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1
Elen, Albert J. "Italian late-medieval and Renaissance drawing-books from Giovannino de'Grassi to Palma Giovane : a codicological approach /." Leiden : A.J. Elen, 1995. http://catalog.hathitrust.org/api/volumes/oclc/33228704.html.
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Alaluusua, Elisa. "Sketchbooks : a comparative analysis of the use of sketchbooks by contemporary artists." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12167/.
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This qualitative research project aims to gain a theoretical and practical understanding of what role sketchbooks play in the creative practice of contemporary artists, and what their shared and individual sketchbook methods are. A comparative analysis of thirteen contemporary artists’ sketchbook practices is offered. During the course of the research the private and public nature of sketchbooks emerged as an important and engaging area of inquiry that helped narrow the focus of the research process and offered an entry point for the analysis. The methodology used was fundamentally that of artistic research that drew heavily upon the characteristics of artistic practice in the field of drawing; as well as from hermeneutics, (auto)ethnography, and phenomenological analysis, each of which informed my practice and processes. This research aims to be useful for those conducting research into sketchbooks, drawing, drawing and writing, the nature of artistic process, creativity and pedagogy. The outcomes of this research are presented in two parts, in the thesis text and the documentation of an exhibition. In the final analysis the outcome is a multi - layered and multi - voiced story that identifies individual and shared practices used by contemporary artists during the compilation of their sketchbooks. Both the research and resultant artwork aim to bring to the foreground the largely overlooked public aspect of the sketchbook and contribute to knowledge in the fields of drawing research, video installation art, archival research and interviewing in the context of artistic research. Throughout the project I used drawing and video practices as methods of investigating, interrogating and disseminating knowledge. Thirteen contemporary artists’ interviews were recorded as a core element of the primary research, then reconfigured as an artwork / video installation called Thirteen Narratives By Thirteen Artists About Their Sketchbooks.
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Michel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.
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English, Merle Russell. "The effects of using computer graphics on preschool children." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26810.
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This study was designed to investigate the ability of young children to use a particular computer graphics program Colorpaint and its effects on their artwork. It was conducted in two parts : the pilot study in which five children participated and the main study which involved two children. Four predictions were made. Prediction one stated that of the total number of children's interactions with the program, more would be in the category of independent use than in the category of teacher-assisted use. The second prediction was that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the program. Prediction three stated artwork, done with computer media would be rated higher in each of the categories of "Variety within Shapes", "Variety between Shapes", "Complexity", and "Texture" than would images made with other media. The fourth prediction was that computer-generated artwork, would be rated lower in the category of "Image Autonomy" than the artwork done in other media. For both parts of the study, anecdotal data in the form of field notes, transcribed conversations, and videotapes were kept and analysed to provide insight into the children's behavior when using the computer. During the main study the children's interactions with the computer program were recorded on a checklist indicating whether they were able to use the program independently or if they needed help. Artwork made by the subjects in the main study using the computer and other media were saved for analysis and were rated by three independent judges. The judges used five criteria derived from the literature on children's art to rate each image on a five point Likert scale. Results indicated that prediction one, which stated that more interactions with the computer would be in the category of independent use, was supported as there were more independent interactions than teacher-assisted interactions with the computer for each subject. Prediction two, which indicated that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the computer, was supported by the descriptive data collected. Prediction three, that the computer images would be rated higher in each of the categories of Variety within Shapes, Variety between Shapes, Complexity, and Texture, was supported in the two categories Variety between Shapes and Variety within Shapes. The fourth outcome predicted was that the computer artwork would be rated lower in the category Image Autonomy than artwork done in other media. This outcome was supported by the results of the analysis of the artwork.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Oshima, Hiroko. "Artists' groups in Japan and the UK and their impact on the creative individual." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3340/.
