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Dissertations / Theses on the topic 'Installation (arts)'
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Giguère, Danielle. "EMMA. Installation sonore." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24277/24277.pdf.
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Brunet, Paul. "Sur la peinture-installation." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25068/25068.pdf.
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Papararo, Jenifer. "Installation arts, toward a questioning of boundaries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30682.pdf.
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Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Mercille, Catherine. "Chromatisme végétal : vers une installation picturale : ornementation et beauté." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24993/24993.pdf.
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King, Donald V. "(Frame) /-bridge-\ !bang! ((spill)) *sparkle* (mapping Mogadore) /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216759724.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Oct. 19, 2009). Advisor: Paul O'Keeffe. Keywords: Sculpture, Installation Art, Video Art. Includes bibliographical references (p. 25).
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Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
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Ballard, Heather. "Unfixed." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524065963902847.
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Toth, Ibojka Maria. "Borderland American - Hungarian video installation /." [Kent, Ohio] : Kent State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1165764619.
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Thesis (M.F.A)--Kent State University, 2006.Title from PDF t.p. (viewed March 27, 2008). Advisor: Martin Ball. Keywords: American - Hungarian Video Installation, 1956 Hungarian Revolution, Budapest, Hungary, Documentary - Style Production Process, Fragmented Memories of Time and Place, American - Hungarian Struggles with Personal and Cultural Identities, Discourse about Mul.
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Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.
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Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Lewter, Bradley Paul. "7 an interactive installation: explorations in the digital, the spiritual, and the uncanny." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4511.
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This thesis explores the application of digital technologies in the creation of visionary or transformative artwork. The installation emphasizes number, color, symmetry, and the human form to create symbolic compositions patterned after ancient archetypes. Background research was done to inform the work through studies of the principles of visionary and transformative artwork as practiced by Ernst Fuchs, De Es Schwertberger, and Alex Grey. Connections between art and spirituality as explained by Kandinsky were studied to augment these principles. The sequence of artwork within the installation is comprised of both digital paintings and interactive triptych panels. To convey a sense of the mystical or sacred, the Rothko Chapel was used to inform the installation and serve as an artistic precedent. As the interactive work is created using realistically-modeled, computer generated characters, special consideration was given to understanding the "uncanny valley" and its potential effect in the interpretation of the installation. Interactivity is achieved through the use of ultrasonic sensors and Arduino prototyping boards.ID: 029094499; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 50-51).
M.F.A.
Masters
Department of Film and Digital Media
Arts and Humanities
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Verticchio, Matthew. "The Problem of Meaning." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555437717271275.
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Trimm, Alexandra. "The Frozen Moment: Representations of Space, Time and the Experiential in Installation Art." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/313.
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This paper examines the history of installation art and explains the concept and themes within my installation component of the studio art major. It details how readymades, site-specificity, and an emphasis on experiential work all contributed to the creation of installation art as a medium. Next, I turn to my own work, exploring the theme of representing time and altering the perceptions of the viewer. Through a web of fishing line and tempered glass, the installation visually imitates a single, frozen moment of an explosion that the viewer can walk into and explore. The paper continues with a discussion of relevant themes in the work by contemporary artists Ori Gerst, Heide Fasnacht, Cornelia Parker, E.V. Day, Lee Bontecou, and James Turrell, and concludes with ideas for the continuation of the project in the spring 2014 semester.
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Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.
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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècleHaving as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
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pettersson, pontus. "an ecology of things/thinking." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6254.
