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Dissertations / Theses on the topic 'Mathematics and visual arts'
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Edwards, Jesse R. "'Marveilous newtrality'/'strange participation' : mathematics and the colonial attitude in seventeenth-century England." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360605.
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Louie, Kym. "Flatterland: The Play." Scholarship @ Claremont, 2012. https://scholarship.claremont.edu/hmc_theses/27.
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This script is an adaptation of the popular science novel Flatterland: Like Flatland, Only More So by Ian Stewart. It brings new life to mathematical ideas and topics. By bringing math to the stage, concepts are presented in a more friendly and accessible manner. This play is intended to generate new interest in and expose new topics to an audience of nonmathematicians.
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Schäfer, Jean Stewart. "An investigation of how visual arts can be used to teach mathematical concepts of space and shape in Grade R." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1003514.
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The impetus for this study came from the findings of an evaluation of a Maths and Science through Arts and Culture (MStAC) Curriculum Intervention undertaken with Grade R teachers registered for a BEd(in-service) qualification at Rhodes University, South Africa. The intervention aimed to enrich Grade R teachers’ teaching of mathematics. Post-intervention classroom observations showed that, in spite of the intervention, teachers’ classroom practices did not change, and they were not using visual arts to teach mathematical concepts. This, together with the lack of research in the field of mathematics in early childhood, particularly in South Africa, motivated this research, a case study, which investigates how visual arts can be used to teach space and shape conceptualization in Grade R. I designed a research intervention underpinned by a constructivist model of teacher professional development located in reflective practice (Borko & Putman, 1995; Zeichner & Liston, 1996; Wilmot, 2005). Guided by Stacey’s (2009) notion of an emergent curriculum, I designed a three phase research intervention which involved selected Grade R teachers undertaking classroom-based research. Phase I built awareness around the notion of creativity; Phase II focused on making meaning of children’s behaviour and interests; and Phase III applied the knowledge and ideas from the Phases I and II to the teaching of space and shape. As an interpretive research study, it closely examines the participating teachers’ perceptions, experiences and reflections which were articulated in reflective reports and assignments. Following action research processes, the participant teachers engaged in the process of an emergent curriculum. They observed the behaviour interests of Grade R children, interpreted and made meaning of the evident behaviours, made decisions regarding extension activities, and planned accordingly. The findings of the study illuminate a model of teacher professional development that can support and enhance teachers’ practice. Understanding the notion of creativity and the ability to create a classroom conducive to creativity, are necessary components for teaching space and shape through visual arts activities. An emergent curriculum approach is proposed as an appropriate pedagogy for teaching children about space and shape through visual arts activities.
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Semmer, Simone. "Ensino de geometrias não-euclidianas usando arte e matemática." Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/1312.
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Acompanha: O ensino de arte e matemática: abordagens geométricas (material didático)<br>A presente dissertação teve como objetivo da introduzir conceitos básicos de geometrias não-euclidianas em aulas de Matemática do Ensino Médio, usando Arte e Matemática. Para tanto, utilizou-se de abordagem triangular, fundamentada por Barbosa e de registros de representações semióticas, baseados nos estudos de Duval. O estudo envolveu estudantes de 2as séries do Ensino Médio de um colégio público estadual do município de Rio Negro (PR). A pesquisa aplicada constou de duas etapas. Num primeiro momento, analisou-se pêssankas à procura de conceitos matemáticos empregados em sua composição e verificou-se a utilização, instintivamente, pelos artesãos, de conceitos como simetria, proporção, polígonos, elipses, biláteros, retas e pontos. Na segunda etapa abordou-se o ensino de geometrias não-euclidianas no Ensino Médio, usando Arte e Matemática. Do ponto de vista metodológico a abordagem foi qualitativa, de natureza interpretativa, com observação participante. Os dados foram recolhidos a partir da aplicação de sequências de atividades envolvendo anamorfose, geometria espacial e projetiva e, da aplicação de oficina investigativa, envolvendo geometrias plana, espacial, elíptica e projetiva. As atividades desenvolvidas com os alunos envolveram materiais manipuláveis, recursos tecnológicos, análise de imagem, contexto histórico e fazer artístico. Os resultados mostram a validade do trabalho docente com metodologia interdisciplinar, tornando as aulas de Matemática motivadoras e desafiantes. Como produto final, apresenta-se um manual pedagógico que tem por finalidade fornecer aos professores de Matemática e de Arte, interessados no assunto, informações sobre conexões entre Arte e Matemática que se fazem presentes no ensino de noções de geometrias não-euclidianas.