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Entwistle, Jeremy. "Metal casting the fire of art and industry /." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5179.
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Thesis (M.F.A.)--West Virginia University, 2007.Title from document title page. Document formatted into pages; contains iii, 45 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 43).
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Petzwinkler, Thomas. "Behind the Fire Line." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/121.
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BEHIND THE FIRE LINEA thesis submitted in partial fulfillment for the degree of Master of Fine Arts at Virginia Commonwealth University, 2004. Major Director: Jim Long, Department Chair. Behind the Line of Fire is a documentary of the professional lives of a group of firefighters. Inspired by the events of September 11th, it has been an ongoing journey for me as I continue to interact with an photograph these individuals doing the job that they live for. My goal for this project has been to work within the guidelines of a documentary, a genre that has a rich, diverse, and defined history. I did not want to show scenes in which firefighters were depicted in typically iconographic scenarios. I have not made any images to date representing exploding structures with firefighters risking life and limb fighting the fire, nor have I shown the firefighters performing heroic acts such as rescuing a child or an animal. I believe the imagery I have created presents firefighters in a different light. These are men and women working. There are no hidden meanings or agendas involved. The photos are to be taken at face value as images of people whose lives revolve around what they do.
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Rundquist, Leisa Mavor Carol. "Pyre a poetics of fire and childhood in the art of Henry Darger /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1155.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art." Discipline: Art; Department/School: Art.
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Ingham, Valerie. "The art of multimodal decision making by incident controllers on the fireground." Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/43936.
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Decision making on the fireground is a difficult and accountable activity. Incident Controllers constantly juggle their legal obligations, the welfare of firefighting crews and the plight of victims and property in complex and often life-threatening situations. Assessing risk and subsequent decision making are core aspects of their role. The positivist-scientific paradigm dominates the decision theory landscape in the form of the Rational Choice model. The best alternative is Naturalistic Decision Making, but its challenge has been almost neutralised by a struggle to shape research concerning experienced intuition into the framework of science. Through an investigation connecting the aesthetic judgement of artists and the situational assessment of Incident Controllers on the fireground, Multimodal Decision Making is developed as a challenge to the position that somatic and aesthetic forms of awareness are unsophisticated and inferior sources of knowledge. Aesthetic judgement is the place where disciplinary boundaries melt and new connections and networks electrify in an instantaneous moment of insight. Incident Controllers responding to the live image of a fire must read the image immediately and decide how to respond, given their available resources. Against the backdrop of the visual and the artistic, the image Incident Controllers on the fireground work with, work on, mould and shape, consists not only of the fire itself, but of the situation as a whole, incorporating risk, danger, sparse pieces of conflicting information and the pressure to act rapidly. I apply the theories and practices used by artists in a creative investigation of the somatic response and aesthetic awareness of Incident Controllers. In the spirit of multimodality I draw upon visual culture, social semiotics, art education, and the concept of the artist-as-theorist found in arts-based practice. There is an exceptionally strong impulse within us to sort, delineate and categorise. I have resisted this impulse in an attempt to mirror the multimodal theory I am developing. The benefit of recognising a connecting theoretical positioning between art and firefighting is the enriching and the heightening of alternative explanations and the encouragement of a decision making discourse which would otherwise remain within the framework of „science‟. Understanding that Incident Controllers on the fireground may be relying on different discourses in their decision making should aid us as community members, researchers and emergency service professionals, to better understand alternative ways of conceptualising decision making behaviour.
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Ingham, Valerie. "The art of multimodal decision making by incident controllers on the fireground." View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/43936.
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Thesis (Ph.D.)--University of Western Sydney, 2009.A thesis presented to the University of Western Sydney, College of Arts, Centre for Cultural Research, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.
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Alford, Erin Alexandra. "Remembering Her Passionate Voice| A Performer's Guide to Jake Heggie's Camille Claudel| Into the Fire." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10264089.
