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Min, Jun Suk. "Movements for enjoyment /." Online version of thesis, 2008. http://hdl.handle.net/1850/7790.
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Smith, Rachel Rose. "Modern art movements and St Ives, 1939-49." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/16237/.
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This thesis provides a view of modern art in St Ives between 1939 and 1949 by focusing on two interlinked concerns: the movement of objects, people and ideas through communication and transport networks, and the modern art movements which were developed by artists working in the town during this period. Drawing especially from studies of place, hybridity and mobility, Chapter 1 provides an account of two artists’ migration to St Ives in 1939: Naum Gabo and Barbara Hepworth. It considers the foundational importance of movement to the narrative of modern art in St Ives and examines the factors which contributed to artists’ decisions to relocate. Using this information, it probes presumptions surrounding St Ives as an artists’ ‘colony’ and proposes it as a site of ‘coastal modernism’. Chapters 2 and 3 examine the contribution by artists in St Ives to two developing art movements: Constructivism and Cubism. Both investigations show how artists participated in wide-reaching artistic networks within which ideas and objects were shared. Each chapter also particularly reveals the value of art movements for providing temporal scales through which artists could reflect upon and establish the connections of their work to the past, present and future. Chapter Two focuses on the Constructive project associated with the publication of 'Circle: International Survey of Constructive Art' (1937), revealing how modern art in St Ives inherited ideas and styles from earlier movements and continued to reflect upon the value of the ‘Constructive spirit’ as Europe changed. Chapter Three is an examination of Nicholson’s connections to the Cubist movement and an analysis of the long-standing impact this had on his work and critical reception both before and after the Second World War. To conclude this thesis, two narratives centred on 1964, the year often used to define the end of an artistic period in St Ives, suggest how the internationalism of artists and artist groups in St Ives changed during the period which followed 1949.
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Kirkham, Nicola. "J18 : movements towards an ethico-aesthetic paradigm." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5790/.
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This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and methods chapter surveys historic shifts in thinking about political action, through an attendant Marxist epistemology, through three key events: the Paris Commune, the Russian Revolution and May 1968. The search for a materialist understanding of political action feeds the act of drawing together empirical material from J18 by way of the data gathering process and the reciprocal development of a critical framework used as a method of interpretation. In Part Two a multi-centred account of the event is narrated by way of micro-examples that are each affectively attuned to, and constitutive of the events happening.
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.
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Cossu, A. "MOBILIZING ART. AN INQUIRY ON THE ROLE OF ART IN SOCIAL MOVEMENTS: THE CASE OF MACAO ¿ MILANO." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/292851.
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The connections between art and politics are multiple and are deeply rooted in modern history. These connections have led to the development of a lively debate in many academic as well as non-academic fields. Within this context, my thesis focuses on the specificities, the continuities and the ruptures produced by artists in the context of contemporary political mobilization. My overall framework is influenced by a cultural approach to social movements, organization studies, economic and urban sociology. Based on ethnography, my thesis applies three main research techniques (participant observation, semi-structured interviews, digital methods) to a specific case study: Macao, the New Centre for Arts, Culture and Research, in Milan, Italy. Established in May 2012, Macao is officially a part of the Italian network of “Occupied Theatres” and, more informally, constitutes an important node in the international “art activism” scene. Taking into account the global context of the early 2010s – marked by the aftermath of economic crisis, the Arab revolutions and the Occupy/Indignados movement, and the re-emerging discourse on the role of electronic media in social movements – my thesis, although focused on Macao in a micro-sociological perspective, attempts to draw connections and identify differences between “artistic activism” and the prevalent trends in the recent wave of mobilization.
In an attempt to contribute to the growing, but still limited, literature on art and social movements, my thesis considers Macao as an excellent prism through which to investigate the everyday political work carried out by artists in a context of mobilization. In doing so, my aim is to overcome the instrumental view that is often applied to art and aesthetics in the context of protest: seeing them as colorful tools to gain visibility and secure recruitment. In my work, I highlight how art might take unexpected forms in political activity, forms that are rarely embodied in the artifacts we are normally used to. In this sense, art is capable of running deep below the perceivable surface to connect and innervate the flows that circulate in a number of different media.
The thesis is divided into two main parts: the first sets the frame in which I situate my work, introduces the debates around artists’ political involvement (Ch. 1) and presents the methodological framework (Ch. 2).
The second part is made up of three chapters that explore what I have come to identify as the main areas of Macao’s activity: action, relation and production. The first of these three chapters (Ch. 3) deals with the logic of action, in which I stress how an artistic sensitivity was deeply embedded in the first spectacular events that granted Macao a wide and favorable national and international exposure: what I have defined as an eventful logic. The second (Ch. 4) explores the theme of organization, a key area of political intervention of Macao activists, in which a reflexive desire for instability is coupled with a surprising efficiency and the inversion of the traditional equation for which organizational forms become transient configurations determined by the eventfulness of their routine activity. The third and final chapter (Ch. 5) investigates Macao’s models of artistic and cultural production. The case is explored with the aim of understanding to what extent Macao, and more in general the global wave of art activism, constitutes an alternative to the neo-libel articulation of the creative city in Milan. On the one hand, I ask whether Macao is a political actor able to influence the local cultural policy and to what extent it is included in the urban governance of Milan. I argue that Macao not only is an actor included in the urban governance, but also it provides the city a different cultural offer, open to bottom-up processes.
The three core chapters, although partially autonomous, present a fil rouge, which coincides with the hypothesis that a broader change in terms of social and economic critique is taking place at a global level. As processes like the “eventification” and the “brandization” of culture represent some of the most efficient capitalist devices they now come to be appropriated in critical terms by probably the most skilled and apt subjects for a change: artists, and, more generally, cultural workers. Often trained at prestigious education institutions within the creative industry, their critique deploys the knowledge they have paid to obtain, and attempts not just to antagonize but to create a real and viable alternative. In the conclusion, the different uses of art in mobilization, scattered around the whole thesis, are systematized.
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Alves, Lara Bacelar. "The movements of signs : post-glacial rock art in north-western Iberia." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426255.
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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.
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Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.
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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.
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Birchler, Susan. "Ecological Art: Ruth Wallen and Cultural Activism." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001969.
