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Dissertations / Theses on the topic 'Art theory'
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Halsall, Francis. "Art, art history and systems-theory." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.
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Cook, Victoria Hyne, and Victoria Hyne Cook. "Autoethnographic Art; Transformative Explorations of Self within a University Art Classroom." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626321.
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Through this research study my aim was to critically examine the ways in which multimodal, autoethnographic art can enhance and expand educational experiences in general education art classrooms. The study investigates how participants’ perceptions of self and others within culture transform over a semester-long qualitative arts-based study. The study’s goal was to uncover teaching and learning strategies that help to disrupt traditional academic boundaries using autoethnography to create an engaged, cooperative university classroom environment.
The participants for this study included 77 students in a general education art and culture course and myself as the co-teacher and researcher. Autoethnographic data were collected throughout the course in the forms of art research journals, pre-and post course questionnaires, researcher field notes, recorded class discussions, on-line discussion boards, notes from one-on-one student/researcher communications and field notes from participants’ final multimodal, autoethnographic art pieces and presentations. The methods used for the study were a modified version of arts-based and grounded theoretical research models. A heavy emphasis was placed on the participants art-making and sharing their work with others in the study. The findings from the study indicated most of, many of participants experienced advancement in their understanding of self within culture and developments of new insights into the experiences and perceptions of others in the study.
Results from the study confirm a steady growth in participant engagement and development of cooperative class environment throughout the semester. This study contributes to existing scholarship on the generation of new knowledge from arts-based research models, multimodal autoethnograpy as method, teacher/student relationships in academia, and risk-taking in teacher professional development.
The findings from the study might provide support and encouragement for meaningful discussions about the significance of exploring self through art making and art sharing in academic settings. By highlighting the achievements of the use of autoethnography as a method of inquiry, this study will add to the larger discussion of teacher and student identity in art education classrooms.
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Nijsse, Jennifer Jean. "Beauty: deepening an understanding of contemporary art, art practice and theory /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.
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Heywood, Ian. "Discourses, art and the city : reading for a theory of art." Thesis, University of York, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277135.
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Nafziger-Leis, Cheryl. "Art, even after Auschwitz, Adorno's critical theory of art, religion and ideology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28025.pdf.
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El-Mecky, Nausikaä. "Dangerous art : towards a theory of organised legal attacks on European art." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648131.
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Allison, Amanda. "Critical Theory and Preservice Art Education: One Art Teacher Educator's Journey of Equipping Art Teachers for Inclusion." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6139/.
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This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond.
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Allison, Amanda Bain Christina Bittel. "Critical theory and preservice art education one art teacher educator's journey of equipping art teachers for inclusion /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6139.
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Furimsky, Erin Beth. "Erin B. Furimsky's theory of art : a personal perspective of my ceramic art /." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244059826.
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Hanzalik, Kathryn A. "Subversive Art and Institutional Vulnerability." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/64.
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George Dickie’s Institutional Theory of Art satisfies necessary and sufficient conditions for definition, but by leaving evaluation open cannot address artistic capacities to outstrip the usefulness of the theory for appreciating the concept of art comprehensively or meaningfully. Artworks that are known to members of the central and peripheral artworld seep into the general purview of the population at large as known “great works” of art. Upon examination of works that garner significant cultural influence, works broadly appreciated as great works, we find that their resistance to Dickie’s concept of “the artworld” and its associated behaviors is that which makes them conspicuously significant.
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LaFountain, Jason David. "The Puritan Art World." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11006.
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In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin's theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture.<br>History of Art and Architecture
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Richardson, Debra. "Tawheed in Islamic art : defining an aesthetic theory." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503581.
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Zimna, Katarzyna. "Play in the theory and practice of art." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6277.
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This thesis focuses on the notion of play in the theory and practice of art in the 20th and 21st centuries. I approach play both as an internal element of the concept of art (following the philosophical tradition) and as the external model for the creative process (as applied by modern and postmodern artists). The main purpose is to produce an interpretation of play that would span various, often contradictory, features of this concept and would serve to reinterpret the notion of artistic representation, traditionally linked with the vocabulary and approaches coming from the domain of work (production, mastery, preconceived outcomes, fixity, and the nature/culture dichotomy). My thesis defends representation, however, supplemented with the notion of play. In my project of highlighting the role of play in the discourse of art and aesthetics, I draw on Jacques Derrida's reading of Kant and Plato. Derrida s analysis of the logic of supplementarity in Western thought and terms such as parergon, pharmakon and undecidable, help me to argue that the ambivalence of play and the movement in between the opposites allow us to understand play as a condition of artistic representation. I also use Mihaly Spariosu's distinction between the interpretations of play as rational or prerational to inscribe play into the argument between representation and non-representation in the theory and practice of art. In terms of practice, I link the emergence of the strategy of play with the rhetorics of primitivism in modern avant-gardes from Dada to Fluxus. I analyse play as a tool of transgression and an attractive supplement of the creative process a way to activate the public and change the traditional proper function (ergon) of art. I trace the assimilation of play in recent participatory (relational, dialogic) art intended to go beyond representation. I argue that play has become a commonly used tactic and an undercurrent of today's artistic and social network. In the final discussion I reinterpret the notions of work (ergon, essence) and play (parergon, supplement) in the light of the 20th century artistic revolution. Using vocabulary and approaches coming from the domain of play (and specifically Role-Playing Game) I attempt to overcome the prejudice against the notion of representation.