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American composer Jake Heggie wrote Camille Claudel: Into the Fire in 2012 for the Alexander String Quartet and mezzo-soprano Joyce DiDonato. As Heggie is known for his operas Dead Man Walking, Moby-Dick, and most recently, Great Scott, it is not surprising that his seven-song cycle about this passionate female French sculptor is of operatic dramaturgical and musical quality. Due to the complexities and bias that surround Claudel’s life story, and the relative novelty of Heggie’s music within the art song genre, there is a lack of literature regarding the presentation of an authentic performance of this cycle. This project report concentrates on providing the singer with an interpretive framework based on how Heggie’s musical influences and tendencies, along with Gene Scheer’s historical, first person narrative, reflect Claudel’s life, work, and fiery personality. Through a deeper understanding of Heggie’s music in correspondence with Scheer’s poetry, a singer can effectively embody the unparalleled passion, artistry, and voice of Camille Claudel.
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Rodriguez, Abigail E. "Playing With Fire: An Examination of the Context and Conservation of Jose Clemente Orozco's Prometheus." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/860.
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Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.
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Lindahl, Amy E. "Integrating Naval Surface Fire support into an improved Joint Close Air Support architecture." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2006. http://library.nps.navy.mil/uhtbin/hyperion/06Jun%5FLindahl.pdf.
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Thesis (M.S. in Systems Technology (C3))--Naval Postgraduate School, June 2006.Thesis Advisor(s): Dan C. Boger, Karl D. Pfeiffer. "June 2006." Includes bibliographical references (p.65-68). Also available in print.
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Furniss, Brandon F. "Transformation of Form." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240088310.
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Raad, Fadi. "Figures du feu dans l'art contemporain et la guerre : sous le signe de Prométhée, du Phénix et d'Empédocle." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H308.
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La thèse traite de la problématique du feu comme instrument de la création plastique contemporaine. En effet, depuis les années 1960, on observe une utilisation accrue de l’élément feu dans de nouvelles formes d’expression artistique. L’accent est mis particulièrement sur le feu de la guerre qui, en transformant la vie des artistes, fait également évoluer leur création. Tout au long de la thèse, l’analyse des oeuvres personnelles vient appuyer ce constat et sont explorées sur la base de l’expérience de la guerre vécue par l’auteur. Les parties de la thèse font référence à des figures mythiques en relation avec l’image du feu. Ainsi, se classent-elles « Sous le signe de Prométhée », « Sous le signe du Phénix » et « Sous le signe d’Empédocle »This Ph.D. dissertation deals with the problem of fire used as a tool in the contemporary plastic art creations. In fact, since the 1960s, an increased use of fire is noted within new forms of artistic expression.The emphasis is put particularly on the “fire of war” which, by changing the lives ofthe artists, transforms their creations as well .Throughout the dissertation, the analysis of personal pieces of art, observed through the context of the war experienced by the artist, confirms the above finding. The sections of the dissertation refer to some mythical characters with close relationship with the image of fire. Hence, they are referenced “Under the sign of Prometheus”,“Under the sign of the Phoenix” and “Under the sign of Empedocles”
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Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.
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By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in the EWF’s visual art, including album covers, music videos, and concerts.
A content analysis was conducted to study the lyrics and identify themes related to ancient Egyptian spirituality. A content analysis was also used to study the visual art and decipher what the symbols may signify. This research was based on the premise that Earth, Wind & Fire used their artistry to be a positive influence. When the lyrics and visual art were examined, the researcher found that they both contain themes of ancient wisdom and universal truths. The conclusions drawn from the findings suggest that EWF’s mission was to raise the consciousness of the world, and the way people responded is an indication that the mission was accomplished. The findings also suggest that the negative criticism EWF has received is unjustifiable.
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Brockman, Kristin Marie. "Constructive Alienation and Terror: An Analysis of Martha Rosler’s A Simple Case for Torture (Or How to Sleep at Night) (1983), Harun Farocki’s Inextinguishable Fire (1969), and Eye/Machines (2001-3)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147844234.
