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Tomaszewski, Ramses Veronique. "Aesthetic heaven and artistic hell, an intellectual journey." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56270.pdf.
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Palmer, Clive Alan. "A qualitative investigation of aesthetic evaluation in men's artistic gymnastics." Thesis, Liverpool John Moores University, 2003. http://researchonline.ljmu.ac.uk/5602/.
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Daniel, Leah. "Utamaro’s Picture Books: A Study in Cross-Cultural Artistic Aesthetic." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428065911.
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Chandler, Chelsea Beth. "The Art of Teaching: Understanding the Lived Experience of Artistic Teachers." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438892983.
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O'Malley, Jennifer. "Life Support: Sustaining a Personal Aesthetic." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/785.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf<br>Bachelors<br>Arts and Sciences<br>Fine Art
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Ozdemir, Ibrahim Soner. "Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.
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In this dissertation, focusing on the problem of &ldquo<br>aesthetic form&rdquo<br>and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
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Rojas, Ricardo. "“18th Century Gardening Tradition, and the Possibility of Pure Aesthetic Judgments on Artistic Objects”." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/119392.
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At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre.<br>En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.
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Larsson, Erik. "SYSTEMS OF INTERPRETATION." Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2990.
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Every image locates intelligence.1 I decided to become an artist due to this premise. Mostof my childhood was spent in front of a TV-screen. By channel surfing across the rangeof our satellite dish I created new narratives of my own, based on the different channelsexisting images. The disappearance of images became as important as their appearance.Art offered me a way of preserving and study these transient images of contemporaryculture.
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Eldrot, Johan. "Fragments, emptiness and density." Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2985.
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During the last three years, my practice has mainly consisted of installation works; compositions of images, texts, video, constructions, produced and found objects, drawings etcetera. This thesis serves to present an overview of my practice during these three years, to contextualize my work and work method and to discuss my future artistic intentions.
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Nylund, Carolina. "Allt ska bort!" Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2986.
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I decided to start writing this thesis considering mainly all the books and texts read during my Art Academy education that made a strong impression on me in order to analyze the essence of my work. The reason to study at Konstfack is after all, to find a context and a reference to my art production. When I started collecting all the thoughts and ideas that been significant to me I BECAME AWARE of that every time I found the words describing them became PHYSICAL. Every word has a strength and tone. I confront a difficulty writing in English, learning theory in Swedish and having as a native language Spanish. So, with all respect to the interest and passion I have for languages, I would like to dedicate the fear of writing this thesis to the “information generation” for ABUSING the “language” making it richer but making it harder in my attempt to describe the essence of my work.
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Hällström, Joakim. "The migration of ideas." Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2994.
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It has been claimed that there was a clear correlation between the fall of the Soviet Unionin 1991 and the exponential growth and democratization of information technology in thelater decades of the 20th century. The last head of state of the Soviet Union, MikhailGorbachev, admitted in 2005 that emerging decentralized electronic communication was“a big factor” for fostering democracy in the Soviet Union.1For my generation, born in the late 1980’s, computers and the Internet are used on a dayto-day basis and provide possibilities that, for the most part, lead to less dramaticconsequences. On the other hand, I believe that these information technologiesnevertheless force us to constantly reevaluate norms about the relationships betweenconsumer and business companies and private and public life.My practice is founded in an examination of questions about media, popular culture,consumers and real events; more specifically how communication and trading systemsbetween these “territories” are organized and what effects it has on culture. I will in thischapter give a description of recent developments in information technologies. Althoughbrief and simplified, it serves to illustrate how they help to determine the ways in whichwe consume culture.It may be impossible to summarize “post-Cold War culture” but one definingcharacteristic is the decreasing distance between the professional and the amateur.Today’s hackers and bedroom programmers may turn into tomorrow’s billionaireentrepreneurs, as a result of the information age. In this fairly new situation, culturalconsumption, production and exchange of media often occurs in front of screens.As the view of the consumer and the audience as passive entities becomes more nuanced,so too does old notions about visual communication and interaction. A 21st centurycitizen is equipped with different - some say significantly better - tools for reading,decoding and reacting to media than a person living in the early 1900’s.2The dreams of a totally transparent Internet/society, born in the minds of cyber pioneersin the 1980’s, have not yet crystallized. Neither have we seen a true, global “creativeclass” come to fruition.2 Despite this, one could sense that today’s consumers are to alarge extent a cross between consumers and producers, givers and takers. Americanmedia scholar and professor at University of Southern California, Henry Jenkins, writesabout this cultural and technological shift:Rather than talking about media producers and consumers as occupying separateroles, we might now see them as participants who interact with each otheraccording to a new set of rules that none of us fully understands. Not allparticipants are created equal. Corporations – and even individuals withincorporate media – still exert greater power than any individual consumer or eventhe aggregate of consumers. And some consumers have greater abilities toparticipate in this emerging culture than others.3If there is any truth to this description, one must ask what the implications are for asociety that is partially governed by a new set of puzzling rules. It is not always simple tomap out a definitive answer of who will succeed in being heard and seen. As Jenkinswrites, a power struggle still exists. Questions that are linked to these matters are part ofthe framework of my artistic practice.
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Josteus, Petter. "Varför väljer elever det estetiska programmets musikinriktning? : En studie över musikestetelevers tankar kring sitt gymnasieval." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28674.
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Lee, E. (Eutheum). "“Being in a forest, it is so magical to me”:a narrative study on aesthetic experience of nature and its influence on artistic creativity." Master's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201608122630.
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Art and aesthetic value are generally acknowledged to elevate our minds and enhance the quality of life. The motivation of this study arose from the researcher’s own experience of Finnish nature, which influenced her artistic creativity and the world view. Thus, the starting point of this research lies on the curiosity of the researcher about how other people experience nature. The research focuses on aesthetic experience of Finnish nature and tries to search its connection to artistic creativity and meaning-making from the experiences. The aim of the research, therefore, is to depict and understand different aesthetic experiences of nature through narratives.
The research questions are:
1. What kind of aesthetic experiences do participants of the research narrate in relation to nature?
2. How do narrators relate aesthetic experience of nature to artistic creativity?
3. What meanings do narrators give to aesthetic experiences of nature?
The theoretical framework of this study draws on aesthetics, especially by adopting the ideas of environmental aesthetics and everyday aesthetics. The framework provides the understanding of aesthetic experience in the field of everyday aesthetics; it means that aesthetic appreciation is not art oriented, but broadened into appreciation in everyday life. This study gives attention to subjects’ sense, emotion and imagination through the ideas of Berleant (1992, 1996, 2002, 2005), Brady (2003), Carlson (1981), Dewey (1934) and Saito (2007). I also follow the theories of Haapala (2005) and Tuan (1977) to study meaning-making from experiences.
The research was conducted by using narrative inquiry; as it allows a researcher to understand a phenomenon in a deeper level by investigating the ways human experience the world described through stories. The research subjects are art minor students in the faculty of education at the University of Oulu. The interviews were carried out individually as a form of semi-structured interview with open-ended questions. The data were analyzed by applying Polkinghorne (1995)’s analysis of narratives and Riessman (2008)’s thematic analysis.
For the first research question, the result of data analysis indicated that participants described the experience of nature as positive and pleasant with diverse gestalt, behavior and affective qualities. Even though they share same qualities, the stories behind were different by each individual as they all have different characteristics and lives. The narratives on the experiences of nature showed different processes of feelings, emotion and imagination of the participants. For the second research questions, it was found that aesthetic experience of nature has a significant influence on artistic creativity as it provides references for art and a space for building artistic creativity. Artistic creativity was strongly influenced by the experience of nature when participants’ feeling, emotion and imagination were actively involved. For the last research question, the meaning of the experience of nature was discovered as it gives energy for life and provides chances for self-awareness. The experience of nature was meaningful by reflecting on participants’ life and their own selves.
In conclusion, the research showed that the participants experience nature through diverse senses. Imagination and recalling the past also played important roles when experiencing it. Hence, the experiences of nature were contextual and relative depending on individuals. The result of this study also found that the aesthetic experience of nature had a notable influence on artistic creativity for the participants. In addition to that, the research shows the significance of nature in human’s life both as an environment and as an energizer for one’s life. Consequently, this study promotes the awareness and importance of experiencing nature with aesthetic values.
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Lecomte, Vincent. "Un penser animal à l'oeuvre." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.
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Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en images<br>To evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images
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Vitkauskienė, Erlanda. "Mokyklos estetinės aplinkos ir mokinių meninės veiklos sąsajos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060613_151649-47246.
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The environment that surrounds us influences everybody who is inside it. However human also influences the environment, also the aesthetic environment. In the school as in the educational institution this interaction also exists. Aesthetical environment, aesthetics can not be separated from art. The notions of beaty and harmony combines them. So it is important to understand how the influence of aesthetic environment of a school comes out to the student and to his artistic activities. The aesthetic environment of a school is seductive, harmoinious environment formed by the people who work here and which satisfies their needs, the understanding of beauty and becomes a part of intercourse- its background. The artistic, aesthetic functions of the environment of a school are raised as the particular manifestations which develope student‘s personality and aesthetic taste, also as the manifestacions of peculiar microculture. So one of the conditions of the stirring up of the education is beatiful, aesthetic and comfortable evnironment. So the opening of the features by which the connections between the aesthetic environment of a school and student‘s artistic activity can exist and can be urgent is the urgent pedagogic problem.
