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Dissertations / Theses on the topic 'Artistic system'
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Vincent, de Paul Jegan Joyston. "///COUNTER : an artistic system for the transmission of cultural energy." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/49730.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2009.<br>Pages 98 and 99 blank.<br>Includes bibliographical references (p. [86]-95).<br>My thesis introduces ///COUNTER as an artistic system for the transmission of cultural energy. The underlying concepts of ///COUNTER are derived directly from my work on energy access as developed through the eWheel and Human Grid projects. the ///COUNTER has evolved parallel to and informed by the activities, relationships, and projects I have been immersed in during my two years as a graduate student in the MIT Visual Arts Program. MIT's social and technological environment is the engine from which ///COUNTER as a hybrid system of art and science has been created. ///COUNTER was incorporated in the Spring of 2009 and headquartered at One Broadway in Cambridge, Massachusetts. As a corporation, ///COUNTER is an effective tool and medium through which art can become a form of power designed to play a central role in producing positive social change. ///COUNTER is presented below as a plan of action towards that aim.<br>by Jegan Joyston Vincent de Paul.<br>S.M.
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Winters, Ben. "Korngold's merry men : music and authorship in the Hollywood studio system." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c.
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Smith, Claire E. "Situating style: an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system." Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
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This is an ethnoarchaeological study of style in the visual arts of Aboriginal people living in the Barunga region of the Northern Territory, Australia. My main concern is the development of a practical framework for the analysis of style in indigenous visual arts. This framework integrates the notions of style, semiotics and social strategy in an attempt to deal with the dynamics of image creation and perception. The principal result is that the morphological characteristics of style are influenced systematically by the historically situated positions of both producer and interpreter and by the differing strengths, possibilities and constraints of different raw materials. Moreover, each raw material has inherent qualities that make it particularly suitable for specific social uses. Since different media within an artistic system are likely to exhibit a unique combination of stylistic characteristics, including differing degrees of diversity, it is incorrect to assume that a single art form will be indicative of an artistic system as a whole. My conclusions are that research needs to be focused clearly on the contexts in which archaeological art occurs and comparative studies need to compare like with like. Single explanations are unlikely to be sufficient since it is most likely that they tell only part of the story. In addition, seemingly anomalous evidence should not be discounted, but should be used as a basis for inquiry into the likelihood of alternative scenarios that coexist with the main explanation.
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Fouche, Pierre. "The distance between us : strategizing a queer, artistic, personal and social politic." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.<br>This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
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Adams, Patricia Lesley, and n/a. "The Implications for Artistic Expressions and Representations of Corporeality of the Experimental Techniques of Biomedical Engineering." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060707.144314.
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While biological scientists justify their research into human genetic engineering on the grounds of its 'therapeutic' potential, art - particularly the genre of science fiction (whose origins can be traced to Mary Shelly's famous tale, Frankenstein) - has acted on the social through culture to alert us to the perilous repercussions of usurping the role of the 'Creator of Life.' Now, at the dawn of the new millennium, the scientific project of mapping human DNA seemingly complete, the plight of the genetically-engineered human has become an intense focus of cultural critique. This doctoral project can be differentiated by its focus on aesthetic inquiry into the implications for expressions and representations of corporeality in relation to contemporary biomedical engineering. It has incorporated stem cell research that entails the manipulation and redirection of adult stem cell fates. The project takes the form of practical and theoretical investigations into cellular responses, and is framed within the matrices of both an innovative collaborative art/science research model and the evolving process of practice-led arts research. The exploratory research is discursively located within the system/environment paradigm. This allows for boundaries between the philosophic and scientific disciplines of: 1. epistemology, 2. ethics and aesthetics and 3. biology and technology to become nodes in a relational network associated with: 1. living and non-living, 2. sentience and consciousness and 3. conceptions of humanness. The cycle of practice-led research culminates in a body of work that began with a project entitled apoptosis, and developed into a three part quasi-scientific vital force series of installations. Each of these installations references nineteenth century scientific experimental processes employed in a search for the essential components of the human being itself. The series of interactive installations is discussed and the processual, pioneering research model, whereby the artist becomes the 'human guinea pig' is theoretically and visually articulated. In addition, time-lapse videomicrograph image data, collected through laboratory experiments is interpreted and recontextualised by the artist-researcher for representation in the vital force series of immersive installations. In these installations the implications of the issues raised by biomedical engineering processes are expressed as a very physical, tactile encounter. The aim is that these encounters engender a multi-sensory experience for the individual viewer, who, when immersed in the aesthetic, corporeal, interactive installations as a participant who completes the work through their engagement. Thus, the significance of the study lies in its re-privileging of the aesthetic experience of corporeality in the discourses surrounding genetic manipulation. This exegesis, like the doctoral project itself, is cyclical; following the inseparable processes of theory and practice through which the implications of the core research issues for a hybrid art/science practice are explored. It echoes the qualitative, post-positivist research methodology used throughout the project, which aimed to overcome the third person perspective through such strategies as interactivity and hybridity.
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Adams, Patricia Lesley. "The Implications for Artistic Expressions and Representations of Corporeality of the Experimental Techniques of Biomedical Engineering." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/367521.
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While biological scientists justify their research into human genetic engineering on the grounds of its 'therapeutic' potential, art - particularly the genre of science fiction (whose origins can be traced to Mary Shelly's famous tale, Frankenstein) - has acted on the social through culture to alert us to the perilous repercussions of usurping the role of the 'Creator of Life.' Now, at the dawn of the new millennium, the scientific project of mapping human DNA seemingly complete, the plight of the genetically-engineered human has become an intense focus of cultural critique. This doctoral project can be differentiated by its focus on aesthetic inquiry into the implications for expressions and representations of corporeality in relation to contemporary biomedical engineering. It has incorporated stem cell research that entails the manipulation and redirection of adult stem cell fates. The project takes the form of practical and theoretical investigations into cellular responses, and is framed within the matrices of both an innovative collaborative art/science research model and the evolving process of practice-led arts research. The exploratory research is discursively located within the system/environment paradigm. This allows for boundaries between the philosophic and scientific disciplines of: 1. epistemology, 2. ethics and aesthetics and 3. biology and technology to become nodes in a relational network associated with: 1. living and non-living, 2. sentience and consciousness and 3. conceptions of humanness. The cycle of practice-led research culminates in a body of work that began with a project entitled apoptosis, and developed into a three part quasi-scientific vital force series of installations. Each of these installations references nineteenth century scientific experimental processes employed in a search for the essential components of the human being itself. The series of interactive installations is discussed and the processual, pioneering research model, whereby the artist becomes the 'human guinea pig' is theoretically and visually articulated. In addition, time-lapse videomicrograph image data, collected through laboratory experiments is interpreted and recontextualised by the artist-researcher for representation in the vital force series of immersive installations. In these installations the implications of the issues raised by biomedical engineering processes are expressed as a very physical, tactile encounter. The aim is that these encounters engender a multi-sensory experience for the individual viewer, who, when immersed in the aesthetic, corporeal, interactive installations as a participant who completes the work through their engagement. Thus, the significance of the study lies in its re-privileging of the aesthetic experience of corporeality in the discourses surrounding genetic manipulation. This exegesis, like the doctoral project itself, is cyclical; following the inseparable processes of theory and practice through which the implications of the core research issues for a hybrid art/science practice are explored. It echoes the qualitative, post-positivist research methodology used throughout the project, which aimed to overcome the third person perspective through such strategies as interactivity and hybridity.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Full Text
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Le, Mercier Stéphane. "Le colporteur ou mobilité de diffusion de l'imprimé contemporain." Thesis, Rennes 2, 2020. http://www.bu.univ-rennes2.fr/system/files/theses/2020theseLeMercierScomplet.pdf.
