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Academic literature on the topic 'Margolius'
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Dissertations / Theses on the topic "Margolius"
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Merrill, Leanne. "Periodic Margolis Self Maps at p=2." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23144.
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The Periodicity theorem of Hopkins and Smith tells us that any finite spectrum supports a $v_n$-map for some $n$. We are interested in finding finite $2$-local spectra that both support a $v_2$-map with a low power of $v_2$ and have few cells.
Following the process outlined in Palmieri-Sadofsky, we study a related class of self-maps, known as $u_2$-maps, between stably finite spectra. We construct examples of spectra that might be expected to support $u_2^1$-maps, and then we use Margolis homology and homological algebra computations to show that they do not support $u_2^1$-maps. We also show that one example does not support a $u_2^2$-map. The nonexistence of $u_2$-maps on these spectra eliminates certain examples from consideration by this technique.
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Banwell, Julia Mary. "Teresa Margolles' aesthetic of death." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/14529/.
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The artist Teresa Margolles, Mexico's foremost proponent of corpse art, is based in Mexico City and exhibits her work across the world. Her central obsessions are death, the dead body, and violence, themes which are manifested in her exploration of `la vida del cadaver' (`the life of the corpse'). For the early part of her career during the 1990s, Margolles worked as part of the SEMEFO collective, and she has subsequently maintained her artistic career on a solo basis. She works with the bodies of individuals who were socially and economically disadvantaged during life, and has used body parts and residues such as blood and fat in her works, as well as objects from the morgue that have come into contact with corpses. The corpse itself, however, is not often revealed; rather its presence is suggested by raw materials such as air and water. The artist employs deceptively subtle means of representation that operate on multiple sensory planes in order to draw the spectator into contemplation of the unsettling realities of social inequality and violence in her native Mexico, which sometimes occurs through direct physical contact between the viewer and the raw materials used by Margolles in her art works. The boundaries between life and death, and the inside and the outside of the body, are transgressed. A selection of works taken from different points in the artist's career will be explored from a range of theoretical perspectives including the sociology of the body, the sociology of death, philosophical approaches to the experience of contemplating death and the corpse, and the history of the exploration of these themes in visual culture. In this way, the artist uses an artistic language that may be interpreted across borders, to address a specifically local set of circumstances.
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Margolis, Leo [Verfasser], and Wolfgang [Akademischer Betreuer] Kimmerle. "Torsionseinheiten in ganzzahligen Gruppenringen nicht auflösbarer Gruppen / Leo Margolis. Betreuer: Wolfgang Kimmerle." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2015. http://d-nb.info/1077212070/34.
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Ragazzi, Francesco <1983>. "Not my Type. Note sull'ontologia dell'opera d'arte a partire da Margolis, Wollheim e Rohrbaugh." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10372.
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Che cos'è un'opera d'arte? È con un rinnovato interesse ontologico, in un epoca in cui l'ontologia sembrava tramontare, che la filosofia analitica ha guardato ai fenomeni estetici e culturali. La risposta che dagli anni '60 del '900 fino ai primi 2000 ha mantenuto un'egemonia incontrastata rispetto ad ipotesi alternative si fonda sulla classificazione degli artefatti come occorrenze di tipi. Attraverso questa tesi, dapprima analizzo le teorie dei filosofi che per primi hanno seguito questo approccio: Joseph Margolis e Richard Wollheim. Avanzo quindi alcune critiche al modello dominante sulla base di ciò che gli artisti hanno concretamente prodotto negli ultimi quarant'anni, individuando alcuni controesempi in particolare nelle cosiddette appropriation art e post-internet art. Infine, avvalendomi delle posizioni recentemente espresse da Guy Rohrbaugh, propongo una impostazione della risposta più attenta alla pragmatica e alla genealogia, tale da identificare gli oggetti d'arte come singolarità.
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Bonacossa, Federico Jes. "Franco Margola's Chamber Works with Guitar: A Guide and Annotated Catalog." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/321.
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This essay came about as a result of the desire to study and collect the guitar music of Franco Margola. Franco Margola composed over 450 works for guitar, most of which are unpublished and virtually all of which are unknown to most guitarists. This essay focuses on Margola's chamber works with guitar, which include some of his best compositions. The study contains historical background information, an ample biography, as well as an overview of the currently published works for solo guitar. The main portion of the essay consists of an outline and an annotated catalog of all of Margola's chamber works with guitar, including the unedited works. The purpose of this project is to promote Margola's guitar music by providing current information on its quality, availability, condition, length, and difficulty level.
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Campiglia, María. "Santiago Sierra y Teresa Margolles. Estética de la impotencia y el desencanto." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/350023.