The aim of the investigation- to single out the features of the aesthetic environment of a school and also the features of student‘s artistic activity connections.
The object of the investigation- the connections between the aesthetic environment of a school... [to full text]
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Михайлюк, Ольга, Наталія Остапенко, Марина Колосніченко та Лариса Третякова. "Художньо-естетичний підхід до дизайн-проектування виробів жіночого одягу з фактурними ефектами". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10618.
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Запропоновано художньо-естетичний підхід до дизайн-проектування виробів з фактурними ефектами. Визначено та охарактеризовано складові елементи зазначеного підходу, розкрито їх специфіку. Окреслено передумови для формування інформаційної бази різновидів фактурних ефектів з метою дизайн-проектування художньо виразних виробів.<br>The artistic and aesthetic approach to the design of products with texture effects is offered. The constituent elements of this approach are defined and characterized, their specificity is disclosed. The prerequisites for the formation of the information base of varieties of textural effects for the purpose of designing artistic expressive products are outlined.
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Bagdonaitė, Jolanta. "Akademinio jaunimo meninės ir estetinės nuostatos (LEU studentų atvejis)." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130902_092211-31765.
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Jaunimui, kaip socialinei grupei Europos sąjungoje skiriama vis daugiau dėmesio. Jaunimo politikos įgyvendinimas priklauso nuo valstybės pasirinktų prioritetų, priemonių. Pasigendame jaunimo požiūrio į meną, estetiką vertybių lygmens kontekste tyrimų. Jaunimo ir jo meninių bei estetinių vertybių sąsajų tyrimus apsunkima tiek jaunimo, kaip socialinės grupės apibrėžtumas, tiek pačios tyrimo metodikos nebuvimas bei galimų skirtingų tyrimo aspektų gausa. Šiame darbe siekiama į jaunimo menines ir estetines vertybes pažvelgti išskirtinai vertybiniame (ugdymo(si)) bei aplinkos veiksnių kontekste, t.y. magistro baigiamajame darbe siekiama ištirti, kaip jaunimas vertina savo, kaip socialinės grupės, menines ir estetines vertybes, jų formavimąsi, raišką.
Darbo tikslas – išanalizuoti jaunimo meninių ir estetinių vertybių formavimosi, raiškos ypatumus. Uždaviniai: 1. Apibendrinti meninių, estetinių vertybių vaidmenį jaunimo vertybiniame kontekste; 2. Nustatyti jaunimo meninių, estetinių vertybių formavimosi veiksnius; 3. Ištirti jaunimo meninėms ir estetinėms vertybėms įtakos turinčių veiksnių vertinimą.
Ginamieji teiginiai: 1. Meninės, estetinės vertybės jaunimo tarpe yra mažiau svarbios, negu domėjimasis sportu, darbo paieškos, laisvalaikis ir pan.; 2. Akademinio jaunimo meninėms, estetinėms vertybėms daugiausia įtakos daro autoritetai ir jiems priimtinos socialinės grupės (teatralai, muzikai ir pan.); 3. Akademinis jaunimas, priklausantis kokiai nors subkultūrai (gotams, pankams... [toliau žr. visą tekstą]<br>Young people as a social group receives increasing attention in the European Union. Implementation of youth policy depends on the priorities and means selected by the state. There is a lack of researches of young peoples' attitudes to art, esthetic in the context of values' level.
Certainty of young people as a social group, lack of research methodology and abundancy of possible different aspects of the investigation complicate research of young people and their artistic and esthetic values' interfaces. This paper aims to look to youth artistic and esthetic values exclusively in the context of values (education(self)) and environmental factors, ie, in the Master's thesis it is aimed to investigate how young people as a social group evaluate their artistic and esthetic values, formation and expression of these values.
The aim of research is to analyze characteristics of youth artistic and esthetic values' formation and expression. Objectives of research: 1. to summarize the role of artistic and esthetic values in the youth valuable context; 2. to identify factors of youth artistic, esthetic values formation; 3. to investigate evaluation of factors which affect youth artistic and esthetic values.
Defended statements: 1. Among young people artistic and esthetic values are less important than interest in the sport, job search, leisure time and others; 2. Academic youth artistic, esthetic values are mainly influenced by authorities and an adequate to youth social groups (actors... [to full text]
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Rocha, Ana Cristina Rossetto 1954. "Educação musical e experiência estética = entre encontros e possibilidades." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251188.
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Orientador: Ana Angélica Medeiros Albano<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-18T15:29:09Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Este trabalho foi provocado pelo meu interesse nas relações entre a educação musical e a experiência estética no campo da iniciação artística, o qual tem me acompanhado em meu percurso como professora e como musicista. A pesquisa analisa o processo vivido por uma turma de alunos da faixa etária de oito anos durante um período do ano de 2009, orientada por mim em parceria com o professor de teatro Carlos Sgreccia, na Escola Municipal de Iniciação Artística - EMIA; instituição que pertence ao Departamento de Expansão Cultural da Secretaria de Cultura da Prefeitura de São Paulo e tem como proposta a iniciação de seus alunos às linguagens artísticas de maneira integrada. A análise foi baseada no imbricamento da minha vivência como professora com a observação cuidadosa dos registros realizados durante o período focalizado: registros do caderno de campo, fotográfico e de vídeo. Ampliadas e instigadas pelas interlocuções teóricas - que se deram principalmente com autores do campo da filosofia, especialmente Gilles Deleuze e Félix Guattari - esta observação e análise produziram um modo de pensar as potencialidades e possibilidades da educação musical como educação estética.<br>Abstract: This work was provoked by my interest in the relationship between music education and aesthetic experience on the field of artistic initiation, wich has accompanied me on my journey as a teacher and as a musician. The research analyses the process experienced by an eight years old group of children, during a period of 2009, oriented by me in partnership with the drama teacher Carlos Sgreccia, in the Escola Municipal de Iniciação Artística (Municipal School of Art Initiation) - EMIA; institution that belongs to the Culture Expansion Department of the Culture Secretariat of the Municipality of São Paulo and proposes the initiation of their students to the artistic languages in an integrated manner. The analysis was based on the imbrication of my experience as a teacher with a careful observation of the records made during the period focus on: records from the field notebook, photographs and videos. Expanded and instigated by the theoretical interlocutions - that occurred mostly with authors of the philosophy, especially Gilles Deleuze e Félix Guattari - this observation and analysis produced a way of thinking of the potencialities and possibilities of the music education as aesthetic education.<br>Mestrado<br>Educação, Conhecimento, Linguagem e Arte<br>Mestre em Educação
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Glatkauskaitė, Ramunė. "Estetinio judesio reikšmė asmens sociolultūrinei integracijai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060710_140624-59707.
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While integrating to socio cultural environment such person’s features like ability to watch, analyze, interpret and estimate the qualities of motion, language (intonation), sound and view. This trains communication culture in various social situations. The improvement of body movements opens the opportunity to experience the joy which comes from educated, strong, healthy organism, it creates preconditions of person’s self expression and self realization. However in various spheres of life and work it is often being hidden behind the stream of words, not emphasizing the plastic opportunities of person’s body.
In the activity of sports body movements can be described by cultural point of view, the not verbal motion of the body is modernized which has some aesthetic value. Improving human’s body movements will get socio cultural quality which could be expressed by the unity of peculiarities using them as the means of self expression in the socio cultural activity. That is why movement culture and their plastic (aesthetic) expression is one of the person’s problems of the cultural upbringing.
The object of the investigation is the importance of the aesthetic movement to person’s socio cultural integration. The aim of the investigation is to reveal the importance of the adult’s body movements improving to their socio cultural integration. The hypothesis of the investigation is that improving of the body movements (in the aesthetic point of view) to the adult’s socio cultural... [to full text]
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Lindsay, Karen Martin. "Types, metaphors and symbols for baptism in the catechetical, artistic and liturgical genres of the early Church : a literary-aesthetic approach to the study of typology in early Christian hermeneutics." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368225.
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In the historico-critical paradigm typology was defined in terms of prefiguration and identified with corresponding events in `salvation history. ' In contrast, Frances Young identifies typology as a hermeneutic which has its roots in the literary structure of texts. The object of this thesis is to explore the phenomenon of typology within the hermeneutics of the early Church and to assess typology's contribution to the formation of Christian identity and culture. The thesis proposes an integrated approach to the study of type, metaphor and symbol across literary and aesthetic genres, and within a limited context, i. e., Christian initiation. The introduction to the thesis surveys typology within the historical and literary paradigms. Section one considers varied uses of typology in the catechetical homilies of the Fathers. Section two looks at typology in the artistic programmes of some early Christian baptisteries. Section three surveys uses of typology in some prayers of early baptismal liturgies. By redefining typology in terms of mimesis, multi-valence and multi-culturalism we are able to demonstrate the way in which early Christians forged imaginative links between their own worshipping community and the world of Scripture, through typology.
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Novais, Diego Bertanha. "A criação artística e a experiência estética na obra de Sigmund Freud." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5391.