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Figure minorée de l’histoire sociale, le colporteur a, de l’invention de l’imprimerie jusqu’à la révolution industrielle, parcouru des paysages aventureux, diffusant textes et images. Son activité a participé au développement de l’éducation populaire. Les « Modernes », soucieux d’échapper à la réification, sensibles au renouvellement des attitudes et des discours, lui ont emboîté le pas. Pour nombre de ses représentants, il s’agit de privilégier la diffusion de l’imprimé comme activité artistique réelle et conséquemment, de susciter des situations – des stations de vie – composées de rencontres et de récits. Ce travail de thèse s’attache au développement des stratégies artistiques et poétiques dont la modestie formelle enrichit la complexité du contenu. De plus, s’il revient sur des signatures historiquement repérées (Albrecht/d., Marcel Broodthaers, Jef Geys, Ben Kinmont, Kurt Schwitters, Martha Rosler), il convoque aussi des initiatives anonymes ou collectives (Abandoned Letterhead, Continuous Project, la librairie des écrivains, L’in-plano, People’s Library). Une cartographie se dessine alors, un vagabondage où volontés militantes et sentiments mélancoliques se conjuguent<br>Despite being a minor figure of social history, from the invention of the printing press to the industrial revolution, the pedlar has travelled through adventure-filled landscapes, spreading texts and images. His activities contributed to the development of popular education. The « Moderns », keen to escape concretization, and sensitive to the renewal of attitudes and discourses, did the same. For many of their representatives, the idea was to foster the dissemination of the printed matter as a true artistic activity and, consequently, to create situations – life steps – composed of encounters and stories. This thesis focuses on the development of artistic and poetic strategies whose formal modesty enriches the complexity of the content. In addition, while it reviews historically identified figures (Albrecht/d., Marcel Broodthaers, Jef Geys, Ben Kinmont, Kurt Schwitters, Martha Rosler), it also interrogates anonymous and collective initiatives (Abandoned Letterhead, Continuous Project, La Librairie des Écrivains, L’in-plano, People’s Library). Thus, a cartography, a vagrancy combining militant wills and melancholic feelings, emerges
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Mantooth, Jennifer R. "Muse as artist : selected artists past and present /." Online version of thesis, 1992. http://hdl.handle.net/1850/11227.
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Chandellier, Armelle. "Origine, création et transition socialiste du système artistique chinois : du premier au quatrième Wendaihui (1937 – 1980)." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0018.
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Ce présent travail de thèse propose d’explorer le système artistique chinois à travers une analyse de la dynamique complexe qui caractérise les relations entre les milieux artistiques et le Parti Communiste Chinois (PCC) de 1937 à 1980. En dégageant les trois aspects qui conditionnent cette relation : la structure organisationnelle, le cadre idéologique et les conjonctures politiques, l’objectif est de démontrer dans quelle mesure le système artistique est un haut lieu du politique.La convocation du premier Congrès National des Travailleurs Littéraires et Artistiques de Chine (Wendaihui 文代会) en juillet 1949, inaugure l’édification du système artistique chinois et incarne le point de départ d’une institutionnalisation d’un nouveau modèle de gestion des milieux artistiques fonctionnant en symbiose avec les organes du gouvernement et du PCC. Avant d’être une manifestation dédiée aux seuls milieux artistiques, le Wendaihui constitue un moment politique qui s’inscrit dans une stratégie globale de restructuration nationale dirigée par le PCC.Ainsi, grâce à une analyse des origines, de la création, de la dérive socialiste et de la restauration du Wendaihui, cette approche pluridisciplinaire permet de rompre avec l’idée que le système artistique chinois serait une organisation homogène, uniforme et intemporelle. Elle l’envisage, au contraire, comme une construction sociale historiquement située, résultant de l’interaction de multiples facteurs et prenant des formes diverses dans le temps et dans l’espace<br>This research investigates the Chinese artistic system through an analysis of the complex dynamic that characterizes the relationship between the artistic circles and the Communist Party of China (CPC) from 1937 to 1980. By identifying the three aspects that condition this relationship: the organizational structure, the ideological framework and the political conjunctures, the aim of this thesis is to demonstrate to what extent the Chinese artistic system is a high place of politics.The convocation of the first National Congress of Literary and Arts Workers of China (Wendaihui 文代会) in July 1949, inaugurates the construction of the Chinese artistic system and embodies the starting point for the institutionalization of a new model of management of artistic circles that works in symbiosis with the organs of the government and the CPC.Before being an event strictly dedicated to artistic circles only, the Wendaihui is a political moment that is part of a comprehensive national restructuring strategy led by the CPC.Thus, thanks to an analysis of the origins, the creation, the socialist drift and the restoration of the Wendaihui, this multidisciplinary approach breaks with the idea that the Chinese artistic system is a homogeneous, uniform and timeless organization. This research is considering it, on the contrary, as a historically situated social construction, resulting from the interaction of multiple factors and taking various forms in time and space
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Huntemann, Willi. "Artistik und Rollenspiel : das System Thomas Bernhard /." Würzburg : Königshausen und Neumann, 1990. http://catalogue.bnf.fr/ark:/12148/cb35511109r.
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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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Watanabe, Kiyoshi. "Visible language : repetition and its artistic presentation with the computers." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/17664.
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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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Dowson, Kurt. "Towards extracting artistic sketches and maps from digital elevation models." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3566.
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The main trend of computer graphics is the creation of photorealistic images however, there is increasing interest in the simulation of artistic and illustrative techniques. This thesis investigates a profile based technique for automatically extracting artistic sketches from regular grid digital elevation models. The results resemble those drawn by skilled cartographers and artists.The use of cartographic line simplification algorithms, which are usually applied to complex two-dimensional lines such as coastlines, allow a set of most important points on the terrain surface to be identified, these form the basis for sketching.This thesis also contains a wide ranging review of terrain representation techniques and suggests a new taxonomy.
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Gapsevicius, Mindaugas. "An artistic perspective on distributed computer networks : creativity in human-machine systems." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18258/.
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This thesis is written from an artistic perspective as a reflection on currently significant discussions in media theory, with a focus on the impact of technology on society. While mapping boundaries of contemporary art, post-digital art is considered the best for describing current discourses in media theory in the context of this research. Bringing into the discussion artworks by Martin Howse & Jonathan Kemp (2001-2008), Maurizio Bolognini (Bolognini 1988-present), and myself (mi_ga 2006), among many others, this research defines post-digital art, which in turn defines a complexity of interactions between elements of different natures, such as the living and non-living, human and machine, art and science. Within the analysis of P2P networks, I highlight Milgram's (1967) idea of six degrees of separation, which, at least from a speculative point of view, is interesting for the implementation of human-machine concepts in future technological developments. From this perspective, I argue that computer networks could, in the future, have more potential for merging with society if developed similarly to the computer routing scheme implemented in the Freenet distributed information storage and retrieval system. The thesis then describes my own artwork, 0.30402944246776265, including two newly developed plugins for the Freenet storage system; the first plugin is constructed to fulfill the idea of interacting elements of different natures (in this case, the WWW and Freenet), while the other plugin attempts to visualize data flow within the Freenet storage and retrieval system. All together, this paper proposes that a reconsideration of distributed and self-organized information systems, through an artistic and philosophical lens, can open up a space for the rethinking of the current integration of society and technology.
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Berks, Robert, and Dorothy M. Berks. "VISUAL PERCEPTION AND AI: AN ARTIST’S VIEW." International Foundation for Telemetering, 1985. http://hdl.handle.net/10150/615747.
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International Telemetering Conference Proceedings / October 28-31, 1985 / Riviera Hotel, Las Vegas, Nevada<br>The creative process of the visual artist is an untapped source of knowledge-based systems which can extend the capabilities of AI in understanding how to develop new algorithms for space perception, pattern recognition, and data compression.
This report focuses on the artist’s analysis of the multi-dimensional levels of unconscious, visual ideation which precede the conscious level of symbolic coding. interaction of all the senses is examined, as are the functions of gravity and time as the fundamental reference points for pattern recognition. An exercise in ‘Image Evoking’ is described. Recommendations are given for applications to future research in AI.
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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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Billinge, David John. "An analysis of the communicability of musical predication : a feasibility study for artistic decision support systems." Thesis, University of Portsmouth, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343393.
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Ferraro, Andrés. "Music recommender systems: taking into account the artists' perspective." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/672852.
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Music streaming platforms nowadays play an important role in music consumption and have a big influence on the musical taste of the listeners. Machine learning-based recommender systems are a fundamental part of such streaming platforms defining what music people listen to and when.
As for many applications of machine learning, there is an increasing debate in academia, industry and governments about the effects that the recommender systems have in society and the ethical implications of such systems.