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Blejwas, Emily K. Bailey L. Conner. "Social capital, cultural capital, and the racial divide community development through art in Alabama's Black Belt /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2006%20Fall/Theses/BLEJWAS_EMILY_35.pdf.
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Jenkins, Kyle. "The cold war : the politics of being inside and outside a visual art space." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/3966.
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Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898." Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.
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Berhanusdotter, Hanna. "The Art of Mainstreaming Sustainability : Practices and Perceptions in Swedish Popular Movements Working with Development Cooperation." Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260723.
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Environmental degradation and climate change are complex cross-cutting issues. They both call for a high level of policy coordination by all actors. This thesis examines the experienceof two Swedish popular movements integrating sustainable development as a cross cutting theme in their development cooperation: an approach known as mainstreaming. I seek to show how sustainability is understood and further how it is realized in the application of the work plans. The two case studies are the International Department of the Church of Sweden and Olof Palme International Centre. I have accounted for practical experiences via using informants as the main data source. Mainstreaming theory has been applied as tools foranalysation. Sustainability has been used in relation to sustainability of results andenvironmental aspects of the work plan. There is an increased demand to report on results and the longevity of the results in addition to address environment in all works undertaken in development cooperation organisations. The significance in studying the current interpretations and above all the challenges in application is to enable consideration in futur eamendments to strategies, policies and efforts made to mainstream sustainability. The findings conclude that there are similarities between the two cases in the identification of sustainability as pertaining to results and in the need for sustainability to focus on relationships to partners. Mainstreaming of environmental concerns is stated as a good and wanted aim. However, the actual negative environmental impact caused by the work plan is seen as low and sometimesenvironmental mainstreaming is even understood as a risk to partnerships. Environmental impact is only identified and addressed when seen as relevant and not as a concept to mainstream, this based on the relative low impact. This is in accordance with Sida guidelines but not with the stated policy wants.
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Barbee, Matthew Mace. "Race, Memory, and Communal Belonging in Narrative and Art: Richmond, Virginia's Monument Avenue, 1948-1996." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181594947.
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Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.
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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "November 2004" Bibliography: leaves 118-128.
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Jones, Pearl. "Analysing visual representations in the North Korean Refugee Movement for Social Change and Justice." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22987.
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Art has the ability to give voice to the vast number of ordinary citizens suffering undertotalitarian rule in the Democratic People’s Republic of Korea, both past and present. Thispaper uses a mixed-analysis approach to examine three selected examples of visualrepresentations concerning the North Korean Refugee Movement in order to illustrate howArt functions as a strategic component of C4D, and how it can be effectively used by socialmovements as a way of framing movements’ identities in collective action, promotingawareness and enhancing resource mobilisation through the emotive communication ofknowledge. Art has been found to play an important role in the communication and transferof knowledge by creating powerful emotions and providing a voice to the otherwisevoiceless. Visual texts can be used strategically by social movements in the area of C4D toreinforce/create a collective identity and aid in movement participation by enhancingsolidarity and self-assurance while creating motivation for collective action.
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Porto, Geraldo 1950. "Geraldo Porto = uma participação na arte contemporânea do Brasil no contexto da contracultura dos anos sententa." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284449.
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Orientador: Marco Antonio Alves do ValleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Neste trabalho são comentadas as exposições e participações de Geraldo Porto nos Salões oficiais de Arte Contemporânea do Brasil desde 1966, destacando o ano de 1974, quando conquistou o reconhecimento da crítica especializada pela sua obra artística. É privilegiada uma análise de sua atuação no movimento de contracultura e de suas curadorias de "Arte Incomum" com a apresentação dos registros documentais e publicações na imprensa. Geraldo Porto participou e refletiu criticamente sobre a Arte Contemporânea, contribuindo para a História da Arte em Campinas e no Brasil neste período de rupturas e transgressões no Brasil e no mundo. Teve as suas obras selecionadas pelos mais atuantes e destacados críticos de arte da época, como Mário Schemberg, Walter Zanini, Roberto Pontual, Olívio Tavares de Araujo, Márcio Sampaio, José Roberto Teixeira Leite, Frederico de Morais, Aracy Amaral, Wolfgang Pfeiffer, José Geraldo Vieira, Mário Barata, Waldemar Cordeiro e Walmir Ayala, entre outros. A tese apresenta um breve relato do seu trabalho como monge beneditino, pesquisador, curador e professor de arte na Universidade Estadual de Campinas desde 1984
Abstract: This work discusses the exhibitions and participating in the Expositions of Contemporary Art in Brazil of Geraldo Porto since 1966, highlighting the year 1974, when he gained recognition from critics for his artistic work. It's an insider analysis of his performance in the counterculture movement and his researches of "Art Unusual", with the presentation of documentary records and publications in the press. Geraldo Porto took part and reflected critically on Contemporary Art, contributing to the History of Art in Campinas in Brazil during this period of disruption and transgressions in Brazil and worldwide. He had their works selected by the most active and prominent art critics of the time as Mario Schemberg, Walter Zanini, Roberto Pontual, Olívio Tavares de Araújo, Márcio Sampaio, José Roberto Teixeira Leite, Frederico de Morais, Aracy Amaral, Wolfgang Pfeiffer, José Geraldo Vieira, Mário Barata, Waldemar Cordeiro and Walmir Ayala, among others. The thesis presents a brief account of his work as a Benedictine monk, researcher, curator and art teacher at the State University of Campinas in 1984
Doutorado
Artes Visuais
Doutor em Artes
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Boroff, Kari. "Was the Matter Settled? Else Alfelt, Lotti van der Gaag, and Defining CoBrA." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586786734877754.
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O'Shea, Susan Mary. "The art worlds of punk-inspired feminist networks : a social network analysis of the Ladyfest feminist music and cultural movement in the UK." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-art-worlds-of-punkinspired-feminist-networks--a-social-network-analysis-of-theladyfest-feminist-music-and-cultural-movement-in-the-uk(5d20bada-4101-47be-9442-c58cefe18e4d).html.