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Schultz, Heath. "But neither wood nor fire find any peace or satisfaction In any warmth, great or small, or in any resemblance between them, until the moment when the fire becomes one with the wood and imparts its own nature to it. Or: how two fragments meet and a film is made." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2628.
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Luciani-Lucchesi, Denise. "Écriture et feu dans l'oeuvre de Jean-Paul Marcheschi : Un peintre actuel au langage poétique, philosophique et humain." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10226.
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Jean-Paul Marcheschi (né en 1951) attire l’attention du public et des institutionnels par la rencontre de l’écriture et du feu dans son œuvre. Ce peintre-sculpteur français utilise les torches de feu en guise de pinceau ; les bougies de son outil forment de la suie, de la cire et créent des brûlures sur du papier recouvert d’écritures manuscrites. Depuis bientôt trente ans, cette technique lui permet de réaliser des œuvres figuratives et abstraites. Sa renommée a acquis une dimension européenne dès les années quatre-vingt-dix. L’objectif de cette thèse est de montrer comment l’écriture et le feu sont employés dans son art. Cette étude permet d’aborder notamment la question de la dissociabilité et/ou du caractère indissociable entre ces éléments. Même si ces deux moyens d’expression se rencontrent dans ses peintures, et même si leur combinaison se lit dans certaines de nos analyses picturales, ils sont traités toutefois séparément, car l’écriture est apparue dans ses œuvres avant le feu, et les premières expériences ignées n’ont pas demandé l’intervention d’écrits. Par ailleurs, la rencontre entre ces éléments ne concerne pas en majorité ses objets et ses sculptures. Cette thèse est d’ailleurs composée de deux parties : la première est consacrée à l’écriture et la deuxième est consacrée au feu dans sa productionJean-Paul Marcheschi (born in 1951) draws the attention of the public and the institutional by the meeting of the writing and the fire in his works. This French painter-sculptor uses the torches of fire by way of brush ; the candles of his tool form some soot, some wax and create burns on some paper covered with handwritten writings. For about thirty years, this technique allows him to realize figurative and abstract works. His fame acquired a European dimension from the years ninety. The objective of this thesis is to show how his art uses writing and fire. This study allows to approach in particular the question of the separable character andor the inseparable character between these elements. Even if these two means of expression meet in his paintings, and even if their combination is read in some of our pictorial analyses, they are however treated separately, because the writing appeared in his works before the fire, and the first experiments with the fire did not ask for the intervention of writings. Besides, the meeting between these elements does not concern for the greater part his objects and his sculptures. This thesis moreover consists of two parts : the first one is dedicated to the writing and the second is dedicated to the fire in his production
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Huang, Kai. "Population and building factors that impact residential fire rates in large U.S. cities /." View online version, 2009. http://ecommons.txstate.edu/arp/287.
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Archibald, Robert D. "Fire and the persistence of tuart woodlands /." Access via publisher's site, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071130.140115.
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Dyer, Rebekah Mary. "Multivalence, liminality, and the theological imagination : contextualising the image of fire for contemporary Christian practice." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16452.
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This thesis contends that the image of fire is a multivalent and theologically valuable image for application in British Christian communities. My research offers an original contribution by contextualising the image of fire for Christian practice in Britain, and combining critical observation of several contemporary fire rites with theological analysis. In addition, I conduct original case studies of three Scottish fire rituals: the Stonehaven Fireball Ceremony, the Beltane Fire Festival, and Up-Helly-Aa in Lerwick, Shetland. The potential contribution of fire imagery to Christian practice has been overlooked by modern theological scholarship, social anthropologists, and Christian practitioners. Since the multivalence of the image has not been fully recognised, fire imagery has often been reduced to a binary of ‘positive' and ‘negative' associations. Through my study of non-faith fire rituals and existing Christian fire practices, I explore the interplay between multivalence, multiplicity, and liminality in fire imagery. I demonstrate that deeper theological engagement with the image of fire can enhance participation, transformation, and reflection in transitional ritual experience. I argue that engaging with the multivalence of the image of fire could allow faith communities to move beyond dominant interpretive frameworks and apply the image within their own specific context. First, I orientate the discussion by examining the multivalence of biblical fire imagery and establishing the character of fire within the British social imagination. Second, I use critical observation of community fire practices in non-faith contexts to build a new contextual framework for the analysis of fire imagery. Finally, I apply my findings to a contextual analysis of existing Christian fire practices in Britain. Throughout, I argue that sensory and imaginative interaction with the image of fire provides a way to communicate and interact with theological ideas; experience personal and communal change; and mediate experience of the sacred.