<br>The present dissertation had as objective to introduce basic concepts of non-euclidian geometries in Mathematics classes of the Medium Teaching using Art and Mathematics. Therefore, it was used the triangular approach, supported by Barbosa and of registrations of semiotic representations, based in the Duval studies. The study involved students of second grades of High School in a public school from Rio Negro (PR). The applied research consisted of two stages. In a first moment, pysanky was analyzed mathematical concepts used in its composition and the use was verified instinctively, by the artisans, of concepts as symmetry, proportion, polygons, ellipses, biláteros, straight line and points. In the second stage the teaching of geometries was approached non-euclidian in the Medium Teaching, using Art and Mathematics. The methodological point of view the approach was qualitative, of interpretative nature, with participant observation. The data were picked up starting from the application of sequences of activities involving anamorphosis, space geometry and projective and, of the application of investigative shop involving plane, space, elliptic and projective geometries. The activities developed with the students involved materials that there manipulated, technological resources, image analysis, historical context and how to produce artistic activities. The results showed the validity of the educational work with interdisciplinary methodology, making the Math lessons motivating and challenging. As the final product, It presents a pedagogical manual that has for purpose to provide teachers of Mathematics and Art, interested in the subject, information connections between Art and Mathematics that are present in the teaching notions of non-euclidian geometries.
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Matos, Joana Isabel Gaudêncio. "Simetria: na interface entre a arte e a matemática: de que forma as aprendizagens sobre novas culturas, poderão contribuir para o desenvolvimento do conceito de simetria?" Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2011. http://hdl.handle.net/10400.26/5893.
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Mestrado em Ensino de Educação Visual e Tecnológica no Ensino Básico<br>Este estudo aborda a problemática da transversalidade do conceito de simetria nas áreas disciplinares da Matemática e da Educação Visual no 3º ciclo do Ensino Básico e visa compreender se a exploração da arte e de novas culturas possibilita o desenvolvimento do conceito de simetria por parte dos alunos, de uma forma mais dinâmica.
Utilizando como metodologia a Investigação-Acção, pretende-se perceber de que forma a exploração de novas culturas e a abordagem da sua arte, poderão contribuir para o desenvolvimento do conceito de simetria dos alunos. Neste sentido procura-se; i) Identificar e perceber se os alunos já tinham adquirido o conceito de simetria; ii) Compreender como os alunos desenvolvem os conhecimentos sobre simetria; iii) Compreender se os alunos aplicam correctamente esses conceitos; iv) Identificar o conceito de simetria no final da intervenção.
A fase de intervenção orientou-se pelos seguintes objectivos: i) Identificar características da arte de diferentes povos e culturas (Arte Islâmica); ii) Contribuir para a compreensão do conceito de simetria; iii) Contribuir para que os alunos sejam capazes de identificar estes conceitos nos objectos artísticos da Arte Islâmica; iv) Contribuir para que os alunos consigam aplicar o conceito de simetria, numa produção plástica própria.
Pretende-se com este estudo, contribuir para o enriquecimento das práticas lectivas das disciplinas de Educação Visual e de Matemática, recorrendo à arte como recurso de transmissão, descoberta e caminho para novas aprendizagens.<br>This study is based on the transversally issue of the symmetry concept in areas of the 3rd cycle like Maths and Visual Education. It aims at understanding whether art’s exploration and new cultures allow the development of symmetry, in a more dynamic way as far as students are concerned.
Using as methodology the investigation-action and it is aimed at realising to what extent the exploration of new cultures and the approach of its art would contribute for the development of students’ symmetry concept. Thus, I try to : i) identify and understand if pupils had already achieved the symmetry concept; ii) realise how pupils develop their knowledge on symmetry; iii) realise how correctly pupils direct this knowledge; iiii) identify the symmetry concept in the end of the application.
The application phase was based on the following goals: i) identifying characteristics from different peoples and cultures forms of art; ii) Contributing for the knowledge on the symmetry concept; iii) contributing in such a way that the pupils would be able to identify these concepts in Islamic Art objects; iv) contributing in such a way that pupils would apply the symmetry concept in a plastic work by themselves.
Through this study, I intend to contribute for the enrichment of teaching methods and approaches in areas such as Visual Education and Maths in order to help teachers, improve their skills having art as the basis of the transmission of new knowledge.
