damsich's work as an art historian and philosopher

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Kopeczky, Rhona. "Le Cercle de Zugló. Un groupe informel d’artistes abstraits en Hongrie entre 1958 et 1968 : antécédents, activité et résonance (1945-1990)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040143/document.

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Cette étude aborde l’activité d’un cercle artistique hongrois d’avant-garde nommé Cercle de Zugló, composé de jeunes peintres et sculpteurs abstraits. Cette formation informelle et autodidacte regroupait les artistes Imre Bak, Tibor Csiky, Sándor Csutoros, Pál Deim, János Fajó, Tamás Hencze, Endre Hortobágyi, Sándor Molnár et István Nádler, et exista de 1958 à 1968, durant la période communiste en Hongrie. Par l’examen de ses antécédents théoriques et stylistiques remontant à l’Ecole Européenne et au Groupe des artistes abstraits (1945-1948), jusqu’à sa résonance dans le retour à peinture des années quatre-vingt nommé Nouvelle Sensibilité (1978-1990), l’auteur tente de déterminer l’importance et la valeur éthique de la production abstraite du Cercle de Zugló dans le paysage artistique hongrois, isolé des actualités internationales et dominé par l’idéologie politique culturelle du réalisme socialiste.La mise en perspective théorique et stylistique permet d’une part de définir à quel point la démarche des jeunes artistes se veut être l’héritière intellectuelle et artistique de la génération plus âgée de l’avant-garde hongroise, d’orientation constructiviste. D’autre part, elle s’efforce de mettre en lumière à quel point le Cercle de Zugló se différencie de ses pères spirituels, par l’introduction et l’adoption de l’abstraction lyrique française, puis de la nouvelle abstraction géométrique américaine. Elle traduit également la volonté de redéfinir une identité artistique hongroise et de la réinsérer dans le contexte et le flux internationaux This study examines the activity of a Hungarian avant-garde artistic circle named Zugló Circle, formed by young abstract painters and sculptors. Working in a self-taught way, this informal group gathered the artists Imre Bak, Tibor Csiky, Sándor Csutoros, Pál Deim, János Fajó, Tamás Hencze, Endre Hortobágyi, Sándor Molnár and István Nádler, and existed from 1958 to 1968, during the communist period in Hungary. Through the analysis of its theoretical and stylistic antecedents going back the European School and the Group of abstract artists (1945-1948) until its resonance in the new painterly wave of the eighties named New Sensitivity, the author determines the importance, the ethical value of the abstract production of the Zugló Circle in the Hungarian artistic landscape, which at the time was isolated and dominated by the cultural politics ideology of socialist realism.Putting the young artists’ approach in a theoretical and stylistic perspective, the author defines on one hand to which extent it wished to be the intellectual and artistic heir of the older generation of the Hungarian avant-garde, of constructivist orientation. On the other hand, this perspective also sheds light on how the Zugló Circle differentiates from its spiritual fathers, through the introduction and adoption of the French lyrical abstraction and later the American geometrical abstraction. It also reveals the will to redefine a Hungarian artistic identity and to reinsert it in an international context and stream

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Gállego, Cuesta Susana. "L’informe à la Renaissance : poétiques non-aristotéliciennes dans l’art et la littérature (Italie, France, Espagne)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040039.

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Tel qu’il a été formulé par Georges Bataille dans Documents, dans les premières décennies du XXe siècle, l’informe s’est avéré être un puissant moteur de réflexion. Il a fait naître des œuvres qui disent s’en inspirer, et motivé un âpre débat théorique sur le véritable sens à lui donner. Qu’est-ce que l’informe, en effet ? Cette catégorie complexe et paradoxale s’avère très fructueuse dans l’analyse des œuvres théoriques, plastiques et littéraires de la Renaissance qui s’intéressent à la naissance des formes. L’utilisation d’une notion anachronique permet de réunir dans un même ensemble les préoccupations concernant les origines de l’œuvre d’art, celles sur la bonne composition, ainsi que celles concernant la Matière et l’Être. Ce travail dégage ainsi ce qui serait une poétique de la forme en devenir, poétique se réclamant de la philosophie néo-aristotélicienne de l’époque mais opérant un élargissement d’horizons et une refonte conceptuelle très éloignés de la pensée antique From the early XXth century the Formless, as defined by Georges Bataille in Documents, has revealed itself to be a powerful tool for reflection. It has inspired art works and triggered an ongoing debate about its true meaning, for what is the formless exactly? In search for its essence, this category has proven to be of great value when analyzing theoretical, artistic and literary Renaissance works dealing with the birth of form. The anachronic notion of Formless permits an intertwining of questions regarding the origins of the piece of art, good composition, matter and being. Through this essay we will discuss the poetics of art in the making, so-called (neo)Aristotelian in the XVIth century – poetics in a constant and fluid definition of the Aristotelian meaning enlarged by non-Aristotelian concepts, and categories distant to those attributed to it in classical times

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Viallat-Patonnier, Claire. "Les dimensions de l'écriture dans l'oeuvre de Réquichot : étude d'un processus." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0075.

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Dans l'œuvre de Réquichot, l'écriture accompagne l'acte de peindre, de coller, d'assembler mais possède néanmoins une véritable autonomie. Ses écrits, jusque-là peu étudiés, ne sont pas simplement des réflexions, des commentaires de l'artiste sur son travail, pas plus que des manifestes lui permettant de prendre place dans le monde de l'art en situant sa pratique par rapport à celles de ses contemporains. Ils prennent des formes diverses : un roman inachevé - Faustus -, des poèmes, un journal sans dates et des textes épars. La thèse fait apparaître des équivalents formels entre la pratique littéraire et l'œuvre plastique : leur évolution parallèle atteste de leur non subordination réciproque autant que de leur mise au service d'une même recherche. La mise en évidence de zones de contact témoigne non seulement de la porosité des frontières entre les deux pratiques et de leur influence mutuelle, mais aussi de la quête d'une origine commune qui prend la forme de la spirale. En inscrivant l'ensemble de son travail dans le mouvement spirale qui en imprègne toutes les parties, Réquichot porte la pratique de l'écriture comme celle de la peinture, du dessin, du collage, vers un indistinct où forme et sens s'abolissent, où le terme rejoint l'origine. Ce faisant il donne une réponse singulière à la problématique de l'articulation écriture/pratique plastique présente dans le milieu artistique parisien des années 1950. L'inscription de cette œuvre dans son époque et la prise en compte d'autres artistes/écrivains qui ont pu croiser sa trajectoire et l'influencer révèle combien Réquichot marque d'une radicalite exemplaire la production littéraire et artistique d'après guerre In Requichot's work, writing goes along with the action of painting, collage, put together but have however an actual autonomy. His writings, up to now little studied, aren't only thoughts, comments of the artist around his work neither than manifestos allowing him to take up his space in the world of art situating his practice compared to those of his contemporaries. They take various forms: An unfinished novel - Faustus -, poems, a diary without dates and disseminated texts. The thesis brings to light formal equivalents between literary practice and plastic work: their parallel evolution demonstrates their reciprocal non-subordination as well as the fact they are involved in in a similar research. The highlighting of contact zones demonstrates not only the porosity of the borders between the two practices and their mutual influence, but also the search of a common origin which takes the shape of the spiral. Giving the whole of his work its place in the spiral shaped movement spreading through all the parts, Requichot brings the writing practice as well as the painting, drawing, collage, towards an unclear where form and meaning abolish themselves, where the term reach the origin. Doing this, he gives a singular response to the issue of the interrelation writing/plastic practice present in the Parisian artistic scene of the 1950's. The incorporation of this work in its times and the taking into consideration of others artist/writers who crossed paths with him and influenced him reveals how Requichot affect with an exemplary radicalism the post war literary and artistic production

