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Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.
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O'Dean, Juliana Art College of Fine Arts UNSW. "The materiality of stone." Awarded by:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43557.
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This project is situated within the context of imaging nature, focussing on one particular element, stone. The central aims of this research are to investigate the materiality of stone through the 'disciplines of painting and drawing, and the influence of the compositional concept of figure and ground in constructing the imagery. The written research provides a brief overview of geology as a scientific context for the conception and content of the images in the body of work. The formative processes that contribute to the materiality of stone are examined and the role of geological time frames in challenging the perception of stone as unchanging is described. The relevance of the geological processes of metamorphoses and mutability to the conceptual and visual structure of the images is examined. The body of work from the research project is contextually positioned within a comparative survey of imaging nature in the Renaissance, the period of the Enlightenment, and the 20th and 21st centuries. The concept of figure and ground is examined. analysing its implications in philosophy, science, psychology and psychoanalysis. The centrality of the concept as a compositional and psychological strategy in image making is considered in relation to a range of 20th and 21st century paintings, including those from this research project. The significance of employing contemporary types of mapping in making of images referring to the natural environment, and the effect that these types of mapping have when applied to pictorial construction, is considered. A range of paintings including images from this body of work, are surveyed. Knowledge and insights gained have provided an impetus for experiments with new methodologies, techniques and materials in the studio. The results of this experimentation enabled a more precise articulation, in a pictorial sense, of the ideas and conceptual approaches developed in this research project.
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Larnerd, Joseph Harold. "Foreboding Foil: The Throne's Militant Materiality." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/150143.
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Art History<br>M.A.<br>A glistening armada advances--airborne atomic assailants, the Christian soldiers of the nuclear age. Barrels fixed, scopes centered, abstracted pilots attentive and alert, James Hampton's colossal assemblage The Throne of the Third Heaven of the Nations' Millennium General Assembly (c. 1950-1964), an anticipatory altar of Christ's Second Coming, threatens viewer annihilation. Radiating foils besiege spectators in total illumination. Hampton's friend Otelia Whitehead, who viewed the work in its creator's company, recalled, "it was like the wings of Gabriel were beating in...extremely bright light." The Throne's lustrous reflection evokes its historical moment, an era entrenched in glaring fears of nuclear holocaust. Despite pervasive mid-century malaise and Hampton's direct participation in World War II, previous studies largely neglect his Cold War consciousness, focusing instead on the altar's Christian character. Radiating foil, evocations of WWII aircraft, and apocalyptic allusions to President Harry Truman, I contend, conspire to lend this evangelical altar secular urgency at the advent of the "atomic age."<br>Temple University--Theses
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McCrea, Ronan. "Celluloid materiality : experimental film, photography and contemporary art." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535137.
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Ballard, Susan Patricia Art College of Fine Arts UNSW. "Out of order: explorations in digital materiality." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42596.
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Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
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Harrison, Katherine. "Byzantine Carved Gemstones: Their Typology, Dating, Materiality, and Function." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463138.
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This dissertation examines gemstones carved in relief from the middle and late Byzantine periods. Byzantine gems share a similar aesthetic with relief carvings in ivory and steatite, but they have not been as thoroughly studied. This dissertation seeks to address the lacuna in scholarship by assembling, dating, and analyzing two hundred Byzantine gems. Carved gemstones average less than four centimeters in height. Bloodstone, a variety of jasper, was carved the most frequently. Almost all are enkolpia, or pectoral pendants. The earliest pieces can be dated to the tenth through the early eleventh centuries. They are skillfully carved, and some display imperial themes such as the standing Christ and a symbol that is reminiscent of the globus cruciger. Some display iconographic and stylistic similarities with icons in ivory, which are also associated with emperors. The greatest number of pieces date to the twelfth century, and their quality varies considerably. This seems to suggest that initially gemstone enkolpia were owned by emperors and other elites, but that by the twelfth century they had become more accessible and their use increased. This finding is consistent with our knowledge of the cultural climate and religious practices of the twelfth century, which is characterized by a taste for luxury objects and a form of piety that was focused upon attaining individual salvation.
The function of gemstone enkolpia was explored through iconographic and textual analysis, as well as a through the study of their materiality. It was found that all of the gems are carved with religious subject matter and that most display portrait images of holy figures who were known as intercessors and protectors. This suggests that gemstone enkolpia were primarily used to mediate a devotional relationship with a patron saint. Textual sources indicate that wearing an enkolpion “over the heart” was an act of devotion that ensured that the saint’s presence was carried at all times. An examination of the materiality of gems revealed that their meanings and associations were brought to bear upon the devotional function of gemstone enkolpia in a variety of complex ways. It was also found that gemstone enkolpia had an amuletic nature and could be used for healing, protection, and divination.<br>History of Art and Architecture
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Mills, Christina Murdoch. "Materiality as the basis for the aesthetic experience in contemporary art." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06152009-094348.
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Parrott, Charles Timothy. ""DO WE NOT SING THESE TEXTS?": PRESENCE EFFECTS IN PERFORMANCE ART." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/359.
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In this dissertation I explore the phenomenon that Hans Ulrich Gumbrecht calls "presence effects" as it is illuminated through encounters with performance art. In Chapter One I describe what is meant by materialities of communication and outline three heuristic features of materiality. In Chapter Two I define performance generally as a mode of action and performance art as a mode of encounter. Chapters Three, Four, and Five utilize the theoretical foundations established in Chapters One and Two to examine the work of three performance artists: Carey Young, Tim Miller and my own performance persona, Reddy the Robot. Finally, in Chapter Six I concretize the potential utility this dissertation may hold for readers interested in materiality, presence, and performance art. Ultimately I argue that tuning into presence effects (as present in performance art and otherwise) can help underscore the value of presence, rethink what limits mean, and highlight the irreducibility of the body.
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Gould, Sarah. "Making Texture Matter : the materiality of British paintings, 1788-1914." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC311.
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La thèse étudie la question du rapport à la matière des artistes britanniques et de leurs critiques à différentes étapes de la fin du dix-huitième siècle au début du vingtième siècle. Au coeur de ce travail de recherche se trouve la notion de texture, pensée comme outil critique renvoyant à la fois à la surface peinte des oeuvres et à leur iconographie. La thèse démontre que la matérialité apparaît comme une dimension fondamentale de ce qui fait la spécificité de la peinture britannique. La notion de texture, conçue comme concept plastique plus qu'essentialiste, permet de rendre compte de certaines tendances persistantes qui structurent la création artistique, la pensée théorique et le débat critique en Grande Bretagne. Sur la période observée, nombreux sont les artistes qui s'attachent à faire sentir la vérité des phénomènes naturels et le vernaculaire dans leur tangibilité. Aussi, l'approche profondément concrète de la nature (humaine et végétale) par les peintres britanniques rend compte du rapport direct qui s'opère dans leur peinture entre matière observée et matière représentée. La conscience des matériaux et du matériel, telle que la révèle le discours critique, est au centre des problématiques du champ artistique en Grande Bretagne. En historicisant ce rapport à la matière, il s'agit d'inscrire la question de la texture dans un contexte épistémologique — qui lie création artistique et empirisme — et dans un rapport, excentrique, à la modernité. Cet angle d'approche permet de relier différentes périodes trop souvent perçues comme étanches et en ce sens de porter un regard nouveau sur l'art britannique<br>This dissertation looks at how the meaning of the painted surface engaged artists and critics in contemporary discourses at different stages between the late eighteenth century and early twentieth century. At the heart of this research project is the notion of texture, thought of as a critical tool, referring both to the painted surfaces of artworks and to their iconography.This dissertation demonstrates that the concept of materiality is a productive optic through which the history of British art can be read. The notion of texture, conceived as a plastic concept rather than an essentialist one, allows for the identification of persistent tendencies structuring artistic creation, theoretical thinking and critical debates in Great Britain. In the period under focus, there are numerous artists who consistently try to capture the truth of natural phenomena and the tangibility of the vernacular. Thus, British painter's profoundly concrete approach to nature (human or topographical) testifies to the direct links which are created in their paintings between observed and represented matter. The consciousness of materials and of materiality, as revealed by critical discourses, is at the centre of artistic debates in Great Britain. By historicizing the approach to matter, I situate the question of texture in an epistemological context linking artistic creation to empiricism. Considered in this way, texture takes on an eccentric relationship to modernity. This prism of study allows me to link different periods too often perceived as watertight and therefore to offer a new outlook on British art
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Vickery, Veronica. "Fractured earth : unsettled landscape through art practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25237.