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Vadamootoo, Kavi. "Theory of art therapy : dys-embodiment and embodiment." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418942.
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Jeffreys, David. "Robert Rauschenberg : art, originality and ethics." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343568.
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Pipinis, Justas. "Art as Infrastructure." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-134954.
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This paper seeks to describe and explain the social efficacy of art by addressing it as contemporary western infrastructure for social cohesion. Social cohesion refers here not to teleological status quo, but to pluralistic, yet fairly peaceful co-habitation, allowing for gradual change while preserving continuity of the group identity. Employing Actor-Network Theory, this paper views artistic practice as actor-network assemblage process making connections and vehicles that enable movement of ideas, values, visions and dissents throughout the community. Parallel memberships of the same actors in artistic and non-artistic actor-networks create conditions for artistic meanings to “bleed over” also into other spheres of the social life where they can gain efficacy far beyond the “art world”. Art infrastructure operates under particular “regime of art” that suspends some of the “real world” rules and sanctions ambiguity, facilitating less confrontational reconciliation of diverse and contradictory meanings than is customary in e.g. science, religion, politics, economy, railways, sewage or other infrastructures that also have impact on social cohesion. Debates about the definitions of “art” or particular objects’ belonging to “art” emerge in this perspective as debates on the scope of applicability of the “regime of art”, as it may have significant social consequences. By outlining an infrastructural theory of art this paper seeks to fill a theoretical gap in a rather fragmented field of anthropology of art and to propose novel ways to deploy insights from anthropological engagements with infrastructure. Empirical data of this paper come from a five weeks fieldwork in Alaska.
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Mills, Josephine Mary. "Public occupations, art theory, cultural methodology, and social change." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0015/NQ47692.pdf.
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Al-Daraiseh, Ahmad. "GENETICALLY ENGINEERED ADAPTIVE RESONANCE THEORY (ART) NEURAL NETWORK ARCHITECTURES." Doctoral diss., University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3171.
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Fuzzy ARTMAP (FAM) is currently considered to be one of the premier neural network architectures in solving classification problems. One of the limitations of Fuzzy ARTMAP that has been extensively reported in the literature is the category proliferation problem. That is Fuzzy ARTMAP has the tendency of increasing its network size, as it is confronted with more and more data, especially if the data is of noisy and/or overlapping nature. To remedy this problem a number of researchers have designed modifications to the training phase of Fuzzy ARTMAP that had the beneficial effect of reducing this phenomenon. In this thesis we propose a new approach to handle the category proliferation problem in Fuzzy ARTMAP by evolving trained FAM architectures. We refer to the resulting FAM architectures as GFAM. We demonstrate through extensive experimentation that an evolved FAM (GFAM) exhibits good (sometimes optimal) generalization, small size (sometimes optimal size), and requires reasonable computational effort to produce an optimal or sub-optimal network. Furthermore, comparisons of the GFAM with other approaches, proposed in the literature, which address the FAM category proliferation problem, illustrate that the GFAM has a number of advantages (i.e. produces smaller or equal size architectures, of better or as good generalization, with reduced computational complexity). Furthermore, in this dissertation we have extended the approach used with Fuzzy ARTMAP to other ART architectures, such as Ellipsoidal ARTMAP (EAM) and Gaussian ARTMAP (GAM) that also suffer from the ART category proliferation problem. Thus, we have designed and experimented with genetically engineered EAM and GAM architectures, named GEAM and GGAM. Comparisons of GEAM and GGAM with other ART architectures that were introduced in the ART literature, addressing the category proliferation problem, illustrate similar advantages observed by GFAM (i.e, GEAM and GGAM produce smaller size ART architectures, of better or improved generalization, with reduced computational complexity). Moverover, to optimally cover the input space of a problem, we proposed a genetically engineered ART architecture that combines the category structures of two different ART networks, FAM and EAM. We named this architecture UART (Universal ART). We analyzed the order of search in UART, that is the order according to which a FAM category or an EAM category is accessed in UART. This analysis allowed us to better understand UART's functionality. Experiments were also conducted to compare UART with other ART architectures, in a similar fashion as GFAM and GEAM were compared. Similar conclusions were drawn from this comparison, as in the comparison of GFAM and GEAM with other ART architectures. Finally, we analyzed the computational complexity of the genetically engineered ART architectures and we compared it with the computational complexity of other ART architectures, introduced into the literature. This analytical comparison verified our claim that the genetically engineered ART architectures produce better generalization and smaller sizes ART structures, at reduced computational complexity, compared to other ART approaches. In review, a methodology was introduced of how to combine the answers (categories) of ART architectures, using genetic algorithms. This methodology was successfully applied to FAM, EAM and FAM and EAM ART architectures, with success, resulting in ART neural networks which outperformed other ART architectures, previously introduced into the literature, and quite often produced ART architectures that attained optimal classification results, at reduced computational complexity.<br>Ph.D.<br>Department of Electrical and Computer Engineering<br>Engineering and Computer Science<br>Computer Engineering
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Shaw, Gary William. "Multicultural art education: a comparison of theory and practice." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299522903.