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Tio, Bellido Ramon. "Formes et discours critiques d'expériences artistiques dans un contexte totalitaire : le cas de l'Espagne de 1945 à 1975." Rennes 2, 2001. http://www.theses.fr/2001REN20016.

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De 1939 à 1975, l'Espagne a été dirigée par Francisco Franco, nommé Chef de l'Etat Espagnol à l'issue de la guerre civile (1936-1939). Cette thèse a pour but d'analyser les relations que cet état -de type dictatorial- a entretenu avec l'art et la culture et en particulier avec les arts plastiques. Après s'être interrogé sur la présence -ou non- d'une "esthétique franquiste", calquée sur les modèles d'esthétique de type fascisant comme celles de l'Allemagne hitlérienne ou de l'Italie mussolinienne, le travail analytique entrepris s'oriente davantage sur les réponses "institutionnelles" d'une "politique culturelle" telle qu'elle a été instaurée après 1944; et sur les développements et les orientations qu'elle a connus. A cet effet, l'importance accordée aux expositions, et essentiellement aux "expositions nationales" telles que les a pratiquées le pouvoir fanquiste, devient l'axe privilégié de la recherche. Les présences "officielles" aux Biennales de Venise, les Biennales "Hispano-américaines", ainsi que les manifestations organisées en Europe et aux Etatq-Unis pendant les années cinquante et le début des années soixante sont d'abord évoquées, car elles s'accompagnent de la reconnaissance intérieure d'un mouvement artistique international, qui est celui de l'abstraction informelle. La rupture qui succède à cette situation dans les années soixante finissantes et le début des années soixante-dix, correspond à une période de fin de régime et à des propositions artistiques idéologiquement anti-gouvernementales, contexte qui est également abordé. Enfin une lecture descripitve et critique de deux manifestations très particulières -les expositions de Venise en 1976 et de Paris en 1987- établie à partir des paramètres que générent les stratégies historiographiques utilisées pour transcrire un objet a priori commun - l'aperçu historique et national de l'art espagnol moderne et contemporain- permet d'analyser les parti-pris diplomatiques des phénénomènes culturels From 1939 until 1975, Spain was ruled Francisco Franco, who was named head of state at the end of the civil war (1936-1939). This thesis aims to analyse the relationship between Franco's dictatorship and art and culture and in particular visual arts. It examines the question of wether or not a " Francist Aesthetic " existed during this period in the same way that fascism influenced the art of Hitler's Germany or Mussolini's Italy. If then explores in greater detail the " institutional "' issues raised by the " cultural policy " put in place in 1944 and the way in which that policy developed. In this respect the importance given to exhibitions, and especially to the sorts of " national exhibitions " supported by the Francist authorities, forms a key elements of the research. This thesis mentions Spain's " official " presence of the biennals in Venice as well as at the " Hispano-American " biennals along with the events organised in Europe in the 1950s and the early 1960s as these events accompanied the re-birth inside Spain of the international artistic movement known as informal abstraction. The break with this movement that followed in the late 1960s and the early 1970s corresponded to the beginning of the end of the Franco regime. The emergence at this time of artistic thinking that was ideologically anti-governmental is also discussed. Finally the thesis uses a critical and descriptive analysis of two key exhibitions -one in Venice in 1976, the other in Paris in 1987- to discuss the diplomatic bias of events that on the face of it had the same objective- to provide a historical and national perspective on modern and contemporary Spanish art

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Mercado, Nicholas. "A framework for site informed light art installations." Kansas State University, 2015. http://hdl.handle.net/2097/19162.

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Master of Landscape Architecture Landscape Architecture/Regional and Community Planning Mary C. Kingery-Page The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art. My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking? This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.

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Malherbe, Anne. "L' épaisseur sensible : la matérialité dans l'art sur la scène parisienne entre 1944 et 1965." Paris 1, 2004. http://www.theses.fr/2004PA010605.

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La peinture des années 1944-1965 se caractérise par l'épaisseur de la pâte, les effets de texture, l'usage de matériaux variés. De fait, l'historiographie insiste sur la matérialité pour décrire la pratique artistique au lendemain de la Seconde Guerre mondiale. Mais un examen plus attentif montre que l'existence de la matérialité est alors problématique. Cette étude met à l'épreuve l'évidence première en la confrontant à la réception critique, afin de cerner sous quelles conditions se déploie la matérialité et quelle latitude lui est accordée. La plongée dans les oeuvres éclaire sur la nature de la matière, sur les résonances qu'on lui demande d'éveiller, sur l'impossibilité qui lui est faite de demeurer un simple matériau plastique. Dans l'échange entre les oeuvres et leurs commentaires se tisse un imaginaire de la matière où se cristallisent différents mythes. Les épaisseurs de pâte deviennent le prétexte d'un dialogue avec le cosmos au bout duquel la peinture finit par être oubliée.

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Cavendish, Maia. "Public Art and Residual Urban Spaces : The Case for Informal Public Art in Stockholm." Thesis, KTH, Urbana och regionala studier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-256316.

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While Stockholm has made significant investments in formal public art throughout the inner city and suburbs, the city has a lack of informal public art. Defined as a feature or work produced by a person who considers themselves to be an artist or craftsperson, located in a place accessible to and used by the public, public art can be either formal or informal. Informal public art generally has no formal process, with flexibility on the temporal nature of the work, materials and subject. This allows the artwork to inhabit spaces which are overlooked or underinvested in by formal public art commissioning bodies, and not have to follow formal public art requirements which are part of the broken “public art machine”. (Phillips, 1988). Much of Stockholm’s urban environment is considered beautiful, has heritage value and/ or is protected. But Stockholm also hosts many spaces in between – spaces that hold the city together, including infrastructure, bridges, alleys, and the places under and between them. These spaces can be labelled as a city’s residual spaces (Villagomez, 2010), and are where informal public art can be utilised to make these spaces into places. This study outlines the importance of and background to public art in the context of Stockholm. A survey of Stockholm’s residents, visitors and potential future visitors established how they feel about public art in the city, as well as in residual urban spaces, and to what extent it assists with establishing a place connection. This was accompanied by onsite interventions and observational analysis which challenged the way residual urban spaces are being used in Stockholm, and developed a case for how informal public art can be incorporated in the city’s residual urban spaces.