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An ecology of things/thinking is a textual work, a document of my thinking and the things Ihave created during my master studies in fine arts at Konstfack. As the title and word suggests‘ecology’, it is a material practice. I have called it a choreographic step entering thiseducation. With several motives and desires and with a ten-year background in dance andchoreography, the main thread has been to look into the object and installation work I havebeen doing. in which objects, clothes and larger sculptures have been ways for me tounderstand choreography not only entangled in dance but in everything. Concepts/words likehospitality, temporality and context are reoccurring topics of my inquiries, as I understand thehuman with great plastic qualities and potential. In my work I always need to consider thecontext, pre-conditions and conditions for a dance to emerge.I see the body as both reading and writing machine, we cannot only producetext, dance and objects, but we also read and write the movement in between things, the largerchoreography and the interwoven parts. Doing dance and choreography, my artistic practiceblends these notions in both making objects or exhibitions, dancing for others or myself,writing poetry and curating events. For my master studies I needed to leave the morespectacle-like parts of dance and performance out of my palette of expressions. I wanted to letthe objects and installation work have more agency, still working with choreography. Thesituation/context – Konstfack became my field of study and from where I could speak/createfrom.
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Sretenovic, Vesela Allen Beverly. "Maurice Merleau-Ponty's ontology of vision in relation to contemporary installation art." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.
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Chen, Ke Yu. "LES CADRES SYMBIOTIQUES. La présentation d'ensemble de la vidéo et de son installation." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28551/28551.pdf.
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Comme un chef trouverait ridicule qu'un client qui goûte son plat lui demande de décrire la saveur et pourquoi il le fait, certains artistes ne veulent pas s’asseoir et interpréter leurs œuvres à la place du spectateur. Surtout que les artistes ont d’autres raisons de rester silencieux: peut-être que les œuvres elles-mêmes sont des objets obscurs auxquels les artistes veulent échapper ou que celles-ci répondent à des questions non résolues. Les œuvres seraient des réflexions non avouées.
Cependant, une relation s’établit entre les artistes et leurs pratiques. Je la découvre à travers ma démarche de création en maîtrise, accompagnée de tous les questionnements techniques et émotionnels, que je termine avec mon exposition – Rivière absente. Pour décrire mon cheminement, je commence par une interprétation du concept de symbiose. Ce concept s'applique à l'ensemble des installations de mon exposition. Deuxièmement, j'analyse l’influence de l’animation et de la vidéo sur ma production en accordant plus d'importance à l'œuvre finale et son échange avec le spectateur qu'au médium lui-même. À la fin, j’analyse l'ensemble des sentiments et des réflexions sur la notion de nostalgie qui donne naissance à mes scénarios et à ma pratique. En plaçant cette partie à la fin, je tente de mettre en avant-plan les émotions que l'œuvre transmet tout en mettant de côté l'analyse technique.
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Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.
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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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Dahl, Rachel L. "Pocket Totems: Remembering the Ones we Love." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/587.
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This paper was an exploration of the history of portraiture and how that history related to the Senior Thesis show of studio art major Rachel Dahl. The focus of the paper is on the nostalgic and commemorative tendencies of portrait art throughout its history--namely the Italian Uomino Famosi of the fifteenth century, paintings commissioned of favorite horses and dogs, the portraits of recently deceased people, and the miniature eye portrait fad in Europe in the eighteenth and nineteenth centuries--and how these historic examples of portraiture influenced her work.
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Schwarz, Jonathan. "Skeptical Perceptions." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302454184.
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Baginski, Carolyn M. "The Difference Between a Canyon and a Valley." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343879406.
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Adams, John Tinsley. "My Father Before Me." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448452018.
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Turner, Blake C. "Determining Process: An Analysis of Corridor #1." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460630059.
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Hendershot, John. "You're Gonna Be Ok: A System to Control the Uncontrollable." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2083.
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This is a written defense to accompany the MFA Thesis Exhibition You’re Gonna Be Ok, an installation encompassing video, and other sensory components. This defense provides background for the artist’s motivation to make this work, along with a theoretical framework used to construct the installation. Accompanying photos, video, and PowerPoint are also included to give reference and documentation of the installation event.
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Sjunnesson, Vera. "The businessman, the mosquito and the dragon." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-67.
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My master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity[I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min.