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Previous issue date: 2017-02-22<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais<br>As relações entre a psicanálise e a arte são estabelecidas desde o início da obra de Sigmund Freud. Entretanto, é possível observar uma multiplicidade de formas de pensar essa relação, as quais abarcam uma série de interesses e problemáticas específicas em cada momento, embora não abordem a totalidade do fenômeno artístico. Esse trabalho consiste em uma tentativa de elucidar dois aspectos específicos da teoria freudiana sobre o fenômeno artístico: a criação artística e a fruição estética. Concluímos que há duas abordagens desses dois aspectos na obra do autor: uma de cunho intrapsíquico, sob a égide de uma teorização de cunho representacional; e outra de cunho intersubjetivo, que configura uma dimensão da experiência estética que envolve uma possibilidade de figuração do irrepresentável.<br>The relations between psychoanalysis and art are established since the beginning of Sigmund Freud's work. However, It is possible to observe a multiplicity of ways of thinking about this relationship, which embrace a series of specific interests and problems at each moment, although they do not address the totality of the artistic phenomenon. This work consists of an attempt to elucidate two specific aspects of the Freudian theory about the artistic phenomenon: artistic creation and aesthetic enjoyment. We conclude that there are two approaches to these two aspects in the work of the author: one of intrapsychic, under the aegis of a representational theorization; And an intersubjective one, which configures a dimension of aesthetic experience that involves a possibility of figuration of the unrepresentable.
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Булгакова, Тетяна, Анастасія Окончук та Наталія Бутукова. "Сучасні тенденції в дизайні інтер'єру ресторану". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18148.
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В даній роботі надано результати дослідження сучасних тенденцій в дизайні інтер’єру ресторанних закладів. Розглянуто чинники, які впливають на формування дизайнерського рішення в процесі проєктування інтер’єру ресторану. Серед основних чинників виділено кухню, цільову аудиторію відвідувачів, місце розташування закладу. Проаналізовано нові тенденції останніх років у формуванні художньо-естетичних рішень інтер’єру ресторанів. Виявлено шляхи формування інтер’єру сучасного ресторанного закладу, який допоможе задовольнити вимоги і власників, і відвідувачів.<br>This work presents the results of a research of current trends in restaurants interior design. The factors that influence the formation of the design decision in the process of designing the interior of the restaurant are considered. Among the main factors are the kitchen, the target audience of visitors, the location of the institution. New trends of recent years in the formation of artistic and aesthetic solutions for the interior of restaurants are analyzed. Ways to form the interior of a modern restaurant, which will help meet the requirements of both owners and visitors.
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Svensson, Elin. "Drama och teater i gymnasieskolan? : En litteraturstudie där syften med drama/teater utforskas, analyseras och diskuteras." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33014.
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Sammanfattning Den här studien är en litteraturöversikt som analyserar forskningsbaserade texter och lyfter fram syften med drama/teater i gymnasieskolan, utifrån den analyserade litteraturen. Studien redogör både för syften med drama/teater som enskilt ämne och integrerat med andra ämnen. Studien visar att drama/teater är användbart både som ett medel där målet är att lära sig andra ämnen, och där målet är kunskaper i drama/teater. Den ger exempel på att eleverna, med hjälp av drama/teater, kan få stöd i att uppnå flera av målen i gymnasieskolans senaste läroplan från 2011. Exempel på hur drama/teater kan vara till nytta i andra ämnen är att det kan användas för att förbättra elevers läsning och textförståelse oavsett ämne. Drama/teater har också ett egenvärde som bland annat består i att eleverna lär sig att använda sina erfarenheter för att förstå omvärlden, att de lär sig att uttrycka sig på sitt individuella sätt och att de tränar på att våga ta ställning. Dessa kunskaper kan vara användbara både i ett yrkesliv inom teatern, men även inom andra yrken. Drama/teater är både bildande och utbildande, enligt den tolkning av litteraturen som gjorts i denna studie. Nyckelord:Drama, Teater, Gymnasieskolan, Ämnesintegrering, Utbildning, Bildning, Estetiska ämnen, Estetisk verksamhet, Estetiska läroprocesser.<br>Abstract This study is a literature review which analyzes different texts, linked to research, and explores the purpose of drama/theatre in upper secondary school, based on the analyzed literature. It incorporates drama/theatre as an individual subject as well as integrated with other subjects. The review in this study shows that drama and theatre can be used as means of learning other subjects. For example drama and theatre can help improve students' reading and reading comprehension no matter the subject. The subject drama/theatre is also shown to have a value in itself in that it taught the students in this study to use their experiences as means to understand the world surrounding them. Education in drama and theatre gives students the opportunity to express themselves in their own individual way and allows them to practice taking a stand. This knowledge can be useful both within the profession of the theatre as well as in other professions. The study also shows that students can be supported with the help of drama/theatre, which enable them to reach several goals of the Swedish curriculum from 2011. This study found that the subject drama/theatre not only helps to educate but cultivate students. Keywords: Subject integration, Drama, Theatre, Upper Secondary School, Education, Cultivation, Artistic subjects, Artistic activities, Aesthetic Learning Processes.
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Roxelius, Stefan. "Leva, lära och undervisa med estetik : Den estetiska arbetsformens roll vid två grundskolor." Thesis, Karlstad University, Faculty of Arts and Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-634.
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<p>Med den här uppsatsen vill jag belysa estetikämnenas roll och status i två grundskolor i en medelstor västsvensk stad. Jag vill även se i vilken mån de estetiska arbetsformerna praktiseras i skolornas vardag och i vilken mån lärarna anser sig ha nytta av styrdokumenten i detta arbete. För det här syftet har min metod blivit en enkätundersökning där pedagoger från de båda skolorna har fått besvara frågor kopplade till följande fyra estetiska arbetsformer: bild och form, drama, musik och dans. Resultaten redovisas utifrån tre kategorier: skola, ålder och yrkesgrupp. Vad som bland annat framkommit i undersökningen är att bilden är den arbetsform som tar upp mest tid och dansen den arbetsform som tar upp minst tid. Vidare ser man att skolorna planerar och förbereder estetiska arbetsformer mindre än 30 minuter i veckan eller inte alls samt undervisar generellt sett mindre än 60 minuter i veckan i dessa arbetsformer. Dessutom framgår det att pedagogerna anser sig ha endast viss eller mycket liten nytta av central och lokala styrdokument när de skall planera lektioner inom de estetiska arbetsformerna.</p><br><p>The aim of this composition is to enlighten the role and status of the artistic work forms in two compulsory schools in an average town in the western part of Sweden. I would also like to see to what degree the artistic work forms practises in the average school day. For this object, my method has become a questionnaire investigation where the educating staff from each school has answered questions connected to these four artistic work forms; art, drama, music and dance. The results is presented thru three categories; School, age and work category. A part that has been presented from the investigation is that the art form is the one that takes up most of the time and dance the one that takes least of the time. Furthermore can one see that the schools plans and prepare less then 30 minutes a week or no time at all and educate generally seen less then 60 minutes a week in artistic work forms. It also shows that the educators only have some or little use of the steering documents when they plan the lessons within the artistic work forms.</p>
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Grahn, Margaretha. "Musernas viskningar förr och nu : En studie av det musiska och inriktningen musiskt lärande. En teoretisk analys samt ett empiriskt bidrag från lärarutbildningen." Doctoral thesis, Linköpings universitet, Institutionen för beteendevetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6055.
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The purpose of the present thesis is twofold; the first part comprises a theoretical analysis of the concept muse-ical in an attempt to describe similarities and differences between the concepts muse-ical and aesthetic and furthermore, to identify the distinguishing features of a muse-ical approach and a muse-ical program. The second part of the thesis reports on an empirical study among student teachers who have chosen to study the program Muse-ical Learning. They have been interviewed about their experiences and impressions of this new program. More specifically they have been given questions pertaining to museical, aesthetic, artistic, scholarly learning, sensory experiences, talent and finally how they conceive of the role of muse-ical learning in school and in society at large and what notions they have of their future work as teachers in the field. The first part is an analysis based on selected previous writings and research regarding the concepts muse-ical and aesthetic/esthetical. The approach taken to this reading is mainly hermeneutical. The second part of the thesis aims at describing how a group of student teachers experience museical learning. Data have been gathered by in-depth, semi-structured interviews. The aim of the analysis has been to emphasise qualitative differences in the ways the informants experience the phenomena actualised in the interviews. The approach in the analysis is, mainly, phenomenographic. The group of informants comprise 20 student teachers, which is about half of all students in the pioneer cohort of the program. Every student was interviewed individually in sessions that had a typical duration of 40-45 minutes. The interviews were transcribed in extenso by the author. In a historical perspective the origins of muse-ical can be traced back to antique Greece and the nine muses that were given to mankind by the gods. The ancient Greeks realised that artistic and intellectual activities are mutually dependent on each other. A further function of the muses, to care for the collective, social memory, seems also to have been forgotten in our time. Muse-ical activities also have to be combined with rhythm and harmony to get their ultimate form. This fact reflects the Greek conviction that order is a significant aspect of beauty. (Cosmos). Greeks aimed for a balance between the vivacious and engaging of Dionysus and the more strict and ordered of Apollo. One confusing circumstance in Plato´s texts concerning the word muse-ical is the translation of mousiké to mean music which is the case in Swedish, Danish, Norwegian and English. It makes a great difference whether our children are to be fostered in mousiké i.e. the arts of the muses and gymnastics or only in music and gymnastics. My conclusion is that Plato was of the opinion that the young should be fostered in mousiké and gymnastics. The word muse-ical appears in educational contexts during the mid 1920ies in Germany, when the sociologist Hans Freyer introduced the term. Muse-ical education is, in consonance with the ideas from ancient Greece, an integration of poetry, music and rhythmic movements. My conclusion from the theoretical analyses is that the muse-ical domain should be understood as an approach to learning that is based on: • A holistic attitude aiming at a balance between “hand, heart and brain”. • Time for reflection. • Muse-ical activities that give opportunities for applying different forms of expression, e.g. activities that comprise movement, sound, colour, form and drama. • Play is an important component. • The learner is the main actor. • The muse-ical perspective is superordinate to disciplinary categories of knowledge. • The muse-ical perspective should not be translated into a rigorous method. Teachers in all subject matter areas may take a muse-ical approach. Mathematics, history and chemistry for instance are as close to the muse-ical as music or drama. I prefer to regard the aesthetic and muse-ical as two different concepts, although with some overlap in meaning. There are common parts, some aspects are borderline cases and there are also, of course, distinct differences. Already the ancient Greeks stated that literary learning and sensory experience were mutually dependent on each other. The Swedish National Curriculum for the compulsory school also emphasises the importance of balancing these two modes of learning against each other. The results of the empirical study corroborate the conclusions of the theoretical analysis. The students repeatedly emphasise the importance of experience and involvement for the sake of their own learning. They do also stress the importance of connecting theory to practical components. Concerning integration of different areas of muse-ical learning there are different standpoints among the authors that I have referred to. The students’ arguments in favour of finding a common framework for all aesthetic areas are basically that they contain common creative aspects and that they all involve bodily and emotional aspects of learning. The students emphasise, in particular, two positive aspects of the aesthetic areas and muse-ical learning. Firstly, they have a general, facilitating impact on learning regardless of context and content. Secondly, they may contribute significantly to the students’ self-confidence and thereby give them the courage to enter new areas and aim for higher goals than otherwise. A majority of muse-ical activities take place in social settings, which gives rich opportunities for the students to train their social skills. Even though it has been a demanding task to express the essence of muse-ical learning, theoretically as well as empirically, one may perhaps be comforted by realising that the magic of museical learning might disappear were it possible to define it in a distinct way.