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Rodriguez, Jennifer. "INFORMAL ART THERAPY GROUP AMONG MINORITY SENIORS IN INDEPENDENT LIVING COMMUNITIES." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/658.

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The elderly population have developed some resistance toward accepting community-based social services. Such resistance could be detrimental to the well-being of low-income seniors by hindering their chance of accessing services intended for them in the first place. Art therapy is seen as a promising intervention against client resistance. This study evaluated the effectiveness of art therapy on reducing resistance to services among low-income seniors living in independent living communities. Through a pre-experimental design, this study analyzed administrative data for a sample of 37 participants from a social service agency in Southern California. Results from two non-parametric tests (WilcoxonSigned-Rank and Mann-Whitney-U) revealed that art therapy is very effective in reducing resistance among seniors. Implications for gerontology and social services providers were discussed.

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Bosch, Francesco Bruno Perrota. "Informes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-13062017-131543/.

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Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

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Charles, Amelia N., and Lia M. Bevins. "Building Allies Who Are Informed and Engaged." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/asrf/2019/schedule/31.

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Growing inequity and political polarization necessitate organized political action capable of challenging large-scale, globalized power. Political projects around the globe, and certainly in America, that aim to shift power relations have become synonymous with projects of building allies. Others—people of color, queers, and women—have long formed political alliances in order to build movements that contest hegemonic power. Others have formed these alliances (with various allies) along the lines of political ideology. Increasingly, with the growing influence of identity politics overshadowing class politics, identity plays a key role in shaping who takes part in political action. The role of an “ally” has also followed this pattern, allowing non-marginalized subjects to claim a “good ally” identity, despite lived experiences that share struggle with Others. However, ally-ship is a project of life-long work that engages various forms of anti-oppression work and is rooted in a process of what Paulo Freire terms “conscientization.” Using Freire’s concepts, principals of “the ethics of care philosophy,” and qualitative interviews, this research examines why allies are important to liberation projects of marginalized groups, specifically queers. The individuals interviewed for the research each have extensive experience educating others in the process of building allyship. The research analyzes their unique approaches along with other programs centered on the process of ally building to highlight the most successful methods. The research explores the differences in ally-ship with and affirmation of Others; complicates the projects of non-oppressive groups versus anti-oppressive groups; and examines the process of ally building. Based on the data and information gathered from qualitative interviews and literature, a framework is created that outlines the processes necessary in allyship building. The findings of the research illustrate the benefits of allies to Others in the fight for equality and demonstrate how an individual can work towards becoming an ally to these groups. In short, this research illustrates Freire's concepts of education for “critical consciousness” as it is applied to allies and the necessary action against oppressive agents.

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Lo, Jessica Bui. "Impacts Of An Artist Residency Program Informed By Social Action Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/289.

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This research explores the impact of a three day Artist Residency Program at a K-8th public school on a Native American Reservation. The program is evaluated through a lens of Social Action Art Therapy and aims to uncover how this program impacted a community— including teachers, students, and parents, and facilitators. The researcher examined social action literature, social action art literature, social action art therapy literature, as well as social action with Native Americans literature. The researcher used a qualitative approach, specifically an Inquisitive Case study, in which data was collected through the researchers notes. These notes then informed the creation of a survey that was given to teachers as well as the Artist Residency program facilitators. Next, the researcher conducted interviews for further examination of the impact. All the data was placed into an organizing table in which four main themes and three minor themes emerged. The resulting data themes include: 1) Art illuminated the students Native American Hoopa identity and culture, 2) art increased student participation, facilitated storytelling, and conversations about the student’s feelings and art provided a sense of agency, 3) art created and strengthened bonds among the students, teachers, parents and facilitators and facilitators were seen as role models for the students, and 4) the facilitator’s desire to be involved in similar art therapy social action projects increased as they were personally and professionally impacted by the Artist Residency Program. Three minor themes include: a) Some teachers found new ways to integrate art in their classroom, b) the foreign art medium choice increased risk taking, engagement, creativity as well as provided students with new skills, c) some changes noted, more time needed to see larger change. These themes were then examined in the context of art therapy social action literature and findings suggested positive impacts of the social action art therapy informed Artist Residency program.

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Hill, Amy Kristin. "Three Decades of Trauma-informed Education and Art Therapy| An Effectiveness Study." Thesis, Notre Dame de Namur University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10258659.

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This mixed method study examined the effectiveness of a school-based program that has been integrating trauma-informed education and art therapy for three decades to treat adolescents who have experienced complex trauma, adverse childhood experiences (ACEs), and toxic stress. To date, no clinical-effectiveness outcomes research or systematic program evaluation had been conducted at Northern California School (pseudonym). This research included 15 former student participants who attended the program over the past 15 years, as well as 28 current and former staff employed over the past 30 years. Research methods include tenets of effectiveness studies, program evaluation, and narrative analysis. Quantitative and qualitative data were collected from 195 archival clinical files, questionnaires distributed to former students and staff, and in-depth, semi-structured interviews. The results provide demographic characteristics of each sample; for former student participants, this includes ACE scores describing the prevalence of the 10 major types of childhood trauma, and GSE scores describing present-day level of functioning. Results also provide characteristics of treatment, significant correlates of graduating from the program with a high school diploma, and ratings of process and outcome variables as well as various treatment modalities by former students and staff participants. Dialogical narrative analysis was utilized to analyze qualitative data gathered during the in-depth, semi-structured interviews, and the stories of three former students, four art therapists, and the voice of the researcher are presented in the form of short stories to provide an overview of the experience of art therapy in the voices of former students and staff. This research contributes evidence that art therapy is an impactful and effective component of treatment for adolescents with complex trauma and higher ACE scores, and may create lifelong patterns for these individuals of seeking therapeutic support in times of distress.

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Steyn, G. "Are illegal squatters ruralising the urban edge?" South African Journal of Art History, 2008. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000814.

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This article was motivated by a claim in literature that migrants are ruralising Third World cities. It investigates the impacts of migration - the fact that all residents are from somewhere else - on the form and function of an informal settlement, using an illegal shantytown in Mamelodi, Tshwane, as a case study, by exploring the relationships between (1) the demographic profiles of migrant households, including their origins and expectations, (2) the form of a squatter settlement, and (3) how it actually functions as a setting for social and economic activities. Illegal settlement making is finally tentatively explained with a theory developed from the ruralisation hypothesis.

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Pirkl, Anna Nicole. "Art-Based Heuristically Informed Social Action for a Survivor of Childhood Complex Trauma." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/108.