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Tanyeri, Gozde. "A visual arts center." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53428.
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The thesis idea of "A Visual Arts Center" for the Nation's Capital came to life based on my desire to visual arts and artists, exhibition and working, under the same roof, and mainly to solve the problem of appreciation and ignorance towards arts. What I have observed was that Washington, D.C. is the Capital of the superpower Nation, the Capital of the U.S. government, the Capital of politics.
"...In science, I found everything was very clear. Art? Art was always art appreciation, or reading poetry or looking at paintings to appreciate them and so on, but not making paintings, making poetry, making architecture. Art is still on the margin. It is not really absorbed or integrated into the whole. This goes away only by a deep educational system starting from the nursery on through the whole system."
Walter Gropius, On Science and Art.
The Visual Arts Center, in my vision, is a center where making, seeing, learning and touching become as one cultural activity. Appreciation of the arts literally lies at the back of learning more about the materials, ideas, styles and making things. One can only understand himself and his abilities through making things.<br>Master of Architecture
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Ingram, Robin. "The visual arts plant." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/52053.
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The Art Department at Virginia Polytechnic Institute and State University is based in the leased space of the Armory and in the basement of Owens Hall. The Art Department also holds classes in as many as four other buildings on campus. My proposal is to consolidate the Art Department’s activities into one formal building. I call this building The Visual Arts Plant. The Visual Arts Plant contains the rooms, equipment, machinery, tools, instruments, and fixtures necessary to facilitate and promote a visual arts education. This thesis is a documentation of my ideas for The Visual Arts Plants.<br>Master of Architecture
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Yu, Ka-wah Janet, and 余嘉華. "Visual arts warehouses, Yau Tong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986237.
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Yu, Ka-wah Janet. "Visual arts warehouses, Yau Tong." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947825.
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Randall, Randy C. "The reformation and the visual arts." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2007. http://www.tren.com.
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McEwin, Emma. "Virginia Woolf and the visual arts /." Title page and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arm1423.pdf.
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Herrera, Allison Kay. "Information Science & Visual Arts Integration." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/578933.
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While at the University of Arizona, I have learned a great deal about art education practices, such as: how to engage students and implement lesson plans. I have also had the opportunity to learn about information science topics and I have found that many of these relate directly to the typical student's life, yet there is no guarantee that students will ever study the theory behind these areas. The purpose of this thesis is to create and establish multidisciplinary and interdisciplinary lesson plans, which demonstrate how visual arts can be integrated with information science topics. Interdisciplinary approaches in art education can advance critical thinking, communication, resourcefulness, and other fundamental academic skills. I created a series of lesson plans that should be viewed as a comprehensive unit that combines art and information science topics. This paper elucidates on how visual arts have been constructively integrated into core curriculum in other subject areas and gives educators examples of how to explore the idea of integrating general education topics into art lessons. Educators will have concrete examples of lesson plans and may use these plans as finished works or as prototypes for developing their own plans that combine visual arts and information sciences.
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Mattis, Olivia. "Edgard Varèse and the visual arts /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659569x.
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Camara, Del. "Visual arts: Teaching creativity from within." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.
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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.
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Kirby, Lynne M. "Puppetry in the Visual Arts Classroom." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268103635.
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Cerutti, Lisa. "Visual grounded analysis : developing and testing a method for preliminary visual research." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1471/.
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Approaching a new design project by performing preliminary visual research is a common practice in educational and studio settings, particularly in Jewellery and Fashion Design. Collecting images around a given subject or theme - for better understanding its visual traits, or for future reference - could be seen as the counterpart, in visual terms, of a literature search. However, ‘visual research’ is an expression often used rather vaguely for indicating a spectrum of unstructured methodological approaches, whose procedures and underlying assumptions tend to remain unexplained, undisclosed or unquestioned in everyday studio practice. When creative practice becomes an integral part of academic research, though, there is an increased need for rigor and explicitness regarding every aspect about it, including all the work preliminary to it. This research aims to develop and test a systematic method for conducting and documenting visual research in the preliminary stages of the design process, contributing to new knowledge in the form of a new visual method, also applicable as a design tool. A reflection on the vagueness and implicitness of the Intuitive Approach (IA) to visual research adopted in the initial stage of this PhD motivated the search for an alternative method that could make transparent and rigorous the taken-for-granted, subjective assumptions behind the research initially conducted. The iterative and data-driven nature of the IA oriented the methodological quest towards established qualitative approaches in the Social Sciences, focusing on Emergent Methods and Grounded Theory. By translating and adapting some of their procedures to suit a visual context, a new method, Grounded Visual Analysis (GVA), has been developed and tested, revealing its suitability for achieving a higher degree of explicitness and systematicity in the process of data collection and analysis, and increasing the richness of the visual patterns elicited from the data, thus their potential for stimulating reflective practice. The development of GVA is offered as the major contribution to knowledge of this research, together with its application on a practical case as the demonstration of its double functioning, either as a reflective method for conducting visual research in the preparatory phase of the design process, and as a design tool for stimulating the generation of new ideas and design briefs.