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Riot Grrrl, Girls Rock camps and Ladyfest as social movements act as intermediaries in cultural production spaces, where music focused artefacts are made, collaborations forged, distribution networks established and reception practices enacted to create new conventions which can be understood as feminist art worlds. The growing literature on gender and cultural production, particularly in music communities such as Riot Grrrl, frequently speak of networks in qualitative narrative terms and very little is known about Ladyfest as a feminist movement and as a distribution network. This thesis offers an original contribution to cultural sociology by: employing a novel participatory action research approach to gathering social network data on translocal feminist music based cultural organisations; exploring how these networks can challenge a gendered political economy of cultural production in music worlds; understanding who participates and why; investigating how network structures impact the personal relationships, participation and collaboration opportunities for those involved. Engaging with Howard Becker’s Art Worlds theory as a framework, this thesis explores how music and art by women is produced, distributed and received by translocal networks. It takes into account contemporary issues for feminist music-based communities as well as the historical and international context of these overlapping and developing social movements. The literature suggests that one of the most pressing tasks for a sociology of the arts is to understand how organisational structures negotiate the domains of production, distribution and reception, with distribution modes being the most the most under-researched of the three. By focusing on UK Ladyfest festivals as case study sites, this research serves to address these gaps. Primary data sources include on-line social media, surveys, documents, focus groups and multi-mediainterviews. Findings indicate that those involved with Ladyfest tend to be motivated by a desire to challenge gender inequalities at a local level whilst drawing on local and international movements spanning different time periods and drawing on the works of feminist musicians. Homophily and heterophily both have important roles to play in the longitudinal development of Ladyfest networks. Participants show an awareness of intersecting inequalities such as ethnicity, class and disability with sexuality playing an important underlying role for the development of relationships within the networks. For some, Ladyfest involvement is a gateway into feminist activism and wider social and cultural participation, and for many it leads to lasting friendships and new collaborative artbased ties.
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Conceição, Carlos Augusto Ribeiro da. "Koonsland-comércio de duplos." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29838.
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Dias, Fernando Paulo Leitão Simões Rosa. "Ecos expressionistas na pintura portuguesa (1910-1940)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1996. http://dited.bn.pt:80/29877.
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Pereira, Teresa Matos. "A primitividade do ver ou a renúncia da razão na arte do primeiro modernismo em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30084.
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Magacho, Larissa Nobre [UNESP]. "Pesquisa em educação ambiental e movimentos sociais: um estudo sobre teses e dissertações brasileiras." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152027.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A presente pesquisa tem por objetivo investigar as relações entre movimentos sociais e Educação Ambiental (EA) que têm sido estabelecidas nas teses e dissertações brasileiras em EA. Foi realizada uma pesquisa documental qualitativa do tipo “estado da arte” que se insere no âmbito do “Projeto EArte”. Dos trinta e dois trabalhos que constituíram o corpus documental desta pesquisa, a maioria são dissertações de mestrado, desenvolvidas principalmente a partir dos primeiros anos do segundo milênio. A maioria das pesquisas foram desenvolvidas em IES públicas, em todas as regiões do país, embora predomine as regiões sudeste e nordeste, com a mesma quantidade de pesquisas e apenas uma pesquisa na região norte. Além disso, observou-se que as teses e dissertações vêm sendo produzidas, em sua maioria, nos PPGs vinculados às áreas básicas de Educação e Ciências Ambientais vinculados a estas áreas, a maioria dos trabalhos foram desenvolvidos em Programas de Pós-Graduação (PPG) em Educação e Educação Ambiental. Com a mesma quantidade de trabalhos desenvolvidos no PPG em EA, destacou-se o Programa de Pós-Graduação em Desenvolvimento e Meio Ambiente (PRODEMA). Em muitos casos, não foi possível identificar os referenciais teóricos e daqueles que explicitaram, houve predominância dos referenciais histórico-críticos e com menor expressividade, os pós-modernos. Todas as pesquisas foram desenvolvidas a partir da abordagem qualitativa, com predominância de pesquisas documentais e de abordagens metodológicas participativas, ainda que com alguns equívocos conceituais sobre tais tipos de pesquisa.Foram identificadas teses e dissertações que tiveram como objeto de estudo o movimento ambientalista, os movimentos sociais campesinos e o movimento feminista. Representados nessa pesquisa pelo MST e pelo MAB, para algumas pesquisas que tem como objeto de estudo os movimentos sociais campesinos, a EA é “intrínseca” aos movimentos e para outros, ela vem sendo construída, seja devido aos fatores externos seja aos fatores internos dos movimentos em questão. Na maioria dos trabalhos foi adotado o referencial da EA crítica ou transformadora, condizendo com os referenciais teóricos adotados nas pesquisas e com as características dos movimentos sociais analisados. Além disso, foram recorrentes as contribuições da EA para os movimentos sociais analisados e também dos movimentos sociais para a construção da EA em sua perspectiva crítica. Sendo assim, consideramos que a relação entre EA e movimentos sociais ocorre de forma dialética em que ambos se transformam e são favorecidos. Cabe ressaltar, no entanto, que existem desafios a serem superados para a construção dos diálogos, como algumas pesquisas que discutem práticas de cunho exclusivamente intervencionista da EA em assentamentos acompanhados por movimentos sociais, configurando certo pragmatismo para a EA. Esperamos que com estes conhecimentos construídos, seja possível o estreitamento das relações entre o campo de pesquisa da educação ambiental e dos movimentos sociais e embora com suas especificidades e desafios a serem superados, caminham em resistência às injustiças socioambientais e buscam a transformação da realidade imposta.