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Mlot, Nathaniel J. "Fire ant self-assemblages." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50247.
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Fire ants link their legs and jaws together to form functional structures called self- assemblages. Examples include floating rafts, towers, bridges, and bivouacs. We investigate these self-assemblages of fire ants. Our studies are motivated in part by the vision of providing guidance for programmable robot swarms. The goal for such systems is to develop a simple programmable element from which complex patterns or behaviors emerge on the collective level. Intelligence is decentralized, as is the case with social insects such as fire ants.
In this combined experimental and theoretical study, we investigate the construction of two fire ant self-assemblages that are critical to the colony’s survival: the raft and the tower. Using time-lapse photography, we record the construction processes of rafts and towers in the laboratory. We identify and characterize individual ant behaviors that we consistently observe during assembly, and incorporate these behaviors into mathematical models of the assembly process. Our models accurately predict both the assemblages’ shapes and growth patterns, thus providing evidence that we have identified and analyzed the key mechanisms for these fire ant self-assemblages.
We also develop novel techniques using scanning electron microscopy and micro-computed tomography scans to visualize and quantify the internal structure and packing properties of live linked fire ants. We compare our findings to packings of dead ants and similarly shaped granular material packings to understand how active arranging affects ant spacing and orientation. We find that ants use their legs to increase neighbor spacing and hence reduce their packing density by one-third compared to packings of dead ants. Also, we find that live ants do not align themselves in parallel with nearest neighbors as much as dead ants passively do.
Our main contribution is the development of parsimonious mathematical models of how the behaviors of individuals result in the collective construction of fire ant assemblages. The models posit only simple observed behaviors based on local information, yet their mathe- matical analysis yields accurate predictions of assemblage shapes and construction rates for a wide range of ant colony sizes.
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Dari, Sana. "La peinture orientalise en Palestine et en Syri à la fin du XIXe et au début du XXe siècle : "la connotation religieuse et le tabou local"." Paris 1, 2001. http://www.theses.fr/2001PA010537.
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La dimension religieuse, qui apparait comme un caractère distinctif de la scène orientaliste en Syrie Palestine dans la deuxième moitié du XIXe et au début du XXe siècle était absente de l'école française un siècle plus tôt. Par sa précision topographique et son interprétation religieuse, la peinture orientaliste de Syrie Palestine s'apparente aux œuvres préraphaélites. En fait, le recours à la dimension religieuse, intensément exploitée par une société coloniale britannique, le Palestine exploration fund, entretient la confusion entre ce qui relève de l'art et ce qui relève du discours officiel. Cela apparait notamment dans l'idéalisation de Jérusalem, qui falsifie et occulte le caractère arabe de la cité. L'apparent emprunt aux thèmes quotidiens, qui semble imposer l'œuvre orientaliste comme un portrait ethnographique de l'Orient, est une reformulation de la réalité d'après une projection iconographique occidentale, y compris par le recours à une typologie et une toponymie bibliques. On distingue alors dans les scènes orientalistes des écoles anglaise, française, allemande et américaine, ce qui est purement imaginaire et ce qui est imaginaire recycle dans un cadre colonial. Pourtant, W. H. Hunt, simplement mu par le souci vériste, a réussi à composer à l'apogée de sa création poétique une œuvre qui offre un échantillon de réalité ethnographique.