The bias in music recommender systems towards the more popular items has been studied extensively in the past. This bias affects both artists and listeners since it reduces the possibility of a large catalog's portion of getting any exposure. Recently, in the recommender systems community, it was raised the importance of considering the multiple stakeholders of a system when generating the recommendations. However, most of the research in the music domain has taken into account the users' perspective only.
This thesis goes beyond the problem of popularity bias, it tries to uncover other dimensions in which the music recommender systems can affect the artists and propose alternatives to mitigate such problems.
The contributions of this thesis are (i) identification of multiple aspects in which the current platforms and their recommender systems affect the music artists and concrete ways in which they could be more beneficial in the future, (ii) analysis of the algorithmic effect regarding gender imbalance in the recommendations and mitigation of such problem based on the output of artists' interview, (iii) analysis of the longitudinal effect of multiple state-of-the-art algorithms for session-based recommendations in users behavior negatively affecting the artists, (iv) publication of the first large-scale open dataset that contains audio and playlist information, (iv) novel contrastive learning approach proposed to combine multiple modalities (audio, genre and playlist information) beneficial for multiple tasks such as music recommendation, genre classification and automatic-tagging.
It is necessary to improve recommender systems through multidisciplinary research. Contributions like the ones presented in this thesis allow us to move a step forward in that direction, making streaming platforms more beneficial for both the artists and users.<br>Actualment les plataformes que ofereixen serveis de música en línia juguen un paper important en el consum de música i tenen una gran influència en les preferències musicals de les persones. Els sistemes de recomanació basats en aprenentatge automàtic són una part fonamental de les plataformes de música en línia, definint la música que escolten les persones en cada moment i lloc. A l'igual que en altres aplicacions d’aprenentatge automàtic, cada vegada és més discutit tant a nivell acadèmic, industrial i governamental els efectes que els sistemes de recomanació poden tenir en la societat i les implicacions ètiques d'aquests sistemes.
Els biaixos dels sistemes de recomanació musical cap als elements més populars han estat estudiats extensivament. Aquest biaix afecta tant a artistes com a usuaris ja que redueix la possibilitat d'aconseguir una mínima exposició a una gran proporció del catàleg musical.
Recentment, a l'àrea de sistemes de recomanació, s'ha reconegut la importància de considerar els interessos de tots els grups de persones involucrats quan es generen recomanacions. No obstant això, la majoria de la recerca relacionada amb sistemes de recomanació en el domini de la música s'ha enfocat només en la perspectiva dels usuaris. Aquesta tesi no es limita als problemes de biaix de popularitat sinó que també intenta descobrir altres dimensions en què els sistemes de recomanació afecten als artistes musicals i proposa solucions per mitigar aquests problemes.
Les contribucions d'aquesta tesi són: (I) la identificació de múltiples aspectes en què les plataformes musicals i els seus sistemes de recomanació afecten els artistes i de quina manera podrien ser més beneficiosos en el futur; (II) l'anàlisi dels efectes d'algorismes de recomanació pel que fa a el balanç de gènere i una possible forma de mitigar aquests efectes basat en l'opinió dels artistes; (III) l'anàlisi de la influència a llarg termini en els usuaris generada per diversos algoritmes de recomanació basats en sessions que afecta negativament els artistes; (IV) definició d'un nou mètode basat en \textit{contrastive learning} per combinar múltiples modalitats (àudio, gènere musical i informació de \textit{playlists}) que aconsegueix millorar els resultats de diferents tasques com la recomnanació musical, la classificació de gènere musical i l'anotació automàtica de música.
Per millorar els sistemes de recomanació és important realitzar més recerca multidisciplinària. Contribucions com les presentades en aquesta tesi permeten moure'ns en aquesta direcció, fent possible que les plataformes de musica online siguin més beneficioses per als artistes i els usuaris.<br>Actualmente las plataformas que ofrecen servicios de música online juegan un rol importante en el consumo de música y tienen una gran influencia en el gusto musical de las personas. Los sistemas de recomendación basados en aprendizaje automático son una parte fundamental de las plataformas de música online, definiendo la música que escuchan las personas en cada momento y lugar. Al igual que en otras aplicación de aprendizaje automático, cada vez es más discutido tanto a nivel académico, industrial y gubernamental los efectos que los sistemas de recomendación pueden tener en la sociedad y las implicancias éticas de dichos sistemas.
Los sesgos de los sistemas de recomendación musical hacia los elementos más populares ha sido estudiado extensivamente. Este sesgo afecta tanto a artistas como usuarios ya que reduce la posibilidad de lograr una mínima exposición a una gran proporción del catálogo musical. Recientemente, en el área de sistemas de recomendación, se ha reconocido la importancia de considerar los intereses de todos los grupos de personas involucrados en el sistema cuando se generan recomendaciones. Sin embargo, la mayoría de la investigación relacionada a sistemas de recomendación en el dominio de la música se ha enfocado solamente en la perspectiva de los usuarios. Esta tesis no se limita al problema del sesgo de popularidad sino que intenta descubrir otras dimensiones en las que los sistema de recomendación afectan a los artistas musicales y propone soluciones para mitigar dichos problemas.
Esta tesis realiza las siguientes contribuciones: (i) identificación de múltiples aspectos en los que las plataformas musicales y sus sistemas de recomendación afectan a los artistas y de qué manera podrían ser más beneficiosos en el futuro; (ii) análisis de los efectos de algoritmos de recomendación con respecto al balance de género e investigación de una posible forma de mitigar dichos efectos basado en la opinión de los artistas; (iii) análisis de la influencia a largo plazo en los usuarios generada por varios algoritmos de recomendación basados en sesiones afectando negativamente a los artistas; (iv) definición de un nuevo método basado en \textit{contrastive learning} para combinar múltiples modalidades (audio, género y \textit{playlists}) logrando un mejor desempeño en diferentes tareas como recomendación musical, clasificación de género y anotación de música.
Para mejorar los sistemas de recomendación es importante realizar más investigación multidisciplinaria. Contribuciones como las presentadas en esta tesis permiten movernos en dicha dirección, haciendo posible que las plataformas de música online sean más beneficiosas para los artistas y los usuarios.
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Cattani, Maria Lucia. "Spontaneity, repetition and systems in reproductive media : a reflection on personal practice." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266153.
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Smith, Heather L. "Motion graphics documentary video of Deaf artists of the 21st century /." Online version of thesis, 2008. http://hdl.handle.net/1850/8043.
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Gerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.
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From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
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Boncha, Alison. "Designing compelling interfaces : an exploration of the artist book and how its unique interactive experience can influence the graphical user interface /." Online version of thesis, 2008. http://hdl.handle.net/1850/7748.
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Sidorcenco, Dalia. "La réforme des écoles d'art françaises : une approche théorique à la frontière de la sociologie des organisations et la socio-économie de la culture." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCB193.
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En 2011, suite à un mouvement de réformation accélérée menant à l'appropriation par les écoles d'art françaises du dispositif LMD, celles-ci rejoignent l'espace européen de l'enseignement supérieur et quittent le ''régime de singularité'' qui les distinguait du système universitaire. Cette adhésion signe l'aboutissement d'une série de mesures dont l'implémentation visait à agir sur deux dimensions constitutives (différentes mais complémentaires) de la réalité des écoles d'art : la dimension académique, dont la mise aux normes des cursus et la restructuration de l'organisation pédagogique permettaient à ces établissements de délivrer des diplômes reconnus au grade de master ; le volet administratif qui, à travers la transformation des écoles d'art en établissements publics de coopération culturelle (EPCC), amorce un processus d'autonomisation vis-à-vis des structures tutélaires locales. C'est par une double opération d'interrogation des déterminants qui sont au fondement de la ''remise à niveau'' de la condition des écoles d'art, et d'examen des outils de gouvernance rendant effectif le déploiement de l'autonomie décrétée, que cette recherche se propose de saisir les nouveaux enjeux dont les écoles d'art font l'objet<br>In 2011, following an accelerated reformation movement led by the network of French art schools, they joined the European area of higher education, getting out of the ''regime of singularity '', which distinguished them from the university system. This adherence note the accomplishment of a series of measures, whose implementation was intended to affect two distinct dimensions, constituting the reality of art schools: -the academic dimension, including the ''upgrading'' of curricula and restructuring the pedagogical organization, which allowed to accredit the awarded degree with a recognized diploma; -the administrative dimension, which through the transformation of municipal art schools into Public Cultural Cooperation Establishment (EPCC) aimed to start the empowerment process of local authorities. The aim of this research was to perceive the new issues regarding the art schools, one of them being the factors that stimulated the ''upgrading'' of the art schools condition. The other issue examined the governance tools that made possible and effective the deployment of autonomy decreed
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Бобровник, Р. С. "Складові елементи авторського права та його місце в системі права інтелектуальної власності". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/9804.