Examensarbetet består av en skriftlig del och en gestaltande del.
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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.
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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver.
I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo.
For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.
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Rockinson, Randy Joseph. "Activity recognition with end-user sensor installation in the home." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42410.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.Includes bibliographical references (v. 2, leaves 248-253).
In this work, a system for recognizing activities in the home setting that uses a set of small and simple state-change sensors, machine learning algorithms, and electronic experience sampling is introduced. The sensors are designed to be "tape on and forget" devices that can be quickly and ubiquitously installed in home environments. The proposed sensing system presents an alternative to sensors that are sometimes perceived as invasive, such as cameras and microphones. Since temporal information is an important component of activities, a new algorithm for recognizing activities that extends the naive Bayes classifier to incorporate low-order temporal relationships was created. Unlike prior work, the system was deployed in multiple residential environments with non-researcher occupants. Preliminary results show that it is possible to recognize activities of interest to medical professionals such as toileting, bathing, and grooming with detection accuracies ranging from 25% to 89% depending on the evaluation criteria used. Although these preliminary results were based on small datasets collected over a two-week period of time, techniques have been developed that could be applied in future studies and at special facilities to study human behavior such as the MIT Placelab. The system can be easily retrofitted in existing home environments with no major modifications or damage and can be used to enable IT and health researchers to study behavior in the home. Activity recognition is increasingly applied not only in home-based proactive and preventive healthcare applications, but also in learning environments, security systems, and a variety of human-computer interfaces.
by Randy Joseph Rockinson.
S.M.
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Leiva, Alma. "Producto Centro Americano : Made In Honduras." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2435.
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PRODUCTO CENTRO AMERICANO: MADE IN HONDURAS By Alma Leiva Master of Fine Arts A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2011. Thesis Director: Robert Paris, Professor Kinetic Imaging / Photography and Film I was born in 1973 in Honduras, a country under military regime. In 1982 after 20 years of military rule, Honduras finally had democratic elections. During that decade, and as a consequence of the cold war, the kidnapping, torturing, murder and disappearance of civilians became common practices among the Honduran military. Peasant activists, university leaders, union workers and intellectuals were among its favorite targets. In Producto Centroamericano: Made in Honduras I present the viewer with a "product" entrenched in Honduran history; the disappearance of almost two hundred civilians in the 1980's for political reasons. The work also presents the viewer with the imminent threat of the return of this practice after its military coup in 2009. By juxtaposing references of torturing tools such as knives, metal poles, chains and meat hooks, against more frail materials such as paper, wax and fabric, I make allusions to the vulnerability of the individual against such repressive forces. Through the elements presented in the installation, I try to take the viewer on a journey that will hopefully, confront one with one’s own humanity and ultimately with one’s own mortality.
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Masoura, Athina. "L’expérience immersive du spectateur dans l’art de l’installation." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080103.