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Lang, Martin. "Militant art." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.
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This thesis is an analysis of ‘militant art’ – a type of art activism that is prepared to break the law, use violence against people (including the artists themselves), property, or incite others to do the same, in order to realise a cause. This thesis considers militant art as a continuation of the expanded field of relational aesthetics fused with a renewed interest in 20th century avant-garde art practices and the organisational structure, politics and tactics of the Global Justice Movement – which I conceptualise as a direct response to a lingering post-political spectacular malaise. Although there has been a surge of recent writing about Socially Engaged Participatory Art practices and, to a lesser extent, art activism, the more militant forms are still under-researched. The thesis is divided into two parts: the first is an art historical, theoretical and political analysis; the second uses qualitative research methods to verify and interrogate claims made in the first. A series of ten interviews with contemporary artists (and collectives) and an ethnographical study provide new data on militant art, which are analysed fully in a dedicated chapter. The findings give us insight into the militant artists’ psychology, motivations and tactics providing a description, analysis and definition of hitherto overlooked contemporary practices.
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King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.
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Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.
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Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.
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Michael, Michael John. "Ex Nihilo : emptiness and art." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8198.
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Includes bibliographical references (leaves 93-102).The purpose of this document is the elaboration of a system of thought that sees art as an empty structure, in a way that is analogous to the conceptual mechanics of Buddhism. What is meant exactly by the term Buddhism will I hope, become clearer as the reader moves through it. Likewise, it is hoped that a perspective on art that sees it as sharing certain conceptual tendencies with Buddhism will emerge. What must be borne in mind for the meantime is the following; firstly, that the concept of emptiness in Buddhism is not nihilism, and this holds true for the system that I describe; it is my position that much art is empty (in a way) and necessarily so. Secondly, that both systems (though not exclusively), are ways of relating, rather than bodies of text or specific images. Wittgenstein's view of philosophy is analogous to this last point in that he insisted on seeing philosophy as a method rather than a science (Perloff 1996: 46). This tendency of mode over product, or way of relating over the thing made, is a critical underlying component of what follows in this document and in my practical production.
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Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.
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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.
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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.
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Hanes, Jay Michael. "Collaborative activist art : A Case Study /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313348013.
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Hill, Robert William. "Works of art as commodities : art and patronage : the career of Sir Dudley Carleton 1610-1625." Thesis, Southampton Solent University, 1999. http://ssudl.solent.ac.uk/2450/.
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This thesis examines the way in which Sir Dudley Carleton, ambassador first to Venice and subsequently to The Hague, used paintings, sculptures and other artefacts as the means to secure patrons at the English Court and thereby gain promotion. Carleton had not wanted to go to Venice, and when he arrived there in 1610 he showed no interest in the arts. It was the deaths of the Earl of Salisbury and Prince Henry in 1612 which made him aware of the need to obtain new patrons. By this time he was becoming conscious of the fact that works of art were useful tools in securing patronage, but it was not until the visit to Venice of the Earl of Arundel in 1613 that his eyes were opened to the artistic riches around him. He now began assembling a collection of works of art which he had despatched to the royal favourite, the Earl of Somerset in 1614 and 1615. Although he was mistaken in assuming that this action opened his way to his appopintment to The Hague in August 1614, he was by now convinced that such gifts could play a major part in obtaining and influencing the patrons whose support he would need if his career were to prosper. Carleton's change of attitude was demonstrated by the way in which, on his arrival at The Hague in 1616, he quickly made contact with leading artists and began commissioning pictures from them. Yet despite using gifts of art-works to remind patrons of his existence and prompt them to support his claims to office whenever a suitable vacancy arose, Carelton seemed doomed to remain at The Hague. This was principally because he failed to gain the backing of the new favourine, Buckingham. However, when the government's foreign policy changed direction after 1623, Carleton became more acceptable to Buckingham, whi, in February 1625, secured him the minor post of Vice-Chamberlain, the first step in his rise to become Secretary of State. Although Carleton's appointment coincided with the gift of a marble gate and chimney to the favourite, this had no direct impact on securing his advancement. Yet it showed how, despite the fact that during his years in Venice and at The Hague he had become quite a sophisticated judge of the value of paintings, Carleton still regarded them primarily as commodities to be used in the furtherance of his career.