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Social action - art therapy and complex trauma are relatively unknown and are not yet understood by the mental health field. This heuristic study seeks to explore the synergy between art making and social action as it applies to an adult survivor of childhood complex trauma. The researcher used 14 of 46 childhood complex trauma life stores as a stimulus for art making. The data was then analyzed to explicate meanings, patterns and connections. This analysis revealed that the art was used as evidence to counteract invisible systems of abuse. The art highlighted secondary traumas, contexts, and multiplicity effects of numerous traumas. These art works and new meanings culminated in a creative synthesis, which compelled the social action component. New and profound understanding of the researcher’s history of complex trauma was illuminated through the art. Social action respectfully empowered a transformation from trauma survivor to thriving activist. This study supports the use of art and social action with adult complex trauma survivors.

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Southgate, Colin Scott. "Lives in the informal art trade : an ethnographic case study of Maputo, Mozambique." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8113.

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Includes bibliographical references (leaves 121-123). This minor dissertation investigates the lives and businesses of informal artists and vendors in Maputo, Mozambique. The research points to a swell in numbers of artisans in Maputo over the past dozen years. Tourism has developed in Mozambique; expanding the clientele for Maputo's informal artisans. The increase of artisans has had a few negative effects including a drop in prices due to competition and a compromise in artistic quality. The seven interviewees explain the reality of the informal art business as one of subsistence.

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Reeves, Audrey Michelle. "Compassion Fatigue: Stories/Artworks of an Art Teacher with a Trauma-Informed Pedagogy." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555570912535465.

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Kean, Rexford C. "Art across the curriculum : pedagogical principles to inform teaching /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25855.pdf.

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Groom, Simon. "An art autre : Michel Tapié and the informal adventure in France, Japan and Italy." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496200.

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Van, Dijk Meine Pieter. "Sénégal : le secteur informel de Dakar /." Paris : l'Harmattan, 1986. http://catalogue.bnf.fr/ark:/12148/cb349040113.

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Extr. de: Th.--Université libre d'Amsterdam, 1980. Fait suite à : " Burkina-Faso : le secteur informel de Ouagadougou " du même auteur. Bibliogr. p. 159-162. Th. soutenue sous le titre de : " De Informele sector van Ouagadougou en Dakar, een studie naar de ontwikkelingsmogelijkheden van kleine bedrijven in twee Westafrikaange hoofdsteden "

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Bianchi, Jessica. "A Week in Your Shoes| The Impacts of a Visual Art Program Informed by Clinical Art Therapy With Adolescents in a School Setting." Thesis, Loyola Marymount University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3671778.

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This study looked at the impact of a weeklong visual art program informed by clinical art therapy on empathy development with two groups of adolescents in their school setting. The study used a mixed-methods approach to uncover any quantitative change in empathy as well as identify emergent themes seen through qualitative data. Quantitative outcomes indicated no change in empathy development as seen through analysis of a survey measure. Qualitative analysis uncovered several key findings seen through observations, participant interviews, and visual art data; most specifically, participants illustrated beginning levels of empathy by way of increased self-awareness and several cognitive functions involved in empathy development.

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Bianchi, Jessica. "A Week in Your Shoes: The Impacts of a Visual Art Program Informed by Clinical Art Therapy With Adolescents in a School Setting." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/195.

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This study looked at the impact of a weeklong visual art program informed by clinical art therapy on empathy development with two groups of adolescents in their school setting. The study used a mixed-methods approach to uncover any quantitative change in empathy as well as identify emergent themes seen through qualitative data. Quantitative outcomes indicated no change in empathy development as seen through analysis of a survey measure. Qualitative analysis uncovered several key findings seen through observations, participant interviews, and visual art data; most specifically, participants illustrated beginning levels of empathy by way of increased self-awareness and several cognitive functions involved in empathy development.

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Moahi, Donlisha. "When art informs : a case study to negotiate social stereotypes and stigmas through art at Taung Junior Secondary School." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96919.

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Thesis (MA)--Stellenbosch University, 2015. ENGLISH ABSTRACT: While every Botswana national can claim to be a citizen legally within the framework of the modern nation-state, some (minority groups in the main) are perceived by others (among the majority Tswana groups especially), as less authentic nationals or citizens. There is a hierarchy of citizenship fostered by political, economic, social and cultural inequalities, such that it makes some individuals and groups much more able to claim and articulate their rights than others. Ethnic identities seem stronger than ‘national identities’ as they work at the very macro level and on an immediate and daily basis. Thus the multicultural and linguistic diversity of Taung compels us to view every group as heterogeneously unique and important in its own ways, since students become marginalised as a result of individual circumstances, by being members of historically oppressed social groups. The main aim of this study was to explore visual art as a learning platform to negotiate social and cultural meanings and inform understandings of self. A qualitative approach towards the study was considered the most suitable way for conducting the research. An interpretive analysis was used to gain insight into how students made sense of their experiences and the significance of art as a platform to negotiate stigmas and stereotypes in class and school. Using the case study drawn from Taung Junior Secondary School comprising of twelve students from different ethnic groups, two major themes of difference and discrimination were identified. The sub-theme discussed under difference includes sub themes race, ethnicity and nationality, and language; while stereotyping and stigma, feelings of discomfort and feeling outcast, and Othering and marginalisation were discussed under the theme discrimination. My study revealed that art can be an especially effective catalyst for developing a critical awareness of issues of race, immigration, difference, and privilege. Art practices can become a platform for the negotiation and construction of meaning and lobby for removing the historic inequalities and injustices created by a stratified society. For this reason, it is important to understand culture and cultural diversity because culture provides beliefs, values, and the patterns that give meaning and structure to life. It enables individuals within the multiple social groups of which they are a part to function effectively in their social and cultural environments, which are constantly changing. Groups try to maintain social hierarchies and individuals maintain their position within such hierarchies by excluding others, to deny difference and try and enforce homogeneity and reproduce current social relations. As such if forces such as, differences in race, culture, gender, language, and religion are well understood, the students will engage in the process of identifying ways to manage them to shape their own educational practices. AFRIKAANSE OPSOMMING: Terwyl elke Botswana burger wetlik aanspraak kan maak op burgerskap binne die raamwerk van die moderne volkstaat, word sommige (hoofsaaklik minderheidsgroepe) deur ander (veral Tswana groepe) as minder egte burgers beskou. Daar bestaan ‘n hierargie van burgerskap wat deur politieke, ekonomiese, sosiale en kulturele ongelykhede bevorder word; tot die mate dat sommige individue en groepe meer geredelik hulle regte kan verwoord as ander. Etniese identiteite blyk sterker te wees as ‘nasionale identiteite’ omdat dat dit op makrovlak funksioneer sowel as op ‘n onmiddellike en daaglikse basis. Gevolglik dring die multikulturele en linguistiese diversiteit van Taung ons om elke groep as heterogeen uniek en belangrik op sy eie manier te beskou, aangesien studente gemarginaliseerd raak weens individuele omstandighede, deurdat hulle lede van geskiedkundigonderdrukte sosiale groepe is. Die hoofdoel van hierdie studie was om ondersoek in te stel na die visuele kunste as ‘n leerplatform om oor sosiale en kulturele betekenisse te onderhandel en selfbeskouings toe te lig. Daar is besluit dat ‘n kwalitatiewe benadering tot die studie die mees geskikte manier is om die navorsing uit te voer. ‘n Verklarende analise is gevolg om insig te verkry ten opsigte van hoe studente sin maak uit hulle ervarings en die betekenisvolheid van kuns as ‘n platform om oor stigmas en stereotipes in die klas en skool te onderhandel. Deur van Taung Junior Sekondêre Skool, met twaalf studente van verskillende etniese groepe, as gevallestudie gebruik te maak, is twee hooftemas, nl verskil en diskriminasie, geidentifiseer. Die subtemas wat onder verskil bespreek word, sluit ras, etnisiteit en burgerskap en taal in; terwyl stereotipering en stigma, gevoelens van ongemak en verwerping en ‘Othering’ en marginalisering onder die tema diskriminasie bespreek word. My studie het getoon dat kuns ‘n besonder effektiewe katalisator is vir die ontwikkeling van ‘n kritiese bewustheid ten opsigte van kwessies soos ras, immigrasie, verskil en voorreg. Kunspraktyke kan ‘n platform word vir die onderhandeling en konstruksie van betekenis en selfs druk uitoefen ten opsigte van die opheffing van historiese ongelykhede en ongeregtighede wat deur ‘n gestratifiseerde samelewing geskep is. Dit is vir hierdie rede belangrik om kultuur en kulturele diversiteit te verstaan omdat kultuur die oortuigings, waardes en die patrone voorsien wat betekenis en struktuur aan die lewe gee. Dit gee vir individue binne die verskeie sosiale groepe waarvan hulle deel vorm, die vermoë om effektief in hul sosiale en kulturele omgewings, wat deurlopend verander, te funksioneer. Groepe poog om sosiale hierargië te handhaaf en individue handhaaf op hulle beurt hul posisie binne hierdie hierargië deur ander uit te sluit, verskille te ontken en homogeniteit af te dwing en huidige sosiale verhoudings te herproduseer. Indien daar ‘n goeie begrip is van magte, soos verskille in ras, kultuur, geslag, taal en godsdiens, sal studente betrokke raak by die proses om maniere te identifiseer om dit te bestuur en sodoende hule eie opvoedkundige praktyke te vorm.