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Tofighian, Omid. "Rethinking Plato’s Theory of Art: Aesthetics and the Timaeus." Thesis, Department of Studies in Religion, 2003. http://hdl.handle.net/2123/6103.
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The Timaeus presents a fascinating account of the cosmos. It includes a creation myth that introduces the figure known as the Demiurge who, despite the fact that he is the cause of the sensible world, is reverently attributed with reason, and whose creation – the cosmos – is actually beautiful and good. In this dialogue Plato offers his readers a panorama of the universe. But just what are his intentions for this? Is his approach a precursor to the methods of natural science,1 or does the Timaeus fall under the category of theology? This thesis will discuss the outcome Plato wished to achieve by finally writing on cosmology and how the methods used to accomplish these ends reveal a more existential attitude towards aesthetics.
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Greenberg, S. L. "The hidden art of editing : theory, history and identity." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1418517/.
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This thesis addresses a gap in both popular and scholarly literature about the nature and practice of third-party editing, as a specific stage in the publishing process. The role’s invisibility reflects its inherently ambiguous and varied nature, a feature shared with other forms of mediation. This makes it difficult to study as a specific practice in its own right. The subject is therefore approached here from a deliberately varied range of perspectives to create a more clearly defined and fully rounded picture. A working definition and a set of foundational principles, described as a poetics of editing, are put into dialogue with other interpretive frameworks. Descriptions of editing practice are traced through time, following the act – not the actor – into new locations in the present, demonstrating the centrality of editing to contemporary debates about digital communication. The comparative exercise is carried into a set of semi-structured interviews, which provide fresh empirical evidence about what editing practitioners do and how they articulate their concerns. The results convey the potential of the editing perspective to provide a dynamic, creative understanding of failure and change, based on an acute awareness of both possibility and constraint. The research suggests further evaluation of the role based on comparative empirical discovery and analysis.
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Masters, Hannah L. "Art Therapy and Art History Theories, an Inquiry." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/515.
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This research uses critical theory inquiry with interviews and arts-based research to explore biases about art making in clinical art therapy practice. The literature review establishes an historical link between theoretical tenets in fields of art therapy and art history. Participants are chosen from experts in the fields of art therapy and art history. Interviews explore what art making means to each participant, utilizing both verbal and arts-based processing. The data is condensed through coding and arts-based reflection, and seven emergent themes are identified. The themes are checked with the participants for accuracy. The findings of the paper integrate the insight from the literature review with the expressed views of the participants to illuminate meaning-making processes of art. The paper concludes with identification of an “art historical lens” for practicing art therapy and discussion of treatment considerations, limitations of the study, and suggestions for further research.
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Nedkova, Iliyana. "Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice." Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.
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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there a need for distinct curatorial theory and practice of new media art underpins the hypothesis and furthermore puts the selected curatorial projects to the test. What emerges is a strong argument for the incorporation of new media art and its associated curatorship into the more encompassing entity of contemporaineity - its art, as well as its theory and practice of curating. Inspired by the method of critical reflection, Curating Contemporary Art opens with a hypothesis featuring an introduction, literature review and curatorial methodology outline. A novel notion of curatorial constituents: pre- production, production and post-production is proposed and then further investigated in relation to each of the four selected case studies. This approach provides a navigable structure for each of the three chapters. Specific issues of the curatorial constituents are highlighted under the relevant stage in each chapter. This host of curatorial issues with references to a range of appendices, including a detailed bibliography, lie at the thesis research core. The thesis ends with a synthesis or a conclusion. Overall, the thesis aims to enrich the current curatorial discourse through professional-confessional analysis of issues such as curatorial premise, theme-led practice, eo- curatorship, curatorial commissions, public commissions, funding, added value, ownership, genre and time-based notions. Here, a refreshing curatorial eye is cast on those issues in an attempt to foreground the importance of exhibition making, its theory and practice. Period-wise, the current investigation positions the thesis as part of the larger and ongoing project for curatorial historisation of the decade at the end of the 20th and at the beginning of the 21 st Centuries. It also asserts its intention to boldly go where no comprehensive curatorial study has ventured before by probing deeply into our assumptions about new media art, contemporary art and curatorship such as: is there a specific entity as curating computer based art or just curating contemporary art? Furthermore, it builds its innovative hypothesis around the three forms of relationships between the two art worlds under scrutiny: antagonistic, ambiguous and convergent, by comparing curatorial views and analysing experiences from across the two 'ideological camps'; by distinguishing between curatorial practice and curatorial theory while tracing their own origin and historical precedents. The antagonism of the mainstream art world towards new media and vice versa has contributed to the marginalisation of new media art and even its demarcation outside of the cultural mainstream. The marked ambivalence between the two fields of study is explored through the oscillating love-hate relationship which provides evidence for the reasons why the contemporary art world still sends out mixed signals of love and enmity about its digital other half. At the other end of the spectrum, the relationship between new media art and contemporary art appears much more convergent, amicable and mutually beneficial. The pioneering example set by New York's Postmasters Gallery is discussed in the self-reflective contemporary context of ARC Projects Gallery, Sofia.