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Garvin, Christopher Paul. "In Search of a More Accessible Art." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394721054.
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TEIXEIRA, GUILHERME NOBREGA. "PATTERN RECOGNITION APPLIED IN FINE ART AUTHENTICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=2912@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORAssinaturas e caligrafias foram utilizadas durante décadas como uma marca característica de cada indivíduo. Por trás dos métodos utilizados para reconhecer estas caracterísitcas está o fato que toda pessoa possui seu próprio jeito de mover a mão enquanto escreve. Sendo assim é razoável pensar que cada pintor tem uma maneira própria de atacar a tela de pintura com o seu pincel, deixando assim um padrão pessoal de acidentes geométricos, que poderiam ser utilizados para identificá-lo.A partir desse principio surge a idéia de aplicar visão computacional para reconhecer padrões específicos de cada pintor que poderiam ser utilizados no processo de autenticar quadros de arte. A dissertação aqui descrita apresenta os resultados de uma pesquisa que objetiva o desenvolvimento de um método para definir a autenticidade de quadros de arte. Um novo procedimento para segmentação de pinceladas em um quadro juntamente com uma nova técnica de medição de textura para capturar as assinaturas nas pinceladas é proposto. Além disso, o trabalho investiga a utilização de métodos não- paramétricos de classificação, para discriminar entre potenciais pintores. O método proposto é avaliado com um conjunto de experimentos cujo objetivo é discriminar entre dois pintores brasileiros muito conhecidos: Portinari e Bianco.
Signatures and hand writings were used during decades as a unique characteristic to recognize an individual. Methods to recognize these characteristics were base don the fact that each individual has an unique way to move his hand while writing. Taking that into account, it is reasonable to think that each painter has an unique way to strike the painting board with his stroke, leaving a distinguishing personal pattern, that can be used to identify him. From this principle comes the idea to apply computer vision to recognize specific patterns that could be used in the process of authentication of fine art paintings.This work shows the results of a research where the main purpose is to develop a methodology to find the authenticity of fine art paintings. A new segmentation process of strokes of a painting allied to a new technique of texture measure to get the implicit signatures in the strokes is proposed. Beyond that, this work investigates non-parametric classification methods to discriminate potential painters. The proposed method is evaluated with a set of experiments where the purpose is to discriminate between two well known Brazilian painters : Portinari and Bianco.
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Berman, Alan. "Generative adversarial networks for fine art generation." Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32458.
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Generative Adversarial Networks (GANs), a generative modelling technique most commonly used for image generation, have recently been applied to the task of fine art generation. Wasserstein GANs and GANHack techniques have not been applied in GANs that generate fine art, despite their showing improved GAN results in other applications. This thesis investigates whether Wasserstein GANs and GANHack extensions to DCGANs can improve the quality of DCGAN-based fine art generation. There is also no accepted method of evaluating or comparing GANs for fine art generation. DCGAN's, Wasserstein GANs' and GANHack techniques' outputs on a modest computational budget were quantitatively and qualitatively compared to see which techniques showed improvement over DCGAN. A method for evaluating computer-generated fine art, HEART, is proposed to cover both the qualities of good human-created fine art and the shortcomings of computer-created fine art, and to include the cognitive and emotional impact as well as the visual appearance. Prominent GAN quantitative evaluation techniques were used to compare sample images these GANs produced on the MNIST, CIFAR-10 and Imagenet-1K image data sets. These results were compared with sample images these GANs produced on the above data sets, as well as on art data sets. A pilot study of HEART was performed with 20 users. Wasserstein GANs achieved higher visual quality outputs than the baseline DCGAN, as did the use of GANHacks, on all the fine art data sets and are thus recommended for use in future work on GAN-based fine art generation. The study also demonstrated that HEART can be used for the evaluation and comparison of art GANs, providing comprehensive, objective quality assessments which can be substantiated in terms of emotional and cognitive impact as well as visual appearance.