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The aim of this thesis is to give an alternative insight to the existing concept of individuality in visual art through an examination of the meaning of being individual for visual art practitioners, particularly for those who operate in an artists’ group setting. This research project is a critique of the seemingly unchallenged emphasis on the individuality and its strong association with creativity in the current British art schools. Cultivating individuality is one of the most important aims in both British and Japanese institutions where I have trained as an artist. Nevertheless, my group-oriented cultural background and my membership of an artists’ group studying in an individually-oriented environment raise questions challenging the meaning of being an individual itself. This thesis has no methodology set up at the beginning, which would usually be the case in a conventional academic thesis. Instead, the thesis develops thought experiments to examine what ‘individual’ means in order to arrive at methodology towards the end. Moreover, this piece of practiceled research is not about the contents of my practice but about the group feeling underlying my practice as an individual fine art practitioner. The investigation into the relational idea of the self of Zen, followed by Charles Sanders Peirce’s semiotics of the Universe of Three Categories, provide the research with a useful visual thinking tool: the triadic diagram. The investigation into the meaning of the individual develops further through an exploration of the concept of ‘groupness’. Definitions of the term are carefully unfolded until the terminology allows us to contemplate different senses of the individual: singularity- and groupness- oriented individual. As a result of the thought experiments examining different ideas of one’s individuality, there emerge several action research practice-led methodologies for the fine art practitioner working in a group situation. One methodology brings groupness into my individual practice, and another introduces groupness situations to other practitioners. The contribution of this thesis is to provide a basis for fine art practitioners like myself to revalue their individuality in harmony with their group membership.
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Gattringer, Christa. "17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
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Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
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Kinsella, Sharon. "Editors, artists and the changing status of manga in Japanese society, 1986-1995." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:4c437028-f0e3-4c00-915a-1e151d7e89db.
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The contemporary Japanese manga industry began in 1959 when the first weekly manga magazines were published. Throughout the 1960s publishing companies attracted a large adult readership by incorporating radical political themes and realistic drawing styles in manga magazines. The readership continued to expand throughout the 1970s and 1980s and manga became a mass medium on a similar scale to television or pop-music. This thesis identifies two distinct trends in the cultural status of manga which were developing from the mid-1980s onwards. On the one hand, what had previously been seen as 'commercial' manga became respected as an 'art' form and highbrow communication medium. On the other, manga was vilified as pornography and as the extreme expression of an increasingly fragmented society. In the former trend, prestigious corporations sponsored a new category of 'information' manga, whilst in the latter, 'girls' and 'otaku' manga genres were censured by a quasi-governmental censorship movement. The amateur manga subculture in particular became the focus of a 'moral panic' where those involved were characterised as isolated and socially dysfunctional. This thesis, based on ten months' participant observation and intensive interviews in 'Morning' manga magazine editorial office in 1994, examines how this editorial was influenced by the changing status of manga in Japanese society in the formulation of its editorial policy and production methods. Editors felt that in the 1990s social changes presented the manga industry with serious production problems - in particular, a dearth of 'good' artists who could produce social themes, and a shrinking readership. Morning editorial attempted to overcome these problems by pioneering a new form of artistic, high-quality and respectable adult manga, aimed at older and more socially-elite readers. By creating a new proactive intellectual role for manga editors at the same time as sponsoring experimental graphic styles, Morning editorial produced a distinctive new form of conservative, state-supporting social and political adult manga. The re-definition of specific genres of manga as 'art' by Japanese institutions was paralleled by changes in commercial manga production which privileged the social and intellectual interests of editors over those of readers and artists. This study concludes that editors have become increasingly impo7tant in manga production between 1986 and 1995, and that there is a tight interrelationship between commercial cultural production and broader cultural and social discourses generally.
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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
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This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
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Inwald, Minerva. "“Drawing on Each Other’s Strengths to Overcome Each Other’s Weaknesses”: Professional Artists, the Masses, and the Artistic Culture of the People’s Republic, 1962–1974." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20794.