This research aims at invetigating the relations between the social moviments and the Environmental Education that have been being established in brazilians thesis and dissertation in Environmental Education. A qualitative reasearch was made, documental kind of “state of art” that is into the proect “EArte”.From the thirty-two paperworks that constitute the documental corpus, the majority are master’s degree dissertation, developed mainly from the year of 2001. Most of these researches were developed in public IES, in all brazilian regions, although there is a predominance of the southeast and northeast regions with the same number of reseraches and only one from the North region. Besides, it was observed that the thesis and dissertation have been being produced, most of them, at PPGs linked to the basic áreas of Education and Environmental Sciences, being the most part developed in Post Graduation Programs (PPG) in Education and Environmental Education. With the same quantity of paperworks developed at PPG and EA, the Post Graduation Program in Developing and Environmet (PRODEMA) was highlighted. In many cases, it was not possible to identify the theoretical references adopted and among the ones that affirmed, there was predominance of historical-critics references and with less expressiveness, the post modern. All researches were developed from the qualitative approach, with predominance of documental researches and participative methodological approaches, even if there were some conceptual mistakes about these kinds of researches, constituting the “theoretical miscelanious”. Thesis and dissertation which aimed at environmental movement, countryside social moviments and feminists movements were identified. The countryside social movements had more expressiveness in documents analysed and, for some researches, the EA is “intrinsic” to the movements and, for others, it has been being built, due to external factors or intern factors from the movements we have been talking about. In most of the analysedpaperworks, the referencial of the critic EA or changing was adopted, conform to the theoretical referencials adopted by the authors and to the social movements characteristics that were the research focus. Besides, the EA contributions to the movements that fight for other ways of relations between the society and nature and also from the social movements to the construction of the EA in its critical perspective were frequent. Therefore, if we considered the relation between the EA and social movements in the analysed documents, it happens in a dialectical way, in which both of them are transformed and are favored. It is importante to say, however, that there are challenges to be overcome to the dialogue construction, as some researches that discuss interventionist practices from EA in settlements followed by social movements, setting some pragmatismo to the EA. We hope that the constructed knowledge, through this dissertation, can contribute to the narrowing of the relations between the environmental educational reserch field and the social movements that, however there are their own specificities and challenges to be overcome, walk in resistence to the sócio environmental injustices and look for the current sócio economic reality changes.
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.
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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.
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Bonde, Sara Nielsen. "Essay : Danmark - Uforudsigelighed og Fældede træerMexico - Fossils from FutureIsland - Landskaber og turist ambivalensTromsø - Begravede GravsteneSverige - Ledeblokke og bevægelse." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-455.
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Der er ingen undoing i bioheden, der sker bare noget nyt. Går noget under, kommer noget nyt frem af det gamle. Vi har glemt at vi selv har gået under mange gange. Vi bygger huse ovenpå glemte samfund, som Mexico Citys opbyggelse af de gamle atzekertempler. Vi bygger alting oven på hinanden, lag på lag på lag, og det nye gemmer det gamle. Men under os ligger der stadig spor fra det der er født og forgået før os. Arkæologer og palæontologer graver brudstykker frem og vi er fastlåst i vores forestillinger. Er det først gravet op, kan vi ikke lægge det tilbage. Vi kan bare lede efter mere. Indtil vi finder ruinerne af os selv. Bioheden varer ved.
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Bettis, Robert J. "Herbert Smenner : Muncie eclectic." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313955.
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Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments.Department of Architecture
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Koh, Adam Byunghoon. "Black Dionysus classical iconography and its contemporary resonance in Girodet's Portrait of Citizen Belley /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 84 p, 2008. http://proquest.umi.com/pqdweb?did=1605135741&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.
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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.
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Fando, Morell Anna. "Art, curadoria i polítiques culturals des dels feminismes: una anàlisi de la Mostra FemArt (1992-2018)." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/670993.
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La present tesi consisteix en una anàlisi de la Mostra FemArt que parteix de la sistematització del seu arxiu, considerant tant els seus agents i les seves pràctiques artístiques o curatorials, com la seva trajectòria política. La recerca consisteix en recopilar, reconstruir, situar aquest material d’arxiu en un context teòric, històric i vivencial que explora les interseccions dels espais culturals i dels espais feministes de la ciutat de Barcelona i també en comentar críticament les tensions entre l’ideari feminista i la institució art, la connexió del projecte amb les diverses corrents feministes i les experiències personals de les artistas vinculades a l’activisme feminista. La comparació del marc teòric, compost per estudis culturals, crítica i teoria artístiques, estudis de gènere i teoria feminista, amb el cas d’estudi del projecte FemArt és el principal exercici que articula la investigació.
La Mostra FemArt és una mostra d’art fet per a dones, lesbianes i trans, impulsada des de l’associació Ca La Dona l’any 1992, una iniciativa artística encara vigent, que planteja una exposició anual, una xarxa d’artistes i un conjunt d’activitats paral·leles. Aquesta investigació s’estructura a partir del treball de camp que recull el testimoni d’artistes, historiadores d’art, curadores i gestores culturals i a partir de la recopilació del material d’arxiu. Aquest anàlisi de FemArt aglutina les principals problemàtiques que travessen les pràctiques feministes en el sector cultural: la influència institucional en el marc cultural, l’encaix de l’activisme en l’àmbit artístic, l’ús de l’art com a transformador estratègic del sector social, el replantejament de models de treball, la distinció entre treball precari, treball voluntari i militància política, les condicions de treball de les dones en l’àmbit cultural, la desigualtat d’oportunitats de les dones artistes, els estereotips que existeixen al voltant de les mostres integrades per artistes dones i la capacitat inclusiva dels projectes feministes locals.The present thesis consists of an analysis of the FemArt Exhibition based on the systematization of its archive. It considers, both, its agents and its artistic or curatorial practices, as well as its political trajectory. This archival material has been collected, reconstructed and placed in a theoretical, historical and experiential context, exploring the intersections between cultural spaces and feminist spaces in the city of Barcelona. It critically comments on the potential and existing tensions between the feminist ideology and the Institution of Art, the connection of the project with various feminist currents and the personal experiences of artists linked to feminist activism. The main exercise that articulates the present research is the comparison of the theoretical framework, composed by cultural studies, art criticism, gender studies and feminist theory, with the FemArt project as a case study. FemArt is an art exhibition made by women, lesbians and trans, launched in 1992 by the association Ca La Dona, a still active art initiative that offers a networking space for female artists and raises an anual exhibition and other parallel activities. This thesis is structured based on fieldwork that collects the testimony of artists, art historians, curators and cultural managers, and from the collection of archival material. The analysis of FemArt brings together the main issues that feminist practices face in the cultural sector: the institutional influence on the cultural framework, the role of activism in the field of arts, the use of art as a strategic transformer of the social sector, the rethinking of work models, the distinction between precarious work, voluntary work and political militancy, the working conditions of women in the cultural system, the inequality of opportunities for women artists, the stereotypes that exist around exhibitions comprised of female artists, and the inclusive capacity of local feminist projects.