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La presente investigación realiza un estudio a profundidad de la obra de Santiago Sierra y Teresa Margolles, quienes han trabajado en México desde el inicio de la década de los 90, y que ocupan hoy un destacado lugar en el circuito artístico internacional.
Suele argumentarse que la importancia de su obra radica en visibilizar los increíbles niveles de violencia y polarización de la riqueza existentes en nuestra sociedad, constituyendo no sólo una denuncia sino un llamado a la reflexión ya la toma de postura crítica.
Este trabajo cuestiona estos argumentos y enuncia que en la obra de ambos productores visuales existe una clara discordancia entre el discurso que las valida y las estrategias concretas seguidas para su realización. Pone particular atención a las prácticas de denigración y maltrato, así como a las dinámicas de objetualización y comercialización de los sujetos.
¿Nos encontramos frente a un arte de denuncia o simplemente somos testigos de un ejercicio de violencia perpetrándose dos veces sobre el mismo cuerpo?
La hipótesis que se pretende demostrar es que su obra se articula a partir de la reproducciónde algunas de las lógicas más brutales del sistema económico y político vigente en México.
La investigación establece diversos puntos de coincidencia entre el trabajo de Santiago Sierra y Teresa Margolles, plantea la existencia de una línea de continuidad en su obra y ubica la genealogía de sus propuestas en el periodo de instauración del neoliberalismo en México.
Se realiza por tanto una reconstrucción de la serie de cambios experimentados por el circuito artístico mexicano durante aquél periodo, advirtiendo cómo las modificaciones suscitadas en el terreno político fueron acompañadas de una profunda transformación en la manera de entender el sentido y los límites del quehacer artístico.
Se analiza la insistencia de ambos productores visuales (muy acorde al discurso de importantes sectores de la comunidad artística mexicana a inicios de la década de los 90) en afirmar la impotencia del arte, y se recuperan diversas declaraciones en las que queda de manifiesto su abierto desinterés por incidir en la realidad social. ¿Qué sentido parece tener entonces su trabajo?
Si entendemos el arte como estrategia reflexiva, como herramienta para cuestionarnos sobre nuestra realidad, su quehacer no podría limitarse a la enunciación de lo existente sino que debería dirigirse a proponer mundos posibles.La reflexión se encuentra inexorablemente ligada a la posibilidad de creación, al deseo de incidir en la realidad (que puede aparecer como algo remoto o parcial, pero sin duda irrenunciable).
La investigación concluye con una reflexión teórica, y una serie de imágenes en torno a la ética como ente capaz de resistirse a la impotencia y el desencanto: es la valoración, el reconocimiento de la humanidad e infinitud del Otro, lo único capaz de poner en marcha el deseo deapostar por la posibilidad de construir realidades compartidas.<br>This is an in-depth study of the work of Santiago Sierra and Teresa Margolles, who have worked in Mexico since the early 90’s and today hold an important position in the international artistic circuit.
It is often said that the importance of their work lies in their ability to make visible the unbelievable levels of violence and polarization of wealth which exists in our society, and in the process, not only exposing it, but calling us to reflect on this and to take a critical stance.
This work challenges such a view and proposes that the work of both producers presents a clear discrepancy between their validating discourse and the concrete strategies they follow to carry it out. Special attention is placed on the practices of denigration and abuse, as well as the process of objectifying and commercializing their subjects.
Is this art of exposure or are we merely witnessing an act of violence being perpetrated twice on the same body?
The hypothesis intends to demonstrate that their work does not only fail to question the present economic system, but that it also reproduces some of its most brutal rationale.
This research establishes several points of coincidence between the work of Santiago Sierra and Teresa Margolles, it presents the existence of a line of continuity in their work, and it places the genealogy of their proposals at the onset of neoliberalism in Mexico.
Therefore, it reconstructs a series of changes observed within the Mexican artistic circuit during this period, remarking on the way in which changes made in the political arena were accompanied by a deep transformation in the way we comprehend the meaning and limitations of artistic creation.
This research concludes with a theoretical reflection and a series of drawings around the issue of ethics as an entity which is capable of resisting itself to impotence and disenchantment: the value, the recognition of humanity and the infinite Other, is the only thing capable of setting forth the will to bet on the possibility of building a shared reality.
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Abellán, Aguilar Tatiana. "La sutura imposible : muerte y experiencia estética en la obra de Teresa Margolles." Doctoral thesis, Universidad de Murcia, 2015. http://hdl.handle.net/10803/362650.