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Through a historical study of national art exhibitions held in Beijing at the National Art Museum of China, which first opened to the public in 1962, this thesis explores how the concepts of the professional artist and the masses were used to successively define and redefine the purpose and practice of socialist art during the 1960s and 1970s. During the Mao era, all professional fields were confronted with the party-state’s attempt to secure technical expertise while simultaneously characterising professionals as ideologically deficient. Denying that professional artists could access the ideological sentiments of the masses produced specific tensions, as the party-state required that artists apply their creative abilities to express and arouse the emotional energies of the masses. The characterisation of the professional artist and their role in socialist society was inherently paradoxical; the party-state entrusted professional artists with the important political task of giving visual expression to the “thoughts and feelings” of the masses, while asserting that professional artists lacked these thoughts and feelings themselves. This thesis examines attempts to resolve this paradox, exploring how cultural bureaucrats developed and promoted methods of productive cooperation between professional artists and the masses. In order both to ensure that the creative facilities of professional artists found full expression and also to address their ideological deficiencies, cultural bureaucrats often turned to the methods of artmaking itself, prescribing forms of creative practice that involved greater party control over subject matter and inserting the masses into professional art practice as agents of ideological transformation. This thesis argues that these prescriptive methods were more than simply a means of exercising control over artists; they were also used to generate meaning in artistic practice. As a result of the party-state’s obsession with the role of the professional artist, their ideological transformation, their relationship to the masses, and the reception of their work amongst audiences, the meaning of artworks resided as much in the processes of creation and reception as in the form and content of the image itself. For the most part, cultural bureaucrats demanded that professional artists and the masses build the new socialist artistic culture cooperatively, through both professional artistic work and amateur art projects. But during the early period of the Cultural Revolution, the inherent paradox of entrusting the creation of a socialist culture to a group that was deemed to be ideologically problematic erupted into violence. Accompanied as they were by an outpouring of written commentary, national art exhibitions were valuable occasions for illustrating how professional artists and the masses were each to contribute to the socialist cultural project. Through a detailed analysis of the rhetoric captured in sources such as theoretical treatises, artists’ statements and exhibition reviews published in professional journals, newspapers, and Cultural Revolution periodicals, as well as the recollections of artists, both professional and amateur, who participated in national art exhibitions, this thesis contributes to our historical understanding of how the culture of the Mao era was moulded by deliberations over the value of professional expertise and creativity, the needs of the masses as audiences, the potential role of the workers, peasants, and soldiers in cultural production, and the viability of productive cooperation between professionals and the masses.
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Berkman, Ali Emre. "A Sampling Methodology For Usability Testing Of Consumer Products Considering Individual Differences." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612188/index.pdf.
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Aim of the study was to discuss and identify individual differences that influence the user performance during usability tests of consumer products that are known to prevent researchers to conduct systematic studies. The rationale behind the study was developing a tool for sampling in order to handle experiential factors as a variable rather than a source of error. The study made it possible to define and elaborate on constructs general interaction expertise (GIE) and general interaction self efficacy (GISE), and to devise a measurement scheme based on performance observation and attitude measurement. Both perspectives were evaluated with preliminary validity studies and it was possible to provide evidence on predictive validity of the tool developed. Furthermore, opportunities of utilizing the results in design and qualitative research settings were also explored.
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Sulmona, Elena <1996>. "Art as collective action: the collective work of feminist artists and the critique to the individual (male) genius: the case of Claire Fontaine." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21180.
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The purpose of this thesis is to investigate the phenomenon of feminist artistic collectives. It explores the reasons that led to feminist art as a collective activity, especially from the second wave of feminism. The thesis confronts the typical modalities of male presence in the art world, the myth of the exceptional individual and the solitary approach to the artistic work . My perspective focuses on critical reviews that thematize artistic work as a collective activity, case study’s analysis and interview. The first chapter analyzes the figure of the “genius” artist and its conception in the Western tradition of Art History. It discusses how social systems disadvantage women artists, discussing the sociological theory of Howard S. Becker and the sociological perspective of Natalie Heinich. The second chapter investigates how Feminism theorized the arts, their idea of the professional artist and the collective as a way to escape the professional and cultural isolation where they have been relegated for decades. The third chapter analyzes Feminist Art History from its beginning in the late Sixties/early Seventies, referring to feminist artistic collective actions and artworks. It reviews some of the actions of the pioneering feminist artists who began to theorize and spread feminism in the art field. The fourth chapter eventually examines the case studies of the feminist artistic collective Claire Fontaine and its relation with Carla Lonzi, one of the pioneering Italian feminist theorists and art critics.
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Wan, Connie. "Samuel Lines and sons : rediscovering Birmingham's artistic dynasty 1794-1898 through works on paper at the Royal Birmingham Society of Artists : Volume 1, Text ; Volume 2, Catalogue ; Volume 3, Illustrations." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3645/.