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This thesis brings feminist ontologies into a renewed dialogue with post-phenomenological landscape studies through the development of a critical arts-research practice. Contemporary landscape scholarship in cultural geography foregrounds landscaping practices as performative; visual culture studies, similarly influenced by phenomenology, critiques the powerful fixings of representation; whilst current commentaries on art-geographies focus on questions of interdisciplinarity, rather than the potential for art practice-as-research to be generative of politically complex cultural geographies. Landscape, replete with complex power geometries and tension, both resists fixing and framing, and also becomes defined or imaged by these same operations. My goal in this thesis is to find a way of working, as an artist, with an understanding of landscape as being continually in eventful—and sometimes violently eventful—process, beyond conventional framings of image and landscape. Initially, this art practice (undertaken as research within cultural geography) worked with a violent flash flood and resultant loss of life, and was set against the backdrop of picture-postcard West Cornwall. Whilst focused through practice on this usually trickling mile-long moorland stream, something happened. This research became infected by concurrent geo-political events. Through practice in the studio, the violent lifeworld of the stream collided with an activist project associated with the 2014 Gaza conflict. Land and image became both occupied and ghosted. This corporeal and material collision of practice(s) afforded a productive entanglement of practice and theoretical engagement. My search for a way of working with landscape as an artist that accounts for the unpalatable dimensions of material formations, for the dying within living, for the exclusions, subjugation, violence, or even extinctions of landscape—led me to realise that I cannot stand back innocently and safely behind the camera, outside of the frame. I propose that landscape is inherently violent, and that as such, landscaping practices are always politically differentiated and situated. It is a violence in which there can be no innocent place of on-looking; we are all mutually implicated in landscape and landscaping-practices, and indeed, the ghosts of our own vulnerabilities are never far away. The thesis demonstrates that the unpredictability and riskiness of researching through a critical arts practice, can produce the conditions for disruptive interventions generative of new ways of (body)knowing in the world. These ways of knowing serve to confront the violence and contradictions of a fast changing enviro/geopolitical landscape. Working from within an art practice—as geographical research—contributes a perspective of political complexity and generative encounter, in which unexpected collisions, between things, practices, and bodies function to produce spatial connections beyond contemporary analysis.
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Rodriguez, Bastias Maritza. "silvercodes and paperpixels." Thesis, Konstfack, Ädellab, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6271.
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My journey starts off using photography as a tool to investigate materiality, body, object and space. During my trip I constructed a photo, or as I see it, translated a 2D photo into a 3D form. I travel through material values and the relationship between material and form, encountering questions on legitimacy and hierarchy: Why does some material become more real? What charachterizes these material and gives them more credibility? Why do we value material differently? The path I follow consist of fused material: digital, traditional and unknown. My expedition challenges craft, the definition of the handmade, and the concept of the final piece.
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Jenkins, Amber Rose. "From pen to print : Virginia Woolf, materiality and the art of writing." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/113424/.
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This thesis interrogates the relationship between the material conditions of Virginia Woolf’s writing practices and her work as a printer and publisher at the Hogarth Press. While the role played by the Press in the intellectual and literary innovations of modernism has been well-documented, less attention has been paid to its influence upon Woolf’s own literary experimentalism. By examining its effect on the material and visual aspects of her compositional processes, from the manuscript drafts to the physical construction of her printed works, this thesis explores how her involvement in the crafting of her publications (including practices of writing, editing, printing and binding) enabled her to situate her fictions alongside the visual and material innovations of modernism. Underpinned by an engagement with Bloomsbury epistemology and aesthetics, it aims to contribute to understandings of Woolf’s textual practices in the context of early twentieth-century visual and material cultures. The thesis examines several of Woolf’s texts printed between 1917, the year the Hogarth Press was established, and 1931, the year in which The Waves, often considered her most experimental work, was published. By drawing on the field of print culture and the materialist turn in Woolf scholarship, it, firstly, considers Woolf’s early short stories and how these enable her to challenge the distinction between visual and verbal forms of representation. Chapter two examines the extent to which her short stories, as well as her embodied experience of printing them, shaped the form of Jacob’s Room. The manuscript version of Mrs Dalloway is the focus of chapter three, and it suggests that the novel can be considered a palimpsest in the way that earlier versions of text reverberate in the published edition. This chapter also offers new ways of thinking about Woolf’s conceptualisation of textuality as fluid rather than fixed. Woolf’s use of colour in her writing is given particular attention in the final two chapters of the thesis. Chapters on To the Lighthouse and The Waves reveal how these visual signifiers enable her to weave a feminist-materialist discourse into the textures of her work. In establishing a connection between Woolf’s literary concerns with materiality and her feminist politics, this thesis argues that her use of objects, colours and forms work to reinsert the forgotten histories of women in the pages of her published texts.
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Dickerson, Catherine. "Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/10408.
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Includes bibliographical references.<br>Inflatable sculpture is often seen as absurd, comic or light-hearted, but it can also convey a darker, more serious tone. The inflatable sculptures created in part fulfillment for this degree explore refabrication through the use of discarded plastic. This body of work highlights the relationship between industrialisation, plastic goods and nature. The insubstantial, flimsy qualities of the inflatable are an extended metaphor for the fragility of ecologies and the impact of plastic pollution on the environment.
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Waldock, Victoria. "Mobilising stone : investigating relations of materiality, movement and corporality in Holocene Saharan rock-art." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:330c820b-c468-4b3b-afb2-65209cf7c8ce.
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This project investigates Saharan pastoralist rock-art (7500-3000BP), with a particular focus on the engravings of the Messak Plateau in southwest Libya. Taking an anthropological approach, the art is examined within the context of the lives of its creators - transhumant cattle-herders who occupied the plateau seasonally. Drawing from fieldwork in Libya together with data from multiple expeditions in the Sahara, the study addresses a major lacuna in Saharan research by focusing on materially constituted, as-lived dimensions at the micro scale. A fundamental but archaeologically elusive aspect of lived experience is a consideration of 'movement', both physical and esoteric. Its incorporation is central to this project, forming a multi-aspected theoretical framework and a methodological tool. Augmented by input from specialists in geomorphology, pastoralism, stone sculpting and animal behaviour, this movement-driven focus has produced a more developed picture of the Messak herder lives, advancing our understanding of these particular non-text, somatic societies. A singular contribution is the creation of a hypothetical model for small-scale, quotidian pastoralist practices, which expands upon the archaeological evidence, fleshing out details of a well-systematised form of dairy pastoralism involving controlled breeding and the processing of milk products. At the same time it is proposed that the herders' relationship with their cattle was one of partnership rather than ownership, involving trans-species empathy and a valuation of animal personhood. This viewpoint is part of a broader set of animal-human relations reflecting a cosmological order that diverges from modern, Western ontological constructs. Other significant findings include detailed information on the role and identity of the image-maker, revisionist data on the amount of effort and skill expended in carving processes, and an examination of the ways in which rock-art was used to manifest social emotional concerns. These were expressed via animal emotions portrayed in the rock-art, and also through performative, gestural markings associated with the imagery. Such expressions include apotropaic, supplicatory or other interactions involving communication with unseen powers.
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Khazam, Rahma. "Sonorités et résonances du moderne : la question du son des années 1950 à nos jours." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010512.
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Le son est souvent qualifié de postmoderne, dans la mesure où les installations sonores associent son et visuels, enfreignant ainsi le principe de la séparation des genres qui constitue l'un des fondements de l'art moderniste. Cependant, dans de nombreux cas, le son manifeste une matérialité et des fonctionnalités relevant du moderne. Cela est vrai dans l'architecture, où l'on retrouve la notion de son moderne associée aux techniques d'isolation sonore pratiquées dans les immeubles modernes des premières décennies du XXème siècle. Ces techniques ont donné lieu à un son qui incarnait l'idée d'efficacité et qui soulignait la maîtrise technique de l'homme sur son environnement physique - autant de caractéristiques de la culture moderne. Il existe d'autres situations dans lesquelles se manifeste le son moderne. L'installation associant le son et les visuels peut dans certains cas être qualifiée de moderne, et dans le cas d'œuvres sonores portant sur les notions de temps et d'espace, nous avons pu identifier une conception de la spatio-temporalité tout à fait moderne. Ce sont autant de domaines qui permettent de déceler l'empreinte du moderne non encore révélée. Car si le récit du moderne dans son ensemble a été raconté de nombreuses fois, ce n'est pas le cas de l'histoire peu connue, mais tout aussi mouvementée, du son moderne - une histoire qui permet de revenir sur la question du moderne, et de révéler son actualité<br>Sound installations are generally classified as postmodern: by associating sound and visuals, they infringe the principle of the separation of the genres typifying modernist art. Yet sound can nonetheless manifest a materiality and functionality that tie in with modem ideals. ln architecture for instance, we can identify the notion of modem sound in the context of the soundproofing techniques employed in modernist buildings in the early 20th century. These techniques gave rise to a sound that epitomized the modern idea of efficiency: stripped of any extraneous elements, it encouraged efficient behaviour among its listeners, while underscoring man's technical mastery over his physical environment - yet another modem trait. The notion of modem sound also manifests itself in other situations: certain installation associating sound and visuals can be described as modem, while many sound works addressing the notions of space and time testify to a modem concept of spatio-temporality. The story of modernist has been told many times, but yet to be told is the equally eventful story of modem sound - a narrative that revisits the question of modernism and underscores its relevance today
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Sikes, Kathryn Lee McClure. "Peripheral Vision: Mimesis and Materiality along the James River, Virginia, 1619-1660." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623364.
