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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.
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Johansson-Evegård, Erik. "Artist Friendly Fracture Modelling." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-74477.
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Destruction is one of the key aspects of visual effects. This report describes the work that was done to create a production ready pre-fracture modelling plug-in for Maya. It provides information on what methods that can be used to create a robust plug-in and various techniques for sampling points to create interesting fracture patterns using the Voronoi diagram. It also discusses how this work can be further built on to create an even better plug-in.
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Rowland, Elden R. "Social Creativity: The Geographic, Virtual, and Artistic Communities of Athens, Ohio." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1308313980.
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Roberts, Joshua. "Artist-Centered Technical Direction and Tool Development." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/463.
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This paper details the design and development process for two technical projects, both of which were developed for use in Autodesk Maya to enhance the workflow processes of 3D character animation. The first project is focused on advanced character rigging using mathematical concepts and Maya nodes, while the second project is focused on plugin development in python 2.7, making full use of the PySide2 library which binds to the Qt5 user-interface framework.
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BARRIGA, Cecília Pereira. "Mala sem fundo: processos de criação lúdico – poética da artista Heliana Barriga." Universidade Federal do Pará, 2013. http://repositorio.ufpa.br/jspui/handle/2011/7898.
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Esta dissertação versa sobre a trajetória de criação lúdico-poética da artista Heliana Barriga. Discute, também, o conceito de ludicidade a partir de sua compreensão como um recurso da pessoa humana para se desenvolver e encontrar caminhos para a sua expressão e interatividade social, neste estudo, por meio da arte. A pesquisa tem como base a identificação, a descrição e a análise de um conjunto de experiências de ação com poesia, da artista-educadora, escritora, compositora e acordeonista, em diálogo constante com outros interlocutores no âmbito da arte, ludicidade, educação e poesia.
The thesis is a study about directions the artist Heliana Barriga took in her playfull and poetic creation. This investigation aproaches as well the concept of playfulness regarding the comprehension as a distinctive feature of the human being in order to develop himself and to find new ways of expression and social interaction, through the art. The research is based on identification, representation and analysis of a set of active experiences with the poetry of the artist-educator, writer, composer and accordionist, in continual dialog with the others in the context of art, playfulness, education and poetry.
Cette thèse examine la trajectoire de la création ludique et poétique de l‟artiste Heliana Barriga. Cette étude aborde en outre la notion de jeu d'après la compréhension comme une caractéristique de la personne humaine pour se développer et pour trouver des moyens d'expression et d'interaction sociale, à travers de l'art. La recherche est basée sur l'identification, la description et l'analyse d'un ensemble d'expériences actives avec la poésie de l'artiste-éducateur, écrivain, compositeur et accordéoniste, en dialogue constant avec les autres parties dans le cadre de l'art, du ludisme, de l'éducation et de la poésie.
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Carroll, Patrick. "Reevaluating the Late Classic Lu-bat Glyphic Phrase: The Artist and the Underworld." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5915.
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The study of hieroglyphic texts is vital to the interpretation of the ancient Maya and how their worldview contributed to their daily lives. Hieroglyphic decipherment has been an arduous undertaking and a wide variety of the Late Classic Maya writing styles has also been documented. When specific hieroglyphic phrases are not fully understood it has been necessary to utilize other sources of information to help increase the understanding of these texts. The “lu-bat” glyphic phrase has been utilized in multiple mediums throughout the Late Classic period and is described as an artist's signature. This artist signature is directly related to specific iconographic elements and themes that represent a cosmological view of the ancient Maya. This thesis demonstrates the connection between the lu-bat glyphic phrase and iconographic themes indicative of liminal powers exercised by the social elites in terms of the underworld. This connection is strengthened through the evaluation of the associated texts and iconographic analysis. While interpretations of the lu-bat glyphic phrase have suggested that it represented an artist's signature, a concise articulation of the hieroglyphic values for the lu-bat glyphic phrase has not yet be achieved. The iconographic imagery involved with this glyph demonstrates an interactive level between the conduit being and liminal actions. This interaction depicts the individual involved as a direct medium for the ritual activities of the elites in terms of the underworld.M.A.
Masters
Anthropology
Sciences
Anthropology
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Plessiet, Cédric. "Artiste, ordinateur et spectateur : pour l'émergence d'une création interactive et autonome en art numérique." Paris 8, 2007. http://www.theses.fr/2007PA083098.