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This thesis is the first academic study of nineteenth-century artist and drawing master Samuel Lines (1778-1863) and his five sons: Henry Harris Lines (1800-1889), William Rostill Lines (1802-1846), Samuel Rostill Lines (1804-1833), Edward Ashcroft Lines (1807-1875) and Frederick Thomas Lines (1809-1898). The thesis, with its catalogue, has been a result of a collaborative study focusing on a collection of works on paper by the sons of Samuel Lines, from the Permanent Collection of the Royal Birmingham Society of Artists (RBSA). Both the thesis and catalogue aim to re-instate the family’s position as one of Birmingham’s most prominent and distinguished artistic dynasties. The thesis is divided into three chapters and includes a complete and comprehensive catalogue of 56 works on paper by the Lines family in the RBSA Permanent Collection. The catalogue also includes discursive information on the family’s careers otherwise not mentioned in the main thesis itself. The first chapter explores the family’s role in the establishment of the Birmingham Society of Arts (later the RBSA). It also explores the influence of art institutions and industry on the production of the fine and manufactured arts in Birmingham during the nineteenth century. The second chapter discusses the Lines family’s landscape imagery, in relation to prevailing landscape aesthetics and the physically changing landscape of the Midlands. Henry Harris Lines is the main focus of the last chapter which reveals the extent of his skills as archaeologist, antiquarian and artist.
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Travis, Sarah Teresa. "Portraits of Young Artists: Artworlds, In/Equity, and Dis/Identification in Post-Katrina New Orleans." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157583/.
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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.
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Al-Shehri, Abdullah Saeed. "Drawing on possible self theory to explore the influence of subjectivity on individual learning and employees' attitudes toward learning behaviours popularized by two learning organization models." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42870.
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Drawing on possible self theory, this is a qualitative study that seeks to explore two major connected assumptions. The first is whether diverse possible selves can generate a wide variety of individual learning experiences. The second which the present study seeks to explore is the joint influence of the latter two (i.e. possible selves and the individual learning experiences generated therefrom) on employees' attitudes towards learning behaviours popularized by two LO models: Senge's model and Marsick and Watkins' model. In setting the theoretical scene, the researcher argues that such models have only mildly considered the complex issues of self and subjectivity, and suggests that failure to realize the ideal of the learning organization may be partially explained by failure to acknowledge the powerful role of subjectivity in generating different individual learning experiences. In this context, possible self theory has been employed as a means to understand individuals' subjectivities and how they might influence attitudes towards formal learning behaviours associated with two LO models. This is the main contribution the present study seeks to achieve. The sample of the study consisted of 19 employees working for a well-known Saudi public corporation. A semi-structured interview was used to elicit participants' responses after which those were explored and discussed. The findings of the study generally support the need to acknowledge the centrality of subjectivity in generating diverse learning experiences across the same organization. They also reveal the idiosyncratic nature of individual learning in a ways that challenge formal organizational learning policies and popular notions on the homogeneity of organizational cultures. The implications derived thereof for organizations, individual learning, and the LO concept are detailed in the concluding chapter.
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Keeley, Melissa Ann. "The Benefits And Limitations Of Artist-Run Organizations In Columbus, Ohio." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230584829.
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Thokala, Kalyan Chakravarthy. "Haptic Enabled Multidimensional Canvas." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1312424725.
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Cadge, Catie Anne. "Paradigms of collecting from ethnography to documenting the individual artists, Grace Nicholson and the art history of Native Northwestern California basketry during the Arts and Crafts period, 1880-1930." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58561.pdf.
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Pardim, Sonia Leni Chamon. "Imagens de um Rio : um olhar sobre a iconografia do Rio Tiete." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284780.