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Van, Dijk Meine Pieter. "Burkina-Faso : le secteur informel de Ouagadougou /." Paris : l'Harmattan, 1986. http://catalogue.bnf.fr/ark:/12148/cb348799608.

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Extr. de: Th.--Université libre d'Amsterdam, 1980. Bibliogr. p. 195-199. Th. soutenue sous le titre : "De Informele sector van Ouagadougou en Dakar, een studie naar de ontwikkelingsmogelijkheden van kleine bedrijven in twee Westafrikanse hoofdsteden"

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Stanley, Denise Y. "Teaching Is My Art Now." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

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Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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Doctor of Philosophy This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

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Choi, Hyung-sun. "L’origine de la « ressemblance » d’Alberto Giacometti et l’« informe » de Georges Bataille : 1927-1947." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040030.

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Tout ce qui compte pour Giacometti c’est la « ressemblance ». Cette « ressemblance » n’est pour lui ni définissable ni « parfaite ». Elle est juste « une masse » qui n’est visible que dans un instant extrêmement tendu de la mise en mouvements continuels, altérants et interrogatifs, de la forme à la forme, de l’« être » au « non-être », du « connu » à l’« inconnu ». Elle se voue au défaut et à l’échec. À cet égard, cette « ressemblance » se lie essentiellement à l’« informe » de Bataille. Notre étude consiste en ce lien, originel, historique et esthétique, entre cette « ressemblance » et cet « informe ». Cependant, notre étude n’est pas d’une étude comparative : elle est plutôt une recherche afin de mieux appréhender cette « ressemblance » grâce à cet « informe ». Elle se limite à la période de 1927 à 1947 : une période à partir du jour où Giacometti découvre les signes de l’« informe » de Bataille, jusqu’à la date où l’artiste illustre Histoire de rats de l’écrivain et réalise Le Nez matérialisant merveilleusement l’instant fulgurant de la vérité qui se confond avec l’échec et le défaut All which counts for Giacometti it is the "resemblance". This "resemblance" is for him neither definable nor "completed". It’s just "a mass" which is visible only directly extremely tightened by the stake in continual movements, alternating and inquiring, from the shape to the shape, from the "being" to the "non-being", of the "known" to the "stranger". It dedicates itself to the defect and to the failure. In this respect, this "resemblance" is essentially bound in the "formless" of Bataille. Our study consists of this link, original, historic and aesthetic, between this "resemblance" and this "formless". However, our study is not of a comparative study: it is rather a research to dread better this "resemblance" thanks to this "formless". It limits itself to the period from 1927 till 1947: a period from the days when Giacometti discovers the sign of the "formless" of Bataille, until the time when the artist illustrates Story of rats of the writer and realizes The Nose realizing magnificently the lightning moment of the truth which becomes confused with the failure and the defect

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Xu, Changxin. "Are you informed?: State information management and autonomy in local China." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108024.

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Thesis advisor: Gerald M. Easter Does the emergence of these newly informatics practices by the Chinese state indicate a future abolishment of the Xinfang mechanism? In order to answer these questions and foster an understanding of today’s state information management in China, this thesis first employs the method of historical analysis. The thesis provides an initial effort in English literature to answer how and why societal petitioning was gradually translated into state-dominated action and whether or not informational engagement impacted state autonomy. The thesis then moves on to field work conducted in S Province since 2014 through 2017 that counted approximately 20 weeks altogether. With such first-hand empirical evidence, the thesis develops three main arguments as below: First and foremost, I find that there exist an increasing number of information seekers among petitioners from the background databases of both Governor’s Mailbox and the Provincial Bureau for Letters and Calls’ online complaint system. Such informational needs of today’s Chinese public may be in need of higher attention from policy makers and scholars. Second, the leadership, whether at central or any local level, have sought to establish various apparatuses, and charged them with building information channels and providing an information stream for policy making. the apparatuses hereby develop two strategies to draw more societal actors to their offices and guarantee their informational supplies to above. Such competition eventually results in a champion among all the informatics offices in the arena. Last but not least, apparatus autonomy cannot be equated with individual official autonomy. While an office is assigned with increased autonomy, the very officials’ individual autonomy may fall down to a lesser degree Thesis (MA) — Boston College, 2018 Submitted to: Boston College. Graduate School of Arts and Sciences Discipline: Political Science

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Brosious, Caitlin, Emma Burgin, Andrea Dyer, and Maggie Knobbe. "Art Making to Inform Dialogue Across Spiritual Otherness in the Therapeutic Space." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/908.