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Leaman, Bethany Marie. "Visual purple: A context for cultural understanding through the visual arts." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.
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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, she contends that this understanding manifests as a set of aesthetic principles, the knowledge of core cultural symbols, and shared interpersonal behaviors based on cooperation, watching, and learning. The data suggests that the rich symbolism of Yaqui culture aesthetically socializes the children giving them an eye for detail and the ability to pick up and readily relay visual concepts.
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Leitch, Deborah Starr. "Making visual noise." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4962.
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Focusing on the combination of multi-cultural and historical influences from my personal life experiences, my creations of odd juxtapositions of space, complex pattern and new iconography in my paintings, reveal more than merely a representational image to a viewer. Although my subjects may vary from the anonymous to media celebrity, it is their relationship to me that influences the creation of my static animation and visual noise.<br>ID: 029808799; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 7 repeats.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 20).<br>M.F.A.<br>Masters<br>Art<br>Arts and Humanities
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Bryce, Leila Heather. "W. B. Yeats and the visual arts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq31280.pdf.
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Wages, Mark A. "Pattern in composition of the visual arts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.
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This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.<br>Department of Art
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Lotz, Pedri Stefanus. "Sensory circulation : a centre for visual arts." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11242008-121355.
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Powik, Andreas Christian. "Goethe's poetic epistemology and the visual arts /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6642.
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Ozturk, Turker Anthony. "Ezra Pound and visual art." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.
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Cubells, Pastor Andrea. "The visual rhetoric of right-wing populism: An analysis of Vox’s visual communication on Instagram." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22284.
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Aloumi, Ahmad Eissa. "Timing considerations in visual communication /." Online version of thesis, 2008. http://hdl.handle.net/1850/6427.
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Johnson, Michael Patrick 1971. "Evolving visual routines." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/61533.
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Hirsch, Matthew Waggener. "Computational visual reality." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/95588.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 231-245).<br>It is not so far-fetched to envision a future student working through a difficult physics problem by using their hands to manipulate a 3D visualization that floats above the desk. A doctor preparing for heart surgery will rehearse on a photo-real replica of his patient's organ. A visitor to the British Museum in London will sketch a golden Pharaoh's headdress, illuminated by a ray of sunlight pouring in the window, never aware that the physical artifact is still in Egypt. Though such scenarios may seem cut from the pages of science fiction, this thesis illuminates a path to making them possible. To create more realistic and interactive visual information, displays must show high quality 3D images that respond to environmental lighting conditions and user input. The availability of displays capable of addressing the full range of visual experience will improve our ability to interact with computation, the world, and one another. Two of the many problems that have impeded previous efforts to design high-dimensional displays are the need to: 1. process large amounts of information in realtime; and 2. fabricate hardware capable of conveying that information. Light field capture and display is enormously data-intensive, but by applying compressive techniques that take advantage of multiple data redundancies in light transport, it is possible to overcome these challenges and make use of hardware available in the near-term. This thesis proposes display and capture frameworks that use non-negative tensor factorization and dictionary-based sparse reconstruction, respectively, in conjunction with the co-design of algorithms, optics, and electronics to allow compressive, simultaneous, light field display and capture.<br>by Matthew Waggener Hirsch.<br>Ph. D.
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Buscemi, John. "The visual arts and religion the changing relationship /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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McGann, Debra. "NAEP-Related Visual Arts Assessment in Classroom Applications." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5988.