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Orientador: Paulo Mugayar Kuhl<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-05T01:32:45Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Levantamento e análise da iconografia do rio Tietê, observando-se a diversidade de significações deste rio no decorrer de sua história e as representações plásticas correspondente. Analisou-se brevemente a cartografia das primeiras monções; as obras dos artistas viajantes ¿ em especial os que comprovadamente retrataram o rio Tietê, como Thomas Ender, Willian John Burchell, Aimé-Adrien Taunay e Hercule Florence e o olhar dos pintores locais ¿ Miguelzinho Dutra e Almeida Júnior. Tendo-se como foco a questão da construção do imaginário sobre o Tietê a partir de sua iconografia, enfatizou-se a análise das pinturas referentes às monções que pertencem ao acervo do Museu Paulista. Estas pinturas, produzidas no princípio do século XX, participaram de um projeto de construção da história, tendo São Paulo como referência hegemônica e cujo mentor foi Affonso D¿Escragnolle Taunay. As referidas pinturas utilizaram como modelo visual as ilustrações produzidas durante a Expedição Langsdorff e publicadas no livro ¿Viagem Fluvial do Tietê ao Amazonas¿ ¿ relato de Hercule Florence. Apesar da visualidade similar, as duas iconografias apresentam significações diferenciadas: as de Florence são crônicas visuais de uma expedição científica determinada (a de Langsdorff) e as obras do Museu Paulista são encomendas para um museu histórico que generalizam todas as monções. Para a compreensão desta dicotomia, analisou-se os contextos onde ambas foram produzidas<br>Abstract: Survey and analysis of the iconography of the Tietê river, observing the diversity of meanings of this river during its history and the corresponding plastic representations. The cartography of the first ¿monções¿ (expeditions over the Tietê river in the XVIII-th and XIX-th centuries) was briefly analyzed through the works of the traveling artists - in special those that had effectively portrayed the Tietê river, as Thomas Ender, William John Burchell, Aimé-Adrien Taunay and Hercule Florence, and of the local painters - Miguelzinho Dutra and Almeida Júnior. With focus on the question of the construction of Tietê imaginary from its iconography, it was emphasized the analysis of paintings portraying the ¿monções¿ that belong to the São Paulo Museum. Produced in the beginning of the XX-th century, these paintings had participated of a history construction project, having São Paulo as hegemonic reference and Affonso D'Escragnolle Taunay as mentor. The visual model of these paintings was the illustrations made during the Langsdorff Expedition and published in the book ¿Viagem Fluvial do Tietê ao Amazonas¿, by Hercule Florence. Despite the similar viewing, the two iconographies present different meanings: Florence¿s are visual chronics of a specific scientific expedition (Langsdorff¿s) and São Paulo Museum¿s are orders for a historical museum that generalize all the ¿monções¿. To understand this dichotomy, the contexts where both had been produced were analyzed.<br>Mestrado<br>Mestre em Artes
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Delfour, Serge. "Étude du répertoire des procédures de copie d'un dessin géométrique : approche développementale." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30071/document.
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Piaget, Inhelder et Szeminska (1948) ont analysé l’évolution avec l’âge de la copie d’un dessin géométrique angulaire composé de deux traits formant deux angles. Les résultats obtenus sont interprétés dans le modèle stadiste piagétien. En accord avec le modèle de choix de stratégies de Siegler (1996 ; 2007) et l’importance de la variabilité intra-individuelle (Lautrey, 2003), notre thèse reprend cette analyse en faisant l’hypothèse que chaque participant dispose de plusieurs procédures. Nous explorons le répertoire de procédures des enfants âgés de 6 à 12 ans et des adultes en proposant la copie dans plusieurs conditions expérimentales : copie spontanée, plusieurs copies successives en demandant au participant de copier autrement, copie avec l’utilisation d’un instrument spécifique. Nous tentons ensuite d’enrichir ce répertoire en montrant au participant une procédure qu’il n’a pas pu produite seul. Les résultats obtenus sont cohérents avec les modèles pluralistes du développement : dès 10 ans, les enfants disposent de plusieurs procédures pour copier le dessin. Cependant, la mise en évidence de la variabilité intra-individuelle dans cette tâche est contrainte par les conditions expérimentales et les connaissances instrumentales et conceptuelles du participant, notamment l’acquisition du concept d’angle<br>Piaget, Inhelder and Szeminska (1948) analysed the age evolution of a geometric drawing two-lines composed and forming an angle. The results obtained are interpreted in the stadist piagetian model. In accordance with the strategy choice model (Siegler, 1996; 2007) and with the intra-individual variability importance (Lautrey, 2003), our thesis takes up this analysis with hypothesis that each participant have at his disposal several procedures. We explore the 6 to 12 aged children and adult procedural repertory by suggesting the copy in different experimental conditions: spontaneous copy, several copies in proceeding (in other way), copy with specific instrument use,. We also attempt to complete this repertory by showing the participant a procedure he could not have produced by himself. The obtained results are suitable with plural models of development: from the age of ten, the children have several strategies for copying the drawing. However, the intra-individual variability observed in this task is forced by experimental conditions and instrumental and conceptual knowledge of the participant, in particular the acquisition of angle concept
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Burgoyne, Christine Anne. "The importance of identifying particular strengths : spatial ability in pupils who are at risk of not learning to read." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3150.