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В повідомленні досліджуються складові елементи авторського права та його місце в системі права інтелектуальної власності. Пропонуються висновки і рекомендації.<br>В сообщении исследуются составные элементы авторского права и его место в системе права интеллектуальной собственности. Предлагаются выводы и рекомендации.<br>In a report are probed component elements of copyright and his place in the system of right of intellectual ownership. Conclusions and recommendations are offered.
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Mårsell, Maria. "Artisten i vardagsrummet : Gränsöverskridande och samförstånd i det moderna genombrottets dramatik: Leffler, Benedictsson och Stéenhoff." Thesis, Södertörn University College, School of Culture and Communication, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3594.
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<p>Anne Charlotte Leffler, Victoria Benedictsson and Frida Stéenhoff were all part of the Modern Breakthrough in Swedish literature. By utilizing Jürgen Habermas theoretical works on communicative action, and Nancy Fraser’s supplementary reading of his theory, this essay makes clear that the authors’ struggle for an understanding and a rethinking of social norms in their plays <em>Skådespelerskan </em>(1873), <em>Romeos Julia </em>(1888) and <em>Lejonets unge </em>(1896) can be read as a contribution to the public debate. Dialogue has a key function for female authors during the Modern Breakthrough. Women and mens’ possibilities to take part in conversation and argument as equals, requires the professional woman’s transgression and access to the privileges of both public (State) administration – “system”, and world of everyday life – “lifeworld”. As oppositional authors, Leffler, Benedictsson and Stéenhoff took advantage of the literary public domain, in this case the theatre. The theatre as public sphere had a more effective capacity to affect its audience than fiction. The plays were written and staged in a cultural period that, compared with the present one, in a greater sense influenced public opinion. The theatre was a powerful part of the public debate, and this debate involved parties from both on-stage and off-stage positions.</p><p>At the theatre Leffler, Benedictsson and Stéenhoff turned the private into politics. Their powerful contribution to the public debate were directed specifically towards the bourgeois audience. They carried on a controversy concerning the notion of the bourgeois family by showing scenarios that raised objection to its idealistic point of view. The bourgeois living room was exposed on stage. Conflicts related to the private sphere were brought up as a theme in a public sphere and by so means were incorporated into the public debate, which at that time was dominated by men. The plays mirrored the audience and the authors’ strategies were based upon the remodeling power inherent in conversation and argumentation. Thereby, the audience were confronted with an alternated reflection of themselves. This reflection should be read as a problematic representation of the writing of history. The alternate mirroring brought in itself forward an argument that emphasized why a new reflection was necessary.</p><p><em>Skådespelerskan</em>, <em>Romeos Julia </em>and <em>Lejonets unge</em> examine female artists in a bourgeois environment. Through the artist the structures that maintain bourgeois ideals are exposed and questioned, but first and foremost the artist show that communicative action between men and women was insufficient. The androcentric order did not acknowledge women and men as equals, in accordance with that, the possibility of conversation, in the sense of Habermas, came to nothing. Under such circumstances an understanding between men and women could not be reached. Love within the institution of marriage also suffered since it could not be founded in acknowledgement as long as the structure maintained. Saga and Adil, the main characters in <em>Lejonets unge</em>, personify, on the other hand, Stéenhoffs ideas of what is being needed to change the androcentric structure. They are citizens of the future.</p><p>My focus is on human action (in an Aristotelian sense) in the plays, the way characters stage themselves and bring the plot forward, shed light upon their possibilities and limitations in proportion to each other as men and women. My analysis thereby contrasts with the greater part of earlier research. I give prominence to the connection between psychological conflict and social position/role. In <em>Skådespelerskan</em>, <em>Romeos Julia</em> and <em>Lejonets unge</em> all of the characters’ psychological conflicts are based in gender issues, the consequences of being a man or woman in the 18th century, rather than explicit existential matters.</p>
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Martins, Fayad Marilda. "L'idiot de la famille et ses leçons : Sartre, un penseur pour aujourd'hui." Thesis, Besançon, 2016. http://www.theses.fr/2016BESA1007/document.
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L’Idiot de la famille est complément de Questions de Méthode. Sartre demande dans Questions de Méthode un changement de langage. Il s’agira dans cette thèse de déchiffrer l’écriture sartrienne en ses nuances, détails et couleurs. En d’autres mots, il s’agira d’étudier les livres de Sartre pour trouver un sens qui nous parle, là où sa parole se contredit et s’affirme en même temps. Notre tâche de relecture dans L’Idiot de la famille est ainsi d’expliciter l’axe central de la psychanalyse existentielle et d’aller chercher le sens le plus caché de la philosophie de la vie. Dans la mesure où Sartre va montrer que nous devons décider du genre de vie que nous voulons avoir, cette étude vise à éclairer pourquoi Sartre est un penseur nécessaire pour l’homme d’aujourd’hui. Il s’agira ainsi de traiter L’Idiot de la famille comme une œuvre d’apprentissage. Dans ce sens, le sens et la signification de notre recherche ne sont pas fermés et continuent ouverts à des nouvelles relectures. Notre principal objectif est aussi bien d’expliciter quel a été le fil conducteur de Sartre pour écrire L’Idiot de la famille que de vérifier si l’essence de l’écrivain peut être définie par ses écritures. Autrement dit, est-ce que les écritures montrent qui est l’auteur en tant qu’homme, ou bien pouvons-nous plutôt voir son double, celui qui parle à sa place et qui devient parole écrite ?<br>The Fool of the family is complement to the book of philosophy Questions of Method. Sartre asks in Questions of Method a change of language. It will be in this thesis to decipher Sartre writing in its nuances, details and colors. In other words, it is designed to study books from Sartre in order to find a meaning that makes sense for us, where his words are full of statements and their contrary at the same time. Our task of re-reading in The Fool of the family is to clarify the central axis of the existential psychoanalysis and point the most hidden of the philosophy of life. Insofar as Sartre will show that we must decide on the kind of life we want to have, this study aims to illuminate why Sartre is an indispensable thinker for the man of today. Thus, it will be necessary to treatThe Fool of the family as a work for learning. In this sense, the meaning and significance of our research are not closed and still opened to new readings. Our main objective is to clarify what has been the main theme of Sartreto write The Fool of the family and to check if the essence of the writer can be defined by his writings. In other words, do the writings show us who is the author as a man, or else can we rather see his double, one who speaks at his place and then become written word?
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Samuelson, Gustav. "Pixel art - The Medium of Limitation : A qualitative study on how experienced artists perceive the relationship between restrictions and creativity." Thesis, Umeå universitet, Institutionen för informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-178771.
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I den här studien undersöks huruvida den tekniskt obsoleta konstformen pixelgrafik, eller ”pixel art” fortfarande är ett relevant medium och vilka kvaliteter som gör det till ett självständigt praktiskt hantverk. I en kvalitativ studie intervjuas fyra erfarna pixel konstnärer om deras definitioner av ”pixel art” samt deras egen praktik. Dessa analyseras sedan med hjälp av befintliga teorier inom design och praktisk kunskap. Studien finner att en anledning till att pixelgrafik fortsatt att vara relevant beror på begräsningarna som har sin bakgrund i tekniska restriktioner i gammal hårdvara ger upphov till kreativitet. Det simpla fyrkantsmönstret som pixelgrafik bygger på är lätt för nybörjare att ta till sig och stimulerar kreativ problemlösning. Begränsningarna tvingar konstnären att kompromissa vad gäller val av färg och form. Pixel art har mer gemensamt med gamla tekniker som korsstygn eller mosaikläggning än andra typer av samtida digital konst. Själva utförandet beskrivs av respondenterna som meditativt och jämförbart med att lägga ett pussel eller att spela Tetris. Trots att det är ett medium som ofta är förknippat med nostalgi och en ”retro-estetik” så är det fortfarande en konstform som utvecklas och som fortsatt att vara populär.<br>This study seeks to answer what makes the technically obsolete medium of pixel art still relevant and what qualities make it into an independent craft. In a qualitative study four highly experienced pixel artists are interviewed about their own definitions of pixel art and their methodology. The answers are then analyzed through the lenses of existing theories on design and practical knowledge. The study concludes that a reason why pixel art has remained relevant is that the limitations that had their origins in the technical restrictions of early computer hardware gives way to creativity. The simple pixel-grid is easy for beginners to get a grip on and stimulates creative problem-solving, forcing the artist to compromise in regard to the choice of colors and shapes. In that regard it begs comparisons to cross-stitching and mosaics rather than most contemporary digital art. The immediacy of managing these restrictions was described as meditative and can be compared to solving a puzzle or a game of Tetris. Despite its reputation for being a backwards-gazing medium linked with retro videogames the artists insist the artform is still being evolved and elevated today.