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Sarcevic, Lara. "Aporie du second degré : la forme à la quête d'une nouvelle autonomie : réflexions sur le rôle et le statut de la discursivité théorique dans l'art contemporain de la fin des années soixante à nos jours." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30008.
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Qu’elle soit le fait des artistes, des institutions muséales ou des acteurs économiques, désormais une nouvelle discursivité s’ajoute à la production critique traditionnelle des historiens, théoriciens et philosophes de l’art, et accompagne de manière quasi systématique les propositions plastiques des artistes contemporains. A cet accroissement discursif correspond aussi une démultiplication des fonctions du discours théorique qui se trouve parfois être utilisé comme le matériau plastique même des œuvres. Empreintes d’une plasticité toute singulière, les œuvres contemporaines étendent les possibles, au point de pouvoir se manifester sous n’importe quelle forme, voire de complètement disparaître. Cette extrême diversité résulte de l’adhésion à un nouveau principe artistique, le « second degré », ou l’auto-réflexivité de l’œuvre d’art, qui attribue à l'idée de l’œuvre une importance aussi grande qu'à la formulation matérielle de celle-ci. Ce qui est devenu indéterminé dans la forme plastique semble être compensé, en retour, par l'exigence d'une détermination conceptuelle accrue. Nous nous sommes attachés, dans notre recherche, à mettre en lumière l’origine du primat discursif dans la nouvelle situation paradigmatique des arts plastiques. Ne se limitant pas à la seule logique de médiation et de légitimation sociale des œuvres, la discursivité ouvre aussi un espace créatif et herméneutique nouveau impliquant le discours théorique comme geste créatif complémentaire à la forme plastique<br>Whether by artists, museums or economic actors, now a new discursivity is added to the traditional critical production of historians, theoreticians and philosophers of art, and accompanies almost systematically the plastics works of contemporary artists. This discursive growth answers also to a proliferation of functions of the theoretical discourse, which is used, in some contemporary artistic practices, as the very plastic material of the work. Marked by a singular plasticity, contemporary art works extend the expressive possibilities to the point that the work can manifest itself in any form, and even completely disappear. This extreme diversity results from the adherence to a new artistic principle, the "second degree", or the self-reflexivity of the artwork, which attributes to the idea of the work, the same importance as its’ very material formulation. What became undetermined in the plastic form seems, in return, to be offset by the requirement for greater conceptual determination. We were committed, in our research, to highlight the origin of this discursive primacy in the new paradigmatic situation of visual arts. Not being limited only to the purpose of mediation and social legitimization of the art works, discursivity opens also a new creative and hermeneutic space, involving theoretical discourse as a creative act complementary to plastic form
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Gomes, Silvia Trentin. "Arte, jogo e educação: a educação estética na relação entre jogo e o estudo das características da pintura artística." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18160.
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Previous issue date: 2014-09-03<br>This research investigates the concept of gaming and its impact on a particular game mode called modified game, which has as its object the artistic painting characteristics and its teaching. It starts from three experiments reports which attempt to describe the esthetic education process encountered during execution of a modified game for the arts game teaching. The need for such action takes place in the debate on strategies for addressing the problem of encouraging research in art history, the reading of images and knowledge of the art features and artistic painting, along with students of arts and interested public . From the methodological point of view, engages in reflection, within the concept of aesthetic experience, in the context of a relationship of application of modified second cycle game Arts student, organizing questions and suggestions related to art educators in With respect to stimulating interest and motivation of students to taste, image reading and the knowledge and art expression through the modified game. From the point of view of the grounds, the theoretical references are located researchers in philosophy and art, such as Ana Mae Barbosa dos Santos Arlete Petry, Lev Vygotsky, Friedrich Schiller, James Paul Gee and Johan Huizinga, who present relevant perspectives the game concept and its application in education, aesthetic education and art in general. The survey indicated the methodological alternative of three experience reports which showed that the aesthetic education process found and produced during the execution of a modified for teaching the characteristics of artistic painting, in formal and informal environments game education in the state of Rio Grande do Sul, guided by the theory of questioning, which showed that the modified game art (Modarte) which proposes that the challenge, knowledge, playfulness and reading images, constitutes a plausible mode and productive to the teaching and learning process, pointing to an aesthetic education in the relationship between game and features the artistic painting<br>A pesquisa investiga o conceito de jogo e a sua incidência em uma modalidade especial designada por jogo modificado (Mod), que tem como objeto as características da pintura artística e o seu ensino. Parte de três relatos de experiências que buscam descrever o processo educativo estético encontrado durante a execução de um jogo modificado para o ensino das artes. A necessidade de tal ação se dá na reflexão sobre as estratégias para o enfrentamento do problema do incentivo à pesquisa de história da arte, à leitura de imagens e ao conhecimento das características da arte e da pintura artística, junto aos alunos de artes e público interessado. Do ponto de vista metodológico, engaja-se em uma reflexão, dentro do conceito de experiência estética, no contexto de uma relação de aplicação do jogo modificado com alunos da disciplina de Artes do segundo ciclo, organizando questões e sugestões correlatas aos arte-educadores, no que tange ao estímulo do interesse e motivação dos alunos para o gosto, a imagem, sua leitura e, consequentemente, o conhecimento e expressão da arte por meio do jogo modificado. Do ponto de vista da fundamentação, as referências teóricas situam-se em pesquisadores da filosofia e da arte, tais como Ana Mae Barbosa, Arlete dos Santos Petry, Lev Vygotsky, Friedrich Schiller, James Paul Gee e Johan Huizinga, que apresentam perspectivas relevante ao conceito de jogo e sua aplicação na educação, na educação estética e para a arte em geral. A pesquisa indicou a alternativa metodológica de um estudo descritivo acerca de três relatos de experiência, os quais evidenciaram que o processo educativo estético encontrado e produzido durante a execução de um jogo modificado para o ensino das características da pintura artística, em ambientes formais e informais de ensino no interior do Rio Grande do Sul, norteados pela teoria da problematização, que mostraram que o jogo artístico modificado (Modarte) que propõe que o desafio, o conhecimento, a ludicidade e a leitura de imagens, se constitue em uma modalidade plausível e produtiva para o processo de ensino aprendizagem, apontando para uma educação estética na relação entre jogo e as características da pintura artística
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Falk, Ingrid. "Estetiken angår alla! : Portfolio som verktyg för självvärdering och modell för att motverka social snedrekrytering." Thesis, Stockholms universitet, Institutionen för utbildningsvetenskap med inriktning mot tekniska, estetiska och praktiska kunskapstraditioner, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126509.
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De konstnärliga högre utbildningarna med bild- och forminriktning har till övervägande del en studentsammansättning med kulturellt kapital1 hemifrån. För att hårdra betyder det att elever med litet ekonomisk, socialt eller kulturellt kapital inte söker estetiskt gymnasieprogram eller blir studenter på förberedande konstnärlig utbildning.Här ges en bild av hur villkoren ser ut på fältet och hur rekrytering till högre konstnärlig utbildning går till. Utbildningsanordnarna som intervjuas i undersökningen konstaterar den rådande sociala snedrekryteringen i Stockholm.En utbyggd användning av portfolio inom gymnasieskolan skulle kunna fungera som modell för att bryta den sociala snedrekryteringen. Portfoliomodellen ger elever och studenter utrymme att träna sig i självvärdering genom samlande och reflektion av egna alster. Att kunna värdera sig själv ger perspektiv och utvecklingsmöjligheter i förståelsen av sig själv som en del av ett större sammanhang, en helhet, en kultur. Genom de kriterier som innefattas av konstruktionen av portfolion, ges utmaning i att se nya möjligheter i sina framtida yrkes- och utbildningsval.<br>The education at an advanced level of Fine Arts is dominated by students with a cultural capital from their heritage2 In strong words this will mean that students with small economic, social or cultural capital won´t apply for aesthetic high schools or even become students in art schools.This degree thesis gives a picture of how the conditions look like in reality and how the recruitment to higher artistic education is conducted. The education organisers that were interviewed in the survey established that there is a prevailing social imbalance in Stockholm.A larger use of the portfolio in high-schools could stand as a model in order to break the prevailing social imbalance. The portfolio model gives each person the space, through collecting and reflection of their own material, to find and train in self evaluation. To be able to evaluate your own person it will give perspectives on his or hers development opportunities in the understanding of itself as a part of a bigger contexts, a whole, a culture. Through the criteria that are included of the structure of the portfolio, is given a challenge in seeing new possibilities in his or her future trade's - and educational choices.