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Dans la présente thèse, après avoir remarqué que les deux caractéristiques majeures de l'image numérique sont les facultés à être programmable et à être interactive, nous émettons l'hypothèse que l'interactivité pouvait dépasser le simple schéma action / réaction "presse-bouton", pour atteindre une forme de dialogue entre le créateur, l'ordinateur, et le spectateur. Ceci crée un "nouveau triangle créatif" fruit de leur collaboration, et ainsi faire émerger une nouvelle œuvre artistique. Cette thèse à la fois théorique et pratique est divisée en trois chapitres, deux chapitres "théoriques" ("1. L'ordinateur, un outil d'expression artistique" et "2. Simuler la vie, simuler une réalité"), et un chapitre "3. Réalisation" qui décrit un certain nombre de nos installations, film en image de synthèses et programmes. Le premier chapitre, intitulé "L'ordinateur dans le processus créatif" procède à un état de l'art de la question de la position de l'ordinateur dans le processus créatif. Le second chapitre, "Simuler la vie, simuler une réalité", s'intéresse aux capacités de simulation et d'immersion de l'ordinateur. Le dernier chapitre "Réalisations", traite de l'ensemble de notre pratique autour des trois axes qui la structurent : l'interaction, l'autonomie et la collaboration entre le créateur, le public et le programmeIn the present thesis, after having noticed that the two major characteristics of the digital image are faculties with being programmable and being interactive, we put forth the assumption that the interactivity could exceed the diagram the simple diagram action/reaction, to reach a form of dialogue between the creator, the computer, and the spectator. This creates a "new creative triangle"fruit of their collaboration, and thus to make emerge a new artistic work. This thesis at the same time theoretical and practical is divided into three chapters, two theorical chapters ("1. The computer, an artistic tool of expression" and "2. To simulate the life, to simulate a reality"), and a chapter "3. Work" which describes a certain number of our installations, film in synthesized image and programs. The first chapter, heading "the computer in the creative process" proceeds in a state of the art of the question of the position of the computer in the creative process. In the second chapter, "To simulate the life, to simulate a reality", we are interested in the simulation and immersion capacities of the computer. The final chapter of this thesis of research, "Work", dealt with the whole of our practice around the three axes which structure it: the interaction, autonomy and collaboration between the creator, the public and the program
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Williamston, Shabria A. "On Being and Becoming: Re-thinking Identity Through Female Indigenous Artisans in Guatemala." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535636928044626.
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Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Electronic Thesis or Diss., Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370.
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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370/document.
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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
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Neto, Sebastiao Oliveira. "Situação Prestes Maia: o processo de colaboração entre artistas, coletivos artísticos e o Movimento Sem-Teto do Centro (MSTC). Ocupação Prestes Maia/São Paulo (2003-2007)." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04042013-112114/.
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O presente trabalho pretende repensar alguns possíveis pontos de contato entre arte e política - tomando a produção do espaço urbano por práticas artísticas e sua aproximação com o ativismo político - no processo de colaboração entre artistas, coletivos artísticos e Movimento Sem-Teto do Centro (MSTC) na Ocupação Prestes Maia, em São Paulo, entre os anos 2003 e 2007.The present work aims to rethink some possible points of contact between art and politics - taking the production of urban space for artistic practices and their approach to political activism - through the process of collaboration between artists, artistic collectives and the Homeless Movement [Movimento Sem-Teto do Centro MSTC], Prestes Maia Occupation in Sao Paulo, between 2003 and 2007.
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Gasparin, Chiara <1995>. ""Esta noche mama prepara el futuro" Arte militante ed artisti impegnati in Argentina dalla crisi economica del 2001 ai giorni nostri." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16985.
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Analisi degli artisti argentini degli ultimi vent'anni cui opere sono diventate portavoce del malessere generale del Paese scaturito dalla crisi economica del 2001, tra i tanti Leon Ferrari, Graciela Sacco, Claudio Roncoli.
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Sharpe, Martha. "Autonomy, self-creation, and the woman artist figure in Woolf, Lessing, and Atwood." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26050.