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Recent studies have shown that there may be evidence that children with reading difficulties have particular compensatory spatial ability, although the exact spatial ability has not been identified. This study used qualitative and quantitative methods to examine closely two spatial abilities, spatial visualisation (mental rotation from memory) and visual realism (three-dimensional drawing and construction ability) in students with reading problems and students with no problems. The aim was also to explore the question of whether students with spatial ability and reading problems were encouraged to use these strengths either in or out of school and whether such abilities could be identified in the early years environment. Equally, the question of motivational failure related to possible unrecognised potential, particularly in the area of non-verbal/spatial ability was also examined. This study used longitudinal case studies with five children and their mothers over a period of ten years. Interviews were transcribed and analysed using a grounded theory approach. Researcher observations as the teacher of the five children in their primary years provided additional evidence of their reading and spatial abilities at an early age. In addition, the study uses a Further Education College survey that examines spatial ability and reading problems in 133 post-16 year olds that provides the quantitative element of the study providing evidence about students with spatial abilities and their career choices. The data analysis revealed that the five case studies had largely overcome their reading problems due to early intervention strategies for reading together with encouragement and support outside school for their spatial abilities. Additionally, they have pursued careers, which for the most part, uses their spatial skills. The data analysis of the College survey showed that the link between spatial ability and reading problems was less secure, although there were a number of students with Specific Learning Difficulties (SpLD) who had high spatial abilities and this proved to be important from the point of view of identifying strengths alongside weakness in literacy, particularly in the early years at school. Early identification and acknowledgement of spatial ability as a perceived strength and used to support learning, as opposed to identification of reading problems, a perceived deficit, proved to be a key finding of the research.
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Van, Heerden Ariana. "The flow brain state of painting and drawing artists." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001485.
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D. Tech. Fine and Applied Art<br>The aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.
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De, Harde Laura. "Who is the beast?: navigating representational and social complexities through the use of animal forms in selected works by Diane Victor." Thesis, 2014. http://hdl.handle.net/10539/18334.
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Diane Victor has been a prominent figure in the South African artworld since
she won the Atelier Award in the 1980s. Since then she has self-inflicted
violence into her work; stretched it and stripped it whilst she wrestles with the
beast within others and how she portrays that in her work. This research
report is concerned with answering the question Who is the ‘Beast’ in the
work of Diane Victor? It begins by defining the term ‘Beast’ and situating
Victor’s artistic practice in an identified trajectory in Western art history. The
report traces the presence of the Beasts in Victor’s work, and follows the
metamorphosis of the human form as its internal corruption is explored and
revealed through the use of non-human animal parts. Furthermore it
investigates the artist’s use of her practice to position herself in relation to the
values and conventions inherited from the culture in which she lives. Finally, it
provides invaluable insight into who the Beast may have been all along and
moreover what it means to be human.
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Tsao, Mna-na, and 曹嫚娜. "A Study on the Individual Brand-Building Strategies for Performance Artists of Dance." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/64306849602647804044.
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碩士<br>國立中山大學<br>劇場藝術學系碩士班<br>99<br>With the trend of globalization, the Creative industry has become a useful tool to compete in the global market. Fine performing art is definitely included, and dance artists play an important role in this field. A successful individual brand can prosper the dance industry and help dance artists stand out in fierce competition, even in the future when the agency system has a mature market mechanism. The researcher strives to delve into the necessities for the individual brand-building of dance performance artists, and further draws up “The Framework of Individual Brand-building of Dance Performance Artists” based on Aaker’s “Brand Identity Planning Model,” McNally & Speak’s “The Inner and Outer Facet of Individual Brand” and Kaputa’s “Key Elements of Celebrity Brand-building,” in order to concoct suitable strategies. The research applies literature review, case study and interview techniques to collect niches and factors for the initial strategy framework. Furthermore, the way of evaluation applies Modified Delphi method with an aim to re-fortify reliability, validity and objectivity of the study. Finally, totally 4 main strategies and 14 secondary strategies are presented in the research result. The main strategies are as follows: (1) Analyze the artist personality, work image and the style of body expression, in order to grasp strength and overcome weakness in the process of building individual brands. (2) Build individual brand identity through unique choreography style and consistent characteristic; meanwhile, increase brand awareness through award acquisition. (3) Actively promote differential personal traits to strengthen image competitiveness. (4) Expand the global market and, with perceived quality, maintain long-term brand loyalty among customers; furthermore, achieve more benefits with the individual brand.