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L’immersion, notion clé en sculpture contemporaine, notamment dans les installations artistiques, est une réalité complexe qui touche aussi la littérature, le cinéma ou les environnements virtuels interactifs. Cette appartenance pluridisciplinaire a nourrit de riches études mais n’a pas permis d’arriver à une définition universelle du terme. Notre ambition est de rechercher la nature particulère de l’immersion dans l’art contemporain. Cette expérience immersive, qui influence fortement l’expression artistique actuelle, s’est inscrite dans une évolution de l’œuvre d’art et une réévaluation de la place du spectateur. Dès les années soixante, nous identifions l’émergence de plusieurs mouvements artistiques qui s’opposent au dualisme séparatif entre le sujet et l’œuvre et favorisent un engagement intense du spectateur dans la proposition artistique. Afin d’analyser l’expérience immersive dans le cadre des installations contemporaines, nous avons unit des approches théoriques des champs divers, la pratique des artistes contemporains ainsi que ma conception et pratique personnelle de l’immersion en tant qu’artiste-chercheur. La coupure du milieu d’origine, l’intégration physique du sujet dans le monde fictif de l’œuvre qui se déploie en temps et en espace réel ainsi que l’absorption sensorielle et psychologique demeurent les traits principaux de l’immersion telle que nous l’analysonsImmersion, a key concept in contemporary sculpture, especially in installation art, is a complex reality that can also be found in others areas like literature, cinema or interactive virtual environments.This multidisciplinary identity has, one the one hand, nourished a rich study of the topic, but has also inhibited the development of an universal definition of the term. Our ambition is to search for and identify the particular connections between contemporary art and the experience of immersion. This immersive experience, a strongly influence in current artistic expression, is part of an evolution of the work of art and a re-evaluation of the place of the spectator. Since the 1960s, we identify the emergence of several artistic movements which oppose the separative dualism between subject and work, encouraging an intense engagement of the spectator in the artistic proposal. In order to analyse the immersive experience of contemporary installations, we have combined theoretical approaches from diverse fields, the various works of contemporary artists, and my own conception and personal practice of immersion as an artist-researcher. The disconnection from our usual environment, the embodied presence of the spectator in the fictional world of the work, displayed in real space and time, as well as sensory and psychological absorption, remain our main research features of immersion as we analyze it
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Jodog, I. Made. "Procession: The Celebration of Birth and Continuity." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1095.
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The procession is an exhibition of sculpture which expresses the birth and continuity of life. It uses mixed material such as cloting, balloon, latex, epoxy, nylon and oil paint. The writen project is part of the exhibition.
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Yamamoto, Nao. "You And I." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/249.
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Artist statement Nao Yamamoto The environment I grew up in allowed me to cultivate an appreciation for both contemporary art and traditional craft, and I still respect the Japanese culture. However, experiencing contemporary art based on a different society and environment changed my perspective and I felt like it took me beyond the narrow culture of Japan. Since I recognized my art as a way to represent myself, or even to have conversations with tnyself, I became devoted to a contemporary art practice. It has been so exciting to see my thoughts made visual and how I've been changed by creating my art. I have long created my pieces based on the simple beauty of glass. I was looking fof a way to emphasize what I see in it. During the glassblowing process, I would . sometimes see the molten glass as a creature that has a consciousness that tries to challenge my skill or mastery. This idea helped me to create a different body of work which represented my experience or relationship with glass sculpture rather than the materiality of glass. Now glass has become not only a material, but also my fickle friend which. reflects my inspiration and concentration. I believe that there is nothing that compares with the beauty of nature. For me it is overwhelming because any life form doesn't think about the meaning of life, but only thinks about surviving. When I am at a beach, in a forest, or in the middle of a desert, the simple, pure, clean force of life in nature inspires me to just live, strongly but simply. I believe we have lost that n~tion in complicated contemporary lives. What I atn trying to do is to reinterpret elements from nature to celebrate the power of life, both in its significance and in its insignificance.
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Chen, Keyu. "Les cadres symbiotiques : la présentation d'ensemble de la vidéo et de son installation." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23004.
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Comme un chef trouverait ridicule qu'un client qui goûte son plat lui demande de décrire la saveur et pourquoi il le fait, certains artistes ne veulent pas s’asseoir et interpréter leurs œuvres à la place du spectateur. Surtout que les artistes ont d’autres raisons de rester silencieux: peut-être que les œuvres elles-mêmes sont des objets obscurs auxquels les artistes veulent échapper ou que celles-ci répondent à des questions non résolues. Les œuvres seraient des réflexions non avouées. Cependant, une relation s’établit entre les artistes et leurs pratiques. Je la découvre à travers ma démarche de création en maîtrise, accompagnée de tous les questionnements techniques et émotionnels, que je termine avec mon exposition – Rivière absente. Pour décrire mon cheminement, je commence par une interprétation du concept de symbiose. Ce concept s'applique à l'ensemble des installations de mon exposition. Deuxièmement, j'analyse l’influence de l’animation et de la vidéo sur ma production en accordant plus d'importance à l'œuvre finale et son échange avec le spectateur qu'au médium lui-même. À la fin, j’analyse l'ensemble des sentiments et des réflexions sur la notion de nostalgie qui donne naissance à mes scénarios et à ma pratique. En plaçant cette partie à la fin, je tente de mettre en avant-plan les émotions que l'œuvre transmet tout en mettant de côté l'analyse technique.