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Oliveira, Andreia Machado. "Corpos associados : interatividade e tecnicidade nas paisagens da arte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27965.
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A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”.<br>This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.
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La, Vertu Edmond G. "From a slave to a critical-thinker-artistic-writer: Emancipating a professional's anthill using action research professional practice with information systems professionals as the crux: Gnothe se auton non, j regrette rien die lichtung and all the world's a stage." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/617.
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The diagram shown in figure 1 gives an impression of this thesis around the key words slavery, enslavement, emancipation, freedom, power, critical thinker, and artistic writer. The text at the centre reads "my rich model evolution during this thesis." On rereading the text, I wonder if it is referring to my own evolution during the research, which could be described as "rich model," or the evolution of the rich model that encapsulates, and in one sense is, the chief contribution of the thesis.
That I use this sentence and this impressionistic diagram to begin this abstract should signal to you, dear reader, that this thesis tells my truth, with a little't', in my own way, about my reflective practitioner investigation of my experience of being part of the information systems profession and then part of a Doctor of Business Administration (D.B.A) programme. As such, it is what some may term post-modem, although I hesitate to describe it as such.
Through my lived experience as an enslaved information systems professional, I can relate to the current situation of asymmetric warfare (note the picture of a fighter plane dropping a bomb with the word "hacker" under), asymmetric industrial relations, and some other forms of the master-relationship relationship. In my career as an information systems' professional I have experienced that here is a constant that permeates the world: that parties desire to achieve greater power over any other competitor while sacrificing as little as possible of their own resources. Whether this is an actual war or just a simple jousting for advantage, the process remains similar: Two structuralist sides in conflict. Perhaps this simple description is the apparent reason why most fights are simply a zero-sum game, that is, one side wins ( + 1) and the other loses (-1).
There are however variations to this theme. Hegel's Master-slave dialogue is one. In this case the vanquished who is now a slave, eventually gains power over their master, the original victor, not through force of arms, but by becoming indispensable to the Master. The major and subtle weapon the slave possesses is time with obsequiousness that leads to dependency of the master to the actions of the slave.
Again through my lived experience of near imagined slavery, I can also relate to another form of conflict that is now upon us, that of a structuralist formal army supported by post-structuralist critical-thinkers and the artist-writers of a post-modernist society against a structuralist guerrilla grouping, with a post-modem idealism giving vital quasi or actual intellectual support. This leaves the structuralist formal army seeking effective and favourable counters to this asymmetric situation through the weakness of the guerrilla forces, that is, a lack of critical-thinkers; else, it will see a form of defeat that is reliance upon the guerrilla force not to attack. It is a modem and curious situation where an overwhelming force seems to be impotent against a quick, opportunistic, attack by a much smaller, under-resourced opponent. Yet, if the guerrilla forces do in fact win, what is the result within the territory the guerrillas now control? It seems that it is not an egalitarian-based modem democracy, or even a functioning theocracy. The key is the critical-thinker, without these people who ask questions, embarrassing ones most times, the necessary balance to support a string of freedoms is lacking. The major problem is where do the guerrilla forces find these people, and support them by not exterminating them as counter-revolutionaries, thereby creating the basic weaknesses to the system they wish to impose.
However, the above guerrilla case need not prevail. In my experience of organisational relationships, which are by their very nature asymmetric, a structuralist organisation can defeat even its deadliest asymmetric foe - an enslaved, passed over, disgruntled, and sabotage-prone information systems employee. I was one such employee, one such enslaved person.
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Hansson, Karin. "Accommodating differences : Power, belonging, and representation online." Doctoral thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-108836.
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How can political participatory processes online be understood in the dynamic, conflicted and highly mediated situations of contemporary society? What does democracy mean in a scenario where inequality and difference are the norms, and where people tend to abandon situations in which they and their interests are not recognized? How can we accommodate differences rather than consensus in a scenario where multiple networks of people are the starting point rather than a single community? In this thesis, these questions are explored through an iterative process in two studies that have used or resulted in three prototypes and one art exhibition. The first study is of communication practices in a global interest community, which resulted in two prototypes: Actory, a groupware that takes differences rather than equality as the starting point for a collaborative tool, and The Affect Machine, a social network where differences are used as a relational capital. The second study is of communication practices in a local commonality where the art exhibition Performing the Common created a public space and involved participants. This resulted in Njaru, a collaborative tool with integrated decision support and visualization of representativeness. In summary, these works depart from the notion of the importance of belonging for e-participation, where the individual can be seen as a participant in several performative states, more or less interconnected trans-local publics. Here the individuals’ participation in the local public sphere compete with their participation in other communities, and affect the conditions for local democracy. This thesis contributes to a deeper understanding of these processes, and discusses how differences in democratic participation can be managed with the help of ICT.<br>Hur kan politiskt deltagande på Internet förstås, i de dynamiska, konfliktfyllda och medierade situationerna i dagens samhälle? Vad innebär demokrati i ett scenario där ojämlikhet och skillnad är normen och där människor tenderar att överge situationer där de själva och deras intressen inte erkänns? Hur kan vi hantera skillnader snarare än konsensus i ett scenario där flera nätverk av människor är utgångspunkten i stället för en enda gemenskap? I denna avhandling har dessa frågor utforskas genom en iterativ process i två studier som har använt eller resulterat i tre prototyper och en konstutställning. Den första studien gäller kommunikationen i en global intressegemenskap vilket resulterade i två prototyper: Actory, som tar olikheter snarare än jämlikhet som utgångspunkt för ett samarbetsverktyg, och The Affect Machine, ett socialt nätverk där olikheter används som ett relationskapital. Den andra studien gäller kommunikationen i en lokal gemenskap där konstutställningen Föreställningar om det gemensamma skapat ett offentligt rum och engagerade deltagare. Resultatet resulterade bland annat i Njaru, ett samarbetsverktyg med integrerat beslutsstöd och visualisering av graden av representativitet i processen. Sammanfattningsvis utgår dessa arbeten från en idé om vikten av tillhörighet för e-deltagande, där individen kan ses som en deltagare i flera performativa stater, mer eller mindre sammankopplade translokala målgrupper. Här konkurrerar individernas deltagande i den lokala offentligheten med deras deltagande i andra samhällen, och påverkar förutsättningarna för lokal demokrati. Denna avhandling bidrar till en djupare förståelse av dessa processer, och diskuterar hur skillnaderna i demokratiskt deltagande kan hanteras med hjälp av IKT.<br><p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Submitted. Paper 8: Submitted.</p>
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Vilmanis, Elizabeth J. "Seeing the chameleon: Barriers to making dance work for independent dance creators in Brisbane." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108028/4/Elizabeth_Vilmanis_Thesis.pdf.
Full textAbstract:
This study advances knowledge about the Australian independent dance sector and identifies barriers to making dance work for Brisbane independent dance creators, presenting a three-tier framework to systematically address and prevent the recurrence of these existing barriers. The thesis utilised a mixed methodology that generated related data, including analysis of practice, a literature and contextual review of claims about practice, and a survey of Brisbane independent dance artists.
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Casas, Llogari. "Creació de models humans sintètics, home i dona, aptes per a aplicacions tecnològiques i científiques." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/386515.