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The artistic project of the Mexican Teresa Margolles is one of the most vast, complex and coherent in the international scene, although there is not a complete catalog, monograph or rigorous study of it. Her focus of interest, her radical post-minimalist aesthetic, her display of ethical conflicts and the political implications that locate her within a post-autonomy art, give her work the highest validity and raise her as one of the leading figures in contemporary art. All her production is crossed by death and violence issues, addressed in a Baroque and visceral way at the beginning of her career in the hands of the artists’ collective SEMEFO, with whom she produced eminently performative works in which the instinctive, the ritual and the sacrificial were essential. Later on, during her solo career, the obsession for the life of the corpse, the fauna that originates in the putrefaction is replaced by a less aesthetically aggressive speech, erected on what she calls the periphery of the body, where she uses the remains of the body to represent death. Her work as a forensic technician at the Mexico City’s morgue leads her to make of this her studio and to consider it as a social thermometer, capable of reflecting the prevailing impunity and injustice. When the levels of violence reached their peak, Margolles moves outside, to the streets and begins to formally clean up her work, as the corpse is understood as a social body, collective. The necrophilia of her beginnings undergoes a displacement to necropolitics, focused on social traces of violence, its urban and demographic consequences. The general aims of this thesis have been to reveal how both philosophy and image emerge as a result of human kind’s concerns over death. In the same way, it is shown that representations of death have been a constant throughout the history of art, and that precisely at the time when the general attitude toward death began to be its denial, a strong trend emerged in contemporary art that insisted upon claiming it. The specific aims of this thesis consist of the outline of the historical, political, social and artistic context in which Teresa Margolles’s project emerges, as well as the conduction of a thorough mapping of its production, analyzing her interests and the different phases, aesthetic and stylistic shifts of her work. My intention is to unravel the complexity of its rhetoric language in order to understand how the tension between ethics and aesthetics, between reality and fiction, between denunciation and reproduction of violence, between emotion and reason; between art and politics are the keys to her project. My methodology is transdisciplinary, because despite placing this thesis within the field of art history, I rely on philosophical, anthropological, sociological, cultural, aesthetic and even political teachings. The conclusions of this study posit that the representation of death is impossible, and that the most appropriate way is through void or absence; that in the contrast of opposites, the tension between form and content – the impossible suture between the beautiful and the sinister, is the essence of Margolles’s project; and that art is a form of philosophy and politics.<br>El proyecto artístico de la mexicana Teresa Margolles es uno de los más vastos, complejos y coherentes del panorama internacional, del que sin embargo no existe ningún catálogo completo, monografía o estudio realmente riguroso. Sus focos de interés, su estética radical posminimalista, los conflictos éticos que despliega, y las implicaciones políticas que la ubican dentro de un arte postautónomo, dotan a su obra de una máxima vigencia y la erigen como una de las figuras más destacadas del arte contemporáneo. Toda su obra está atravesada por la muerte y la violencia, temas que son abordados de una manera barroca y visceral en los comienzos de su carrera artística de la mano del colectivo SEMEFO, con el que produjo obras de carácter eminentemente performativo en las que lo instintivo, lo ritual y lo sacrificial eran imprescindibles. Más tarde, ya en solitario, la fijación por la vida del cadáver, esa fauna que se origina en la putrefacción, va siendo sustituida por un discurso menos agresivo estéticamente, erigido sobre lo que ella denomina la periferia del cadáver, momento en el que se sirve de los restos del cuerpo para representar la muerte. Su labor como técnico forense en la morgue de México D.F. le lleva a hacer de ésta su estudio y a considerarla como un termómetro social, capaz de reflejar la impunidad e injusticia reinantes. Cuando los niveles de violencia alcanzan sus máximas cotas Margolles se traslada al exterior, a la calle, y comienza a depurar formalmente su trabajo, a la vez que el cadáver es entendido como un cuerpo social, colectivo. La necrofilia de sus comienzos sufre un desplazamiento hasta posicionarse en una necropolítica, centrada en las huellas sociales de la violencia, sus consecuencias urbanísticas y demográficas. Los objetivos generales de esta tesis han consistido en revelar cómo tanto la Filosofía como la imagen surgen como resultado de las preocupaciones del hombre por la muerte. Del mismo modo se demuestra que las representaciones de la muerte han sido una constante a lo largo de la historia del arte, y que precisamente en el momento en el que la actitud generalizada hacia la muerte comenzaba a ser la de negarla, surgió una fuerte tendencia dentro del arte contemporáneo que insistía en reivindicarla. Los objetivos específicos han supuesto el esbozo del contexto histórico, político, social y artístico en el que surge el proyecto de Teresa Margolles, así como la realización de una exhaustiva cartografía de su producción, analizando la deriva de sus intereses, las diferentes fases de su trabajo y sus fluctuaciones estéticas y estilísticas. La intención aquí ha sido desentrañar la complejidad retórica de su lenguaje para entender cómo la tensión entre ética y estética, entre realidad y ficción, entre denuncia y reproducción de la violencia, entre emoción y razón; entre arte y política son las claves de su proyecto. La metodología empleada es de carácter transdisciplinar, pues aún ubicando este tesis dentro del ámbito de la historia del arte, me apoyo en enseñanzas filosóficas, antropológicas, sociológicas, culturales, estéticas e incluso políticas. Las conclusiones de este estudio se concretan en que la representación de la muerte es un imposible, y que la forma más apropiada de hacerlo es mediante el vacío o la ausencia; que en el contraste de opuestos, la tensión entre forma y contenido –la sutura imposible entre lo bello y lo siniestro–, está la esencia del proyecto de Margolles; y que el arte es una forma de filosofar y de hacer política.