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This thesis traces the self-creation and autonomy of the woman artist figure in Virginia Woolf's To the Lighthouse, Doris Lessing's The Golden Notebook, and Margaret Atwood's Cat's Eye. The first chapter conveys the progression of autonomy and self-creation in Western-European philosophy through contemporary thinkers such as Charles Taylor, Robert Pippin, Alexander Nehamas, and Richard Rorty. This narrative culminates in a rift between public and private, resulting from the push--especially by Nietzsche--toward a radical, unmediated independence. Taylor and Rorty envision different ways to resolve the public/private rift, yet neither philosopher distinguishes how this rift has affected women by enclosing them in the private, barring them from the public, and delimiting their autonomy. The second chapter focusses on each woman artist's resistance to socially scripted roles, accompanied by theories about resistance: Woolf with Rachel Blau DuPlessis on narrative resistance, Lessing with Julia Kristeva on dissidence, and Atwood with Stephen Hawking and Kristeva on space-time. The third chapter contrasts the narratives of chapters 1 and 2 and reveals how the woman artist avoids the problematic public/private rift by incorporating the ethics developed within the private into her art; she balances her creative goals with responsibility to others. Drawing on the work of women moral theorists, this thesis suggests that women's self-creation and autonomy result in an undervalued but nevertheless workable solution to the public/private rift.
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes māori de Nouvelle-Zélande." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37185.
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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art, études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes māori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.
L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation māori. En effet, suite à la colonisation britannique du XIXe siècle, les Māori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde māori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les Māori.
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Van, Stone Mark. "Aj-Ts’ib, Aj-Uxul, Itz’aat, & Aj-K’uhu’n : classic Maya schools of carvers and calligraphers in Palenque after the reign of Kan-Bahlam." Thesis, 2005. http://hdl.handle.net/2152/29852.
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Ancient Maya inscription carvers at the city of Palenque in what is now Chiapas, Mexico worked in teams to complete large and complex stone tablets. Like artists everywhere, they each had developed idiosyncratic habits which the modern connoisseur can learn to discern, in order to identify which parts of a particular monument were sculpted by one or another artist. The author scrutinized several eighth-century CE inscriptions, panels in stucco and limestone, analyzing how many artists worked on each, to wit: the Temple XVIII Stuccos, the Temple XIX Platform, the Temple XIX Stuccos, the Temple XIX Panel, the Panel of the 96 Glyphs, the Lápida de la Creación and associated fragments, the Palace Tablet and its associated fragmentary panels, and the Tablet of the Slaves. The ensemble whose main components are the Panel of the 96 Glyphs and the Lápida de la Creación are all by one hand, and the Tablet of the Slaves was the work of four carvers, but the Temple XIX Platform surprisingly employed fourteen carvers, and the Palace Tablet over a score. Their territories were not divided textually, and display idiosyncratic spellings of glyph compounds as well as carving habits. The conclusion discusses possible reasons for these findings, relating them to the unusual Maya practice of never correcting mistakes in monumental inscriptions. A likely reason seems to be that the ancient Maya considered these texts not merely as a permanent record, but as ongoing, living repetitions of the ritual in question, and had to be completed in a very short time.text
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Morais, Ana Teresa Marques. "Living Archive : um modelo de arquivo vivo para a produção académica em Design de Comunicação." Master's thesis, 2021. http://hdl.handle.net/10451/50468.
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This dissertation addresses the role of the archive as an active mediator of information, according to its digitization and algorithmic management that enables its distributed exis- tence and online accessibility. The archive is thus temporalized and mobilized, being synchronized with the present and permeable to change as a socially shared construction, which endows the archive the character of a living archive. This research explores the concept of a living archive, as an open, collaborative, and creative archive, applying these characteristics to an archive of academic production in Communication Design. To this end, the study begins by addressing the notion of the archive, how it is constituted and how it operates, discussing its reconceptualization according to a remediation process that gives it a distributed and dynamic existence. It highlights the features that emerge from the digitization, algorithmic management and online accessibility of the archive, such as adaptability to transformation and hospitality as a welcoming space. These char- acteristics of the living archive guide an analysis of projects focused on their concepts, mechanics, and ways of presenting and experiencing its content, aiming to inform the development of Living Archive, an online archive of the academic production of the Mas- ters’ Degree in Communication Design. This experimental project explores ways to present, access and experience the contents of the archive that can enhance its conceptual universe through an index and a network visualization of thematic relationships. In this manner, it takes creative advantage of the computational medium to build the archive as an open, accessible structure, permeable to change. It also underlines the relevance of the archive as a space for the construction of memory, for communicating and sharing knowledge, which can promote learning and creativity.