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McKervill, Ceri Sylvia. "Matter and mind : a critical interrogation of art therapy theory." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602581.
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In art therapy, the UK Professional Body states that the 'art media' provide the 'primary mode of communication' (BAAT, 2004,1), yet in my review of the art therapy literature I found that considerably more focus has been placed on the one hand in exploring the artist/client's relationship with the mostly visual end product of the making process, the image or art-work, and on the other hand, in exploring the client-therapist relationship. The literature revealed clear gaps concerning the material dimension of the art therapy dynamic and the embodied nature of the communication that happens with the use of art media. My thesis interrogates the plastic, material basis of the art therapy relationship. In this way my research attempts to address the somewhat under-researched dimension of the role of materials, and relationship with art media, as the 'primary mode of communication' in art therapy. I address the implications of this material language to the psychotherapeutic relationship. My thesis contributes to knowledge across a number of dimensions, including arguing for a promotion of the importance of the relationship between the art media and the person in art therapy theory and practice. My thesis argues for materials to be recognized as agents in the making process and as protagonists in the therapeutic relationship. The thesis synthesizes literature from other cultures and disciplines, such as neuro-biological literature, to interrogate and to inform gaps in art therapy theory by rebalancing the focus to lnclude theory relevant to the making with art materials and thus acknowledging their role as protagonists in the psychotherapeutic relationship. This thesis makes a number of relevant recommendations in relation to art therapy practice, ethics, training and research.
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Hobbs, Joshua T. "A Theory of Presence: Bringing Students and Art Closer Together." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5717.
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In seeking to create a richer learning environment in a junior high art classroom, the author develops a theory of presence. Closely connected to object-centered learning, a theory of presence in the art classroom places value on students being in the presence of, interacting with, and responding to artworks, artists, and other individuals and objects from the visual arts community. The author then describes how curricular plans are influenced by this theory of presence. Using an action research methodology, the author engages in the spiral process of planning, acting, observing, and reflecting on curriculum that explores the possibilities of connecting students with objects, artifacts, and people that privilege physical interaction and presence. Guest artist visits, utilizing a local art museum, and other methods are explored as possibilities for this to be achieved.
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Prugh, Brian Joseph. "The ocean is what I meant by / theory for art." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4726.
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The thesis is composed of two major parts: part one includes a statement, images and a reflection on a body of work entitled "The Ocean Is What I Meant By." These works are constructed of layers of cut tulle mounted in painted wooden frames, in which words cut out of the fabric interact to create abstract pictorial spaces.
The second part of the thesis examines of the historical role of theory in the conceptualization and production of art. I argue that theory has historically occupied itself with art in categories properly connected to action, considering the end, virtues and vices associated with works of art. I consider the end of contemplation as it is advanced by Paulinus of Nola and evidenced in a sixth-century Roman mosaic, the vice of seduction as identified by Bernard of Clairvaux (against Abbot Suger of St.-Dénis), the virtue of reserve as present in Michelangelo Merisis da Caravaggio's canvases containing self-portraits. With these concepts in view, I proceed to consider the paintings of John Sloan in ethical categories--the categories most appropriate to considerations of action. I conclude by examining a disagreement between Robert Storr and Benjamin Buchloh over the interpretation of Gerhard Richter's "October 18, 1977," suggesting that the role of theory in art is returning to the more time-worn categories I associate with early Western writing about art.
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Zhou, Jianqiang. "Theory of electron spectroscopy : beyond the state-of-the-art." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLX017/document.