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This research was a preliminary pilot study meant to encourage further exploration on the intersection of art therapy, art making, spirituality, and dialogue. This study topic is an important area of investigation due to the long-standing challenges of interfaith dialogue, both historically and currently. An abundance of reviewed literature linking interfaith dialogue and dialogue through art making guided the research hypothesis, which states that the act of viewing and being viewed by the spiritual other through art making could deepen one’s own spiritual practice, increase empathy, foster dialogue, and inform clinical work as psychotherapists. To explore this, the researchers held an explorative arts-based workshop, encouraging participants to use the art individually and in pairs to further reflect on their spiritual beliefs and experiences. In addition, the workshop allowed a space for participants and pairs to share and discuss their reflective art and personal spirituality, then create a dyadic art piece together. The qualitative findings revealed similarities for all eleven participants in both the art and written experiences, with universal themes and shared visual elements emerging. The analyzed data connected the universal themes with the participants’ stated spiritual identity and evidenced experiences of connection in dyadic pairs. As future therapists, and art therapists, the researchers intended this preliminary pilot study to be a basis for further research and inspire wider exploration.

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El, Abed Nesrine. "Oeuvre monstre, création informe." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010677.

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Cette étude que j'ai intitulé «Œuvre monstre, une création informe» s'inscrit dans une recherche dans l'art contemporain sur des phénomènes plastiques liés à l'idée de l'extrême. Ils restent tributaires d'une théorie de la forme vers celle de l'informe et d'une grande plasticité que rehaussent mes œuvres personnelles, mélangeant de façon heureuse la sculpture traditionnelle et le numérique. Or, associer l'image numérique, l'argile et la vidéo au sujet du monstre était une manière de toucher au plus profond des œuvres cruelles et informes, de ressemblances déchirantes et déchirées. La forme monstrueuse n'est donc pas réduite à une simple signification consciente, elle transcrit un discours univoque et le monstre devient alors le concept par excellence dans ma pratique plastique. L'œuvre devient de l'ordre de "monstrum", l'image est d'essence "monstrative". Chaque image, telle qu'elle soit, numérique, photographique ou vidéographique est une monstrance. La sculpture serait la représentation du corps déchu, ou de l'image de la mort, qui surgit dans le miroir de Narcisse qui n'a plus rien à faire de la ressemblance, donnant un reflet qui appréhende le masque de Méduse. Cette recherche qui s'attache à l'informe, débusque les mythes sous des pratiques violentes et accidentées, appuyée par une recherche théorique qui s'est développée notamment autour de la pensée de Georges Bataille, ainsi que des anthropologues et de la phénoménologie, et par leurs pensées, l'œuvre ramène les différentes expériences d'extrême, d'excès, et de perte, à la dimension du sacrifice This study I entitled "Monster Work, a Formless Creation" is to be inscribed within a contemporary art research that deals with the idea of the extreme in relation to plastic phenomena, for the latter depend on the theory of form and on a great plasticity enhanced by personal creations that happily melt traditional sculptures with digital technology. As a matter of fact, combining the digital image, the clay and the video, with the monster, was a way to reach what is profound within formless and cruel works of art that are of painful and torn resemblances. The monstrous form is, thus, not reduced to a simple conscious significance, it transcribes an unambiguous discourse and the monster becomes the concept, par excellence, of my plastic practice. The work of art becomes connected to the "monstrum" and the image is inherently endowed with a visual power (in French "monstrative"). Every image, be it digital, photographic or video graphic is a monstrance. Sculpture would be the representation of the fallen body or the image of death that appears in Narcissus Mirror and that is no longer related to any form of resemblance, showing a reflection that grasps the Mask of Medusa. This research that is focusing on formlessness serves to dispel the myths under violent and rugged practices supported by a theoretical research based on the philosophy of Georges Bataille as well as that of anthropologists and phenomenologists, and through their thoughts, the work brings the different experiences of extremes, excess and loss to the dimension of sacrifice

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Ngan, Ngan Désiré. "Le Secteur informel à Yaoundé, République du Cameroun." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595011x.

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Miller, Taylor Kathryn. "I Am The Space Where I Am| An Arts-Informed Autoethnographic Inquiry On Place-Conscious Education In The Community." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123866.

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This thesis investigates how my representations of experience through arts-informed autoethnographic research are significant in establishing the pedagogical nature of place. I seek to understand how place-conscious education in a community setting can encourage students’ relationships with the spaces they inhabit and lend to a more just learning environment. Many educative tools are provided and analyzed which are derived from wayfinding and psychogeographic methods. Data was collected over two months throughout the Summer of 2015 while participating in the Onward Israel service learning program in Israel and Palestine. My digital photographs and excerpts of stream-of-consciousness style poetry serve as the data set to illuminate the rich sensory encounters and art making processes indicative of experiential learning. This context-driven artwork encourages questions and dialogue about sociopolitical conflict and wars, migration and occupation. It is concerned with physical as well as psychological borders, checkpoints and boundaries. I utilized poetic and photographic inquiry as well as cognitive mapping to explore how concepts of travel are intricately linked to practices of self-reflexivity, community building and alternative curricula development outside of the formal classroom setting. This qualitative data is not a strictly defined set of interviews or statistics. Instead, vignettes of a more totalizing experience can be extracted, analyzed, dissected and/or rearranged. It is an exploration of identity, agency and untraditional ways of knowing the self/Other. I underscore how new pathways and possibilities for teaching emerge from a greater acceptance and validation of experiential knowledge and an attuned consciousness to place.

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McNiven, Andrew. "‘Monkey Business’ : an artist’s action research into the parameters of temporary gallery installation through reflexive formal and informal documentary practice." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/985/.

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The term ‘installation’, referring to both process and product, is a significant component of contemporary fine art practice and the working lives of those involved. Consequently ‘installation’ can be seen as a domain of both fine art professional development and practice-led research. However, as art historian Mary Ann Staniszewski has observed (1998), the implication is that as process, this is an underresearched field of knowledge and this Ph.D. is an attempt, through a thesis and a body of practical work, to address this omission. Writing as an artist with significant experience as a technician, the thesis explores the insights that inform the work of technicians, using related theoretical concepts which map the conditions particular to the processes of installation: that of exhibits being subject to a binary condition, which I term ‘proper/improper’, and the concept of ‘tacit knowing’, developed by Michael Polyani (1966) as an index of specialist embedded understanding. Both ‘proper/improper’ and ‘tacit knowing’ are concealed by the sense of what I term ‘effortlessness’ that makes displayed objects part of an immutable fabric of exhibition culture. This is, in turn, compounded by the photographic ‘installation shot’, a form of documentation that, for commentators such as the writer and artist Brian O’Doherty (1976), creates idealized images of artworks. In reflecting upon the action research I have undertaken in order to penetrate the idealized surface of the ‘installation shot’, the thesis journeys from the visual to the aural in order to open up the ‘sensual 7 culture’ (Howes, 2005) around ‘installation’. Although not directly settingout to respond to Staniszewski’s proposition, the experiments with sound practice described and exhibited do, I claim, offer a creative response to our amnesia and an unfolding re-presentation of the processes and conditions of exhibition as it is currently experienced throughout museum and gallery culture.