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Bauer, Lisa. "Holistic influence on contemporary jazz vocal improvisation with reference to the works of Gloria Cooper and Kitty Margolis." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10144.
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Through the analysis of aspects such as experience, vocal expression, improvisatory techniques and teaching approach of two jazz vocalists from different social, educational and musical backgrounds in the United States of America, the hope is to achieve a greater understanding of and confirm the factors which play important roles in the vocalist's improvement of effective, authentic jazz improvisation. The focus is on the effect which experience, mentors and musical training have on the two vocalists' approach to teaching and performing jazz styles. This study also investigates the possibility that emotional, educational and physiological factors holistically influence the contemporary jazz vocalist's experience of using the body as a medium of expression via production of sound from the vocal chords.
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Marcuzzo, Francesco <1996>. "Arte e filosofia dell'arte: il pensiero di Arthur C. Danto e le sue conseguenze, tra Dickie e Margolis." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21528.
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Arthur C. Danto è una delle figure più autorevoli e discusse nel panorama della filosofia dell'arte contemporanea poiché ha elaborato una teoria che vuole individuare le caratteristiche necessarie a qualche cosa perché essa sia considerata oggi un'opera d'arte. La sua teoria non solo ha animato un lungo e fecondo dibattito, ma ha anche causato dei fraintendimenti che hanno portato autori come George Dickie a elaborare nuove teorie in stretta connessione con la sua. Nella prima parte di questa tesi ricostruirò la filosofia dell'arte di Danto a partire dal saggio "The Artworld" del 1964 fino ad arrivare alla sua opera più sistematica del 1981, "La Trasfigurazione del banale", tenendo conto anche conto della produzione filosofica precedente al saggio del 1964. Insieme alla teoria di Danto ricostruirò anche uno dei suoi più importanti fraintendimenti, costituito dalla "Teoria istituzionale dell'arte" di Dickie, mostrando infine la sua relazione con la teoria dalla quale deriva. In seguito rivolgerò l'attenzione ai rapporti tra la filosofia dell'arte di Danto e quella di Hegel, dalla quale il primo trae la tesi fondamentale della fine dell'arte, e tenterò di far emergere la complessità del problema filosofico di fondo. Infine mi occuperò di alcuni modi in cui è possibile criticare la filosofia di Danto grazie, da un lato, al contributo fondamentale di J. Margolis e, dall'altro lato, ad alcune intuizioni che derivano dalla teoria istituzionale.
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GODINEZ, M. E. C. "MATERIALIDADE E CONFLITO: visões sobre corporalidade e o objeto artístico por três artistas latinoamericanas. Janine Antoni, Teresa Margolles e Doris Salcedo." Universidade Federal do Espírito Santo, 2017. http://repositorio.ufes.br/handle/10/8494.
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Previous issue date: 2017-05-09<br>Esta dissertação tem por objetivo trazer a tona uma reflexão sobre a produção
artística contemporânea em três artistas latino-americanas, especificamente Janine Antoni (Bahamas, 1962- ), Teresa Margolles (México,1963- ) e Dóris Salcedo (Colômbia 1958- ), artistas que procuram uma exploração da noção de corporalidade por meio da análise de alguns processos esculturais-objetuais em produções artísticas que parecem trabalhar de maneira a repetir ou sugerir fatos, embora evitam a representação realista e que têm um interesse como obra de protesto. As três artistas utilizam a presença corporal em sua relação com o real apresentado. A repetição ou impressão é o que retorna, não é o fato original, mas sim, à sua sombra, sua memória. É no encontro com ela que se produz no sujeito um estranhamento, uma ansiedade e angústia traumática que parecem permitir sair do cotidiano e cogitar outras possibilidades de viver no mundo. Os resultados revelam as obras como testemunhas de processos vivenciais que permitem uma revisão de diferentes estados da poética corporal envolvida com a problemática de índole política.
Palavras chave: Arte corpo, Janine Antoni, Teresa Margolles, Dóris Salcedo,
memória, materialidade.