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Applying the concepts of mimesis and "third space" to Virginia's early colonial settlements, this study presents a comparative examination of documentary, pictorial, cartographic, and material evidence surrounding City Point's Site 44PG102 and contemporary James River plantations. By considering archaeological site data that are possibly contemporaneous, but previously have been segregated by archaeologists into "prehistoric" (Native Virginian) and "historic" (European) categories, I investigate the evidence for interethnic interactions as well as the social conventions surrounding 17th-century object and landscape use. This thesis argues that people of European, West Central African, West African, and Algonquian-speaking Native Virginian backgrounds endowed shared objects, buildings, and places with different values and social functions, impairing the ability of colonial material culture to convey clear and consistent messages of status and intention across ethnic boundaries. I propose that mimetic landscapes and material culture with precolonial histories of use as signals of prestige became central to socially competent interethnic communication in colonial contexts.
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Deutsch, A. "Culinary metaphor, materiality, and constructions of gender in French painting and art criticism, 1865-1890." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1522000/.
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By the mid-nineteenth century, Parisian art criticism was saturated with culinary metaphors used alternatively to describe figures within paintings (usually female), to characterize the appearance of paint, or to refer to a painter’s process. These three purposes were linked, and the foods chosen as analogues for paint and for figures were aligned with certain constructions of femininity. To date, these examples of commentators lingering upon their multi-sensory responses to paint material and painted subjects, and drawing attention to the artist’s attempts to capture senses other than vision, have received very little attention from art historians. But these responses enable a radical rethinking of the perceived ocular basis and bias of self-consciously modern painters and their critics in later nineteenth-century France. References to gustatory taste in art criticism point to a gastronomic culture in artistic and literary communities that is not so easily separable from discourses of aesthetic taste. The migrating language of cuisine contributes to an understanding of the visceral effects of the material, facture, and technique of specific works, and appears in some of the most widely studied critical texts of the period. The model of embodied spectatorship that it raises, which returns a body vulnerable to desire and disgust to the “detached” connoisseur, destabilizes established art historical readings of that criticism and the paintings that it described. As viewing was positioned as analogous to ingestion, with concomitant dangers or benefits to the body, the fiction of aesthetic detachment (with the flanêur as its avatar) broke down. Because gender was the base upon which comparisons to the culinary were most often elaborated, interrogating these analogies provides a fresh lens through which to investigate nineteenth-century constructions of gender and the gendering of sensory experience, as well as offers an alternative framework through which to examine painting itself.
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Schneider, Mary Emily. "Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11285.
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Ljunge, Magnus. "Bortom avbilden : Sydskandinaviska hällbilders materialitet." Doctoral thesis, Stockholms universitet, Institutionen för arkeologi och antikens kultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116584.
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Avhandlingen kretsar kring frågan om hur ett förhistoriskt bildskapande var av betydelse. Studien är riktad mot den materiella bilden och syftet är att diskutera betydelser av hällbilders materialitet och hur relationen mellan människor, hällbilder och platser var meningsfull. Utgångspunkten för undersökningen definieras som konceptuell, där en definition av begreppen bild och materialitet ligger till grund för studiens teoretiska och metodiska utformning. Studiematerialet utgörs av den sydskandinaviska hällbildstraditionen, med ett fördjupat fokus på området kring Motala Ström utanför dagens Norrköping. Undersökningen består av tre delar. I den första delen genomförs en diskursanalys, där frågan om hur hällbilders betydelse skall förstås diskuterats i relation till tidigare forsknings syften och resultat. Ett samband visas mellan hällbildsforskningens vetenskapliga illustrationspraktik och sätten hällbilder ansetts vara av betydelse. Ambitionen att avbilda hällbilder så exakt som möjligt är bunden till tolkningen av hällbilder som avbilder. Upptagenheten med avbilden har resulterat i att betydelsen av hällbilders materialitet generellt har varit åsidosatta. En utblick mot hur andra historiska och förhistoriska bildtraditioner varit av betydelse visar att avbildens symboliska betydelse inte alltid kan förutsättas vara den primära. Tvärtom tycks bildens betydelse vara flexibel och föränderlig, särskilt när dess materialitet möjliggör en upplevelse under lång tid. I den andra delen fördjupas studien genom en undersökning av Motala Ström-områdets hällbilder. Hällbildernas materiella kvaliteter definieras i relation till tre skalnivåer, landskapet, platsen och hällen. De materiella kvaliteterna har generella likheter, men varierar även från plats till plats. Upplevelsen av likformighet och variation präglar hällbildernas alla delar. Materialiteten är essentiell för upplevelsen av hällbilder som föreställande. Den nutida upplevelsen av bilder ligger till grund för en kategorisering av hällbilder i föreställande bilder och icke-föreställande former. Kategorierna form och bild ligger till grund för en kvantitativ sammanställning av inventerade hällbilder i socknarna Östra Eneby och Borg. Områdets hällbildsförekomster är strukturerade på ett tydligt sätt i landskapet. De allra flesta lokaler består av ett fåtal hällbilder (färre än 30) och präglas av formmässighet. Ett tjugotal lokaler består av fler än 79 hällbilder, och de präglas av variation och bildlighet. Den nutida upplevelsen av föreställandegraden hos hällbilder har relevans för betydelser under den aktiva hällbildstiden, då hällbilderna brukades på olika sätt i landskapet. På de stora platserna fungerade bilden som ett instrument att tänka med och en konceptualisering av tillvaron, medan de små formaliserade platserna uttrycker en praktik som markerade närvaro i landskapet. Hällbilders placering studeras vidare genom en fenomenologiskt inspirerad undersökningsmetod, där platsbesök bearbetas genom sytematisk fotografering och rendering av 3D-modeller. Tolv lokaler undersöks och det visas att hällbilders materialitet på ett direkt sätt strukturerar upplevelsen, där de antingen skapar en visuell tillgänglighet eller saknar visuell potential. Ett intentionellt bruk diskuteras, där möjligheten att upptäcka bilderna eftersträvats på stora platser och varit mindre viktig på små platser. Det har skapats visuella noder i landskapet, kreativa punkter där världen konceptualiserades. Kring noderna finns en större mängd mindre koncentrationer där estetiska teman upprepats som en del i ett inmutande och markerande i av landskapet där visuella normer upprätthölls. Avhandlingen avslutas med att hällbildernas sociala och kronologiska sammanhang diskuteras. De sydskandinaviska hällbilderna dateras vanligen till bronsåldern (1 700-500 f.kr.), och produktionen anses ha pågått från början av perioden fram till inledningen av äldre järnålder. Slutet av den aktiva hällbildstiden föreslås som den mest arkeologiskt relevanta eftersom den motsvarar landskapets lämningar. Den aktiva hällbildstidens slut präglas av relationen mellan en materialiserad bildtradition och ett omfattande bildskapande i olika material. Till skillnad från den äldre bronsålderns bildskapande, som var ikonografiskt och repetitivt, så expanderar bildens möjligheter i slutet av aktiv hällbildstid. Bildens format, material och betydelse förändras och varieras. Bilden utvecklas inte enbart i sten utan också i brons och keramik och dess betydelse går från att vara strikt ikonografisk till att bli instrumentell. Hällbilderna spelar en stor roll i utvecklingen av en ”pictoral turn” som uttrycker sociala förändringar i samhället då bronsåldern övergår i äldre järnålder. Bildskapande blir i en del i utvecklingen av ett mer heterogent och regionaliserat samhälle.<br>The thesis revolves around the central question of how pre-historic images were meaningful. The focus is put on the material image, with the aim to discuss the meaning of south Scandinavian rock art as a relation between materiality, people and places. The empirical focus consists of the south Scandinavian rock art tradition, with a deepened analysis of the rock art area around the river Motala Ström, in south east Sweden. Initially, a connection between the practice of illustrating rock art and the interpretation of its meaning is presented as characteristic for previous research. The ambition to depict rock art as exactly as possible, has led to an archaeological focus on depiction as the primarily meaning of the images. An outlook, consisting of a historical and theoretical perspective on images, shows that the symbolic meaning of depiction cannot be presumed as most valid per se. The material qualities of rock are defined in relation to three levels of scale; the landscape, specific places and the rock panels. These levels constitute the materiality of rock art and cannot be separated from its meaning. The material qualities have general similarities, but they also vary from place to place. A quantitate compilation of the documented samples of rock art in perishes Östra Eneby and Borg, shows that they are structured according to a principle of variation and likeness in the landscape. The placing of rock art is studied further by a phenomenological method, which reveals the construction of visual nodes in the landscape were imagery was used in creative ways to conceptualize the world. Around these visual nodes, a vast number of small concentrations of rock art is scattered in the landscape. The small places express an attitude towards the landscape, were aesthetical themes and ideals was maintained. The end of the active production of rock art is defined as the most relevant for an archaeological study, due to the material setting of the contemporary landscape. The presence of rock art represents the final stage of production. The end of the rock art tradition is characterized by a relation between a materialized art history and an extensive practice of making images in different materials. The image is materially expanded, being made not only in stone by also in bronze and ceramics. The meaning of images is transformed, from being strictly iconographical to becoming an instrument for thought. Rock art played a major part in the development of a “pictoral turn”, which expresses social changes in the society of the late Bronze Age and Early Iron Age.