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This action research study investigates classroom visual art assessments and their potential to improve teacher instruction and student learning. In order to examine this topic more thoroughly, a National Assessment of Educational Progress (NAEP)-related classroom assessment was designed and administered to the researcher's Drawing and AP Art History classes. Students were also asked to fill out a questionnaire that asked about their past art experiences and motivation to participate in art activities such as creating art work outside of the school setting or attending an art museum. Students observed, described, and analyzed contemporary artwork, and they created and wrote about their own original works of art. The use of contemporary art exemplars led to some of the most interesting findings; namely, that students felt free to create their artwork in a contemporary style that was less about technical elements and more about the meaning they wished to convey.
In general, the AP Art History students' written contemporary art criticism scores were significantly higher than the scores of both of the studio drawing classes. Artwork scores of AP Art History, Drawing I, and Drawing II students showed no significant difference. Interestingly, all three groups indicated they were highly motivated to look at works of art, create art in school, and make artwork outside of the school setting. Also noteworthy was the relatively high number of students who indicated that the contemporary artwork they analyzed influenced the mother and child artwork they created. It could be surmised by this study that a NAEP-related assessment is a beneficial method for improving teacher instruction and student learning in visual arts education.<br>Ed.D.<br>Doctorate<br>Dean's Office, Education<br>Education and Human Performance<br>Education
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Meschini, Michela. "Image and insight : Tabucchi and the visual arts." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407641.
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Mohd, Radzi Fatin Aliana. "Inquiry-based Visual Arts Approach: A Self Study." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529623380341233.
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Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.
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Weinberg, Zachary A. "Dissecting the Visual and Non-Visual Attributes of Glasswork Submitted to an Annual Publication for Fun and Profit." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430952898.
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Blok, Marius Jacobus Johannes. "The educational validity of visual geometry." Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:3487.
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Agoston, Michael P. "Visual organizational systems for the graphic designer : a video tape /." Online version of thesis, 1987. http://hdl.handle.net/1850/10435.
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Janicke, Susan Beth. "Visual Arts and Chronic Pain: Thematic Analysis to the Artistic Statements of Visual Artists." ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1689.
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The relief of pain is an essential element of nursing practice. Nursing has begun to successfully use art to assess and reduce pain among hospitalized children, surgical patients, and oncology patients. Structured art projects have been used to provide distraction from pain and patient drawings have allowed nurses to assess pain. This project employed grounded theory and thematic analysis to uncover significant concepts in the artists' statements. The Roy adaptation model and Saunders' total pain theory provided the project theoretical framework. The artistic statements and the art of chronic pain patients were examined using thematic analysis to identify recurrent themes. This project explored the insights to chronic pain in the adult patient as evidenced in the posted work. The project also considered how the content of the posted artistic statements informed individual nursing practice and facilitated the reduction of pain in the adult patient suffering from chronic pain. Emergent concepts were used to develop artistic nursing interventions. Suggested modification of nursing practice included drawing as a tool in pain assessment, exploring the meaning of color choices, encouraging mask making, providing distraction, and using art to identify spiritual distress. The proposed nursing actions will allow more effective communication of pain, provide meaningful distraction, intervene in spiritual distress, and encourage creation of an artistic product. Expected outcomes include more effective pain control, greater patient autonomy, and reduced healthcare costs. The application of this new knowledge and skill will make a difference in the lives of chronic pain patients and will therefore promote positive social change.
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Whitacre, Brandon M. "Visual Conversations, in Tangible Poems." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338397773.
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Corns, Donna. "Dina's story : a visual intervention in fathoming history." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20717.
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A two-part dissertation including a research essay and script for a historical feature film as a work of creative non-fiction. The first 40 pages comprise the research essay discussing archival research methods and narrative strategies employed in the creative production. The script, Dina the runaway, is based on a reading of official records of a criminal case from the Court of Justice in Cape of Good Hope 1737. The intention of the creative reworking is to revivify a historical event hitherto imprisoned in archaic language, providing proximity through visual language to make it speak more directly to the present. Despite efforts of contemporary historians, slavery as part of South African historical consciousness is seldom foregrounded. There is no surviving 'slave voice' - the only way enslaved people 'made it' into history was through transgression, they were essentially criminalised by history. Dina's story and her telling of it serves as an imaginative empathetic intervention in historical transmission. Research methods of reading along and across the archival grain expose power dynamics in linguistic transactions and discrepancies in the records. The script is a creative treatment of 'historical reality,' thereby subverting the generic dichotomy of the historical fiction film and documentary. The essay and script occupy the uncomfortable space of a double consciousness in which the creative and analytic do not so much compete as attempt to coexist.