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Castro, Genivaldo MacÃrio de. "Trilhas poÃticas do ensino de artes: o experimento artÃstico e estÃtico como base para a formaÃÃo docente em artes visuais no ensino fundamental para rede pÃblica municipal de Fortaleza-CE." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=15718.
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nÃo hÃ<br>Esta tese apresenta como figura as trilhas poÃticas do ensino em Artes Visuais, tendo o experimento artÃstico e estÃtico mediado pela poÃtica artÃstica pessoal como alvo da reconfiguraÃÃo da formaÃÃo do docente em Artes Visuais. O objetivo consistiu na investigaÃÃo da concepÃÃo dos docentes da linguagem do ensino de Artes Visuais sobre experimentos artÃsticos e estÃticos e da avaliaÃÃo dessas prÃticas, com vistas a redimensionar saberes e fazeres em suas aÃÃes pedagÃgicas. A fundamentaÃÃo teÃrica desta tese atribui que o objeto de estudo à de natureza ontolÃgica, o qual solicita a abordagem fenomenolÃgica, tendo a arte como elemento originÃrio o seu autor (HEIDEGGER, 2003, 2005, 2010, 2011) e a desconstruÃÃo como meio de desabrochar a arte (DERRIDA, 2002). A visÃo de ensino de Arte ContemporÃnea se faz presente, despontando a concepÃÃo de que Arte e vida se aproximam (BARBIERI, 2009; COHN, 2013; KONESKI, 2009; LEDUR, 2012; TESCH; VERGARA, 2012). A metodologia adotada foi a pesquisa educacional fenomenolÃgica e ocorreu a partir dos conceitos e definiÃÃes do pensamento de Heidegger e Merleau-Ponty (1999, 2009). A amostra apresentou oito professores da linguagem de Artes Visuais, com e sem formaÃÃo na Ãrea de Artes, do 6 ao 9 ano do Ensino Fundamental da rede pÃblica municipal de Fortaleza, Cearà (CE). O trabalho de campo se pautou num curso experimental, no qual os participantes ocuparam papÃis inicialmente como discentes e posteriormente como docentes (em suas prÃprias salas de aula). A aquisiÃÃo do corpus da pesquisa foi obtida atravÃs de questionÃrios, entrevistas, memoriais, ateliÃs de experimentos artÃsticos em Artes Visuais e sessÃes reflexivas gravadas em vÃdeo. Os dados foram tratados sob a fusÃo de horizontes, com base na hermenÃutica de Gadamer (1997), na compreensÃo do tipo antes e depois, atravÃs das preconcepÃÃes e das concepÃÃes sobre o ensino de Artes Visuais. Depreende-se que os participantes do curso compreenderam que a produÃÃo artÃstica dos alunos pode resultar das ideias do prÃprio discente. Portanto, conclui-se que a experiÃncia adquirida nos laboratÃrios da metodologia proposta fez com que os docentes despertassem em seus aprendizes a descoberta de que estes sÃo depositÃrios de sua prÃpria poÃtica artÃstica, o que torna desnecessÃrio utilizar obras existentes como modelo a ser imitado.<br>This thesis presents the poetic trails of teaching in Visual Arts, with the artistic and aesthetic experiment mediated by the artistic personal poetic as objective of rearrangement of the teacherâs formation in Visual Arts. The main purpose of the current research was to accomplish an investigation concerning the teacherâs conception of the language of Visual Artsâ teaching about artistic and aesthetic experiments as well as the assessment of those practices intending to readjust knowledge and practices in their pedagogic actions. The theoretical foundations of this thesis attributes that the object of study presents an ontological nature which requests the phenomenological approach, with art as an original element from the author (HEIDEGGER, 2003, 2005, 2010, 2011) and the deconstruction as a way of sprouting art (DERRIDA, 2002). The perspective of teaching Contemporary Art is also present, pointing to the conception that Art and life approach (BARBIERI, 2009; COHN, 2013; KONESKI, 2009; LEDUR, 2012; TESCH; VERGARA, 2012). The methodology adopted was the phenomenological educational investigation based on concepts and definitions of the thought of Heidegger and Merleau-Ponty (1999, 2009). The sample was composed by eight teachers of the language of Visual Arts, with and without formation in the area of Arts, from the 6th to the 9th year of Elementary School in the public school system of Fortaleza-CearÃ. The field work was established in an experimental course, in which the participants occupied roles initially as students and later as teachers (at their own classrooms). The acquisition of the corpus of this research was obtained through questionnaires, interviews, memorials, studios of artistic experiments in Visual Arts and reflexive sessions recorded in video. The data were treated according the fusion of horizons, based on the hermeneutic perspective of Gadamer (1997) and on the type before and after, through preconceptions and conceptions on the teaching of Visual Arts. The analysis of the results revealed that the participants of the course understood that the studentsâ artistic production can result of the apprenticeâs own ideas. In conclusion, the acquired experience in the laboratories of the proposed methodology allowed the teachers to promote the discovery, by their students, of their own artistic poetic. Thus, it is not necessary to use existent works as a model to be imitated.
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Ze, Yuefeng. "La nouvelle esthétique de l'encre : une pratique de l'art lettré traditionnel chinois à l'épreuve du numérique." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20074.
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Depuis la fin du XXe siècle, notre monde a été affecté par une grande mutation des activités humaines. Dans cette mutation, les sciences de la cognition jouent sans doute un rôle central. Le développement des sciences cognitives, surtout depuis sa phase de Seconde Cybernétique, fait émerger de nouveaux paradigmes et offrent au monde humain la nouvelle génération des technologies de l'informatique – le numérique. En parallèle avec les technologies numériques qui ont profondément transformé le rapport sensible de l’être humain au monde, les dispositifs scientifiques et conceptuels mis en œuvre dans la Seconde Cybernétique ont également provoqué un grand retentissement dans tous les domaines scientifiques et philosophiques occidentaux. Ces dispositifs nous conduisent à ré-évaluer les connaissances déjà modélisé dans le cadre de la modernité à partir d’une approche totalement nouvelle, celle du système évolutif. Le retentissement de la Seconde Cybernétique a un impact fort dans le domaine de l'art. D'une part, les technologies numériques offrent à la création artistique de nouveaux moyens techniques de modélisation de l'œuvre d'art en s'accompagnant de l'apparition de nouvelles expressions artistiques, de nouvelles esthétiques et de nouveaux enjeux pour les représentations artistiques. D'autre part, les dispositifs conceptuels et scientifiques mis en place par la Seconde Cybernétique ont conduit les théoriciens de l'art et les esthéticiens à réévaluer les phénomènes artistiques (l’œuvre d’art, l’activité artistique, la perception esthétique, l’évolution culturelle de l’art, etc.) dans une perspective totalement nouvelle de l’esprit : le naturalisme de l’esprit. Mes travaux tentent de proposer une réflexion sur l’œuvre d’art en relation avec la cognition à partir des dispositifs scientifiques, technologiques et conceptuels constitués dans le cadre de la Seconde Cybernétique, mais aussi à partir des dispositifs conceptuels issus de l’art lettré traditionnel chinois. Les deux paradigmes de pensées du réel, tout en étant à l'origine de deux cultures très éloignées et très différentes, révèlent par contre un même principe de l'appréhension du monde. À partir de ce principe, la réalité doit être analysée en tant que phénomène d’émergence en cours relevant d'un rapport d'interaction ; le monde se définirait comme réseau des relations dynamiques capables de s'auto-organiser pour l’émergence de nouvelles structures. Cette approche du réel nous conduit à reposer la question de l’œuvre d’art, à la fois en tant qu’objet de création et en tant qu’objet de réception esthétique, à partir des nouveaux paradigmes liés aux processus d’émergence comme processus biologiques ou processus numériques. Cette thèse peut être résumée par les quatre points suivants : 1. L’art relève d’une capacité cognitive créatrice qui résulte de la phylogenèse de l’espèce humaine et qui est individualisé par le développement ontologique de chaque personne. 2. L’art, comme culture, relève d’un système d’appréhensions cognitives du réel ; ce système s’organise dans le même principe que l’algorithme évolutionniste basé sur la variation, l’accumulation, la sélection darwinienne et l’hérédité. 3. L’œuvre d’art relève d’une extériorisation expressive de l’artiste, de ses états mentaux, de son imaginaire du réel se produisant dans son cerveau ; la création de l’œuvre d’art s’inscrit dans un processus d’émergence qui relève d’un rapport dialectique s’effectuant entre un schéma mental se produisant dans le cerveau de l’artiste et son extériorisation progressive en œuvre d’art par les actions. 4. Les systèmes numériques, à la fois en tant qu’outils technologiques autant que paradigme de représentations du monde, constituent une interface d’interaction entre les différentes cultures dans le cadre de la création artistique<br>Since the end of 20th century, our world has been affected by a grand mutation of human activities. The cognitive science plays the central role without any doubt in this mutation. The development of the cognition science, especially since its second cybernetic phase, does emerge new paradigms and offers a new computer science generation, digitization, to the world. In parallel with the digital technologies that has profoundly transformed human senses to the world, the scientific and conceptual devices implemented in the second cybernetics have also caused a great impact in almost all scientific and occidental philosophic aspects. These devices made determinant concepts for all contemporary theories of evaluative system in the world. We propose to, based on this concept, revaluate all modelled knowledge in the context of modernity. The impact of the second cybernetics has a strong impact in the art’s field, as well as in the theoretical studies of the art in the creation of art’s works. On one hand, digital technology, especially the artificial intelligence systems and devices from the second cybernetics, provides the artistic creation of new techniques for modelling the artwork accompanied by the emergence of new arts, new look and new challenges for the performing arts. On the other hand, conceptual and scientific arrangements put in place by the second cybernetics, led the art theorists and designers to evaluate the artistic phenomena (the work of art, the artistic aesthetic perception, cultural evolution, art, etc.) in a totally new perspective in mind: naturalism of spirits. My work attempts to propose a reflection on the work of art related to cognition which based on scientific, technological and conceptual devices, set up within the framework of the second network device, but also from the ancient chinese concept from the mind, especially taoist and chinese lettered thoughts.The two paradigms of thinking, while the origin of the two cultures are very remote and different, but released from the same principle of the understanding of the world. Based on this principle, the reality must be analysed as a phenomenon of the emergence ; the world would be defined as a network of relationships and self organize to the emergence of new structures.This approach leads us to raise the question on the issue of work of art, at the same time as a subject of creation, as an object of esthetic reception and an artifact which is a network of intersubjective relations (culture), based on the new paradigms associated with processes of emergence like biological processes or digital processes. This thesis can be conclute by the four following points: 1. art is a creative cognitive ability, which is the result of the phylogeny of human beings and is tailored to the ontological development of each individual. 2. Art, like culture, releases a real concern cognitive system. this system is on the same principle as the evolutionary algorithm based on the change, the accumulation, darwinian selection and heredity. 3. the work of art is an representation of the artist's expression, of his mental states, of his imagination of the real occurring in his brain; the creation of a work of art is a part of the process of development which releases a dialectical relationship between a mental pattern produced in artist’s brain and his progressive expression of work of art. 4. the digital systems, at the same time as technological tools as well as the paradigm of representations of the world, build up an interface of interaction between different cultures in the context of artistic creation
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Gebers, Adrian. "Aesthetics of systems / Systems of aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/11964.