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Cope, Andrew. "Challenging fragmentation : overcoming the subject-object divide through the integration of art-making and material culture studies." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3032.
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This practice-led thesis explores ways in which to integrate art and material culture studies as a manifestation of philosophy’s process thread. In doing so, its goal is to generate a praxis which is able to come to holistic terms with the fragmenting dualism of subject-object binaries. By seizing my own subjectivity in its representation of this problem, the thesis develops a performance-led practice which seeks to overcome the barriers that its divisive ‘I’ presents to process. This interdisciplinary project is an explicit response to the figure of Friedrich Nietzsche; his bearing helps to constitute its methodology and repertoire as his presence is creatively teased from the pages of his own books. Part One of the thesis discusses how the mimetic aims of artistic representation were harnessed to challenge my own subjectivity’s singular sense of authority. Thereafter, Nietzsche’s pre-modern temperament comes to enable a holistic consideration of the perceptual ambiguity within Jacques Lacan’s geometric model of ‘seeing things’. Part Two engages with representation as a method of making difference for the bridging of subject-object divisions. This occurs as subjective experience and is extended to some inorganic others, producing creative outcomes which aim to access a cosmological principle of affect that is identified with Nietzsche’s thesis of will to power. The third part of this thesis aligns the research aim, of making apparent the oneness of the cosmos, with the shamanic dimensions of some vintage slapstick cinema. In its development, it comes to terms with the subjective gaze and identifies process-led strategies for challenging and changing its outlooks. This provides a background for Part Four, which marks the beginning of my attempts to engage the gaze of other people in processes that procure and ideally affect their perspectives. While the first four parts of the thesis demonstrate the progress of the research project through the deployment of art and its affecting capacities, its final two parts put the work of philosophy into aesthetic effects, and represent artworks that constitute elements of the thesis itself. Part Five evidences my art practice re-engaging with the world through a project which holistically involves the outlooks of subjects, whilst nevertheless challenging their perceptual precepts. Part Six discusses a performative experiment that consolidates and tests the research findings in a potentially affective structure, expressed through Laurence Halprin’s RSVP cycle. Finally, as it reflects on the potential healing capacities of my practical research and the possibilities for ‘doing’ philosophy, the thesis details how an art-making that embraces both visual and material cultures through the eventness of performance might be able to overcome the problematic perceptual divides that limit the progress of process logics.
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Jardine, Fiona. "The divided seal : reading a history of signatures in visual art through Derrida's Signature Event Context." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/550202.
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This thesis looks at the function of signatures in visual art using the theory of Jacques Derrida and a series of paradigmatic historical examples. Specifically, it departs from ‘Signature Event Context’ (SEC) to establish signature outside the idiom of visual art as a social process. Having established signature as process designed to guarantee presence, it suggests that signature should be considered a method of production. As a method of production, signature has a significant contemporary relevance for dematerialised and Relational Art practices which are frequently held to be ‘unsigned’. This thesis suggests grounds for questioning the unsigned quality of Relational Art, and looks at what signatory production means for it. Until the 1990s, signature was mostly ignored as a subject for serious art historical scholarship. It is still rarely indexed as a subject even when it warrants a mention in the body of a text. Although a clutch of recent studies have addressed its occurrence in the work of individual artists, or within the boundaries of narrowly defined eras, there is little work - if any - which attempts to connect these pockets of knowledge with a conceptual grounding of what signature does in order to develop a connected narrative and broad understanding for its place. As a result, there is little interrogation of signature’s mechanism alongside historical examples, and scholarship is instead focused on its appearance. This thesis attempts a broad, conceptually informed, historical survey, using examples that date as far back as the sixth century BC. The aim is to unpack the signature-form ‘R. Mutt’ which appears on Marcel Duchamp’s Readymade, Fountain (1917), a work with great conceptual importance for contemporary dematerialised and Relational Art practices. In bringing SEC into close 3 proximity to Fountain, the thesis establishes potential grounds for reading a significant theoretical relationship between Derrida and Duchamp, a pairing which has been neglected by scholars despite conceptual sympathies between them.
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Updike, Ann Sutton. "Materiality Matters: Constructing a Rhetorical Biography of Plains Indian Pictography." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1416670234.
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Ambron, Michael. "Painting as Becoming." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343739050.
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Gerace, Samuel Thomas. "Holding Heaven in their hands : an examination of the functions, materials, and ornament of Insular house-shaped shrines." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28697.
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Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.
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Adams, Kristen Irvine. "Metatextiles and the Triumph of Tapestry." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587680861250671.
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Jacobson, Malcolm. "The passionate economy of graffiti and street art : Building social cohesion through art collecting." Thesis, Stockholms universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152412.
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This study examines how social cohesion is built through exchange of urban art. Graffiti and street art are treated like dirt and washed away. Unsanctioned art is often perceived as alien to museums and private homes. Despite this, many graffiti and street artists produce art in studios that are sold in galleries as urban art. Through ethnographic tools and site visits to homes of collectors in the United States and Sweden this study explores what it means to exchange and own urban art. Guided by Émile Durkheim’s theories on social cohesion and Georg Simmel’s writings on social boundaries, sociological implications of material things are investigated. The analysis shows that exchange of urban art produces and affirms social bonds and passionate feelings about belonging to a specific art world. Artworks in private homes symbolically represent unsanctioned art; which makes collectors feel joy, purpose, and confidence. Urban art collectors dodge discursive definitions of art in favor of nondiscursive and pragmatic boundary work. In contrast to a Bourdieusian perspective this study found that art is not as much about reproduction of social hierarchies as about making social life meaningful and connected. The results suggest further research on materiality in times of digital media.
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Roche, Linda. "Theatre of painting a structural exploration of the forming of an image through paint : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/469.
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This studio-based project explores a method of working that assigns agency to paint and process within the medium of painting. Underpinning this exploration is the notion that process driven making could potentially pose as a per formative event. Choreographed yet contingent, the practice investigates the relationship between the potentiality inherent within media and the extent to which this is affected by temporal/ external factors in the determining of outcome. A dialogue between the intentional and the contingent is initiated through a systematic approach that involves manipulation of the constituent elements of paint and the implementation of procedure and protocols as a means to activate conditions of possibility. Central to the research concerns are issues surrounding the ability of media to articulate itself, determine its own temporality and of process and content to operate conterminously. The images produced evidence this investigation as both enquiry and consequence.
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Williams, Klew. "Occlusion: Creating Disorientation, Fugue, and Apophenia in an Art Game." Digital WPI, 2017. https://digitalcommons.wpi.edu/etd-theses/409.
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Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie àDeux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space. Development process, release process, post-release distribution, testing, and maintenance are reviewed, and the paper concludes with a description of future work and a post- mortem discussion. Included as appendices are a full specification document, script, and transcripts of all interviews.
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Schwakopf, Nadine. "Poetry Unbound| Sounding the Language of Materiality in the Works of Man Ray, Henri Chopin and Gerhard Ruhm -- A Reading through Wittgenstein, Benjamin, Merleau-Ponty and Kittler." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10783465.