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Le sujet de cette thèse se place dans le cadre de la spectroscopie théorique. En particulier, je propose une nouvelle dérivation ab-initio pour trouver des approximations pour la fonction de Green (GF) à un corps. Cette approche conduit à une meilleure description du couplage fermion-plasmon dans le cadre de la théorie des perturbations à plusieurs corps (MBPT), qui peut être utilisée pour étudier la spectroscopie de photoémission directe et inverse.En spectroscopie de photoémission, un échantillon est irradié par des photons et des électrons sont émis. A partir de la différence d'énergie du photon incident et des d'électrons sortant, un grand nombre d'informations sur les propriétés de l'échantillon peut être obtenu, par exemple les structures de bandes ou la durée de vie des excitations. Dans une cadre de particules indépendantes, cette différence d'énergie correspond au niveau d'énergie d'une particule que l'électron émis occupait avant la mesure. Cela conduit à un pic très intense dans le spectre, avec un poids normalisé à un. En réalité, la photoémission n'est pas juste des photons entrants et des électrons indépendants sortants, car l'échantillon est un système à plusieurs corps en interaction. L'interaction de Coulomb et la nature anti-symétrique des fermions donnent lieu aux effets d'échange-corrélation, ce qui rend le problème fondamentalement difficile à résoudre. La description, la compréhension et la prédiction des effets de l'interaction de Coulomb sur les propriétés des matériaux a été, pendant des années, l'un des grands défis de la physique théorique de la matière condensée. Dans le cadre de cette thèse, on peut imaginer que, premièrement, la photoémission crée un trou (à savoir, un électron manquant) dans l'échantillon, ce qui provoque la relaxation de tous les électrons restants. En raison de l'interaction attractive entre les trous chargés positivement et les électrons chargés négativement, les électrons se déplacent vers les trous et créent des ''quasi-particules''. L'interaction effective entre les quasi-particules est l'interaction de Coulomb écrantée dynamiquement. Elle est en général plus faible que l'interaction de Coulomb nue. Par conséquent, la structure de bandes observée est celle de quasi-particules, qui diffère du résultat en particules indépendantes. Deuxièmement, lorsque le trou se propage dans l'échantillon les électrons restants peuvent présenter des oscillations collectives : réponse de la densité à la perturbation. Ce sont des excitations neutres avec une nature approximativement bosonique, parce qu'elles sont constituées par des paires de fermions.Le couplage du trou avec les excitations neutres conduit à des structures supplémentaires dans le spectre de photoémission, appelées satellites. Cela réduit le poids des quasi-particules qui est maintenant fractionnée. Le plus souvent, les satellites dominants sont dus à des plasmons, des oscillations collectives à longue portée, mais on peut aussi observer des transitions ou excitons interbandes ou d'autres satellites qui sont dus à des couplages plus complexes.Cela montre que pour avoir une bonne description de la spectroscopie de photoémission, nous devrions étudier la propagation de particules, ainsi que l'interaction entre les particules et les plasmons ou d'autres excitations. La fonction de Green donne l'amplitude de probabilité de particules se propageant d'un point à un autre. Sa partie imaginaire donne la funtion spectrale qui a un lien direct vers le spectre mesuré dans une expérience de photoémission. Les dérivations et approximations proposées dans cette thèse donnent une nouvelle façon de calculer la fonction de Green, ce qui améliore la description de la spectroscopie de photoémission. En outre, cela permet d'accéder à d'autres grandeurs qui peuvent être obtenues à partir de la fonction de Green à un corps, en particulier les énergies totales<br>The topic of this thesis is situated in the framework of theoretical spectroscopy. In particular, I propose a new ab-initio derivation to find approximations for the one-body Green's function (GF) . This approach leads to an improved description of fermion-plasmon coupling in the framework of many-body perturbation theory (MBPT), which can be used to study direct and inverse photoemission spectroscopy. Although the observed phenomena have been well known before, my formulation yields a better description than previous state-of-the-art approaches. It answers several open questions, cures some fundamental shortcomings and suggests a way for systematic improvement.In photoemission spectroscopy, a sample is irradiated by photons and electrons are emitted. From the energy difference of the incoming photon and outgoing electron, a great deal of information on the properties of the sample can be obtained, e.g. the band structures or lifetimes of excitations. In an independent-particle picture, this energy difference corresponds to the one-particle energy level that the emitted electron was occupying before the measurement. This leads to a sharp peak in the spectrum, with weight normalized to one. In reality, photoemission is not just photons in and independent electrons out, because the sample is an interacting many-body system. The Coulomb interaction and the anti-symmetric nature of fermions give rise to the so-called exchange-correlation effects, which makes the problem fundamentally difficult to solve. The description, understanding and prediction of the effects of the Coulomb interaction on the properties of materials has been one of the big challenges of theoretical condensed matter physics for ages. In the framework of this thesis one can imagine that first, the photoemission creates a hole (i.e., a missing electron) in the sample, which causes all remaining electrons to relax. Due to the attractive interaction between positively charged holes and negatively charged electrons, the electrons move towards to the holes and dress them to create ''quasi-particles''. The effective interaction between quasi-particles is the dynamically screened Coulomb interaction. It is in general weaker than the bare Coulomb interaction. Consequently, the observed band structure is a quasi-particle band structure, which differs from the result of an independent-particles band structure calculation. Second, when the hole propagates in the sample the remaining electrons can show collective oscillations, the density response to the perturbation. These are neutral excitations with approximately bosonic nature, because they are constituted by pairs of fermions.The coupling of the hole to the neutral excitations leads to additional structures in the photoemission spectrum, called satellites. This reduces the quasi-particle weight that is now fractional. Most often, the dominant satellites are due to plasmons, collective long-range oscillations, but one can also observe interband transitions or excitons, or other satellites that are due to more complicated couplings.This overview shows that in order to have a good description of photoemission spectroscopy, we should study the propagation of particles, as well as the interaction between particles and plasmons or other excitations. The Green's function gives the probability amplitude of particles propagating from one point to another. Its imaginary part yields the spectral function that has a direct link to the spectrum measured in a photoemission experiment. The derivations and approximations proposed in this thesis give a new way to calculate the Green's function, which improves the description of photoemission spectroscopy. Moreover, it gives access to other quantities that can be obtained from the one-body Green's function, in particular total energies
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Seniw, Thomas. "Plotinus, the term and the way : theory of art and beauty." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79978.