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Adamovich, Andrey. "Adaptive Envelope : Contemporary center of visual arts in Frihamnen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34711.
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The main idea of my thesis work is to deal with the problem of an adaptive reuse of an existing building, which has been designed many years ago and now lost its function. And the way I am approaching this - is through the idea of infection. What if an existing building becomes infected by new purposes and qualities, and if so then how this move could be performed and realized? Unlike the majority of the adaptive reuse projects, mine has at its core the idea of introducing new feathers and elements in the way that it’s natural and a bit illusive, without contrasting the newly added to already existed. My goal is not to reveal this materiality difference. What I’m presenting today is a completely new envelope but from the inside you still can see this repetition of circular forms and understand that these are the same silos, which at some point were deformed in order to perform a different functions.
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Kuzminsky, Tracy V. "Interactive Whiteboard Technology within the Kindergarten Visual Arts Classroom." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/21.
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The purpose of this document is to design and record a Kindergarten visual arts unit using the Activboard to determine how student achievement, motivation, and interest are impacted. Methods of data collection include both observational recording and student interviews. The Activboard facilitates a highly interactive study of the art curriculum and data collected throughout the unit indicates a positive impact on student achievement, motivation, and interest.
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Soto-Medina, Eduardo. "The University of Maryland Center for the Visual Arts." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3631.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Maras, Karen Elizabeth Art History & Art Education College of Fine Arts UNSW. "Mapping children's theory of critical meaning in visual arts." Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/41294.
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Through the lens of a realist conception of artworks as artefacts, this research investigates the underlying ontological constraints governing childrens aesthetic understanding in art. Challenging structural conventions of research into aesthetic development in art, a realist philosophical framework provides a neutral space within which the ontological basis for children's aesthetic concepts of pictorial meaning and value can be analysed, and developmental differences mapped. The study employs an analytical schema which brings together analytical tools borrowed from Feldman's ontic dumping and Wollheim's twofolded seeing-in. This schema is used to classify qualitative changes in concepts of pictorial value and meaning in three groups of children aged 6, 9, and 12, and two teachers, as employed in the experimental curation of an exhibition of portrait paintings. The curatorial policy developed by children from each group, in justification of their choice of eight pictures and accompanying exhibitions, are interpreted using quantitative and qualitative methods. Characteristic-to-defining shifts from na??ve accounts to more autonomous aesthetic judgements of value are identified relative to the ontological stance children adopted in their critical reasoning about the portraits they chose. Findings include differences in the level of conceptual integration in justification of portraits chosen, differences in the breadth and autonomy of identity brought to bear in choices of portraits, but few differences in the representational abstraction of the images chosen by different age groups. The authenticity of the experimental tasks, as well as the rich characterisation of the developmental differences described in the study have significance for pedagogical explanations of critical practice in art education.
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Gianakos, Anna. "Bringing the visual arts classroom into the 21st century." [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/AGianakosPartI2007.pdf.
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Olsen, Redell. "Scripto-visualities : contemporary women's writing and the visual arts." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534331.
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Koobak, Redi. "Whirling Stories : Postsocialist Feminist Imaginaries and the Visual Arts." Doctoral thesis, Linköpings universitet, Tema Genus, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-90902.