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Poole, Tanya Katherine. "An exploration of female physicality and psyche and how these inform art-making." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.

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This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.

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Chorfi, Mohamed Salah-Eddine. "Le Secteur informel à Rabat relations sociales, emploi, habitat." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37596722r.

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Moubarak, Elizabeth. "A case study of a special needs class: how attention to aesthetic considerations informs learning and individual growth." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104800.

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A qualitative study of a special-needs class: how attention to aesthetic considerations informs learning and individual growth. This thesis describes a qualitative study of how attention to aesthetic considerations informs learning and individual growth in a special-needs class. The study is intended to provide an understanding of the evolving classroom environment and its influences on the individual students and myself as the teacher. The research context was a junior high school special-needs class (B111) of eleven students, one teacher and an attendant. Art-based educational research methods were used to conduct and analyze the data. Literature on aesthetics, meaning making and learning are discussed and connected to the documented comments, opinions and art works of the participants. The question whether or not a sense of belonging, if fostered through attention to aesthetic considerations, could motivate students to come to class and respect school grounds and property is addressed in the research. This qualitative study illustrates that getting to know the student population and the nature of the class and school is a crucial factor amongst others that contribute towards a healthy learning environment. This can be inspiring to administrators, educators, interior designers and architects when considering the factors involved in designing, building or organizing a school or classroom. Étude de cas d'une classe d'éducation spécialisée : De quelle façon l'esthétisme influence-t-elle l'apprentissage et le développement personnel?Ce mémoire présente une étude de cas sur la façon dont l'esthétisme influence l'apprentissage et le développement personnel dans une classe d'éducation spécialisée. L'objectif est de mieux comprendre l'environnement évolutif de la classe et de son influence sur les élèves et sur moi-même, l'enseignante de la classe témoin. Le cadre de cette étude était une classe d'éducation spécialisée (B-111), située dans une école secondaire de premier cycle. Onze élèves, une préposée et une enseignante ont pris part à cette étude. Les données ont été recueillies et analysées à partir de méthodes issues des récentes recherches en éducation de l'art et plus précisément, sur l'enseignement à partir de l'art. La littérature sur l'esthétisme, sur la négociation de sens et sur l'apprentissage a servi les besoins de cette étude et les commentaires, les opinions ainsi que les travaux artistiques des participants y sont reliés. La question à savoir si l'esthétisme de la salle de classe crée un sentiment d'appartenance, agissant comme source de motivation sur l'assiduité en classe et sur le respect de l'établissement scolaire a été soulevée. Cette étude de cas démontre l'importance de la création de liens avec les élèves. La connaissance de la nature spécifique de la classe s'avère être un facteur crucial dans la création d'un environnement d'apprentissage sain et équilibré. Cette étude inspirera peut-être les directeurs d'école et les commissions scolaires, les décorateurs d'intérieur et les architectes, lorsque viendra le temps de concevoir les plans architecturaux, la décoration, la construction et l'organisation d'une école ou d'une salle de classe.

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Kruger, Maria. "Growing Things: An Investigation in the ways that plant-growth may inform the process of painting." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30513.

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My project interrogates traditional Western landscape painting in light of the contemporary understanding that ‘nature’ has been rearticulated, even plasticised and hence rendered malleable, through human action. The idea of a plasticised natural environment is concomitant with the age of the Anthropocene which has brought with it a tremendous rise in the use of plastic since the 1950s, and the consequent polluting effect it has had on the ‘natural’ environment. In recent years evidence indicates that traces of plastic are now in the earth, which suggests a need to rethink what exactly the ‘natural’ environment is comprised of. With reference to traditional Western landscape painting, my work explores the idea of a socially and materially constructed landscape. Utilising the medium of acrylic paint, I reimagine the landscape by using a material that embodies plastic. Removing the dried and solidified acrylic paint from its ground, the landscape painting is liberated from its supporting canvas and frame in an attempt to deconstruct traditional Western landscape painting. My project aims to rearticulate the language and meaning that is associated with landscapes and the natural environment.

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Baras, Cléo. "Tatouage informé de signaux audio numériques /." Paris : École nationale supérieure des télécommunications, 2006. http://catalogue.bnf.fr/ark:/12148/cb40922772q.

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HAUCK, JULIE SWEENEY. "IDENTIFYING POSSIBLE SPEECH AND LANGUAGE DELAYS IN CHILDREN BORN PREMATURELY: ARE PARENTS INFORMED?" University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997704793.

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Reed, Jerry Lee III. "You Are What Others Eat: Informal Economics and Social Hierarchy in Middle Schools." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587302015966842.

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Echarte, Maria Arantzazu. "A practical and theoretical exploration of process based participatory and interdisciplinary artistic practice informed by ethnomethodology and live art." Thesis, University of the West of England, Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589392.

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This thesis examines practices derived from socio-anthropological methodology and performative strategies within Live Art, practices that rely on ethnographic fieldwork methods and participant observation positioning. Through the examination of practices in which both practitioners and participants commit to open-ended and unpredictable processes, the thesis explores forms of artistic practice that are ethical and democratic in terms of authority, participation and authorship. Key projects are: Jeremy Deller's Social Parade (2004), Gillian Wearing's Drunk (1997-99) and Sophie Calle's Gotham Handbook (1998). This examination forms part of a wider discussion of the discursive proposition, made notably in Hal Foster's 'The Artist as Ethnographer' (1996), as to whether a paradigmatic shift has occurred within artistic practice and with what consequences. The thesis consists of eight chapters. Chapter one introduces the aims of the research project and presents the nature, structure and discursive context of the project, focusing in particular on Clare Bishop's essay 'The Social Turn: Collaboration and its Discontents' (2006). Chapter two investigates the mutual interest that exists between art and anthropology and introduces critical terminology with regards to the specific context of this research project. Chapter three presents the understanding of Live Art as contextualising the examined practices, and introduces liveness as a method. Chapter four argues that the practices examined can be understood as ethnographic practice of fieldwork. The practitioners are defined as Radicants or nomad cultural agents whose actions set identities in motion. Chapter five discusses in detail Hal Foster's 'The Return of the Real' (1996) and Mark Hutchinson's 'Four Stages of Public Art' (2002), proposing a shift in the paradigm of the ethnographic turn. Chapter SIX negotiates ideas of authority, authorship, fieldwork practice and representation through the analysis of James Clifford's 'On Ethnographic Authority' (1988). Lastly, chapter seven discusses the modes of representation used by a specific set of practitioners, proposing that their work could be understood as following an archival method. This thesis advances a theoretically informed, process-based participatory and interdisciplinary artistic practice. It presents an analysis of such practices, including my own, seeking to demonstrate that this exploration could be relevant to artists, anthropologists and ethnographers alike. The thesis also contributes to the shift in understanding of contemporary art practice proposed by Nicolas Bourriaud and others that emphasises flexible modes of collaboration and various forms of social engagement. This thesis is presented in two volumes. The first volume contains the discussion of the theory and methodologies that underpin my research, relevant practitioners and my own practice. The second volume presents my own practice and how it contributed to this research. This format also seeks to demonstrate that data gathering is integral to the physical manifestation of my work. Both volumes can be read independently but are designed to be complementary.