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<p> This dissertation is meant to be the scene of an experiment. It is meant to be a scene of observation and auscultation striving to fathom the work of <i>poiesis</i> as it manifests itself in select pieces of experimental poetry created by artists and writers of the 20<sup>th</sup>-century avant-gardes. Our study notably poses the question of how <i>poiesis</i> draws on, and seeks to incorporate the experience of sensible things, examining also how this accentuation of perception in the making of a poem feeds into, viz. falls in line with the accentuation of the poem's sensible thing-ness. We will investigate how the abovementioned artists undertake to "make sense" of their experience of the things of the life-world, namely by grounding the signifying of their poetry in the mattering of <i>poietic</i> matter. We will investigate how their poems come to produce sense qua their mere being sensible, i.e. qua their being sensible as visual and/or aural matter that matters to us by virtue of its very visual and/or aural phenomenality.</p><p> As we will argue, with this emphasis on the production of a sensible presence, these poetic experiments not only establish the primacy of perception, but – more important – they also prove to loosen, and oftentimes even cut the close ties that <i>poiesis</i> is commonly considered to have with the semiotic order. Thus, instead of fabricating a communicational language, the experiment called <i>poiesis</i> giving rise to these works is in the first place destined to create the poem as a material thing. We will show that, as such a material thing, the experimental poem interpellates the senses via a language of materiality that, for its part, translates the materiality of the things of the life-world. We will show that, in lieu of straightforwardly abiding by the laws of semioticity, the poietic language of the works we are about to encounter rather emanates from the poems' very physique; i.e., that this "physical" language forged in defiance of the semiotic order thus rather proves to be consubstantial with the mattering of the matter that gives shape to the body of the poem.</p><p> In the course of our study, we will pay particular attention to how the work of <i>poiesis</i> – as it comes to crystallize and persist in the bodiliness of the respective poem – is, namely, pregnant with the gestures and the flesh of the body that conceived it. Beginning with the surface analysis of the physiognomy of a work by Man Ray, we will then turn to delving into the depths of the poems' corporeality. Anatomizing pieces from the oeuvres of Henri Chopin and Gerhard Rühm, we will discover – step-by-step and layer-by-layer – how both the scriptural and the oral practices constituting their work are infused with the pulsating of the human body. As we will suggest, the sensing of the scriptural and aural anatomies that build the body of Chopin's and Rühm's works always involves the sensing of the displaced and disfigured human body. This turn of <i> poiesis</i> to the human senses thus allows for a sensitization of the works themselves – in the sense that they become sensible bodies whose very bodiliness embraces, re-appropriates, and exudes the materiality of the life-world.</p><p>
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Tsutsumi, M. "The poetics of everyday objects : a theoretical and practical investigation into the materiality and embodiment of meaning in designed objects, with special reference to furniture and product design practice after 1988." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20223/.
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This practice-based PhD thesis begins with a question prompted by a noticeable shift, both visual and conceptual, in design trends observed in the European design industry from the late 1980s to the early 1990s. Did this shift reflect designers' intuitive response to the present conditions of material culture? If so, what could be learnt from their response to it? Using the perspective of a 'reflective practitioner', the ideas and thoughts underpinning design that are manifested in material form as design products are critically investigated. The investigation unravels a problem of design, and of objects, in consumer society. Many of the designers who characterised the period examined were concerned with a mode of production and consumption, where despite the technological progress and increased material wealth, the quality of the relationship between objects and users seemed to be in decline. This investigation locates design in a socia-cultural sphere, as design and its objects have a strong link to the everyday experience of the material environment. The thesis explores the values that were proposed by designers as particularly important as an antidote to the 'problems of objects'. The 'materiality' of functional objects is identified as a key feature observed in design concepts seeking to provide a more meaningful experience of design objects. The investigation then attempts to reveal what is behind this renewed atlention to the 'thing itself. Further investigation into the relationship, or 'tension', between practice and theory, suggests that the theorisatian of design in the proceeding periods has led itself away from objects' materiality. Increasingly, design objects are being produced as signs or representation of ideas. The thesis then explores the 'communicative' and 'performative' capacities of objects that invite users to engage with the objects' physical quality a,nd/or characteristics. Identifying the 'poetic' dimension of everyday experience as a design resource, it further discusses the 'expressive character of material culture'. The practice element of this research offers a bridge between multiple forms of thought process and analysis: in terms of objects, images and drawings, and words. Contextualisation of the practice, and a critical analysis of what is inherent in the practice of design and craft, help guide the theoretical part of the critical investigation into contemporary design practice, and the role the 'materiality' plays in design. The knowledge in practice revealed in this research offers a new perspective to understanding material culture, and encourage further exploration of the possibilities of design in creating a more engaging and meaningful user-object relationship.
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Odenius, Fredrik. "Skulptur som hermeneutik." Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7725.
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This essay is interlaced with the exhibition Alien Beauty by Fredrik Odénius, and is to be seen as a reflection of and upon the presented works and their becoming. By focusing on the role of interpretation in various stages of the creation process the essay tries to distinguish Odénius sculptural practice as a hermeneutical activity. By tracing one of the main strands of thought in hermeneutics, from exegesis, via Heidegger to Gadamer, interpretations treated as a means of existence, an ontological activity in its own right. One can understand art as an act of interpretation by the way of gestaltung, to interpret a thing through matter. Another way to define art is through its institutions and the concept of the artworld. By accessing art through both these definitions simultaneously, a new idea of how a work of art operates is revealed, both as an autonomic being and as a man-made artefact. By giving primacy to the open-ended structure of creation, with curiosity and association as driving forces, it is argued for that the act of gestaltung draws a line between the inside and outside that allows a dialogue between material and creator. Through this process the material is given a possibility to make itself heard, and as the artist steps back, the bond between motif and work remains and establishes a continuity outside the human realm.
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Buss, Elaine M. "(Attempts at) Discerning Immateriality." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529367762750928.
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Goutain, Pauline. "Les mythologies matérielles de l'Art Brut (1945-1976) : dimensions, processus créateurs et matériaux à l'œuvre." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100059.
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L'Art Brut est un concept inventé par le peintre français Jean Dubuffet en 1945 pour désigner des œuvres faites par des artistes non professionnels, autodidactes et isolés en contextes rural, psychiatrique voire carcéral. De 1947 à 1976, avec l'aide de la Compagnie de l'Art Brut, il collecta, présenta et documenta ces œuvres dans le but de remettre en question le goût et les valeurs de son époque. Faites le plus souvent à partir de médias non achetés dans des commerces d'art, leur matérialité questionne les catégories artistiques, les pratiques conventionnelles de l'art, ainsi que l'accrochage muséal.Cette thèse s'attache à montrer en quoi le processus créateur, les matériaux, et les dimensions des œuvres collectées par Dubuffet et ses compagnons ont servi à construire un « mythe », au sens barthien du terme, dans le contexte de l'après Seconde Guerre mondiale. Nous montrons que les matériaux « pauvres », les formats extrêmes – très petits, très grands, informes – ont supporté l'idée fantasmatique d'un art « brut », « hors-norme », « anti-culturel » et « autre ». Notre travail réinscrit, d'autre part, le projet de l'Art Brut dans l'histoire des avant-gardes dans le but d'en montrer la spécificité et la portée politique. Nous mettons enfin en avant en quoi les formats des œuvres collectées ont amené à une réforme de l'espace muséal. La Collection de l'Art Brut, ouverte en 1976 et conçue spécifiquement en fonction de la matérialité des œuvres, se présente comme un modèle muséal à part<br>Jean Dubuffet coined the term Art Brut in 1945 to designate artworks made by untrained and non-professional artists. Between 1945 and 1976, with the help of the Compagnie de l'Art Brut, he constituted and exhibited an important collection made of thousands of artworks – the Collection of Art Brut, which was donated to Switzerland in 1976. Art Brut artworks were collected in psychiatric hospitals, rural contexts, or jails. Some are made with second-hand materials, most of them differ from the academic canons, and their uncommon aspect – very large, very small, and formless – questions the artistic norms. This research demonstrates that the materiality of these artworks has been the support of an avant-gardist project and a myth in the context of the post Second World War. They serve Dubuffet's subversive discourse and his fantasy to transform the art and the society of his time through artworks made outside the "cultural" sphere. They also serve the myth of an art « poor », « humble », « natural » and « raw ». In addition to that, this thesis highlights how the sizes of these artworks have changed museum space and display. Unprecedentedly, the Collection de l'Art Brut was conceived according to the materiality of artworks, leaving space to welcome rolls of more than 5 m
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Costa, Filho José Almir Valente. "Da prosa dos objetos cotidianos à poética dos objetos artísticos: por uma estética do cotidiano." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19651.