La presente tesis consiste en un análisis de la Muestra FemArt que parte de la sistematización de su archivo, considerando tanto sus agentes y sus prácticas artísticas o curatoriales, como su trayectoria política. La investigación consiste al recopilar, reconstruir, situar este material de archivo en un contexto teórico, histórico y vivencial que explora las intersecciones de los espacios culturales y de los espacios feministas de la ciudad de Barcelona y también en comentar críticamente las tensiones entre el ideario feminista y la institución arte, la conexión del proyecto con las diversas corrientes feministas y las experiencias personales de las artistas vinculadas al activismo feminista. La comparación del marco teórico, compuesto por estudios culturales, crítica y teoría artística, estudios de género y teoría feminista, con el caso de estudio del proyecto FemArt es el principal ejercicio que articula la investigación. La Muestra FemArt es una muestra de arte hecho por mujeres, lesbianas y trans, impulsada desde la asociación Ca La Dona en 1992, una iniciativa artística todavía vigente, que plantea una exposición anual, una red de artistas y un conjunto de actividades paralelas. Esta investigación se estructura a partir del trabajo de campo que recoge el testigo de artistas, historiadoras de arte, curadoras y gestoras culturales y a partir de la recopilación del material de archivo. Este análisis de FemArt aglutina las principales problemáticas que atraviesan las prácticas feministas en el sector cultural: la influencia institucional en el marco cultural, el encaje del activismo en el ámbito artístico, el uso del arte como transformador estratégico del sector social, el replanteamiento de modelos de trabajo, la distinción entre trabajo precario, trabajo voluntario y militancia política, las condiciones de trabajo de las mujeres en el ámbito cultural, la desigualdad de oportunidades de las mujeres artistas, los estereotipos que existen alrededor de las muestras integradas por artistas mujeres y la capacidad inclusiva de los proyectos feministas locales.
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Barush, Kathryn R. ""Every age is a Canterbury pilgrimage" : art and the sacred journey in Britain, c. 1790-1850." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:63e1545c-1362-4bc3-bbc3-b950eecf7c70.
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This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scrip functioned as temporal reminders of a promised land to come, as mediated through artistic practice. Through a close analysis of a range of interrelated visual sources, I contend that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. This study draws out the various levels at which pilgrimage engaged the visual imagination. In doing so it offers a detailed perspective on the conjunction of content, form, meaning, and process for artists and theorists, as notions of the transfer of ‘spirit’ from sacred space to represented space re-emerged as a key aspect of the theological and artistic discourse of the period. Chapter 1 outlines the antiquarian dissemination of medieval pilgrimage texts and images. I suggest that an awareness of pilgrimage as embodying the real and imagined emerged with the recovery of allegorical texts, histories of actual pilgrimages, and an interest in pilgrimage souvenirs. The discussion moves on to intersections between pilgrimage and religious art in Chapters 2 - 4, including the idea of painting as pilgrimage, as demonstrated through specific case studies, and the refashioning of relics and religious ruins as contemporary sites of pilgrimage (Chapter 5).
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Zaccarelli, Christina de Toledo. "Ocupar, resistir e conquistar! : as ocupa??es secundaristas de 2015 e poss?veis efeitos de sentido." Pontif?cia Universidade Cat?lica de Campinas, 2018. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/1106.
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This work enrolled in the interdisciplinary master LIMIAR ? Languages, media and arts ? aims to understand the meaning of the November 2015 student occupations in S?o Paulo, through three pillars: the discursive analysis of the episode, from theoretical references such as Foucault and Derrida, the study of media based on Chomsky, and the analysis of materials produced by students, brought up by Canevacci, so that through the cartography method of Deleuze and Guattari, we can understand the issue of occupations from different views and perspectives. We expect to bring reflections on the memory of the student movement and the way discursive memory of occupations has been built ? crossed, legitimized and re-signified by the discourse of the media. We also hope to bring reflections if it is possible to think of occupations as an event, from Foucault?s and Derrida?s viewpoint, in order to understand the effects of meaning that these events produced on the construction of the memory of the student movements in History, their differences and similarities.
Este trabalho, inscrito no mestrado interdisciplinar LIMIAR ? Linguagens, m?dia e arte ? pretende compreender o significado das ocupa??es estudantis de novembro de 2015 em S?o Paulo atrav?s de tr?s pilares: a an?lise discursiva sobre o epis?dio, a partir de refer?ncias te?ricas como Foucault e Derrida, o estudo do enfoque da m?dia, a partir de Chomsky, e a an?lise de material produzido pelos estudantes, a partir de Canevacci, para que, atrav?s do m?todo rizom?tico que tem na cartografia de Deleuze e Guattari seu principal instrumento, possa-se compreender a quest?o das ocupa??es por diferentes olhares e perspectivas. Espera-se trazer reflex?es sobre a mem?ria dos movimentos estudantis, bem como a maneira pela qual foi constru?da a mem?ria discursiva das ocupa??es ? atravessada, legitimada e ressignificada pelo discurso das m?dias. Busca-se, ainda, refletir se ? poss?vel pensar nas ocupa??es como acontecimento, a partir de Foucault e Derrida, a fim de entender os efeitos de sentido que estas manifesta??es produziram para a constru??o da mem?ria sobre os movimentos estudantis na hist?ria, em suas diferen?as e similaridades.
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Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.
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This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. CopyrightDissertation (MMus)--University of Pretoria, 2010.
Music
unrestricted
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.
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Rosa, Pedro Miguel Aparício Alves. "O cartaz de propaganda do Estado Novo-1930-1940." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29361.
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Nore, Miko, and Caspar Westerberg. "Robotic Arm controlled by Arm Movements." Thesis, KTH, Skolan för industriell teknik och management (ITM), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-264509.