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Thomas, Vincent. "Is Fine art a viable alternative investment?" Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-134942.
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This paper will study the Art market as an investment opportunity. We will forget about the artistic characteristics of the market (history of art, aesthetic, technic...) and focus only on the business and economic aspects of the market treating art works as tradable goods. Our goal will be to determine whether or not the art market would be a suitable investment vehicle, offering some interesting outlook to investment diversification. This paper will pay a closer look at the recent financial crisis period, trying to understand the mechanism which bonds the financial industry and the Art industry. This will be the key to introduce an investment portfolio including Art as an asset class for investment. Focusing on the performance of such portfolio we will give some further recommendation on how to reach a better than expected performance.
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Cope, Hazel Mary. "Exploring Interrelationships between Fine Art and Nursing." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367362.
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The nursing profession can be characterised as a unique blend of attributes and philosophies that encompass scientific knowledge and artistic process. The interpersonal experience of caring in nursing is associated with a positivist sense of expression, acute observation, and compassion. It shares with artistic experience an intense motivation and analysis that involve the creative engagement of the senses. This research is informed by my forty-six years of working as a practicing registered nurse, and it takes an interdisciplinary approach between fine arts and nursing science to explore the elusive qualities of the human caring experience. My studio exploration, which uses everyday objects from the medical arena, highlights the values of empathy and sensitivity that are fundamental to the nurse–patient relationship. This is achieved through the formal strategies of repetition and placing everyday medical items in unfamiliar contexts, subsequently transforming them to evoke a provocative visual experience. These everyday items become a conduit for viewers to experience a new sensation. Functional objects are elevated to the poetic, enabling meanings to emerge that circumvent utilitarian and common associations. This research also highlights the impact of advancing technology and increased time pressures on the contemporary context of nursing, and the effect this has in decreasing interpersonal relations between nurse and patient. Furthermore, this project seeks to support interdisciplinary collaboration between visual arts and nursing science as a means to gain a better understanding of both disciplines. In doing so, I make no grandiose claims for either art or nursing as sole purveyors of feeling and emotion, but rather seek to examine the connections and correspondences between these two areas of practice that both seem to function from an underlying assumption that human beings have an unspoken desire to engage with each other.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.
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Plíhalová, Alena. "Ta naše." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232442.
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I am interesting in culture in sudetenland. I was researching if there is any new folklore, and i tried to mediate a culture for people, who are living here. I am plannig to make a multimedial art instalation.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.
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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.
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This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind.
The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color.
Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.
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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.
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Balaskas, Vasileios (Bill). "Mapping utopian art : alternative political imaginaries in new media art (2008-2015)." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2844/.
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This thesis investigates the proliferation of alternative political imaginaries in the Web-based art produced during the global financial crisis of 2008 and its aftermath (2008- 2015), with a particular focus on the influence of communist utopianism. The thesis begins by exploring the continuous relevance of utopianism to Western political thought, including the historical context within which the financial crisis of 2008 occurred. This context has been defined by the new political, social and cultural milieu produced by the development of Data Capitalism – the dominant economic paradigm of the last two decades. In parallel, the thesis identifies the “organic” connections between leftist utopian thought and networked technologies, in order to claim that the events of 2008 functioned as a catalyst for their reactivation and expansion. Following this analysis, the thesis focuses on how politically engaged artists have reacted to the global financial crisis through the use of the World Wide Web. More specifically, the thesis categorises a wide range of artworks, institutional and non-institutional initiatives, as well as theoretical texts that have either been written by artists, or have inspired them. The result of this exercise is a mapping of the post-crisis Web-based art, which is grounded on the technocultural tools employed by artists as well as on the main concepts and ideals that they have aimed at materialising through the use of such tools. Furthermore, the thesis examines the interests of Data Capitalists in art and the Internet, and the kinds of restrictions and obstacles that they have imposed on the political use of the Web in order to safeguard them. Finally, the thesis produces an overall evaluation of the previously analysed cultural products by taking into account both the objectives of their creators and the external and internal limitations that ultimately shape their character. Accordingly, the thesis locates the examined works within the ideological spectrum of Marxist and post-Marxist thought in order to formulate a series of proposals about the future of politically engaged Web-based art and the ideological potentialities of networked communication at large.