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Sinner, Anita Elizabeth. "Unfolding the unexpectedness of uncertainty : arts research as a triptych installation : a conversation of processes, practices, products." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/532.
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This conversation is an invitation to a research and artistic experience engaging in teaching and learning with sensitivity and consideration, and in the course of doing, revealing insights about the transformative processes of becoming-teacher in art education. Invoking the architecture of the contemporary triptych, this installation involves structural frames of arts research processes, practices and products, and iconographic frames of becoming-teacher as unfolding, unexpectedness and uncertainty. I explore how arts research opens possibilities through the act and art of sharing stories and visuals in a triptych which may be read sequentially, or out of order, as a relational experience, entering at any point across and/or within each panel. In doing arts research, I question: What insights are generated through the arts in a case study concerning the lived and learning experiences of women becoming-teachers? How does arts research inform research processes, practices and products? How do I theorize arts research as customary methodological ecotones? Based on this study, a number of key issues are illuminated concerning teacher education. The reconceptualization of teacher education in terms of health and well-being is critical. Emphasis on geographies of self and the evolution of situated knowledges as a means to negotiate becoming-teacher, along with notions of teacher as researcher and collaborative leadership in teacher education, provide a basis for active reform in teacher education. An emotional journey, complex and complicated, rich in artful expressions, this conversation moves between theoretical and methodological considerations and culminates in a series of realizations about becoming-teacher and arts research, honouring the knowledge creation of research partners, and my discoveries and realizations as an arts researcher, to make this expression of arts research an opportunity to share alternate perspectives within teaching culture.
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Gu, Chen. "Everyday Rituals." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1441.
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This thesis traces the trajectory of Chen Gu’s work over a three year period, looking at major influences such as Bustos and Saville, on her painting and film projects. She explores the concept of childhood, memory, and portraiture.
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Byrd, Jonathan. "Silly Trip Wires." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3744.
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The artist discusses the work in Silly Trip Wires, 2020 his Master of Fine Arts exhibition. The exhibition includes an installation, Silly Trips Wires, and documentation of a smaller site-specific version of the work.
The Artist discusses the process of transition from military to civilian, and the potential effects that mental trauma from combat deployments can have on this process. This is tied to an analysis of how communicating the experience of veterans to civilians, through artwork, functions to bring about understanding.
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Caverly, Brian. "PERPETUAL NOVELTY." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1237.
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Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity.
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Hurst, Andrew. "Dynamic light structures : the aesthetic and performative qualities of solid light scenography for performance and installation." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/65202/.
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This practice as research thesis centres on the use of light projected through theatrical haze as a method of creating tangible, volumetric objects within a performance or installation space. The practice seeks to define light as a physical object, not simply an illuminating force but as a material in its own right, and in doing so examines the relationships built between that physically perceived light and the performer, the installation participant, the audience and the choreographer. The term Dynamic Light Structure has been coined here as a way to identify light perceived as a solid object, and to describe a sense of movement, reconfiguration and agency. Although the use of theatrical haze for performance lighting design is an accepted and ubiquitous technique used in the pursuit of conditioning a stage space, the resultant volumetric forms that appear when light is introduced to that conditioned space have not been examined in terms other than those relating to design methodology. This thesis moves beyond discourse that explores light as a design tool by placing the Dynamic Light Structure at the heart of the performance and installation experience. The research establishes the relationships that are built between Dynamic Light Structures and audience members, installation visitors and choreographers. In examining participant reception and practitioner process, the research defines how Dynamic Light Structures are perceived as autonomous stage objects in dialogue with a live performer, as manipulable objects used to redefine an environment and as process tools that can shape the trajectory of performance making.