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Skira, Meghan. "Essays on Informal Care, Labor Supply and Wages." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2652.

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Thesis advisor: Andrew Beauchamp Thesis advisor: Peter Gottschalk This dissertation examines how caregiving for an elderly parent affects an adult child's labor supply and wages. In the first chapter (co-authored with Courtney H. Van Houtven and Norma B. Coe) we identify the relationship between informal care and labor force participation in the United States, both on the intensive and extensive margins, and examine wage effects. We control for time-invariant individual heterogeneity; rule out or control for endogeneity; examine effects for men and women separately; and analyze heterogeneous effects by task and intensity. We find modest decreases--1.4-2.4 percentage points--in the likelihood of working for caregivers providing personal care. Male and female chore caregivers, meanwhile, are more likely to retire. For female care providers who remain working, we find evidence that they decrease work by 3-10 hours per week and face a 2.3-2.6 percent wage penalty. We find little effect of caregiving on working men's hours or wages except for a wage premium for male intensive caregivers. In the second chapter I formulate and estimate a dynamic discrete choice model of elder parent care and work to analyze how caregiving affects a woman's current and future labor force participation and wages. Intertemporal tradeoffs, such as decreased future earning capacity due to a current reduction in labor market work, are central to the decision to provide care. The existing literature, however, overlooks such long-term considerations. I depart from the previous literature by modeling caregiving and work decisions in an explicitly intertemporal framework. The model incorporates dynamic elements such as the health of the elderly parent, human capital accumulation and job offer availability. I estimate the model on a sample of women from the Health and Retirement Study by efficient method of moments. The estimates indicate that intertemporal tradeoffs matter considerably. In particular, women face low probabilities of returning to work or increasing work hours after a caregiving spell. Using the estimates, I simulate several government sponsored elder care policy experiments: a longer unpaid leave than currently available under the Family and Medical Leave Act of 1993; a paid work leave; and a caregiver allowance. The leaves encourage more work among intensive care providers since they guarantee a woman can return to her job, while the caregiver allowance discourages work. A comparison of the welfare gains generated by the policies shows that half the value of the paid leave can be achieved with the unpaid leave, and the caregiver allowance generates gains comparable to the unpaid leave Thesis (PhD) — Boston College, 2012 Submitted to: Boston College. Graduate School of Arts and Sciences Discipline: Economics

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Forslund, Catherine. "Anna Chennault : informal diplomacy and Asian relations /." Wilmington (Del.) : SR Books, 2002. http://catalogue.bnf.fr/ark:/12148/cb38852743k.

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Leopeng, Makiti Thelma. "Translations of informed consent documents for clinical trials in South Africa: are they readable?" Master's thesis, Faculty of Health Sciences, 2019. http://hdl.handle.net/11427/31021.

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1. Introduction: Obtaining Informed consent is an ethical prerequisite for enrollment in clinical research. There is a perception that Informed consent documents used in biomedical research are lengthy, overly complex and above the reading capability of typical research participants. In South Africa, ethical committees regulating research on human participants (HRECs) are mandated by the Department of Health’s National Health Research Ethics Council’s (NHREC) guidelines to ensure that researchers have made special considerations for vulnerable groups when conducting research. This includes considerations made for populations with low literacy. For example, the Standard Operating Procedure (SOP) of the University of Cape Town’s Human Research Ethics Committee (UCTHREC), requires that the language used in Informed consent documents should be directed at a reading level of grade 6 to 8 and that common, everyday words should be used rather than complex language syntax. The HREC expects researchers to translate the approved English version documents into local languages such as isiXhosa and Afrikaans. Since ethics committee focus approval on the English language consent documents and only acknowledge translated versions, a potential gap in this process is whether the translated versions meet the same required readability levels. This study aims to investigate whether translated versions of English language informed consent documents used at a single busy clinical research site are readable and meet the readability levels specified by UCTHREC. 2. Methodology: A quantitative descriptive statistical design was used to explore readability levels of informed consent documents used at a single clinical research facility based in a semi-rural community. Informed consent documents approved by UCTHREC over the past thirteen years (2004 to 2017) that met the inclusion criteria were analysed for readability. The LIX readability test tool was used to calculate readability scores and the levels of reading difficulty. These scores were then matched to a grade level conversion chart to determine the equivalent number of education years required to be able to easily understand the information. Readability levels were determined for isiXhosa and Afrikaans translations of the documents and compared to the levels of the English document. 3. Results: The results indicate that informed consent documents used at this single clinical research facility, independent of language type, are difficult to read. A total of 259 sub-sections of informed consent documents from 10 different studies were analysed. The analysis showed that informed consent documents were classified as “very difficult to read” according to the LIX readability tool in a large proportion of English, isiXhosa and Afrikaans languages: 41 (16%), 255 (98%), and 85 (33%) of informed consent sections respectively. Of all the subsections of English, isiXhosa and Afrikaans documents respectively, 98 (38%), 0 (0%) and 126 (49%) were classified as “difficult to read”, while 79 (31%), 3 (1%) and 38 (15%) were found to have an “average” readability level. Twenty eight (11%), 1 (0%) and 10 (4%) were found to be “easy to read” and 13 (5%), 0 (0%) and 0 (0%) had a “very easy” readability level. The mean LIX readability scores across English, isiXhosa, and Afrikaans languages were respectively 42.27 (95% CI 41.20 – 43.34) corresponding to a readability level of “average”, 74.64 (95% CI 73.79-75.49), corresponding to “very difficult to read” and 46.73 (95% CI 45.66-47.8) “difficult to read”. These findings suggest a high level of difficulty in reading of the text in the Informed consent documents. 4. Conclusion: Translations of Informed consent documents used at a single busy clinical research site are difficult to read and are written at high school to tertiary reading level. These reading levels are above the recommended level prescribed by the site’s research ethics committee (UCTHREC). Local ethics committees should employ more stringent guidelines and checks to ensure readability of translated informed consent documents. Researchers and Sponsors should include readability outcomes in the design and with submissions of new protocols.

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Dissertations / Theses on the topic 'Art informel'

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