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Tingley, Edward. "Game of knowledge: The modern interpretation of art." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9820.
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Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art (qua hermeneutic entity) is revealed. Three such conceptions of the work of art that are basic to modern art history are articulated and critically examined by careful attention to actual works. Interpretation is shown to exceed the strictures of each model, with the specific consequence that the meaning of the work of art in modern times is systematically narrowed. Motives for that narrowing are discussed. (Abstract shortened by UMI.)
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Locke, Lana. "The feral, the art object and the social." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13476/.
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This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where heterogeneous elements meet: different voices expressed through the writing and images of my practice. In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres. Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall. The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover. The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.
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Castronovo, Anthony Joseph. "Lift: Public Art and the Activation of Space." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418835875.
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Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.
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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.
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Kreamer, Lisa Marie. "Undergraduate art students: Influences affecting the career decision to major in art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278611.
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This thesis surveys 171 undergraduate art students at the University of Arizona to evaluate the effect their high school art teachers had on their career decision to enter a college art program. The parental influence is addressed. Student responses are viewed by gender, classification and major. Findings indicate the teachers influence less than 50% of their students and that parents have a greater influence in the decision process. There are definite gender differences, males talked with their parents more than females but females expressed more support from parents once in an art program. Students in commercially viable studio programs, graphic design and photography, report greater parental support.
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Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.
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Boulton, David. "Fine art image classification based on text analysis." Thesis, University of Surrey, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252478.
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Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.
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Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.
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Dawson, Jane. "Visceral and behavioural responses to modern art : influence of expertise, type of art and context." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/30240/.
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Art is one of life’s great joys, whether beautiful, ugly, sublime or shocking. Whilst neuroimaging studies using visual art as stimuli have yielded a wealth of information regarding aesthetic appreciation and beauty, few have considered a wider range of emotions or the effect of expertise and context. In order to address this three studies were conducted. The first studied the time course of visual, cognitive and emotional processes in response to visual art by investigating the event-related potentials (ERPs) elicited whilst viewing and rating the visceral affect of art, in artists and non-artists. The second, behavioural, study questioned the ecological validity of using reproductions of art. Contextual differences in arousal, aesthetic response, viewing time and memory, were explored. The final study aimed to extend the findings of the first two. Continuous EEG was recorded to explore effects of expertise and context on phase synchrony bands during the contemplation of art in a gallery. Behavioural measures and structured interviews were employed to examine the impact of contemplating art on subjective feelings, mood and memory. A number of negative environmental factors adversely affected collection and validity of the continuous EEG data, which was not considered further. There were three prominent findings. First, looking at art is interesting and rewarding, particularly for experts. It is not dependent on aesthetic preference, although expertise is important regarding the appreciation of abstract art. Second, the response to art is not isolated from the context in which it is experienced, whether the physical context of a gallery vs. laboratory, or original vs. reproduction. Finally, both the prospect of looking at art and contemplation of art, whether original or reproduced, increases calmness and contentedness and decreases alertness, irrespective of expertise. Interest and curiosity are the dominant factors eliciting positive mood and positive emotions. Looking at art is relaxing and is good for you.
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Shepley, W. A. "Installation art practice and the 'fluctuating frame'." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.
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