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Previous issue date: 2017-12-19<br>This work investigates some contemporary artistic manifestations which bring in their aesthetic experiences objects made from items of everyday life that, through various operations, are transformed into contemporary visual poetics. It analyses aesthetic changes in the status of art which have occurred from modern and contemporary art with the emergence of Duchamp's ready-mades, going through Arman's assemblages, performances and happenings of Fluxus artists until the contemporary installations of El Anatsui. The strategies of the processes of production, assembly/exhibition and apprehension of those works are also brought into appreciation. As a corpus of analysis, three works were selected: Manto da apresentação (Mantle of Presentation) (1985) by Arthur Bispo do Rosário, Arqueologia poética (Poetic Archeology) (2011) by Luiz Antônio Rodrigues - Chiquitão and Marat (Sebastião) (2009) by Vik Muniz. Fundamentally, the choice of these works was based on their original aspect. Their singularity comes from the fact that those artists use materials and objects of daily use as one of the elements that constitute the materiality of the aesthetic arrangement of their works, in relation to other art materials. The theoretical and methodological basis of this work is found in the French semiotics of Algirdas Julien Greimas, with its developments in Plastic semiotics, in the researches of Jean-Marie Floch and Ana Claudia de Oliveira, as well as in the works of Eric Landowski about the “sense felt" in constituting acts produced from interaction regimes. Throughout the analysis of the corpus, it can be noticed how is produced the construction of meaning concerning these different discourses, as well as of the interactions coming from the relationship between enunciator and enunciatee. Thus, it is demonstrated, at this point, how matter and materials mean in the aesthetic discursive construction of the works and in the aesthesia condition of the production of the sense that gives meaning to it. The focus of the semiotic on the sensitive matter of art, makes it possible to establish a more in-depth study of the issues listed here. It can be better realized that the formants of matter have a special "force" - during the creation of high impact discourses towards the art spectators and, in their context, being able to engage them in the works that promote aesthesia and which materiality is the outlet that affects them. This sensitizes the artists to the new uses of matter and materials, re-signifying their use in everyday life, an achievement of the art produced in Brazil in dialogue with other international artistic trends<br>Investigação das manifestações artísticas na contemporaneidade, que trazem em suas experiências estéticas objetos construídos a partir de objetos da cotidianidade que, por operações várias, são transformados em poéticas visuais contemporâneas. Reflete-se sobre as mudanças estéticas no estatuto da arte que ocorreram a partir da arte moderna e contemporânea, com o surgimento dos ready-mades de Duchamp, passando pelas assemblages de Arman, performances e happenings do Grupo Fluxus, até as instalações contemporâneas de El Anatsui, apreciando as estratégias dos processos de produção, montagem/exposição e apreensão das obras analisadas. Como corpus de análise, selecionamos Manto da apresentação (1985) de Arthur Bispo do Rosário, Arqueologia poética (2011) de Luiz Antônio Rodrigues – Chiquitão e Marat (Sebastião) (2009) de Vik Muniz. As obras escolhidas se justificam, a princípio, por se destacarem pelo aspecto da originalidade. Essa singularidade advém do fato de os artistas utilizarem materiais e objetos do uso cotidiano como um dos elementos que formam a materialidade do arranjo plástico das obras, em relação com outros materiais artísticos. A base teórica e metodológica utilizada encontra-se na semiótica francesa de Algirdas Julien Greimas, com os seus desdobramentos na semiótica plástica, nas pesquisas de Jean-Marie Floch e Ana Claudia de Oliveira, e no trabalho sobre o “sentido sentido” em ato constituído a partir dos regimes de interação teorizados por Eric Landowski. Na análise do corpus, percebe-se como se dá a construção de sentido desses diferentes discursos, assim como das interações provenientes das relações entre enunciador e enunciatário. Assim, chega-se a: como as matérias e os materiais significam na construção discursiva estética das obras e na condição estésica da produção do sentido que a significa. Com essa visada semiótica sobre a matéria sensível da arte, consigamos constituir um estudo mais aprofundado sobre as questões aqui elencadas, percebendo que os formantes matéricos têm uma “força” especial – na criação de discursos impactantes no destinatário e em seu contexto, engajando-os nas obras que promovem estesias nas quais a materialidade é o desembocador que afeta, sensibilizando o artista para os novos usos dos materiais e matérias, e ressignificando seu uso na cotidianidade, um feito da arte produzida no Brasil em diálogo com outras tendências da arte internacional
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Borges, Claudino. "Materialidade e imaterialidade na construção do valor patrimonial dos centros históricos de Cabo-Verde: os casos de São Filipe - Fogo e Ribeira Grande - Santiago." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28561.
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Materialidade e Imaterialidade na Construção do Valor Patrimonial dos Centros Históricos de Cabo Verde: Os Casos de São Filipe – Fogo e Ribeira Grande – Santiago é tratado neste trabalho através de uma análise descritiva e crítica da História da Arte e do Património trazendo para o debate académico e científico um conjunto de valores históricos, simbólicos e patrimoniais ancorados nos aspetos materiais e imateriais do espaço territorial em estudo.
Na edificação e evolução de qualquer centro histórico estão sempre presentes conjuntos edificados e outras criações: edificações arquitetónicas, traçados urbanos de diferentes tipologias, elementos decorativos e sem esquecer de todo o manancial imaterial que fazem parte da dinâmica quotidiana do centro histórico.
Neste contexto, o presente trabalho incide sobre a evolução, salvaguarda e formas de gestão e preservação dos centros históricos em Cabo Verde com um balizamento estipulado que decorre desde o período do ultramar, passando pelo despertar da consciência nacional (período pós independência), à atualidade, tendo em consideração o contexto da conjuntura em que estes centros históricos foram edificados, mas também integrando as transformações que foram sofrendo, as novas funções que foram tendo ao longo do tempo e as razões históricas destas alterações. Deste modo, os edifícios são monumentos dos tempos que lhes deram origem e também daqueles que atravessaram, numa acumulação de extratos temporais e significados históricos que os converte em “memoryscapes”. Pretendemos uma abordagem crítica que permita que futuras políticas de conservação integrem as alterações sofridas ao longo do tempo como um fator de ressignificação patrimonial dos centros históricos em Cabo Verde.
Geograficamente deambulamos pelos centros históricos da Ribeira Grande da ilha de Santiago e de São Filipe ilha do Fogo, tendo sempre presente as boas práticas instituídas noutras cidades que serão alavancas para implementar um novo paradigma de gestão e salvaguarda para os centros históricos cabo-verdianos classificados como património nacional; Abstract:
Materiality and immateriality in the construction of the heritage value of the historic centers of Cape Verde: the cases of São Filipe- Fogo and Ribeira Grande Santiago
Materiality and immateriality in the construction of the heritage value of the historical centers of Cape Verde: The cases of São Filipe – Fogo and Ribeira Grande – Santiago, is treated in this work through a descriptive and critical analysis of the history of art and heritage bringing to the academic and scientific debate a set of historical, symbolic and heritage values anchored in the material and intangible aspects of the territorial space under study.
In the establishment and evolution of any historical center, edifications and other creations are always present: architectural buildings, urban tracings of different typologies, decorative elements and without forgetting all the immaterial cultural activities that are part of the historic center everyday dynamics.
In this context, the present work focuses on the evolution, safeguard and forms of management and preservation of the historical centers in Cape Verde with a stipulated beacon that runs from the colonial period, through the awakening of the national consciousness ( Post-independence period) today taking into account the context of the conjuncture in which these historical centers were built, but also integrating the transformations that were suffering, the new functions that were taking over time, and the historical reasons for these changes. Therefore, the buildings are monuments of the times that generate them and also of those who crossed, in an accumulation of temporal extracts and historical meanings that converts them into "memoryscapes". We intend a critical approach that will allow future conservation policies to integrate the changes sustained over time as a factor of heritage resignification of the historical centers in Cape Verde.
Geographically we wander in the historical centers of Ribeira Grande of Santiago island and São Filipe Fogo Island, having always present the good practices instituted in other cities that will be levers to implement a new paradigm of management and safeguard To the historic centers of Cape Verdean classified to national heritage.
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Mkhaiel, Derek Tanios Imad. "BANKSY, RHETORIC, AND REVOLUTION." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/552.
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This thesis examines the projects outlined by the Situationist philosophers and their impact on revolutionizing consciousness. Alongside of this examination this thesis demonstrates how the appropriate rhetorical means in conjunction with street art—specifically the work of Banksy—may lead to the successful implementation and execution of the Situationist's projects. This thesis examines the concept of the spectacle as developed by the Situationists as its object of critique and the concepts of culture, unitary urbanism, psychogeography, détournement and dérive as the framework in which the spectacle can be successfully critiqued in order to foster a more critical consciousness. In addition to this framework my claim is that the aforementioned elements are accomplished by the work of Banksy and his ability to alter the material conditions of our reality through his rhetorical construction of material enactments by creating appropriate and kairotic works which provide life to the Situationist's projects and affords the potentiality of revolutionizing consciousness.