Full textAbstract:
Als artistes l’estudi de l’anatomia els serveix, ens serveix, per entendre la relació entre la forma exterior i les estructures responsables de la creació d’aquesta forma. En aquest treball seguiré un enfocament similar en el desenvolupament de models basats en l'anatomia, especialment pel que fa als músculs i als ossos. Consideraré la influència de la musculatura en les formes superficials i desenvoluparé uns models de musculatura que s’adaptin automàticament als canvis de la postura d'un esquelet articulat subjacent que farà les funcions d’esquelet funcional. Els models s'implementaran en un llenguatge que ofereix uns mecanismes i procediments útils per definir i manipular models articulats de forma que a posteriori i amb un maquinari molt més potent també sigui aplicable a altres parts del cos humà no visibles (en el sentit d’afectables) des de la morfologia externa com poden ser el sistema limfàtic, el digestiu o el circulatori dels quals no se’n farà l’animació degut a la gran quantitat de recursos que es necessiten com a conseqüència de l’elevat nombre de polígons que contenen. Per mostrar el funcionament d’aquest procediment l’aplicaré en diverses situacions als dos models de figura humana realitzats en aquest treball.
En aquesta tesi abordaré el procés de modelat d’un cos humà masculí sintètic i d’un de femení fent ús d’un software de representació tridimensional.
L'objectiu final és la realització d'un model humà tridimensional d’home i d’un de dona amb la màxima fidelitat possible a la realitat. Els moviments i les animacions obtingudes amb ambdós models estaran sota llicència de Creative Commons per tal de fer viable els dos aspectes següents:
1. Que d’una banda aquests resultats puguin ser emprats pels estudiants d’arts en general i d’animació en particular per assolir coneixements anatòmics i poder així estudiar i analitzar postures i moviments que d’altra manera serien difícils de retenir.
2. Que en formar part d’una base de dades de moviments i estar aquests sota una llicència compartida tots ens puguem beneficiar de les aportacions que algú altre pugui també fer i incorporar a posteriori en aquesta base de dades.
Aquest treball està estructurat en quatre capítols.
En el Capítol I hi trobem una part introductòria on es detallen els antecedents històrics pel qu fa al procediment emprat, es justifica la realització del treball i es fa un repàs de les dues gransestructures, axial i apendicular, com a responsables de la major part de la geometria visible del cos humà
El Capítol II fonamenta teòricament la creació de gràfics 3D en general, el sistema de modelat emprat tot comparant-lo amb els altres sistemes i el procés tècnic de riggejat i mapejat del models generats.
En el Capítol III es detallen les característiques necessàries que han de reunir els esquelets funcionals per poder rebre animació de forma automatitzada i s’aplica l’animació a aquests a partir d’arxius MoCap.
En el Capítol IV es detalla la implementació de les animacions en quatre simuladors 3D i es valoren les possibilitats que té cadascún i les funcionalitats que podrà fer servir l’usuari.
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Peset, Mancebo Mª Fernanda. "Tratamiento de información artística en colecciones públicas. Un modelo internacional adaptado a la gestión del fondo de la Universidad Politécnica de Valencia." Doctoral thesis, Universidad de Murcia, 2002. http://hdl.handle.net/10803/10901.
Full textAbstract:
El estudio tiene como objeto crear una metodología de trabajo que permita tratar de forma normalizada una colección pública de fondos artísticos que no tiene entidad jurídica de museo. El método empleado incluye tanto técnicas de revisión bibliográfica como trabajo de campo para la identificación de recursos en Internet y para la adaptación e importación de datos textuales en una aplicación informática. El trabajo se estructura en ocho capítulos que comienzan con la determinación de conceptos, así como la identificación y clasificación de fuentes de información artística. A continuación estudia las entidades que custodian y difunden la información y las técnicas que se aplican para ello, desde una perspectiva internacional para concluir con el panorama local. El último segmento desarrolla los conocimientos implantando una metodología a través de una herramienta informática y su validación con los registros de la sede del Rectorado de la Universidad Politécnica de Valencia. El trabajo demuestra la necesidad de utilizar en cualquier colección, técnicas y procedimientos probados en instituciones museísticas. De esta forma se garantizaría la compatibilidad de los resultados del tratamiento de la información: los sistemas de documentación de museos. El método implementado concluye la posibilidad de aplicar a cualquier información artística, con sus peculiaridades, unas técnicas de tratamiento estandarizadas.<br>The aim of this study is to develop a methodology that allows dealing with an artistic public collection which is not an established museum in a standardized way. It has been used a scientific method, including bibliographic review techniques as well as research work, which has been essential to identify Internet resources and to adapt and import textual data in a computer application. It is organized in eight chapters that begin with conceptual determinations, and the identification and classification of the artistic information sources. Then, the work studies the organizations that custody and spread the information and the procedures used for it, from an international perspective to a local view. The last chapter develops this knowledge implementing the method through a computer application and its validation with the Rectorate of the Polithecnic University of Valencia's records. This work demonstrates the need to use techniques and procedures experienced or previously tested at museums in any collection. In this way, compatibility of the results of the information treatment is ensured: the museums' documentation systems. The implemented method comes to the conclusion that it is possible to apply standardized techniques of information treatment to any artistic information, with its peculiarities.
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Almeida, Clarissa Ribeiro Pereira de. "Instantes de metamorfose: o coletivo como processo; o processo como sistema." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-22082011-143952/.
Full textAbstract:
O trabalho coletivo em artes digitais define uma pratica que implica a interacao de diversos atores em processos de criacao que podem ter caracteristicas generativas. Na presente tese, propomos a construcao de um olhar a partir da complexidade para estudar esses processos como sistemas complexos adaptativos. A especificidade esta relacionada ao conceito de espacos estoricizados artificio para desenhar uma rede de significados emergentes, a partir das inter-relacoes entre os elementos do sistema. A adocao dessa perspectiva implica a integracao da auto-observacao ao sistema, dando ao complexo auto-organizado, visibilidade de si partindo do fluxo de informacoes para a construcao de memorias e imagens transitorias, no limiar entre impressao e imaginacao.<br>Collective work in digital arts defines a practice, which entails an interaction of various actors in creative processes, which may have generative features. In the current theses, we propose the construction of a point of view from complexity to study these processes as complex adaptive systems. The specificity in this work is related to the concept of storied spaces an artifice to design a network of emergent meanings from the inter-relations amongst elements of the system. The adoption of this standpoint implies integrating self-observation into the system, granting visibility of itself to the self- organizing complex from the flow of information to the construction of memories and transitory images on the threshold between impression and imagination.
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
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Wang, Shen-Chi, and 王聖棋. "Paint Style Transfer System with the Artistic Database." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/7zz79n.
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碩士<br>國立東華大學<br>資訊工程學系<br>95<br>Digital painting synthesizes an output image with paint styles of example images along with the input source image. However, the synthesis procedure always requires the user intervention in selecting patches from example images that best describe its paint styles. The thesis presents a systematic system framework to synthesize example-based rendering images requires no user intervention in the synthesis procedure. The artistic database is been comprised in this work, and the user can synthesize an image according to the paint styles of different well known artists. We use the mean shift image segmentation procedure and the texture re-synthesis method to construct our artistic database, and then find the correspondence between example textures and the mean-shifting areas of the input source image, and then synthesize the output images using the patch-based sampling approach.
The main contribution of this thesis is the systematic paint style transfer system for synthesizing a new image without requiring any user intervention. The artistic database is composed of re-synthesized mean-shifting example images of different artists, which are adopted as learning examples of the paint style of different well known artists during the synthesis procedure, and the system will synthesize a new image with the paint style of the user selected artist from the database automatically.
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CHEN, HAN-YI, and 陳涵懿. "Linking system of micro embryo-study on image construction of artistic embryo." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/467k58.
Full textAbstract:
碩士<br>國立屏東教育大學<br>視覺藝術學系碩士班<br>102<br>This study’s thoughts of creation mainly use the linking system of micro embryo as fundamental carrier of artworks, further form as innovative expression of artistic embryo image. Therefore, the micro embryo is the main thoughts of this essay, and the structure comprised of microorganism and cell become as elemental building blocks of visual arts. Thus, on the background of Medical Technology, we put the self-philosophic thinking to transform micro embryo into the heterogeneous artworks of artistic embryo, further construct “forming system” of regular organism, guiding the appearance of artworks’ language and meaning itself, and get rid of the stereotypes of medical science at the same time. Art the medical science, makes micro embryo structure and Ecological philosophy both rich in vitality, entertainment and sense of art.