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In recent decades human workers in manufacturing and overall industry have largely been replaced with robots and automated machines, but there are still plenty of tasks where human cognition is necessary. This paper presents the development of a wireless robotic arm controlled by a human arm, allowing both for the combination of a robotic arms strength to be combined with a humans cognition, and also for a human to execute dynamic tasks without being present. An application suited for work in toxic or otherwise harmful environments. This was accomplished by using a controller in the form of an exo-skeleton attached to the operators right arm and connected to the robotic arm through a transmitter. The controller measures the movements in each joint using potentiometers and the robotic arm mimics these movements. A glove with a flex sensor on the index finger was then attached to the controller to measure the finger motions. All the information containing the angle of rotations are sent wirelessly to the robotic arm using Arduino Uno and transceiver modules. The robotic arm received the information through another set of Arduino Uno and transceiver module which made each servomotor on the robotic arm to move accordingly. The result showed that the robotic arm could imitate the operator’s arm very well and was able to grab and move dierent objects with dierent weight and surfaces. The wireless control was reliable and could control the robotic arm while being in a dierent room, making it possible to use this robot for harmful environments for humans.Under senare årtionden har mänskliga arbetare inom tillverkning och industri över lag i stor utsträckning ersatts av robotar och automatiserade maskiner, men det finns fortfarande uppgifter som kräver mänsklig tankeförmåga. Denna rapport presenterar utvecklingen av en trådlös robotarm styrd av en människas arm, vilket möjliggör både att kombinera en maskins styrka med en människas intelligens, samt för en människa att utföra dynamiska uppgifter utan att vara närvarande. En applikation lämplig för arbete i farliga miljöer. Detta uppnåddes med en styrenhet i form av ett exo-skelett fastsatt på operatörens högra arm och kopplad till robotarmen genom en sändare. Styrenheten mäter rörelserna i varje led med potentiometrar och robotarmen härmar dessa rörelser. En handske med en flexsensor på pekfingret fästes sedan på styrenheten för att mäta fingerrörelsen. All information som innehåller vinklar skickas trådlöst till robotarmen med hjälp av Arduino Uno och transceiver moduler. Robotarmen mottog informationen via en annan uppsättning Arduino Uno och transceiver modul som fick varje servomotor på robotarmen att rotera i enlighet. Resultatet visade att robotarmen kunde imitera operatörens arm väl och kunde bära olika föremål med olika vikter och ytor. Den trådlösa styrningen var pålitlig och kunde styra robotarmen från ett annat rum, vilket gör det möjligt att använda denna robot i skadliga miljöer för människor.
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Wachsmann, Emily Brook. "Social Movements, Subjectivity, and Solidarity: Witnessing Rhetoric of the International Solidarity Movement." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12211/.
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This study engaged in pushing the current political limitations created by the political impasse of the Palestinian-Israeli conflict, by imagining new possibilities for radical political change, agency, and subjectivity for both the international activists volunteering with the International Solidarity Movement as well as Palestinians enduring the brutality of life under occupation. The role of the witness and testimony is brought to bear on activism and rhetoric the social movement ISM in Palestine. Approaches the past studies of the rhetoric of social movements arguing that rhetorical studies often disassociated 'social' from social movements, rendering invisible questions of the social and subjectivity from their frames for evaluation. Using the testimonies of these witnesses, Palestinians and activists, as the rhetorical production of the social movement, this study provides an effort to put the social body back into rhetorical studies of social movements. The relationships of subjectivity and desubjectification, as well as, possession of subjects by agency and the role of the witness with each of these is discussed in terms of Palestinian and activist potential for subjectification and desubjectifiation.
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Wachsmann, Emily Brook Lain Brian. "Social movements, subjectivity, and solidarity witnessing rhetoric of the international solidarity movement /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12211.
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Whitaker, Pamela. "The art of movement : the Deleuze and Guattari art therapy assemblage." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14908/.
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The purpose of this thesis is to showcase the philosophical and psychoanalytic collaboration of Gilles Deleuze and Felix Guattari in regards to art therapy. The Deleuze and Guattari Art Therapy Assemblage is a composition that includes the environmental, relational and material elements of art therapy as contexts in which to process subjectivity. Key Deleuze and Guattari concepts will be applied to the practice of art therapy, implicating somatic and psychological processing within the production of art therapy artworks. The generative capacity of art therapy constitutes many creative sites in which to transport subjectivity. Rather than a fixed form, subjectivity moves across a territory of different creative features. The cartography of subjectivity is a network of passages through relationships and contexts that implicate it with affects. This kinaesthetic capacity will be underscored in relation to three methods of psychological and somatic awareness (somatic psychology, performance art and authentic movement) that challenge inhibition through improvisation. These three methods stimulate the circulation of desire as a creative and collective enunciation of subjectivity. Deleuze and Guattari represent desire as a liberating potential acting on both body and mind - an opening commencing from constraining circumstances that define and enclose expression. This has specific implications for the treatment of trauma, which can impose a set of limits that condition reactive versus spontaneous responses. The Deleuze and Guattari Art Therapy Assemblage is a practice in which to stimulate improvisational and experimental affects within the making and viewing of artworks. The significance of this practice is its composite of influences. It is an approach that emphasises not only artworks, but also the performance of subjectivity, a happening within an art therapy space offering choices for engagement and the enactment of different somatic and psychological potentials.
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Butcher, Lorena Sun. ""I am My Art; My Paintings are Me;: An Exploration of the Relationship Between the Art and Life of Irene Chou." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367682.
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Among the founding members of the New Ink Painting Movement in Hong Kong in the 1960s, Irene Chou (1924–2011) went the furthest in transcending the traditional boundaries of Chinese ink painting. One outstanding feature of Chou’s long career as an artist was that from the beginning of her career to the very end of her life, she continuously shifted from one style of painting to another. After painting sexually charged “landscape paintings”, she began painting line paintings. Just as she became known for her line paintings, Chou abruptly shifted to piled ink paintings. After she moved from Hong Kong to Brisbane, she shifted from painting on the traditional medium of xuan paper to painting on silk, board, satin, and even canvas and ming paper. As Chou’s work shifted from one medium to another, it became increasingly colourful. Some of her work even verged on being psychedelic. At that point, a critic warned her that she was painting herself into a dangerous zone. Why, this thesis asks, did Chou keep making so many shifts in her work, even though in some cases they appeared to put her career at risk? Most attempts to explain the shifts in Chou’s work have attributed particular shifts in her work to certain major events in her life. For example, her shift from the dark piled ink paintings to the brighter impact structural stroke paintings has been seen as the result of her getting over the death of her husband. Likewise, after her stroke, her shift from painting on xuan paper to painting on hemp paper with a greater use of colour was viewed by one critic as the result of Chou’s celebration of a new lease on life. This study demonstrates that there was no one-to-one relationship between the shifts in her work and the major events in her life.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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NIESSEN, BERTRAM MARIA. "Going Commercial. L'integrazione degli artisti dall'underground al mainstream." Doctoral thesis, Università degli Studi Milano-Bicocca, 2009. http://hdl.handle.net/10281/12322.