In Figure 1. Banksy critiques the idea of spectacularization. There is a fear that technology will distract individuals’ from living and experiencing their lives to the fullest, that their desire to record moments will get in the way with actually living through experiences. In fact the concept of recording events, for many people, is bringing more life to those events than the event itself. We’re currently living in a society where the record of the thing itself is greater than the thing itself. Of course, whenever something is recorded it can be spectacularized--elevated to a greater degree of importance--and shared with many. At the same time, urban architectural achievements have become idols unto themselves. People visit the Eiffel Tower for the purposes of visiting the Eiffel Tower. Even in the act of being a tourist or a spectator we are being placed in positions of passivity. The goal is to absorb whatever man made phenomena has been constructed for the purposes of enjoying it intrinsically without understanding why.
In their article "Rhetoric and Materiality in the Museum Park at the North Carolina Museum of Art" Kenneth Zagacki and Victoria Gallagher rhetorically analyze the complex and interwoven spaces of the North Carolina Museum of Art. Their research claims that "the move from symbolicity to materiality involves a shift from examining representations (what does a text mean/what are the persuader's goals) to examining enactments (what does a text or artifact do/what are the consequences beyond that of the persuader's goals) and, as Carole Blair suggests, to considering the significance a particular artifact or text's material existence: What does it do with or against other artifacts? And how does it act on persons?" (Zagacki and Gallagher 172). This move from the purely symbolic importance of a text or artifact to its materiality is exceptionally important when discussing how potential Situationist projects can be materialized into and implemented effectively in the real world. The Situationists were essentially radical realists—their critiques need to exist in the most material form possible in order to generate the conscious liberation that they desired. That being said Margaret LaWare and Victoria Gallagher "...suggest that material rhetorics contribute to discourses of public identity by inviting visitors to see and experience landscape (or physical context) around them in new, and very much embodied ways" (as cited in Zagacki and Gallagher 172). The recursive nature of material rhetorics allows us to analyze exactly how environment's are affecting individual's subjectivities and how they too can go about affecting their world in new ways.
I turn to this article specifically for the methodology that Zagacki and Gallagher construct in order to discuss in a more concrete fashion the rhetorical complexity of these spaces and their potential affect on visitors:
we argue, through two material enactments of the human/nature interface that we characterize as ‘‘inside/outside’’ and ‘‘regenerative/transformative.’’ By ‘‘inside/outside,’’ we refer to the experience of moving (1) between constructed spaces, such as a museum space or an urban landscape, to less constructed, more organic spaces such as the outdoor park or the rural landscape; and (2) between what we refer to as natural history and human history. By ‘‘regenerative/transformative,’’ we mean moving (1) from natural states to human-constructed states and back again to nature, and (2) from one state of understanding to another. The capacity to create spaces of attention that call forth particular experiences reveals the potential rhetorical impact and reach of the Museum Park’s material forms. (173)
The framework established here is specifically most affective when discussing these specific spaces—not every material space will have an inside/outside which would lend itself to phenomenological observation. However, for the purposes of this project, I find it important to reflect on how the "static/dynamic" enactments produced by the space harboring Banksy's work functions as a method to produce the "concrete/utopia" enactment by détourning expectations of space via messages whose kairotic nature—its location in time and place—and content create a specific psychogeography which can revolutionize our expectations and engagement with the world.
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Hintzen, Sander. "Making Material Matter : Outlining a Contemporary Curatorial Method." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-176137.
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The thesis explores a multidisciplinary approach, bridging together perspectives from art-historical, philosophical and anthropological fields of knowledge to question and outline the way materiality has been thought about, and how this in turn can be informative to developing a curatorial methodology. By looking at Moderna Museet Stockholm, the thesis will demonstrate the mileage of thinking materially in the act of exhibition making and the curatorial position. In doing so, the thesis explores various discursive arenas of the institution such as the museum, the temporary exhibition and the permanent collection. Central to developing the methodology are concepts such as agency, revisionist history and cultural modernity.
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McLeod, Carmen Alis. "In an Expression of the Inexpressible: Even this title is stolen, but I chose it." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/916.
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This thesis provides a tour through an imaginary building that contains the work I have completed in the last two years at Virginia Commonwealth University. The body of the text provides a discussion of specific paintings as well as more general themes related to painting and art. The discussion includes thoughts on futility, desire, schism, the leap, collage, photography, materiality, painting, image, and landscape. The second part of the text is an abstract statement about the paintings included in the thesis show, Splinter Paintings.
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Cavallo, Bradley. "MATTER(S) OF IMMORTALITY: OIL PAINTINGS ON STONE AND METAL IN THE SIXTEENTH AND SEVENTEENTH CENTURIES." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/456452.
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Art History<br>Ph.D.<br>By the second decade of the twenty-first century, the preponderance of scholarship examining oil paintings made on stone slabs or metal sheets in Western Europe during the early modern period (fifteenth–eighteenth centuries) had settled on an interpretation of these artworks as artifacts of an elite taste that sought objects for inclusion in private collections of whatever was rare, curious, exquisite, or ingenious. In a cabinet of curiosities, naturalia formed by nature and artificialia made by man all complemented each other as demonstrations of marvelous things (mirabilia). Certainly small-scale paintings on stone or metal exhibited amidst these kinds of rarities aided in aggrandizing a noble or bourgeois collector’s social prestige. As well, they might have derived their interest as collectables because of the painter’s fame or increased capacity for miniaturization on copper plates, or because the painter left a slab of lapis lazuli, for example, partially uncovered to reveal its visually arresting stratigraphy or coloration. Nonetheless, while the lithic and metallic supports might have added value to the oil paintings it was not thought to add meaning. A totalizing theory about this type of artwork, based on a perception of them as if they had only served as conspicuous consumables, therefore overlooks that in other circumstances the stone and metal supports did contribute to the iconographic substance of the paintings. As this dissertation will argue, the introduction of metal and stone supports allowed patrons and painters literally to add another layer of meaning to an oil painting’s imagery. These materials mattered not just as passive receptacles of meaning but as active shapers of significance. Evidence for this hypothesis exists in the historical record in at least three identifiable contexts: Leonardo da Vinci’s Portrait of Ginevra de’Benci (ca. 1474–1478) in relation to the epistemological debate known as the Paragone; funerary monuments in Roman churches inclusive of painted portraits in relation to theories about color and lifelikeness; medallion-shaped, chest plates known as Escudos de monjas (Nuns’ Shields) worn by nuns of some religious orders in Colonial Mexico in relation to pre-Hispanic sacral materials. All three of these case studies ultimately concern the paradoxical materialization of the immaterial fame of the painter, the soul of the deceased, and the Christian divine. Observing them in tandem provides an outline of the origins and development of the technique of painting with oils on stone and metal, and consequently broadens our understanding of this wider, early modern phenomenon.<br>Temple University--Theses
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Burczykowski, Ludovic. "Par-delà l'écran : dimension physique et espace numérique." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080020.
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En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvres<br>In digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works
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Calvo, Chaves Renan. "Le dessin de sculpteur." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20001/document.