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Ammonius Saccas instructs Plotinus towards a synthesis of ancient Greek philosophy. A brief introduction to the historical Plotinus is offered. The Hypostases: The One or Supreme Reality, the Divine Mind, Nous, and the Universal Soul, Logos, are discussed in the context of Plato's eternal ideas, Beauty, Truth and Good.<br>An examination of the dialogue Plotinus has with art and beauty is offered. The relationship between Plato's divine intelligibles and art is discussed in context of the treatise On Beauty. The intelligible beauty of ideas, cosmos, nature and art are examined in context of the treatise On Intellectual Beauty. Plotinian theory of art is summarized.<br>Plotinus advances an "iconic" dialectic that serves his theological theory of art. The more important critical issues that arise from his description of the realm of art are addressed. Plotinian mysticism, and the subject of matter and form, identity and difference, is discussed. The opposing ways of the "picture" and the "word" are briefly summarized.<br>The appearance of theos is an event of hierophany . The meaning of art points towards the object of our ultimate concern. A Plotinian studio program for the painter concludes the thesis.
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Gaffney, Kiley. "Cosmopolitan tendencies in recent intersubjective art." Thesis, University of Queensland, 2015. https://eprints.qut.edu.au/89196/1/Kiley%20Gaffney%20PhD%20Thesis%20for%20QUT.pdf.
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This thesis uses cultural studies approaches to ask in what ways can intersubjective art act on the disparities brought about by late capitalism through the auspices of cosmopolitanism? How do the same processes that oppress others allow the artist to be mobile and self-reflexive while accruing and deploying a broad range of knowledges and competencies? The answer is paradoxical: those oppressed by the processes of late capitalism become the focus, theme, and content of the intersubjective artwork while the artists benefit from a system they seek to problematise and critique. Three case study chapters highlight these complex and disconcerting politics.
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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.
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Atkinson, D. "Form and action in art education : A reflection upon theory and practice in the teaching of art." Thesis, University of Southampton, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382177.
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Sutherland, Zoë Dominique. "A phenomenology of conceptual art." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47228/.
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This thesis emerges from and responds to certain recent philosophical writings on conceptual art, in particular from the British analytic tradition. Having identified a recent tendency implicit within this tradition towards an increasingly phenomenological reading of the ontology of the conceptual artwork, I aim to develop such ideas through an analysis of Heidegger's theory of art, and through a subsequent enquiry into its applicability to conceptual art. This will involve a lengthy analysis of several conceptual artworks on the basis of this theory. The thesis consists of three substantive chapters. The first is a critical examination of certain recent philosophical texts on conceptual art. This chapter takes a series of philosophical texts representing a range of positions with regards to both the specific role and, by virtue, the significance accorded to the material in the constitution of the conceptual artwork. The second chapter looks at Heidegger's phenomenological enquiry into the ontology of the artwork, and specifically at the role of the concepts of Earth and World in this ontology. On the basis of this study of Heidegger, the third chapter engages with a range of conceptual artworks. Each artwork is shown to exemplify a general tendency of conceptual artworks to explore of the bounds of the artwork as such and its relation to its context.
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Krohn, Erik Allyn. "Surveilling roads and protecting art." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/390.
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Placing security cameras in buildings, finding good locations for cameras to enforce speed limits or placing guards to defend a border are some of the problems we face everyday. A nation that wishes to defend its border with armed guards wants to be sure the entire border is secure. However, hiring more guards than necessary can be costly. A start-up company moving into a new building wants to be sure every room in the building is seen by some security camera. Cameras are expensive and the company wants to install the smallest number of cameras; at the same time the company wants to be sure the building is secure.
These problems, and many other visibility type problems, are not easy to solve in general. In some specific cases, optimal solutions can be obtained quickly. In general, finding an optimal solution may take a very long time.