The topic of the essay is mainly based on:
1. To investigate the probability transforming micro embryo into the elemental building blocks of visual art.
2. To demonstrate the transformation of the basic discussion of self-innovative experience via the study on living creatures of micro embryo.
3. To discuss the evolution process of micro embryo, attempting to transform into evolutionary micro embryo structural esthetics.
In this essay, thanks to the professional Medical Technology experimental discussion, we can have the chance to lead the logistic thoughts of self-creation and alter the traditional Aestheric concepts. The recent flourishing modern arts, in particular, artworks based on the medical content gradually become Avant-grade artists’ new favorite. We hope that, by proposing this essay, demonstrate the modern heterogeneous creative concepts, is benefit to authors’ future work.
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KO, MENG-TIEN, and 柯夢田. "A Study on Aesthetics connotation in the Field of artistic conception system。." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/69672334389883295592.
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博士<br>國立高雄師範大學<br>國文學系<br>94<br>Yijing Imagery might well be a popular theme in Chinese traditional aesthetic system .It could be traced back to artistic conception in “Zhou-yi”(周易) and “Zhuang－Zhou”(莊子)；It had been illustrated by early Qian’s philosophy in which beauty was elaborately explained. There's an end to the words , but not to their message.（言不盡意） Later, in Jin Dynasty this theory had been established by Lu-Ji(陸機) whose artistic conception was developed sentimentally in “Wu-fu”《文賦》； After that, Liu-Xie’s “Wu-Xin-Diao-Long”(劉勰《文心雕龍》)and zhong-Rong’s “Shi-pin”(鍾嶸《詩品》) in ｑi-liang Dynasty both made advanced explanations in their works. Until Shui－Tang Dynasty, the term “artistic conception” had been applied formally in Wang-Chang- Ling’s “Shi-ge” and other literary fields：Jiao zan、Sikong Tu… .(王昌齡《詩格》… 皎然《詩式》、 司空圖《二十四詩品》…)意境。
In traditional Chinese literature, poetry and lyric poems tended to describe the rural scene. Afterwards, they were endowed with different explications according to the development of Chinese painting and landscape painting. Later, the Western civilization has been moving gradually to the East since Ming Dynasty and Qin Dynasty. Furthermore, Wang Guo Wei, an outstanding writer, enriched Chinese aesthetic system based on artistic conception.
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Hong, Ming-Jyun, and 洪銘駿. "Robotics Artistic Colorful Picture Drawing and Painting Using Visual Feedback Control System." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/70768519125549849892.
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碩士<br>國立臺灣大學<br>電機工程學研究所<br>104<br>In the decades, with the improvement of the living standards, people start pursuing high-level mental enjoyment. The applications of robots are not just limited in industrial purpose which aims to enhance the performance of production in factories. More and more research teams are devoted to the developments of modern and high-intelligence service robots. These robots not only provide different kinds of services, but also bring lots of recreational values to people. Moreover, some researches further break the image that science is stiff. They try to combine science and art together and sparkle new imaginations and amazement.
The objective of this research is to integrate the idea of art into robotics applications and make a robot that can create artworks with artistic value just like human artists. In this research, we present two different styles of art. First, the Robot Artist uses mixed media to draw portraits which have hand-painted style. We emphasize on three main features of human portraits: color, silhouette and structure. The input image goes through different image processing steps to extract these features and combine together to form a NPR style image. The Robot Artist will draw the portraits based on this image using color crayons, oil painting brushes, turpentine, makers and technical pens. For the other style, the robot is further endowed with the capability of painting colorful pictures with a visual feedback control system. It can use only five basic colors to mix a variety of colors and repeatedly refine its artworks by comparing the current picture with the original image. We analyze the performance of our system and prove that the errors between two images would decrease effectively using our approach. The mixed colors is also limited in the range about 10% compared to the target color, which is acceptable with respect to our visual perception.
In this research, the Robot Artist has successfully achieved the very first step of imitating the human artists and blur the line between human and machine creativity. We incorporate the artistic techniques and concept into robotic field and make the robot create artworks that are truly admired by people. More importantly, we not only present the competence of robots in artistic creation, but also provide a scientific perspective on the creation of art, which can help people learn the techniques of painting.
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Chen, No, and 陳諾. "Apply Grey System to Analyze the Weighting of the Influence Factor in Artistic Work." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/gwymu2.
Full textAbstract:
碩士<br>建國科技大學<br>電機工程系暨研究所<br>105<br>As for the artistic work, it contains limitless possibility that has no right or wrong likewise in mathematics since people have a tendency to review a work based on own perspective. Therefore, if one’s subjective consciousness on art criticism shows a neutral stand, the aspects of criticism of art should have to be broader. However, the methods and procedures of art criticism－an uncertain field－include various factors. According to that, this paper will contain analytical study of the influential factors on reviewing works by using grey statistical clustering, grey relational grade and fuzzy evaluation method. In addition, our object for this research has twenty senior high students, ten from art class and ten from normal class, in the middle of Taiwan. After these students enjoy the winning works at National Contest of Art Exhibition, they fill in the survey about how individual has preferences on painting with subjective consciousness. As for grey statistical clustering, grey relational grade and fuzzy evaluation method, the main function is multi-factor analysis method, it based on different decision-making to do the comprehensive evaluation. It is very satisfied in our paper. Hence, the thesis uses grey statistical clustering, grey relational grade and fuzzy evaluation method as the mathematics model to calculate the weighting and to get the rank for each influence factor in the system. Also, the research target raised in the paper corresponds to this concept. Moreover, it can be very suitable especially doing cardinal analysis on an extremely subjective and unsure artistic work. Through utilizing grey statistical clustering, grey relational grade and fuzzy evaluation method to calculate and analyze in practice, it can effectively externalize the biased in art criticism. Hence, it enables to let different aspects of art criticism become more extensive. To the further related research of this field, it provides a subjective and brand-new way of evaluation.
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Huang, Yi-Jui, and 黃奕睿. "Vaule Strucyure of Costume Aesthetic : analyse with Artistic Production Theory and THe Fashion System." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/13879339000496408628.
Full textAbstract:
碩士<br>國立中央大學<br>哲學研究所<br>101<br>In today, costume is not only essential things with function, but also something about value of beauty. How can we get this value from the social production system of fashion costume? And what is the value? In this text , I want to answer the questions without aesthetic appreciation, so I use the artistic production theory of Karl Heinrich Marx and Walter Benjamin to review the social production system of fashion costume and that’s a materialist view. Benjamin believes since the age of mechanical reproduction, art is lost the value of worship and become the value of exhibition, art is closing people now, this phenomenon let the political effects of art are rising. Benjamin also believes that great artworks are getting right political effects in history, so they become great. Production Technology is important idea for Benjamin, and I find the social production system of fashion costume from history of costume, in history that demonstrate about what is the system, and why the system became.
Another way, Roland Barthes’s ‘’The Fashion System’’ is illustrating written clothing as sign of value to pass in the social production system of fashion costume, that is an answer about structure in system of sign. Written clothing is a hub in the social production system of fashion costume. A special phenomenon in the system that feature of fashion costume transfer top-down, and make marks about ‘’what is fashion now’’, if something are fashion, the transfer will be start there. ‘’The Fashion System’’ and artistic production theory are point to explain this phenomenon and finally give a answer about value system of beauty of costume in the public life.
In summary, artistic production theory gives us about idea of the political effects, that's means we can affirm the political effects in the social production system of fashion costume and inside public. The Fashion System is a theory about how to mark the value of costume, that's specific and clearly to expound content of political effects in the social production system of fashion costume and how to work.
Key word: the social production system of fashion costume, artistic production theory, political effects, the fashion system, written clothing, value structure.
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Eckersley, Libby. "A study in cognitive ecology for a print-mediated artistic practice." Thesis, 2021. http://hdl.handle.net/1959.13/1430260.