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This thesis is about the geopolitics of feminist knowledge and the role of the visual arts in conceiving and reconfiguring postsocialist feminist imaginaries. Its central concern is to contest the fantasy, prevalent within Western feminist theorizing, of a “lag” between Western and former Eastern Europe. The thesis explores these imaginaries on a micro scale, zooming in on the deeply personal and political artwork of a contemporary feminist and lesbian-identified Estonian artist, Anna-Stina Treumund. This partial and limited focus on Treumund’s photographic self-portraiture enables us to look into the intensities and specificities of individual experience in postsocialist space. Throughout, the thesis evokes a whirling subject as a feminist figuration. This is simultaneously a reference to the embodied and the relational structure of knowledge-systems and world-making. Drawing on postsocialist, postcolonial, queer and feminist visual culture studies, the author argues that Treumund’s art is always already embedded in the local context, as it builds on and problematizes the existing discussions of feminist generations, theorizing, activism and art practices. Combining close readings of Treumund’s artworks with contemporary theoretical debates in feminist studies, encounters with the artist and autobiographical narratives, this thesis asserts: there is no “lag”. More importantly, it is of utmost ethical and political importance to pay closer attention to geopolitical locatedness as an axis of difference that matters in contemporary feminist theorizing.<br>Den här doktorsavhandlingen handlar om geopolitik i feministisk kunskap och bildkonstens roll i förståelse och omskapande av postsocialistiska feministiska föreställningar. Dess huvudsakliga fokus handlar om att bestrida den i västerländsk feministisk teori ofta förekommande fantasin om att före detta Östeuropa på olika sätt ”släpar efter” i relation till väst. Doktorsavhandlingen utforskar dessa föreställningar på mikronivå då den zoomar in på det djupt personliga och politiska bildkonstarbete utfört av den samtida feministiska och självidentifierat lesbiska estniska konstnärinnan Anna-Stina Treumund. Avhandlingens partiella fokus på Treumunds fotografier i form av självporträtt möjliggör för oss att få inblick i de intensiteter och specifika förhållanden som utgör en individuell erfarenhet av att befinna sig i det postsocialistiska rummet. Genomgående i doktorsavhandlingen används det virvlande subjektet som feministisk figuration. Figurationen innebär simultant en referens till den förkroppsligade och den relationella aspekten av kunskapssystem och skapande av världen. Med utgångspunkt i postsocialistiska, postkoloniala, queera och feministiska studier av visuell kultur argumenterar författaren att Treumunds bildkonst alltid redan är inbäddad i en lokal kontext, detta sedan den växer fram ur och problematiserar de diskussioner som pågår mellan feministiska generationer, i teori, aktivism och bland konstutövare. Genom att kombinera närläsning av Treumunds konstnärliga arbete med samtida teoretisk debatt inom feministiska studier, med möten med konstnärinnan, och med självbiografiska berättelser, försäkrar denna avhandling: det finns ingen “eftersläpning”. Än mer väsentligt är att betona att det är av yttersta etisk och politisk vikt att ägna mer uppmärksamhet åt geopolitiska lokaliseringar som skillnadsskapande faktor i samtida feministisk teoribildning.
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Lam, Lai-chu April, and 林麗珠. "Enhancing learning by using technology in visual arts projects." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29954149.
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Rawson, P. B. "The myth of Marsyas in the Roman visual arts." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377677.
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JUNIOR, WILSON CARDOSO. "INTERCULTURALITY IN VISUAL ARTS TEACHING AT COLÉGIO PEDRO II." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=31563@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>O presente trabalho teve por objetivo conhecer concepções e práticas voltadas para a promoção do ensino intercultural de Artes Visuais na educação escolar. Ele partiu do entendimento da ancoragem histórico-social da ideia de arte hegemônica que tem produzido a inexistência das artes dos povos subalternizados historicamente por processos de outrificação e periferização que as confina ao passado da história da arte. O referencial teórico articula os conceitos de interculturalidade crítica (WALSH, 2009, 2011), a concepção de educação intercultural crítica (CANDAU, 2006, 2009a, 2009b, 2014, 2016) e a ecologia de saberes (SANTOS, 2006, 2008, 2010) em interlocução com as concepções de ensino de Artes Visuais pós-modernista (BARBOSA, 1981, 1998, 2002, 2005), ensino intercultural de artes (RICHTER, 2002, 2003, 2008; MASON, 2000), currículo integrado e disciplina mal estruturada (PARSONS, 2005) e arte pós-autônoma (CANCLINI, 2012). Foi realizado um estudo de caso sobre a interculturalidade e o ensino de Artes Visuais no Colégio Pedro II utilizando principalmente entrevistas semi-estruturadas. Os resultados apontam para a existência de um ensino de artes out of the box, baseado nos conceitos de arte como experiência e arte em campo expandido, que vem investindo na interculturalidade como princípio epistemológico a partir da conjugação das práticas de atelier com histórias de vida dos/as alunos/as; do currículo por eixos temáticos contaminado pela arte contemporânea e a arte popular, com ênfase nas artes indígenas, africanas e afro-brasileira; da formação docente continuada em serviço com foco nas noções de professor/a-pesquisador/a e professor/a-curador/a; do ensino de Artes Visuais antirracista articulado com a identidade cultural de seus/suas praticantes. Essa perspectiva articula-se com as demandas por justiça cognitiva para uma educação digna e tem colocado em questão o conceito de qualidade do ensino de Artes Visuais presidido pela história da arte de raiz única - linear e eurocêntrica.