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Pour le sculpteur le rôle du dessin consiste, souvent, en l’élaboration d’esquisses qui préfigurent le travail tridimensionnel ultérieur. Mais le dessin ne se limite pas uniquement à cette fonction préparatoire au processus de création en sculpture. Quelle est alors l’incidence du dessin dans le travail d’un sculpteur ? C’est par une analyse de leurs modes opératoires que nous étudierons l’œuvre de différents sculpteurs-dessinateurs ainsi que d’autres artistes qui pratiquent le dessin dans une œuvre tridimensionnelle. Au risque de sembler intemporelle, cette approche «poïétique» tentera d’identifier différents usages du dessin dans les démarches de sculpteurs, qu’il s’agisse d’exploration, de documentation ou de préfiguration, mais aussi du dessin dans l’espace ou comme voie parallèle au travail de sculpture. Le dessin ne serait-il pas finalement l’essence même du travail de sculpteur, comme une pratique dématérialisée de la sculpture ? Cette recherche s’appuie aussi sur l’explicitation de mon travail personnel de sculpteur et elle nourrit une réflexion sur l’accompagnement d’étudiants, sur l’usage qu’ils peuvent avoir du dessin dans leur processus d’apprentissage<br>For any sculptor, drawing often consists in making some preparatory sketches that prefigure the later three-dimensional work. However, drawing is not limited only to this preparatory function of the process of creation when sculpting. What is then the incidence of drawing on the work of the sculptor? We will study the work of different sculptors-draftsmen through the analysis of their operational modes, together with the work of other artists who practice drawing while doing the three-dimensional work. Even if it may seem timeless, this “poietic” approach will try to identify different uses of drawing in the sculptor’s methods, either exploration, documentation, prefiguration, drawing in space or as a parallel path to the sculptural work. Isn’t it drawing the very essence of the sculptor’s work, as a dematerialized practice of sculpting? This research is also based on the explicitation of my work as a sculptor and nourishes some reflection on the accompaniment to students and the application of the drawing stage in their learning processes<br>Para el escultor el dibujo consiste a menudo en la elaboración de bocetos preparatorios que prefiguran el trabajo tridimensional posterior. Pero, el dibujo no se limita únicamente a esta función preparatoria del proceso de creación en escultura. ¿Cuál es entonces la incidencia del dibujo en el trabajo del escultor? Estudiaremos la obra de diferentes escultores dibujantes por medio de análisis de sus modos operacionales. También la obra de otros artistas que practican el dibujo en una obra tridimensional. Aún si puede parecer intemporal, este enfoque “poiético” intentará identificar diferentes usos del dibujo en los métodos de escultores, ya sea de exploración, de documentación o de prefiguración, como de dibujo en el espacio o como vía paralela al trabajo de escultura. ¿No será el dibujo finalmente la esencia misma del trabajo de escultor, como una práctica desmaterializada de la escultura? Esta investigación se apoya además en la explicitación de mi trabajo como escultor y nutre una reflexión sobre el acompañamiento de estudiantes y la aplicación del dibujo en sus procesos de aprendizaje
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Olofsson, Ammy. "Computer-human relation through glass : a part of the masters project “Growing Computers, Connecting Bodies, Cutting the Cord”." Thesis, Konstfack, Keramik & Glas, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6287.
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In this master project I investigate materiality, transhumanism and alternative ways of producing knowledge and new discussions in the fields of glass craft, electronics and biotechnology. I make do-it-yourself glass computers and explore the relation between body/human-machine/computer with a hacker approach.
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Nirstedt, Mathias Miriam. "Lipgloss Melt." Thesis, Konstfack, Textil, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6245.
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This work is an exploration of the relationship between gender, the body and clothing, raising questions about identity while trying to deconstruct gender as a binary concept. I relate textile material transformations to drag and talk about the importance of non binary and trans visibility and representation. Interweaving my personal story with queer theoretical elements, I’m creating a sculptural installation, visualizing a possible future where fluidity supersedes fixity.
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McEwen, Rebecca. "The Sickly Female Body in Edvard Munch's The Dance of Life (1899-1900)." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/513405.
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Art History<br>M.A.<br>In interpretations of The Dance of Life (1899-1900) by Edvard Munch, the femme fragile and the femme fatale have been considered jointly (i.e. as allusions to the cyclicality of life) or as individuals. Their unique characteristics have been recognized as such: whereas the femme fragile dons white to signify her prepubescent state and thus her innocence, the femme fatale wears red to suggest her sexuality and even her availability. Yet, scholars have failed to probe their iconographical complexities. Doing so would not only lend greater conviction to Munch’s historical identity as a Symbolist (as his archetypes would be recognized for their multivalence), but it would also reveal the didactic possibilities of the work of art itself. Given this void in the literature, the purpose of this thesis will be to elaborate on the formal and narrative qualities of the femme fragile and femme fatale in this painting. These archetypes ultimately allude to misogynistic anxieties, with the femme fragile in particular representing the sickly female body.<br>Temple University--Theses
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Leclerc, de la Verpillière Lorraine. "Visceral creativity : digestion, earthly melancholy, and materiality in the graphic arts of early modern France and the German-speaking lands (c. 1530-1675)." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/288424.
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Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.
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Oliveira, Santina Rodrigues de. "Reflexões sobre a materialidade numa abordagem imagético-apresentativa : narrativa de um percurso teórico e prático à luz da psicologia analítica." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-15022007-220155/.
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A dissertação narra o percurso da pesquisadora em torno do conceito materialidade, a fim de discutir e ilustrar uma proposta de abordagem imagético-apresentativa, à luz da psicologia analítica. O conceito é cotejado com termos correlatos utilizados por autores que também se ocuparam do tema, como Gaston Bachelard, Alvaro Gouvêa e outros mais alinhados ao pensamento de D. W. Winnicott. Explora, também, aproximações e distanciamentos semânticos em relação a termos similares, como matéria e matéria-prima, para especificar o sentido atribuído à materialidade neste trabalho. A discussão avança com a apresentação de alguns conceitos da psicologia analítica, principalmente sobre a consciência e o aspecto dinâmico da psique na concepção de C. G. Jung. Além disso, tece considerações sobre o processo de individuação numa perspectiva alquímica, tomando a materialidade como uma opus cum natura. A seguir, apoiada em conceitos de James Hillman, propõe o resgate da noção de anima mundi e aisthesis para fundamentar o aspecto apresentativo da materialidade numa relação dialética com a consciência. Preocupa-se em questionar a postura interpretativa em relação à materialidade, quando tomada em termos exclusivamente representacionais, e retoma o método proposto por Jung pautado numa postura fenomenológica frente às imagens psíquicas para sustentar a abordagem imagético-apresentativa, diferenciando-a das práticas de terapia com arte ou arteterapia, que abordam a materialidade como recurso expressivo. A dissertação também faz uma breve incursão no tema processo grupal no campo da psicologia analítica, uma vez que são utilizados relatos de sessões de um grupo terapêutico-vivencial para ilustrar a discussão. Embora não proponha um estudo de caso do grupo, identifica alguns temas que se constelaram no atendimento. Finalmente, aponta transformações observadas simultaneamente no grupo e na identidade da pesquisadora que culminaram na elaboração de uma nova proposta de abordagem da materialidade no setting individual e/ou grupal, aqui denominada imagético-apresentativa.<br>This dissertation relates the path followed by the researcher around the notion of materiality in order to discuss and illustrate an imagetical-presentative approach in the light of the Analytical Psychology. This notion is compared to correlative terms used by authors that also worried about it, like Gaston Bachelard, Alvaro Gouvêa and others closer to Winnicott´s thoughts. It also explores semantic similarities (approximations) and differences that refer to some similar terms like material and raw-material in order to specify the meaning attributed to materiality in this research. The discussion moves forward to the presentation of some notions in the Analytical Psychology field mainly about consciousness and the dynamic aspect of the psyche, according to C.G.Jung. Besides, the research makes some considerations about the individuation process under an alchemical perspective, taking materiality as an "opus cum natura". Afterwards, supported by James Hillman, it proposes the recuperation of "anima mundi" and "aisthesis" notions in order to sustain the presentative aspect of materiality in a dialectical relation with the consciousness. The research aims at questioning the interpretative posture related to materiality when taken exclusively as representational terms and reviews the method proposed by Jung, under a phenomenological point of view towards the psychic images in order to support the proposal of an imagetical-presentative approach, distinguishing it from the therapy practices with arts or art therapy that consider materiality as an expressive resource. It also makes an incursion in the topic group process in the Analytical Psychology field as some reports of sessions of an experiential group are used in order to illustrate the discussion. Although it does not propose a case study of the group, this dissertation identifies some topics that were constellated throughout the sessions. Finally, this research points transformations observed simultaneously in the group and in the identity of the researcher that ended up in the elaboration of a new proposal towards materiality in the individual/group setting that here is called imagetical-presentative.
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Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.
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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.<br>History of Art and Architecture
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.
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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.
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Hammar, Leif. "Bildanalys betong : reflektioner över materialets uttryck." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-499.
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Upptäckten om att betongen hade sin plats inom designen öppnade mitt intresse för att undersöka hur materialet uttrycker sig i designade föremål. I detta examensarbete fick jag tillfälle att undersöka detta närmare. Uppsatsen är uppdelad i två delar. Den första behandlar betongens materiella egenskaper och dess historia. I den andra analyseras tre verk, det vill säga tre bord av betong. Den första som presenteras från kategorin är Ingela Karlssons betongbord och i den andra nederländaren och formgivaren Jesse Vissers ”Sag table” i betong och till sist min egen gestaltning, soffbordet i samma material. Undersökningen grundar sig på Jan-Gunnar Sjölins bildanalys, där objekten har analyserats var för sig och har sedan jämförts tillsammans mellan de olika uttryckssätten från de tre objekten. I bilagan behandlar arbetsprocessen och designmetodikens grunder utifrån ett didaktiskt perspektiv från min gestaltning.