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This paper investigates the role artists play in maintaining their legitimacy through participating in various roles across the entire art world by tracing the careers of selected artists with expanded practices. Where actions are performed on behalf of artists, artists lose the ability to represent themselves and even participate in their own disenfranchisement. Systems and systems aesthetics are first explored before the art world itself is revealed as a system. The positions that artists take up in the system is explored through the careers of various artists, including those that work as curators, writers and gallerists, challenging the hegemony that threatens to manipulate the system and remove the independence of the art object.
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CASTRO, Genivaldo Macário de. "Trilhas poéticas do ensino de artes: o experimento artístico e estético como base para a formação docente em artes visuais no ensino fundamental para rede pública municipal de Fortaleza-CE." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/14348.
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CASTRO, Genivaldo Macário de. Trilhas poéticas do ensino de artes: o experimento artístico e estético como base para a formação docente em artes visuais no ensino fundamental para rede pública municipal de Fortaleza-CE. 2015. 239f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2015.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-08T15:18:23Z
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Previous issue date: 2015<br>This thesis presents the poetic trails of teaching in Visual Arts, with the artistic and aesthetic experiment mediated by the artistic personal poetic as objective of rearrangement of the teacher’s formation in Visual Arts. The main purpose of the current research was to accomplish an investigation concerning the teacher’s conception of the language of Visual Arts’ teaching about artistic and aesthetic experiments as well as the assessment of those practices intending to readjust knowledge and practices in their pedagogic actions. The theoretical foundations of this thesis attributes that the object of study presents an ontological nature which requests the phenomenological approach, with art as an original element from the author (HEIDEGGER, 2003, 2005, 2010, 2011) and the deconstruction as a way of sprouting art (DERRIDA, 2002). The perspective of teaching Contemporary Art is also present, pointing to the conception that Art and life approach (BARBIERI, 2009; COHN, 2013; KONESKI, 2009; LEDUR, 2012; TESCH; VERGARA, 2012). The methodology adopted was the phenomenological educational investigation based on concepts and definitions of the thought of Heidegger and Merleau-Ponty (1999, 2009). The sample was composed by eight teachers of the language of Visual Arts, with and without formation in the area of Arts, from the 6th to the 9th year of Elementary School in the public school system of Fortaleza-Ceará. The field work was established in an experimental course, in which the participants occupied roles initially as students and later as teachers (at their own classrooms). The acquisition of the corpus of this research was obtained through questionnaires, interviews, memorials, studios of artistic experiments in Visual Arts and reflexive sessions recorded in video. The data were treated according the fusion of horizons, based on the hermeneutic perspective of Gadamer (1997) and on the type before and after, through preconceptions and conceptions on the teaching of Visual Arts. The analysis of the results revealed that the participants of the course understood that the students’ artistic production can result of the apprentice’s own ideas. In conclusion, the acquired experience in the laboratories of the proposed methodology allowed the teachers to promote the discovery, by their students, of their own artistic poetic. Thus, it is not necessary to use existent works as a model to be imitated.<br>Esta tese apresenta como figura as trilhas poéticas do ensino em Artes Visuais, tendo o experimento artístico e estético mediado pela poética artística pessoal como alvo da reconfiguração da formação do docente em Artes Visuais. O objetivo consistiu na investigação da concepção dos docentes da linguagem do ensino de Artes Visuais sobre experimentos artísticos e estéticos e da avaliação dessas práticas, com vistas a redimensionar saberes e fazeres em suas ações pedagógicas. A fundamentação teórica desta tese atribui que o objeto de estudo é de natureza ontológica, o qual solicita a abordagem fenomenológica, tendo a arte como elemento originário o seu autor (HEIDEGGER, 2003, 2005, 2010, 2011) e a desconstrução como meio de desabrochar a arte (DERRIDA, 2002). A visão de ensino de Arte Contemporânea se faz presente, despontando a concepção de que Arte e vida se aproximam (BARBIERI, 2009; COHN, 2013; KONESKI, 2009; LEDUR, 2012; TESCH; VERGARA, 2012). A metodologia adotada foi a pesquisa educacional fenomenológica e ocorreu a partir dos conceitos e definições do pensamento de Heidegger e Merleau-Ponty (1999, 2009). A amostra apresentou oito professores da linguagem de Artes Visuais, com e sem formação na área de Artes, do 6º ao 9º ano do Ensino Fundamental da rede pública municipal de Fortaleza, Ceará (CE). O trabalho de campo se pautou num curso experimental, no qual os participantes ocuparam papéis inicialmente como discentes e posteriormente como docentes (em suas próprias salas de aula). A aquisição do corpus da pesquisa foi obtida através de questionários, entrevistas, memoriais, ateliês de experimentos artísticos em Artes Visuais e sessões reflexivas gravadas em vídeo. Os dados foram tratados sob a fusão de horizontes, com base na hermenêutica de Gadamer (1997), na compreensão do tipo antes e depois, através das preconcepções e das concepções sobre o ensino de Artes Visuais. Depreende-se que os participantes do curso compreenderam que a produção artística dos alunos pode resultar das ideias do próprio discente. Portanto, conclui-se que a experiência adquirida nos laboratórios da metodologia proposta fez com que os docentes despertassem em seus aprendizes a descoberta de que estes são depositários de sua própria poética artística, o que torna desnecessário utilizar obras existentes como modelo a ser imitado.
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Hearn, Emily K. "Overhearing : Hindu & Christian perspectives on artistry." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6500.
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This thesis is concerned with the hypothesis that an intellectual conversation between Christian and Hindu traditions on questions of aesthetic concern may not only prove mutually illuminating as such but also touch obliquely upon matters of religious and theological concern without exciting the defensive response often posed by more familiar strategies of inter-faith ‘dialogue'. It seeks to establish the existence of sufficient conditions for such a conversation within the respective traditions. The Introduction considers the relevant model of ‘conversation' distinguishing it from other forms of encounter between religious traditions. It proceeds by identifying three shared concerns: freedom and constraint, aesthetic experience and religious encounters, and the relationship between the material artwork and its significance. The first three chapters address them by examining various elements in Hindu traditions, including a detailed treatment of the Śilpaśāstras, a comprehensive consideration of the concept of rasa and its relation to religious experience, and an exploration of the role of the senses in scriptural traditions, the importance of Form and the value of the art object as a devotional aid. Finally it outlines the notion darśan, of seeing and being seen by a deity through a material image. The last three chapters address them by examining the work of Christian theologians including Dorothy Sayers on Art as Idea, exploring bequeathed traditions in iconography and the music of John Tavener, and expounding Tolkien's category of ‘sub-creation'. It considers the work of David Brown, Richard Viladesau, John Ruskin, Frank Burch Brown and Abraham Kuyper who span a putative spectrum of equating aesthetic and religious experience at one end and strictly demarcating between them at the other end. It explores the relationship of the physical art object with its spiritual significance in the work of Dorothy Sayers, John Carey, Rowan Williams, David Brown and Trevor Hart.