The original results of this thesis address some of these problems. We show some positive results for solving some of these visibility problems. We also give some negative results for some of these problems. These negative results are useful because they tell us that we are unlikely to find a fast algorithm to solve a particular problem optimally.
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Ang, Kwang Chien. "Applying Bayesian belief Networks in Sun Tzu's Art of Wa /." Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Dec%5FAng.pdf.
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Maras, Karen Elizabeth Art History & Art Education College of Fine Arts UNSW. "Mapping children's theory of critical meaning in visual arts." Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/41294.
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Through the lens of a realist conception of artworks as artefacts, this research investigates the underlying ontological constraints governing childrens aesthetic understanding in art. Challenging structural conventions of research into aesthetic development in art, a realist philosophical framework provides a neutral space within which the ontological basis for children's aesthetic concepts of pictorial meaning and value can be analysed, and developmental differences mapped. The study employs an analytical schema which brings together analytical tools borrowed from Feldman's ontic dumping and Wollheim's twofolded seeing-in. This schema is used to classify qualitative changes in concepts of pictorial value and meaning in three groups of children aged 6, 9, and 12, and two teachers, as employed in the experimental curation of an exhibition of portrait paintings. The curatorial policy developed by children from each group, in justification of their choice of eight pictures and accompanying exhibitions, are interpreted using quantitative and qualitative methods. Characteristic-to-defining shifts from na??ve accounts to more autonomous aesthetic judgements of value are identified relative to the ontological stance children adopted in their critical reasoning about the portraits they chose. Findings include differences in the level of conceptual integration in justification of portraits chosen, differences in the breadth and autonomy of identity brought to bear in choices of portraits, but few differences in the representational abstraction of the images chosen by different age groups. The authenticity of the experimental tasks, as well as the rich characterisation of the developmental differences described in the study have significance for pedagogical explanations of critical practice in art education.
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Oketch, Francis Onyango. "Art and conversation : disturbation in public space." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:7b5abb31-0fed-44fb-bcd1-91e1fa96bd58.
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Arthur C. Danto introduced the term “disturbation” in 1985 to denote artworks that confront audiences with the materials of reality in order to produce reactions that are continuous with those of real life. Danto argued that disturbational art dissolve the distance between representation and reality opened up by Platonic metaphysics and by the insertion of theatrical distance, returning art to its mimetic and magical phase. The thesis uses Danto’s conceptual framework to develop a critical account of artworks that use politics as the medium for their disturbational content by creating relationships with audiences that provoke the re-realization of attitudes, experiences and identities that have been suppressed. In Shibboleth (2007) by Doris Salcedo, disturbation takes the form of the ‘political uncanny’ and in the case of Domestic Tension (2007) by Wafaa Bilal, it takes the form of the ‘political abject’. The thesis argues that Shibboleth confronted audiences with “the return of the repressed” through a disturbational process of interaction with the space of the Turbine Hall at Tate Modern. Departing from existing readings of Salcedo’s work, the thesis proposes that the installation provoked the experience of the political uncanny by physically enacting suppressed historical, economic and political divisions constructed upon a friend/enemy form of relationship. Likewise, the thesis argues that the use of virtual electronic media in the process of participation in Domestic Tension radically altered the structure of collaborative activities by its production of the abject through the detachment conferred by distance and anonymity. The degree of self-censorship and accountability that exists in face to face interactions was nullified by the process of remote participation which encouraged deindividuation and anti-social or dehumanizing behavior. The tendency towards dehumanization becomes intensified when the artwork’s content is political, thereby provoking hostile and distancing effects refracted by contemporary geopolitics.
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Cataldi, Betty Jane. "Foucault's discourse theory and methodology an application to art education policy 1970-2000 /." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1089160056.
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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xi, 400 p. : ill. Advisor: Sydney Walker, Department of Art Education. Includes bibliographical references (p. 385-400).
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.<br>Department of English
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Stinchfield, Bryan T. "A THEORY OF ENTREPRENEURIAL WORK: ART, CRAFT, ENGINEERING, BRICOLAGE, AND BROKERAGE." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1967978691&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Taran, Caroline. "Discipline-based art education, from theory to practice, challenges of implementation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0006/MQ29573.pdf.
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Douglas, Susan J. "Contingencies, visualizing tensions between contemporary critical theory and Canadian art practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0001/NQ40314.pdf.
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Taran, Caroline. "Discipline-based art education : from theory to practice, challenges of implementation." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35320.
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This study examines the concept of art education known as Discipline-based art education, (DBAE), from three vantage points. It begins by tracing the history and development of DBAE theory, and by examining its defining characteristics. It follows with a critical discussion of DBAE theory, specifically from within the context of multicultural education. The discussion then shifts to the realm of practice. The study describes a two week professional development program offered by the Minnesota DBAE Consortium, in Minneapolis, in the summer of 1995, and grounds the discussion in the results of questionnaires and interviews with six secondary school art specialists attending the Summer Institute. Finally, the study examines some of the potential challenges of implementation based on the issues that emerged as the participants translated theory into practice, and focuses specifically on the aspect of the incorporation of the disciplines of art criticism and aesthetics in the classroom.