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Research Doctorate - Doctor of Philosophy (PhD)<br>My practice-led research shows how the rubric of cognitive ecology can be used to develop an experimental ‘print-mediated’ artistic practice. Referred to as “the study of cognitive phenomena in context” by Edwin Hutchins, cognitive ecology extends how cognition has typically been studied within the cognitive sciences, beyond the controlled confines of laboratory walls. As John Sutton and Evelyn Tribble write, cognitive ecologies are: the multidimensional contexts in which we remember, feel, think, sense, communicate, imagine, and act, often collaboratively, on the fly, and in rich ongoing interaction with our environment. Following Hutchins’s statement, that when it comes to the study of cognition, the correct unit of analysis is the ‘cognitive eco-system’, my practice-led research explores how the idea of <i>making a cognitive eco-system</i>, might be used to develop an experimental artistic practice over an extended period of time. This was a response to a need I had to transform my artmaking processes into a robust mode of life-long learning, after a prolonged period of retreat from a ‘culture of critique’. I tested the robustness of this idea by using an artmaking context in which my individual artistic cognition had largely not occurred in, to date, namely, a printmaking studio on university grounds. Through a combination of written and practical components, I was able to show that conceptualising my artistic practice as an extended unit of analysis, that went beyond the studio walls, helped to activate and then integrate my artmaking processes with a corresponding web of conceptual elements. By answering the research question, ‘what would my cognitive eco-system look like, in artistic practice?’ my inquiry allowed me to imagine and then create a conceptual framework that operates as a pathway into the practice of art.
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ATEXINGER, Zděnek. "Ověření úrovně pohybových dovedností ze sportovní gymnastiky na základních školách v Českých Budějovicích\\." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-49060.
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The aim of my thesis was to check the level of motional facilities from the artistic gymnastic at Grammar Schools in České Budějovice, The main part of this work is the analytic part, which determines the conception "gym" and describes the substitution in the physical education. The main way of working I prefered was the temporary time nest-egg. There is the most important and alarming result that according to the methods mentioned above, the pupils often reach average or below the positive motivative and attractive at all examinated schools.
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Kočová, Martina. "Postavení dramatické výchovy v současném vzdělávání." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340550.
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This Diploma Thesis researches the position of drama education at a first level at elementary schools in Prague and Central Bohemia. The Diploma Thesis is divided into two parts. The theoretical part describes the overall drama education, its principles, methods, objectives, content, and its representation in the Framework educational program. The practical part inquires answers to research questions by questionnaire survey, observation and interviews. It deals with the degree of integration of drama education into the teaching process, confirming of methods application and techniques of drama education in the tuition and indicate positive and limiting factors in the application of drama education in the tuition. Keywords drama education, elementary school, Framework educational program, School educational program, methods of drama education
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Ferreira, Helena Maria Romero Passaporte. "História do currículo de trabalhos manuais no Estado Novo (1936-1948)." Master's thesis, 2015. http://hdl.handle.net/10437/6949.
Full textAbstract:
Orientação: José Gregório Viegas Brás<br>A investigação sobre a História do Currículo da disciplina Trabalhos Manuais foi
arquitetada com uma perspetiva histórica do tipo descritiva, a partir da problemática de
compreender o papel dos Trabalhos Manuais como veículo ideológico na formação dos
jovens no Estado Novo (1936-1948): História do Currículo de Trabalhos Manuais,
enquadrando-se na área das Ciências da Educação no âmbito da História do currículo.
Pretende-se compreender as relações entre os princípios dominantes que constituem o
discurso regulador geral do Estado Novo, o discurso singular dos decisores das políticas
educativas, na procura de apreender a sua linguagem, o pensamento e os valores, na
perspetiva de Foucault (1966, p. 103),“ porque as palavras se propõem aos homens como
coisas a decifrar”.
A investigação pode ser descrita como um projeto de análise dos mecanismos e
alterações históricas, da qual emerge a construção do currículo da disciplina, pela pertinência
de apreender se os Trabalhos Manuais foram, ou não, instrumentos de veiculação da ideologia
salazarista nos jovens, no intento de fabricação/ modelagem de um determinado modelo de
cidadão.
Foi aplicada a metodologia de investigação qualitativa assente no método de análise
documental, considerando como fontes principais os documentos oficiais e os discursos na
figura dos ministros da educação.
O estudo centra-se em três momentos temporais em que foram implementadas
significativas reformas do sistema educativo português, verificando-se serem estruturantes
dos desígnios do poder político, reforma do ensino liceal de Carneiro Pacheco (1936) e de
Pires de Lima (1947-1948) e reforma do Ensino Técnico Profissional de Pires de Lima
(1948).<br>The research on the History of the Curriculum of the discipline of Arts and Crafts was
developed based on a descriptive historical perspective, starting from the understanding of the
role of Arts and Crafts as an ideological vehicle in the education of young people during
Estado Novo period (1936-1948): History of the Curriculum of Arts and Crafts, in the scope
of Educational Sciences within the History of the Curriculum.
The objective is to understand the relationships between the dominant principles that
constitute the general regular speech of Estado Novo, the single speech of the decision makers
of educational policies, aiming to learn its language, its thought and values, in the perspective
of Foucault (1966, 103), “since words are proposed to men as things to be deciphered”.
The research can be described as a project of analysis of mechanisms and historical
changes, from which the construction of the discipline curriculum emerges, trying to define if
Arts and Crafts were instruments of “salazarista” ideological vehicle for young people, aiming
to model a certain type of citizen. The methodology of quantitative research based on the
documental analysis method was applied, considering official documents and speeches of
Ministers of Education as main sources.
The study is centred in three time periods during which significant reforms of the
Portuguese educational system were implemented. Those reforms were structural for the
purposes of the political power: the teaching secondary school reform of Carneiro Pacheco
(1936) and Pires de Lima (1947-1948) and the technical-professional schooling reform of
Pires de Lima (1948).
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Poole, Marcus Tate. "Crew 19 : an artistic impression of visual storytelling /." 2001.
Find full textAbstract:
Thesis (M.F.A.)--Mississippi State University. Department of Art.<br>Accompanying digital video (mini DV), VHS format, is a copy of the edited documentary, "Crew 19," with a running time of 35 minutes. Accompanying CD-ROM, "384th Bomb Group, Inc.," includes related website and URL. Slides includes screen captures from the website and images from the video. Includes bibliographical references (leaves 19-21).
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NATALI, IRENE. ""Green" Nanostructured Systems for the Conservation of Artistic and Architectonic Artefacts." Doctoral thesis, 2010. http://hdl.handle.net/2158/545256.
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Šulcová, Petra. "Formativní vliv sportovní gymnastiky na držení těla děvčat ve věku 11 - 15 let." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307558.
Full textAbstract:
Title: Formative influence of artistic gymnastics on girls' posture in age between 11 - 15 years old. This diploma thesis deals with posture problems of female gymnasts in age between 11 - 15 years old, the main task concerns with posture conditions and movement apparatus. We have chosen standartized tests that deal with quality of posture according to Klein and Thomas, Mathias' test and motion tests according to Janda, Kabelikova and Vavrova as the main sources of information. We can evaluate the influence and suitability of the exercise, means and methods in the training of artistic gymnastics. The thesis tries to show the significant influence of the training load on the level of posture and movement system. The data that have been obtained are placed in relevant forms. We used quantitative approach as the main resarch method. Other methods like observing and describing were used to elaborate the tests' results. To complete the task we have used opinion poll. All the results were interpreted by means of comparison in Microsoft Office Word. The aim of the work is to contribute to the discussion about problems of posture in artistic gymnastics in the age group that has been mentioned above. The results showed us that because of the specific training load in artistic gymnastics, the major load is...
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Liao, Jen-Hao, and 廖仁豪. "An Artist Friendly Material Design System." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/30465671367943324881.
Full textAbstract:
碩士<br>國立交通大學<br>多媒體工程研究所<br>100<br>Material design is an important issue in game and animation industry. Creating an elaborate material often takes a lot of effort and time. Artists and technical artists are often involved in a material design process. Despite that there are already many successful material editors in presence, it is hard for artists to design a material on their own since current systems lack for an intuitive and sufficiently complicated material representation and an artist friendly editing system. We proposed a simple material creation flow and a material design system which are based on an intuitive material representation. Artists can bring their creativity into free play to create materials that are similar to materials in reality or even do not exist.