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Asetine, Mark. "Exploring Drawing Devices: Translating the Patterns of the Sun for the Architecture of the Twenty First Century." 2011. http://hdl.handle.net/10222/13316.
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Each architectural exploration requires grounding. This body of work begins with an interest in that which made historical settlements authentic to a place. The thesis is focused first and foremost on the single most predictable, yet varying influence. The sun which acts as a clock, a calendar, and source of energy, has shaped architecture for thousands of years and should be considered with far greater attention in the future, both experientially but also thermally as source of energy.
The proposal for an artist studio located on the Northumberland Straight in Nova Scotia will require an acute relation to the light and solar energy which the sun has to offer. The studio will attempt to function as a self sufficient working space in the landscape, using the resources locally available. As sole users, each artist will shape the habitable space based on specific needs, while continually keeping in mind that which drives the form, light, heat and energy.<br>How can the Solar Cycles of light and temperature inform a method of design, which allows the architecture to reflect the patterns of the sun?
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James, Cohen Erez. "Motor Intelligence The study of simple motor tasks as indicators for inter-individual differences Implications for clinical practice and sport excellence." Doctoral thesis, 2020. http://hdl.handle.net/2158/1189130.
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This thesis aims to bridge between the theoretical concept of motor intelligence and its practice. Particularly, I seek to affront the problematic regarding to its quantification. As any transition between theory and practice, the theoretical framework must first be established. When it comes to Motor Intelligence specifically, though the theoretical groundwork had existed for a long time, the practicality of which had remained behind. This thesis begins by first examining the reasons for the discrepancy between theory and practice for motor intelligence, continuing by a proposal for a practical approach based on the successful implementation of the concepts of intelligence (Chapter 1).
The approach presented here is made on two fronts; the first front consists of the identification of suitable tasks for quantification of various aspects of motor control (Chapters 2-4). Specifically, Chapter 2 examines the potential of drawing and tracing tasks as tools for assessment of fine motor control, tested on a large number of subjects with specific attention to individual differences and the implications of these tasks to motor control. The results evidence that there is no correlation in terms of precision between the two tasks and that this lack of correlation is task dependent and not shape dependent. This allows for a classification of subjects, based on their level of tasks precision, as either drawers or tracers. Results obtained from the study suggest that for an accurate evaluation of fine motor control, both tasks should be used integrating their results. Chapter 3, extends the findings in Chapter 2 to elementary children, investigating the development of components of fine motor control using a tracing and a drawing task. The study demonstrates that, while tracing capacity improves greatly with age, drawing capacity improves only slightly. This trend may be due to possible involvement of attention as well as maturation patterns of the nervous system. The tasks, by being simple, economic and rapid, may represent a good instrument for motor control quantification during development, especially for population screening of eventual delays in maturation of motor control. Chapter 4, assesses the sensitivity of a tracing task following specific interventions, examining how the manipulation of objects, specifically fidget spinner, may influence fine motor control using a spiral tracing task. Results suggest that while fidget spinners do improve precision in tracing, it does not appear to be due to any inherent characteristic of the spinners themselves, as Sham group also demonstrated improvements.
The second front consists of the creation of instruments and methodological approaches that could be used for quantification (Chapters 5-7). Chapter 5 introduces a novel quantification method for 3D analysis of movement using a single camera, with a specific attention to the widespread implementation of movement analysis. Chapter 6, introduces a novel approach for the quantification of motor adaptation, using a simple continuous task which seeks to facilitate testing, and consequently used also in clinical settings. The adequacy of the task was evaluated by examining for aftereffects and generalizations (considered as indicators for motor adaptation). Results affirm the suitability of the task for examining adaptation, specifically, long-lasting after effects and generalization both for size and shift were found. Chapter 7 introduces a novel quantification approach during motor learning which is aimed to evidence individual differences in strategy selection during learning. This execution-centric approach is able to predict behavior during learning, regardless of outcome.