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Mahajan, Nidhi. "L’apprentissage du français langue étrangère par le biais des chansons françaises aux hindiphones : analyse et propositions." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30033/document.
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Le présent travail a pour but d’analyser et de montrer comment une chanson, dans toute sa richesse langagière, musicale et socioculturelle peut devenir un réel outil d’apprentissage. Tout d’abord, une étude de la situation actuelle de l’enseignement du FLE en Inde, révèle l’emploi limité à la grammaire et au vocabulaire des chansons et démontre l’insuffisance de l’exploitation des chansons françaises dans leur intégralité : les aspects esthétiques et artistiques sont très peu abordés. Ensuite, une réflexion théorique porte sur les domaines de la didactique de l’oral, de la musique et plus particulièrement, des chansons. Elle met en relation les concepts interdisciplinaires tels que la musique, l’émotion, le plaisir, la réception et l’expérience esthétique, la motivation, la culture, les chansons, l’oral, etc. du point de vue de l’enseignement/apprentissage d’une langue. Cette recherche vise l’identification des manques et des besoins, à travers une pré-enquête et des entretiens réalisés dans des établissements différents de New Delhi. Enfin, une remédiation sous forme d’un projet artistique appliquée à des apprenants indiens hindiphones de 3ème année de FLE, montre les effets bénéfiques de l’étude transversale en évoquant le rôle pertinent des chansons sur le développement cognitif, affectif et socioculturel. Le côte ludique de l’apprentissage à travers les chansons suscite le plaisir esthétique et un nouveau désir de s’exprimer dans une langue. Cette thèse concerne non seulement plus de 300,000 apprenants indiens du FLE mais également, tous les domaines de la didactique, des neurosciences, de la psychologie, de l’interculturalité, de la linguistique et de la musicologie. Les propositions développées ici sont également applicables à d’autres langues<br>The present work aims at analysing and showing how a song, in all its linguistic, musical and sociocultural richness, can become a real tool of learning. First of all, the current situation of the teaching of French as a foreign language (FLE) has been studied, that reveals the use of the songs being limited to their grammar and vocabulary. Its analysis brings to the forefront the insufficient use of French songs in their entirety:aesthetic and artistic aspects being the less addressed aspects. In order to address this situation, the focus has been put on studying the theoretical notions in the domain of teaching of oral, music and particularly, songs. These notions are furthermore analyzed in the light of teaching/learning of a language to study the interdisciplinary concepts such as music, emotion, pleasure, aesthetic reception and experience, motivation, culture, songs, oral, etc. This research aims at identifying what is lacking and needed, with the help of pre-survey and interviews conducted in different institutes of New Delhi. Last but not the least, an art based project has been suggested to the native Hindi speakers studying in the 3rd year of FLE. This project highlights the advantages of the cross-sectional study referring to the important role of songs on the cognitive, emotional and sociocultural development. The playful side of learning through songs arouses aesthetic pleasure and new desire to express oneself in a language. This thesis not only concerns more than 300,000 Indians students of FLE but also relates to the fields of didactics, neurosciences, psychology, interculturality, linguistics and musicology. The suggestions developed here in this project apply equally to other languages as well
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Boström, Rajja. "Öppna väggar : En studie av graffiti som kulturell och estetisk praktik." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6755.
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Denna undersökning syftar till att hitta utvecklingsmetoder för hur jag som bildlärare i skakunna undervisa om graffiti och gatukonst, som en del av kontexten samtidskonst ur ettteoretiskt och estetiskt perspektiv på lärande. Jag valde att fördjupa mig i graffiti som visuellkultur och genom ett konstnärligt undersökande utveckla min egen praktik och estetiskakunnande utifrån tekniska metoder och material. Dessa hämtade från kreativa praktiker inomtraditionell graffiti för att utveckla min kunskap genom kroppslig upplevelse.Undersökningens frågeställning är: På vilka sätt kan graffiti som praktik förstås genom ettkonstnärligt praktiskt undersökande, i ett utvecklingsdidaktiskt syfte?Genom A/R/Tography som metodologiskt förhållningssätt har jag under studien agerat somkonstnären, forskaren och läraren (Artist - Researcher - Teacher) och undersökt graffiti somvisuell kultur . Under den gestaltande redovisningen och examensutställningen, menar jag attförsöka återskapa platsen för min studie, och synliggöra de förutsättningar som styrt minkreativa praktik och individuella lärprocess . Syftet med den slutgiltliga gestaltningen är attbjuda in till en interaktiv installation med en öppen vägg i ständig förändring. Här jag vill gebesökare möjlighet att få ny kunskap och själva få uppleva en graffiti inspirerad kreativprocess.
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Berrios, Ruben Ernesto. "Nietzsche's aesthetics." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.
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Rubira, Fabiana de Pontes. "Contar e ouvir estórias: um diálogo de coração para coração acordando imagens." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-04042014-133433/.
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Essa dissertação de mestrado resulta de uma pesquisa teórica, na qual a pesquisadora valeu-se de suas experiências pessoais como educadora, aluna, contadora e ouvinte de estórias para pensar a narração de estórias como sendo uma prática relacionada com uma educação de sensibilidade. Trata-se de um estudo das dimensões estéticas e artísticas da literatura de tradição oral que remete à discussão da atual função da narração de estórias dentro do âmbito escolar. Parte-se do pressuposto de que as estórias de ensinamento da tradição oral são obras de arte, de tempos imemoriais, compostas por uma dinâmica de imagens arquetípicas articuladas, sob a forma de metáforas, em uma narrativa. Acredita-se que, ao entrar em contato com essa sintaxe de metáforas, o aluno-ouvinte terá a possibilidade de, por meio do despertar de uma ação imaginante e não de uma audição passiva, ter uma experiência imaginativa de natureza estética, organizadora e integralizadora, capaz de propiciar um momento de intenso aprendizado. Um aprendizado no qual aquilo que se aprende está diretamente relacionado à descoberta e à construção de nossa humanidade, que se dá por ressonância, a partir de diálogos significativos entre as imagens internas que habitam as estórias e as que habitam os ouvintes. Por imagens internas, entende-se que são as imagens arquetípicas que preservam e revelam nossa humanidade e que estão ancoradas em nossa corporeidade. Nesses diálogos, destaca-se a importância de professores e contadores de estórias como agentes de cultura, cuja presença humana intermedia e possibilita o contato de alunos e ouvintes com suas heranças culturais. Como base teórica, utilizou-se obras de filósofos, antropólogos, educadores, poetas e contadores de estórias, dentre os mais significativos: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet e Cecília Meireles, sendo tomado como elementos norteadores dessa dissertação, o trabalho e os textos de Marcos Ferreira Santos e Regina Machado. A partir de dados recolhidos, ao atuar como contadora de estórias, e de observações feitas em aulas de Língua Portuguesa, em escolas de Ensino Fundamental da rede pública, foram tecidas algumas conclusões. Dentre elas está a constatação de que, nesses ambientes educativos, ainda ocorre um aproveitamento apenas superficial de obras de cunho literário. Quanto à narração de estórias, além do aproveitamento superficial dos contos, constatou-se também uma preocupação com a instrumentalização dessa prática, que, em geral, é tida como uma mera forma de aquietamento e entretenimento dos alunos, quando esta pode servir a um papel nobre na formação do ser humano. Ademais de restabelecer vínculos com nossa ancestralidade, a narração de estórias propicia um aprendizado imaginativo, no qual nossa humanidade ganha corpo, cores, sentidos e significados ao entrar em contato com as metáforas articuladas em uma narrativa. Narrativas cujo principal objetivo é ensinar o outro, colocando-o em sua própria sina, levando-o, em termos socráticos, a tornar-se o que é.<br>This master dissertation results from a theoretical research where the researcher has used her personal experiences as educator, student, listener and storyteller to think the storytelling as a practice related to an education of sensibility. It studies the aesthetic and artistic dimensions of literature of oral tradition that remits to a discussion about the function of storytelling within the school environment nowadays. It is presupposed that the teaching stories from the literature of oral tradition are works of art, from immemorial times, composed by a dynamic arrangement of archetypical images, under the form of metaphors, joined together in a narrative. It is believed that when the listeners or students get in touch with this syntax made of metaphors, they will have the possibility, by the awakening of an imagining action and not by a passive reception, to have their own imaginative experience of an aesthetic nature, therefore an organizing and integrating experience able to create an intense moment of learning. A kind of learning in which the learned thing is straightly related to the discovery and the building of their humanity, and that happens by resonance, from the significant dialogues that can be engaged between the inner images that live inside the stories and the ones that live inside of each listener. The inner images are the archetypical images that preserve and reveal our humanity and that lie in our corporality. In these dialogues it is emphasized the importance of teachers and storytellers as cultural agents whose human presence intermediates and makes possible the contact of students and listeners with their own cultural heritages. As theoretical bases, works from philosophers, anthropologists, educators, poets and storytellers were used, principally: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet and Cecília Meireles, considering that the work and the texts of Marcos Ferreira Santos and Regina Machado were used as guiding elements for the elaboration of this dissertation. From the collected data, gathered by the researcher while acting as a storyteller, and from her observations made in Portuguese classes of public schools, some conclusions were drawn; we emphasize the verification that, in most of these educational places, there is still a superficial use of literary works. As for storytelling, besides the teaching stories have been underused, it was noticed that there is a tendency in transforming them into a pedagogical instrument. The storytelling is, in general, seen as a mere form of having students quiet and entertained, when, in fact, it can play a noble part in the human being educational process. This practice has the power of recreating the ties with our ancestral soul. It makes possible an imaginative learning, in which our humanity receives consistence, colors, directions and significance, as long as we get in touch with these metaphors joined together in a narrative. Narratives which their mainly objective is teaching the other, is putting the learners in their own way, and to conduct them, in socratical terms, to become what they really are.