<br>The present paper had as main objective to gather practices and conceptions aimed at the promotion of intercultural teaching of Visual Arts in school education. Based on the understanding that the social-historical idea of hegemonic art has produced the non-existence of the arts among the subordinated people by processes of outrification and peripherization (exclusion to periphery) restricting them in the past of the history of the art. The theoretical reference articulates the concepts of critical interculturality (WALSH, 2009, 2011), the conception of intercultural critical education (CANDAU, 2006, 2009a, 2009b, 2014, 2016) and the ecology of knowledge (SANTOS, 2006, 2008, 2010) in connection with the conceptions of post-modernism visual arts teaching (BARBOSA, 1981, 1998, 2002, 2005), intercultural teaching of arts (RICHTER, 2002, 2003, 2008; MASON, 2000) integrated curriculum and poorly structured disciplines (PARSONS, 2005) and post-autonomous art (CANCLINI, 2012). A case study of the interculturality and Visual Arts at Colégio Pedro II was undertaken, mainly using semi-structured interviews. The results point out the existence of an out-of-the-box arts teaching based upon the concepts of arts as experience and art in large field which has invested in interculturality as the epistemological source of workshops where students tell their life stories; of the curriculum by thematic main points touched by contemporaneous art and pop art, with emphasis on native, African and Afro-Brazilian art; of ongoing teacher training with focus on the meaning of the relationship between teacher/researcher and teacher/curator; of antiracist visual arts teaching connected to the cultural identities of the practitioners. This perspective is in articulation with the demands for cognitive justice and a dignified education and has put forward as a critical issue the concept of quality of visual arts teaching controlled by the single root history of art - linear and Eurocentric.
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Li, Shuang. "Young Proust and the visual arts : vision, perception, aesthetics." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33050.
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This thesis explores the relationship between the early writings of Marcel Proust and the visual arts through a phenomenological approach drawing on Merleau-Ponty's theory of perception. Proust's juvenilia are studied in four chapters with regard to respectively four genres of painting: genre scenes and still lives, in particular by Rembrandt, Vermeer, and Chardin; garden scenes and landscapes of the botanical world as depicted in Ruskin, Monet, and the Pre-Raphaelites; seascapes and atmosphere depiction in Turner, Monet, and Whistler; portrait paintings by Rembrandt, Van Dyck, and Blanche. The thesis does not aim to trace any direct influences of these painters on Proust, but, rather seeks to identify aesthetic commonalities between Proust and these artists, with an emphasis on their similar visions and ways of perception. It will pay particular attention to the aspects of colour and light, as well as space and time, making use of the Merleau-Pontian theory that underlines a participatory mode of perception where the body integrated with the world occupies a pivotal position. The thesis addresses the uniqueness of the young Proust's vision as an apprentice stage, which allows us to identify early aesthetic tendencies that will be developed in À la recherche du temps perdu.
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Almahameed, Nuseibah Adel. "Ongoing conversation : Virginia Woolf, the visual arts and readers." Thesis, University of Salford, 2010. http://usir.salford.ac.uk/26533/.
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My thesis offers a new way of considering Virginia Woolf s writing, and the different ways in which she introduced the idea of conversation in her writings. The thesis examines this relatively unexplored area of her work, focusing on six different kinds of "conversation" in some of her fiction and non-fiction. These conversations comprise: sending and receiving letters; social and personal conversation; verbal-visual cross-fertilisation; lectures, discourses, or talks that she gives to audiences large and small; hidden conversations or implicit exchanges that Woolf holds with her reader; and the printed discussions and dialogues that Woolf creates between her characters. After providing a general introduction, and a review of critiques of Woolf s idea of "conversation", Chapter One explores the idea that Woolf s conversations with artists originate with her sister, Vanessa Bell. The second chapter describes the interaction between Woolf s writing and Impressionism and suggests that Woolf writes in a bold and colourful style that resembles the techniques of Impressionist painters. Chapter Three discusses Woolf s conversations with her friend, Roger Fry, which comprise both an exchange of letters, and direct conversations. Chapter Four explores how, in To the Lighthouse (1927), Woolf s words interact with Post- Impressionist ideas, thus creating a figurative dialogue between verbal and visual arts. In Chapter Five, the conversation that Woolf establishes between the writer and the reader is considered. Here the origins and shifting meanings ascribed to conversation in Woolf s fiction and non-fiction are discussed. The conclusion drawn is that Woolf did indeed adopt a conversational style in a deliberate move to create a mass audience for her work.