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Baron, Annie. ""Pour perpétuer le souvenir de la chose" : installation de mises en scène de la vie quotidienne /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Weiser, Hannah. "The Color of Smell: A cross-modal interactive installation for individual expression." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23931.
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In this thesis the usage of smell as a medium enhancing synesthetic perception is discussed. Common cross-sensory connections and their relevance for interaction design are examined. The research is based on discoveries made in psychology, cognitive science and philosophy. Smell usage in a cross-modal context is believed to enhance engagement and enrichen the interactive experience. In several experiments a correlation between the perception of color shape and smell could be detected. An approach to include synesthetic mappings in interaction design is introduced, analyzed and discussed. Finally, the cross-modal interactive art installation “The Color of Smell” is presented.
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Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateursMixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
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Sullivan, Emily. "Dystopia." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1272398862.
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Thesis (M.F.A.)--Kent State University, 2010.Title from PDF t.p. (viewed May 26, 2010). Advisor: Loderstedt Michael. Keywords: printmaking; screen printing; photography; installation Includes bibliographical references (p. 21).
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Gerson, Ian. "The Break." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5481.
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The Break is a personal investigation into problems and possibilities of representing my specific transgender identity.
Trans as a tactic to speak about a state of forever becoming, forever in between, outside of and in opposition to dominant social norms of being.
Trans as a model for a different way of viewing and being in the world.
Can we form a different kind of horizontal shared power though a collective refusal to play into existing structures from which we have been excluded? What are the potentials for modeling other ways of being, other ways of (dis)engaging, other ways to be in the world?
What if we can disengage words from their established meanings? Can we re-see each other without the language that upholds the social conditions that maintain internalized categories? Can we collectively create the conditions to imagine the possibility of building other worlds in this world?
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O, Donnell Sarah. "Tracing a Process." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339194276.
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Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.
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Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.
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dalton, timothy. "A Space for Absence." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1660.
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This thesis focuses on the evolution of my work created during my two years of study at Virginia Commonwealth University. Although I touch upon my influences what I am writing is a reflection after the fact that does not necessarily encompass my original intent or inspirations for these works. I find my inspiration from personal discoveries within my daily life. Light flickering through the rails of a fence as I walk by makes me more aware of my body's movement in space. Watching the steady condensation of water droplets forming on a fountain creates a moment of pause within the world. Through these discoveries preconceptions about the world are forgotten and instead I focus on my experience. The potential for translating these moments into installations for an audience fuels my work. Though everyone experiences the world differently the pursuit of a common ground creates situations for further discoveries. The process of writing this paper has helped me to find a common thread within my work. Thinking back through the experiential discoveries of each piece has furthered my understanding, just as it originally propelled my artistic productio
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Murphy, Kathryn K. "LESSONS." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5327.
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I am learning through these lessons.
The following document includes my convoluted musings about my work, making process, and body leading up to my thesis exhibition, Avoidance Kitchen. My struggle with my reflected image comes from my struggle with my self-perceived physical image.
What does it mean for a piece to disappear, only to find the reflection of someone else's work or body in its place? Is my craft rendered obsolete if all you want to do is take a funny selfie? Is my work unacknowledged if all you see is the sculpture across the room, in reverse? What happens when an object or installation is elevated and ignored within the same space?
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Donovan, McKeever. "The Building Breathes Together." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5482.
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The Building Breathes Together presents a realm of speculative, industrial habitation and alchemical production. In my instillation, I look to raise questions surrounding romantic notions of production and utility. The work introduces a surreal and haunted space of decomposition and regeneration.