Finally, Chapter 8 closes this thesis by discussing the approach presented here in a general context along with some concluding remarks and possible future directions.
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Cadge, Catie Anne. "Paradigms of collecting from ethnography to documenting the individual artists: Grace Nicholson and the art history of Native Nortwestern California basketry during the Arts and Crafts period, 1880-1930." Thesis, 2000. https://dspace.library.uvic.ca//handle/1828/9419.
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During the Arts and Crafts period, from about 1880 to 1930, popular perceptions of Native Americans and their basketry emphasized pristine cultures prior to the effects of contact with Europeans. Pasadena basketry collector and dealer Grace Nicholson used an ethnographic approach, along with mass-marketing, when selling Native Northwestern California baskets in order to cater to Arts and Crafts period collectors' expectations of traditional Indian baskets. In addition, Nicholson expanded her collecting methods to include documenting individual weavers in the field, though she rarely used this documentation as a sales strategy. Before Nicholson began traveling and collecting baskets directly from Native American weavers in Northwestern California, basketry from this region was almost always collected or sold as the work of an anonymous weaver. This approach—what I refer to as the ethnographic paradigm in the dissertation—featured the traditional, pre-contact context of the basketry, but not the documentation of individual innovation. Grace Nicholson started a new paradigm or model for collecting Native Northwestern California basketry through her select documentation of individual artists. Nicholson's documentation of Elizabeth Hickox, master weaver of Northwestern California baskets during the Arts and Crafts period, has been thoroughly addressed in Art Historical scholarship. I argue that Nicholson also recorded information about other Northwestern California weavers from Hickox's generation, such as Yurok weaver Nellie Cooper. In this dissertation, I demonstrate that the Nicholson archival collection, along with other important archival sources, can be used by researchers to help identify lesser-known Northwestern California weavers from the turn of the 20th century today.<br>Graduate
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Hall, Louise Gillian. "The transformative potential of visual language with special reference to DWEBA's use of drawing as a participatory training methodology in the development facilitation context in KwaZulu-Natal." Thesis, 2006. http://hdl.handle.net/10413/2855.
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Nyoni, Tsitsi. "A sociolinguistic exploration of the pedagogical value of children's oral art forms on a kaleidoscopic cultural terrain: a case of Shona." Thesis, 2019. http://hdl.handle.net/10500/26202.
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Text in English<br>The study is a sociolinguistic exploration of the pedagogical value of Shona children’s oral art forms on a changing cultural terrain to situate them within contemporary classroom pedagogy. Critical Discourse Analysis, Afrocentricity and Constructivism are theories that informed the analysis of the Shona children’s oral art forms. The study is conducted within the qualitative paradigm as a descriptive study. Data was gathered through observartions, standardised open-ended interviews, focus group interviews, questionnaires and document analysis. The study established that Shona children’s oral art forms have responded positively to the changing environment in which they are performed in terms of form and content. While this is a positive development, this should be done with caution to ensure that indigenous knowledge systems that are the backbone of African societies are not abused on the global stage. The study has also affirmed that Shona children’s oral art forms are useful pedagogical tools for information dissemination and knowledge creation. It is also evident from the findings that the oral art forms are an embodiment of human factor values that enhance development education. Findings from this study established that Shona children’s oral art forms are reservoirs of values and norms cherished by the Shona as a people and can be reconstructed for teaching various concepts across the primary school curriculum. Evident from this study is that both teachers and learners are knowledgeable of the various traditional Shona children’s oral art forms although new creations are coined to adapt to the changing environment. This shows that the traditional forms are able to withstand the challenges of globalisation, and this resilience is a positive development since it creates an opportunity for researchers to document these in their unadulterated form for posterity. Since findings from the study highlighted threats to the children’s oral art forms due to the advent of technology and globalisation, there is need to act so that they are not pushed to the periphery as was the case during the colonial era. There is need for concerted efforts at packaging them and meaningful infusion of these into all aspects of children’s education for visibility within the changing environment to guard against their demise in an era of globalisation which may impact negatively on the Shona culture.<br>Linguistics and Modern Languages<br>Ph. D.(Languages, Linguistics and Literature)