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The research analyses the processes of artist's integration from underground scenes and social movements to mainstream markets in Milan and Berlin, focusing on the transformations of urban contexts in the age of post-fordism.
In the first chapter, the author takes into account the various theoretical frameworks of the studies on integration, considering the social movements studies approach (Castells and Pruijt), the subcultural studies approach (Cohen and Hebdige), the approach of the artistic critique developed by Boltanski and Chiappello and the studies on symbolic and subcultural capital (Bourdieu, Harvey an Thornton). The second chapter defines the methodological paths of the research, identifying four main urban variables that have been hypotisized as transforming factors related to integration (urban market, real estate, mobilisation cycles and institutional paths) and establishing definitions for the main topics (creative industries, underground, mainstream, new media arts). Chapter three and four are the ethnographic reports of the fields of Milan and Berlin: the main focuses here are on how the four urban variables have influenced integration paths, biographies and choices of activists and artists. In the analytical chapter the author reflects on the relationship between urban spaces, windows of opportunity, collective symbolic capital, subcultural identity and integration; here, there is a deepening on the relationships between transformations in urban economy, flexibility in labour markets and subcultural social cohesion. In the conclusions, the author optimises and re-defines the variables and suggests a general scheme for the interpretation of integration paths.
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Kryzhanouski, Yauheni. "Contester par la musique sous régime autoritaire : rock et politisation en Biélorussie." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG040.
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Cette thèse examine la politisation dans un régime autoritaire à travers l’étude de deux mouvements rock contestataires en Biélorussie. Le rock « national » s’est constitué en tant que mouvement artistique dans les années 1980 autour de la production de la musique contemporaine d’inspiration occidentale chantée en langue biélorusse et de la promotion d’une vision hétérodoxe de l’« identité nationale ». Le tournant autoritaire des années 1995-1996 a provoqué la repolitisation contestataire de ce mouvement artistique. Les acteurs du rock « national » continuent de revendiquer le statut « underground » tout en aspirant à la professionnalisation dans le cadre du système de production commercial. C’est aussi au milieu des années 1990 qu’un autre mouvement contestataire se constitue – le rock anarcho-punk DIY imprégné des conventions du modèle Do it yourself internationalisé. Ce mouvement proche des groupements anarchistes prône l’amateurisme, la production artistique restreinte et le radicalisme des prises de position. Sur l’exemple de ces deux mouvements artistiques, la thèse étudie les logiques de politisation et les modes de contestationBased on a study of two protest rock movements in Belarus, this thesis examines the phenomenon of politicisation in an authoritarian regime. The “national” rock emerged in the 1980s as a modern artistic movement inspired by Western music conventions. Singing in Belarusian, this scene aspired to promote a heterodox vision of “national identity”. The authoritarian turn in 1995-1996 provoked protest re-politicisation of this artistic movement. “National” rock musicians continued to claim the “underground” status, while aspiring to professionalisation and commercial production. Against the backdrop of the authoritarian change, another protest movement emerged in the mid-1990s. Following the internationalised Do-It-Yourself model, the DIY anarcho-punk is closely linked to anarchist groups and promotes amateurism, limited artistic production and radical political expression. Based on the example of the two artistic movements, this thesis studies the logics of politicisation and the modes of political protest
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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.
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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.
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Li, Ting. "Art Center." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53954.
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For any artist, imagination is a powerful and necessary instrument for everyday creation. It is like a magical engine that drives the artist forward. But what is imagination? How do we keep this engine running nonstop?
According to the Italian philosopher Giovan Battista Vico, imagination is nothing but extended or compounded memory, imagination is nothing but the springing up of reminiscences, and ingenuity or invention is nothing but the working over of what is remembered.So we can easily understand that people create or invent things out of what they have seen, what they have experienced, and what they have engaged with their own bodies.
In my thesis, I'm not competing with the artists in imagination or creation, but I'm trying to offer them this architectural environment that would be transfigured into memory through senses. The artists living and working in this tower building are encouraged to move vertically through stairways and vertically aligned public spaces. By engaging the body and senses in this vertical movement, the artists would find their way out of the urban canyon to the sky of imagination. They would also be able to live lightly above the bustling world of reality.Master of Architecture
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Hardwick, David R., and na. "Factors Associated with Saccade Latency." Griffith University. School of Psychology, 2008. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20100705.111516.
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Part of the aim of this thesis was to explore a model for producing very fast saccade latencies in the 80 to 120ms range. Its primary motivation was to explore a possible interaction by uniquely combining three independent saccade factors: the gap effect, target-feature-discrimination, and saccadic inhibition of return (IOR). Its secondary motivation was to replicate (in a more conservative and tightly controlled design) the surprising findings of Trottier and Pratt (2005), who found that requiring a high resolution task at the saccade target location speeded saccades, apparently by disinhibition. Trottier and Pratts finding was so surprising it raised the question: Could the oculomotor braking effect of saccadic IOR to previously viewed locations be reduced or removed by requiring a high resolution task at the target location? Twenty naïve untrained undergraduate students participated in exchange for course credit. Multiple randomised temporal and spatial target parameters were introduced in order to increase probability of exogenous responses. The primary measured variable was saccade latency in milliseconds, with the expectation of higher probability of very fast saccades (i.e. 80-120ms). Previous research suggested that these very fast saccades could be elicited in special testing circumstances with naïve participants, such as during the gap task, or in highly trained observers in non-gap tasks (Fischer & Weber, 1993). Trottier and Pratt (2005) found that adding a task demand that required naïve untrained participants to obtain a feature of the target stimulus (and to then make a discriminatory decision) also produced a higher probability of very fast saccade latencies. They stated that these saccades were not the same as saccade latencies previously referred to as express saccades produced in the gap paradigm, and proposed that such very fast saccades were normal. Carpenter (2001) found that in trained participants the probability of finding very fast saccades during the gap task increased when the horizontal direction of the current saccade continued in the same direction as the previous saccade (as opposed to reversing direction) giving a distinct bimodality in the distribution of latencies in five out of seven participants, and likened his findings to the well known IOR effect. The IOR effect has previously been found in both manual key-press RT and saccadic latency paradigms. Hunt and Kingstone (2003) stated that there were both cortical top-down and oculomotor hard-wired aspects to IOR. An experiment was designed that included obtain-target-feature and oculomotor-prior-direction, crossed with two gap level offsets (0ms & 200ms-gap). Target-feature discrimination accuracy was high (97%). Under-additive main effects were found for each factor, with a three-way interaction effect for gap by obtain-feature by oculomotor-prior-direction. Another new three-way interaction was also found for anticipatory saccade type. Anticipatory saccades became significantly more likely under obtain-target-feature for the continuing oculomotor direction. This appears to be a similar effect to the increased anticipatory direction-error rate in the antisaccade task. These findings add to the saccadic latency knowledge base and in agreement with both Carpenter and Trottier and Pratt, laboratory testing paradigms can affect saccadic latency distributions. That is, salient (meaningful) targets that follow more natural oculomotor trajectories produce higher probability of very fast latencies in the 80-120ms range. In agreement with Hunt and Kingstone, there appears to be an oculomotor component to IOR. Specifically, saccadic target-prior-location interacts differently for obtain-target-feature under 200-ms gap than under 0ms-gap, and is most likely due predominantly to a predictive disinhibitory oculomotor momentum effect, rather than being due to the attentional inhibitory effect proposed for key-press IOR. A new interpretation for the paradigm previously referred to as IOR is offered that includes a link to the smooth pursuit system. Additional studies are planned to explore saccadic interactions in more detail.