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Nunn, Lisa. "The aesthetic of an artist : Cummings as poet/painter /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841327.
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Knackert, Bruce J. "The spiritual, the mystical and the sublime : an artistic search for the absolute." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/724949.
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The purpose of this creative project was to explore the need of the artist to represent a spiritual consciousness in a material-dominated society. It was felt that a return to the mythical origins of art and a resurrected faith in the supernatural would help stimulate creativity, promote inward growth and enhance the evolution of consciousness. The artist examined mystical and philosophical literature which lead to the use of the concept of the sublime by nineteenth century landscape painters as well as the "Abstract Sublime" painters of the mid-twentieth century. Also important was the effect of the Theosophic Society's geometric iconography and color theories on two of the pioneers of abstract art, Kandinsky and Mondrian. These inquiries were incorporated into a large,; three-dimensional, mixed-media installation.<br>Department of Art
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Jakubowski, Philip. "Masters thesis /." Online version of thesis, 1992. http://hdl.handle.net/1850/11152.
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Garrett, Andrea Dirickson. "Glitch : an artistic investigation about relational aesthetics-based collaborative arts and its site-specificity." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/34672.
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This art-based project is composed of several installations that employ inter-media strategies
of performance, installation art, participatory art and new media. The research paper and the
body of work that was created for this research examines collaborative art that employs
Nicolas Bourriaud’s concepts regarding Relational Aesthetics. The research also examines
the concept of site-specificity in general. Using a critical perspective rooted in cultural
studies the creative work produced uses irony and allegoric humor. Particular attention was
given to transnationality factors and Brazilian antecedents
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Tome, Lester. "THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/116137.
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Dance<br>Ph.D.<br>In the 1940s, Alicia Alonso became the first Latin American dancer to achieve prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba, particularly after the Cuban Revolution (1959). This dissertation integrates historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined the identity of the Cuban ballet. The study examines the historical context of the development of ballet in Cuba, Alonso's rationale for the practice of this dance form on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso insisted that the cultivation of ballet in her country was not an act of cultural colonialism. For her, the development of the Cuban ballet amounted to an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. Her rationale for the practice of ballet in Cuba captured the tension between cosmopolitan and nationalist forces that defined the country's artistic production throughout the twentieth century. Alonso defended the legitimacy of the Cuban dancers' performances of European classics such as Giselle and Swan Lake. She cast Cuban dancers as both heirs of the European nineteenth-century classics, but also proponents of a distinctive national aesthetics defined by the accents that they brought to the performance of this repertory and that, in her opinion, were expressive of the Cuban culture. Alonso proposed that, among other elements, a special sense of musicality distinguished Cuban dancers: she recycled the image of Cubans as a musical people, a trope that commonly informs representations of Cubans and their culture. The phenomenon of Alonso and the Cuban ballet helped to redraw the international boundaries of this dance form, disassociating the notion of ownership of ballet's legacy from its geographic and cultural origins in Europe. In today's dance world, increasingly marked by the international flow of dance genres, the study of Alonso's promotion of ballet in Cuba sheds light on the practices and discourses through which dancers assimilate and take ownership of foreign traditions.<br>Temple University--Theses
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Bury, Józef. "Performance et temps. Pour une théorie esthétique du temps dans la performance artistique du XXe siècle et du début du XXIe siècle." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0219.
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La présente recherche a pour but d’étudier le rôle du temps dans les expériences artistique et esthétique relatives à la performance artistique. Cette étude porte sur les œuvres et les pratiques de la performance du XXe et du début du XXIe siècles, allant des premières manifestations publiques des avant-gardes historiques jusqu’à la performance augmentée par l’intégration des nouvelles technologies de l’enregistrement, de l’information et de la communication. Partant de l’hypothèse de l’efficience du composant temporel de la performance, il s’agit tout d’abord de démontrer que la structure temporelle de la performance fait l’objet d’une élaboration artistique réfléchie et que le temps peut être considérée comme « matériau » ou « milieu » de l’œuvre-performance. Les analyses de la dimension temporelle des œuvres particulières révèlent également son pouvoir d’agir sur le vécu de tous les protagonistes réunis au sein de la performance-événement et sa capacité de les impliquer à différents degrés dans le processus de la concrétisation de l’œuvre-performance. Ces différentes fonctions du temps, son « activité » et son mode opératoire sont analysés au cours de cette recherche en tant qu’ « agentivité du temps dans la performance ». À l’issue de ces investigations, le temps apparaît comme l’un des facteurs ontogénétiques de l’œuvre-performance fondant sa spécificité, et comme l’une de ses qualités intrinsèques susceptible de déterminer les conduites artistique et esthétique de l’artiste et du spectateur, au point de les rendre interchangeables<br>The objective of the present research is to investigate the role of time in artistic and aesthetic experiences pertaining to performance art. This paper focuses on the performance works and practices of the 20th and early 21st centuries, ranging from the first public performances of historical avant-garde movements to the performance augmented through the use of the latest recording, information processing and communication technologies. Starting with the hypothesis of the efficiency of a performance’s temporal component, we first demonstrate that the temporal structure of a performance is the matter of well-thought-out artistic design, and that time can be regarded as the medium, or “milieu” of a performance work. Moreover, analyses of the temporal dimension of individual performance works reveal how time can affect the real-life experience of all the protagonists taking part in the performance-event, involving them, to varying degrees, in the process through which the performance comes into being as a work of art. These multiple functions of time, its “activity” and modus operandi are discussed throughout this study as “agency of time in performance”. The research shows that time turns out to be one of the ontogenetic, specificity-conferring factors of a performance work, and also one of its intrinsic qualities which is likely to determine the artist’s and spectator’s artistic and aesthetic attitudes to such an extent that they become interchangeable
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Zghaibeh, Rasha. "La chanson française comme outil didactique : pour un nouvel enseignement / apprentissage de l'oral en classe de FLE en Syrie." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30050.
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Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
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La présente étude s’intéresse non seulement à l’idée d’un cinéma qui pense et participe à la pensée poétique, c’est-à-dire à l’idée de « la coulée du film qui s’apparenterait à celle de la pensée » pour parler comme Norman McLaren ; elle défend également l’idée d’un cinéma poétique et d’une poétique du cinéma axés sur une esthétique nouvelle de médiation et de création qui explore l’univers poétique. En plus de s’engager dans la définition d’un cinéma de poésie et d’une poétique du cinéma, cette étude entend contribuer à la compréhension de certains mécanismes esthétiques et artistiques qui affectent poétiquement l’attention des percept’acteurs (attention poétique) lorsqu’ils sont face aux effets et aux procédés filmiques qui ne jouent plus sur des effets immersifs et déterminants comme on peut le voir dans les cinémas populaires, de divertissement, de narration, et dans les films documentaires, mais sur des indéterminations perceptives, sur « la promenade esthétique » pour parler comme Jean-Marie Schaeffer et sur la « poétique du désœuvrement ».Les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache, font naviguer les percept’acteurs – néologisme que nous employons à la place de spectateur, puisqu’il ne s’agit plus de spectacle dans ces films – dans une sphère atemporelle et les amènent à l’extérieur du temps, afin de briser la relation qu’ils entretiennent avec les films classiques et de proposer un regard nouveau de l’œuvre. Pour ces cinéastes de la poésie et de la mémoire, il s’agit de façon ambivalente de déraciner et d’ensevelir le mot, de bousculer les conventions et de rompre avec l’accoutumance à travers une vision poétique et « politique » au sens large (politico-historique) du monde, une esthétique nouvelle, un bricolage et braconnage artistique, engendrant une sorte de réinvention du langage.Mots-clés : Films-essais, modernité cinématographique, cinéma de poésie, attention esthétique, attention poétique, percept’acteurs, création artistique<br>The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
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Hartzell, Mary Lynn. "Artistic expression in 8th grade students : using aesthetics to see more clearly, think more deeply and be more creative /." View abstract, 2000. http://library.ctstateu.edu/ccsu%5Ftheses/1589.html.
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Thesis (M.S.)--Central Connecticut State University, 2000.<br>Thesis advisor: Margaret Ferrara. " ... in partial fulfillment of the requirements for the degree of Master of Science [in Teacher Education]." Includes bibliographical references (leaves 148-153).
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Wertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.
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Cooke, Patricia K. "From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.
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For centuries, artists have used their works as a means of communication. Such
communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.<br>Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Cooke, Patricia K. Waters Mary. "From the sublime to duende : a cross-cultural study on the aesthetics of artistic transcendence." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2032.
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Rozenberg, Sebastian. "Agamben's Aesthetic Framework and the Published Poetry of the Artist-Poet." Thesis, Södertörns högskola, Estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40981.
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The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal.<br>Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.