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Marcon, Marco. "Postmodernism and art theory: A comparison of Marxist and Foucauldian perspectives." Thesis, Marcon, Marco (1992) Postmodernism and art theory: A comparison of Marxist and Foucauldian perspectives. Honours thesis, Murdoch University, 1992. https://researchrepository.murdoch.edu.au/id/eprint/53028/.
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This thesis analyzes the attempts made contemporary theorists to deal with the changes which have affected contemporary art theory as a result of the transformation brought about by Postmodernism. The authors I have chosen to discuss have developed their positions on the basis of the influence of either the Marxist tradition or the thought of Michel Foucault. In the context of my discussion, the relevance of a theoretical comparison of authors of Marxist or Foucauldian inspiration is justified by the fact that while both schools of thought are united by a similar emphasis on the social and political nature of cultural productions, they also are divided by profound epistemological and methodological differences. These differences have proved to be a fertile source of debate and provided many art theorists with new and diverse perspectives on the status of art theory in a Postmodern context.
In the first chapter I will discuss some influential Marxist readings of the Postmodern phenomenon and try to show that underlying these theories is the attempt to test the current adequacy of fundamental methodological Marxist notions. I will therefore try to show that Marxist explanations might be fraught by their desire to salvage some traditional theoretical postulates and that some of the new problems posed by Postmodernism might be better understood within a Poststructuralist framework. The second chapter will examine the interpretative potential of one of these new Poststructuralist perspectives originating in the work of Michel Foucault. Foucault's rejection of economic relationships as the ultimate determinant of cultural change, his refusal of global or universalist interpretation of culture, his emphasis on the relationship between power and knowledge and on the institutional nature of cultural productions are all elements which might shed light on aesthetic aspects peculiar to Postmodernism. Finally, in the conclusion I will argue that both Marxist and Foucauldian approaches to an aesthetics of Postmodernism might be limited by their exclusive insistence on the socio-political dimension of art. I will therefore conclude by proposing that key elements in Postmodernist art might be better explained if one admits the possibility that art theory recognize the relative autonomy of the specific type of knowledge produced by artistic texts.
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Kern, Ulrike Inge Sabine. "Light and shadow in Netherlandish art 1600-1725 : Theory and practice." Thesis, University of London, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536777.
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Sartori, Andreza. "Affective Analysis of Abstract Paintings Using Statistical Analysis and Art Theory." Doctoral thesis, Università degli studi di Trento, 2015. https://hdl.handle.net/11572/367628.
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This research thesis aims to provide a novel approach to Emotion Recognition of Images: based on empirical studies, we employ the state-of-the-art computer vision techniques in order to understand what makes an abstract artwork emotional. We identify and quantify the emotional regions of abstract paintings. We also investigate the contributions of the main aspects present on abstract artworks (i.e., colour, shape and texture) to automatically predict emotional valence of them. By using eye-tracking recordings we investigate the link between the detected emotional content and the way people look at abstract paintings. We apply a bottom-up saliency model to compare with eye-tracking in order to predict the emotional salient regions of abstract paintings. Finally, we use the metadata associated to the paintings (e.g., title, description and/or artist statement) and correlate it with the emotional responses of the paintings. This research opens opportunity to understand why an abstract painting is perceived as emotional from global and local scales. Moreover, this work provides to art historians and art researches with a new perspective on the analysis of abstract paintings.
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Sartori, Andreza. "Affective Analysis of Abstract Paintings Using Statistical Analysis and Art Theory." Doctoral thesis, University of Trento, 2015. http://eprints-phd.biblio.unitn.it/1439/1/sartori_andreza.pdf.
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This research thesis aims to provide a novel approach to Emotion Recognition of Images: based on empirical studies, we employ the state-of-the-art computer vision techniques in order to understand what makes an abstract artwork emotional. We identify and quantify the emotional regions of abstract paintings. We also investigate the contributions of the main aspects present on abstract artworks (i.e., colour, shape and texture) to automatically predict emotional valence of them. By using eye-tracking recordings we investigate the link between the detected emotional content and the way people look at abstract paintings. We apply a bottom-up saliency model to compare with eye-tracking in order to predict the emotional salient regions of abstract paintings. Finally, we use the metadata associated to the paintings (e.g., title, description and/or artist statement) and correlate it with the emotional responses of the paintings. This research opens opportunity to understand why an abstract painting is perceived as emotional from global and local scales. Moreover, this work provides to art historians and art researches with a new perspective on the analysis of abstract paintings.
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Clunn, Rebecca. "The Global Performance Art Network: How the Net Works." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366836.
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As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art.
In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Griffith Business School<br>Griffith Business School<br>Full Text
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Upchurch, Diane M. (Diane Marie). "Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500448/.
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The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.