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Anderson, Raymont Lee. "COMBAT DANCE:A CREATIVELY HOLISTIC APPROACH TO MOVEMENT PERFORMANCE ART." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/879.
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"Combat Dance" is an eclectic blend of combat and dance art forms combined and taught from the Fall 2001 to Spring 2003. As defined here, combat dance is a blend of techniques and principles gleaned from both unarmed and armed aspects of stage combat, martial arts (such as aikido and kung fu), modern dance and other expressive movements used to tell a story of conflict. Its primary purpose is to provide both actors and non-actors greater awareness and control of their bodies and to provide a range of creative avenues of expression. Combat dance gives the performers a unique and holistic set of exercises and skills that leave no part of the body, mind, or - even deeper - the spirit uninfluenced. The thesis begins with the vision and birth of the class, a description of the preparatory research, an analysis of the reasons for the class, and reflection, revelations, and realizations gained through teaching the class. The ultimate focus of this thesis is to aid anyone interested in any type of combat or dance-related movements: dancers, non-dancers, actors, non-actors, movement coaches, and even those in the fields of dance or drama therapy.
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Steidinger, Anja. "Auto-representaciones del malestar. De la autobiografía de los trabajadores en el siglo XIX hasta la ocupación de las plazas (no nos representan)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/145862.
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La investigación de tesis aqui presentada se base en dos preguntas claves: ¿Cómo se auto-representan las personas afectados por un malestar y qué prácticas artísticas se emplean para ello? ¿Cuáles son las transformaciones que provocan estas prácticas artísticas en el terreno audiovisual y la realidad social? De la autobiografía de los trabajadores en el siglo XIX hasta la crisis actual analizamos diferentes casos de estudios y medios de comunicación (textos, cine, video, social media 2.0).
Guiada por estas preguntas, sigo dos líneas de investigación: por una parte, trato de revisar las transformaciones en la historia del sistema capitalista de producción que generan nuevas formas de explotación y diferentes formas de malestar (p.ej. precariedad, exclusión, invisibilidad), para después examinar, por otra, las prácticas sociales y artísticas que se forman en este contexto cuando los afectados se auto-organizan.
Mis investigaciones se centran en las auto-representaciones individuales, y al mismo tiempo colectivas, que se caracterizan por procesos de politización que intervienen en la propia vida cotidiana para transformarla.
Partiendo de las representaciones del yo, de la vida cotidiana, de los géneros, de las relaciones en el medio laboral y vital, intentaré definir los nuevos malestares sociales que podemos resumir de forma genérica como condiciones de vida precarizadas.
Comienzo el trabajo con el análisis de textos autobiográficos, películas, vídeos y páginas de Internet, y concluyo con el de acciones en la calle. De esta manera reviso distintas posibilidades mediáticas de la auto-representación que evidencian tanto los desarrollos tecnológicos, como la complejidad de la comunicación de malestar.
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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
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Mincher, Sally. "The Chicano art movement in American art history : post-1970s evolutions in the Los Angeles context." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573017.
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The history of the Mexican American population of the United States has involved a succession of socio-political phases since the beginning of the twentieth-century. One phase termed the 'Chicano era' emerged in mid-century culminating in the 1960s period of civil-rights activism. In this unified social movement acting for change of the historical situation of oppression, the crucial role of the arts contributed to the formation of the Chicane art movement. This thesis concerns developments in Chicano art production following the civil rights era from the 1970s to the present day. Through its examination of the complexities of the strategic purpose of Chicano cultural production this thesis critiques established narratives of the genealogy of art history. It addresses how the Chicano art movement has contributed to a dismantling of late twentieth-century rigid paradigmatic art-historical structuring and has continued to generate a critique of the social system of the United States. This central premise draws on formative theoretical and ideological perspectives in the fields of Chicano Studies, Border Studies, postcolonial theory and cultural theory. Focusing on the California region and the urban centre of Los Angeles, it selectively examines the philosophical approaches and methodologies of individual artists and collaborative groups relative to transitional social processes and ongoing cultural evolutions in this growing heterogeneous community. This examination of the trajectory of the Chicano art movement into the twenty-first century indicates its significance for a future generation of artists.
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Lindström, Johan, and Adrian Sonnert. "Authentication system based on hand-arm-movements." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130864.
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This study treats behavioral biometric authentication, and its focus is on creating an application that uses hand-arm-movements to identify users. The systemis modelled to achieve a minimal false rejection rate (FRR) and false acceptance rate (FAR). Experiments featuring several test subjects performing hand-arm-movements using our device were performed in order to gauge the FRR and FAR of our system. The FRR and FAR achieved were 35% and 15.8%, respectively. The study concludes that hand-arm-movements may be useful for authentication, but further research is required.