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Dissertations / Theses on the topic 'Memmingen (Germany) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

BRUHN, KATHERINE LENEE. "DEGENERATE ART AND NAZI GERMANY." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190433.

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2

Stonard, John-Paul. "Art and national reconstruction in Germany." Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412753.

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3

Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.

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4

Sterthaus, Kerstin. "Motion in architecture and the convergence of art and technology : Art center in Berlin, Germany." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1136709.

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"The essence of architecture is the power of adaptation to fresh facts.” Berthold LubetkinThis creative project was my way of exploring if a convergence of art and technology in architecture can exist today.This exploration involved two focus points: one was movement and the other was glass technology.Movement was used for the exploration of the spatial relationships within an interpretation of our society today: the movement on the site as well as the inner motion of the single building elements.Glass was my modern technology tool for translating artistic ideas within architecture. It acts a

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5

Rogan, Clare I. "Desiring women : constructing the lesbian and female homoeroticism in German art and visual culture, 1900-1933 /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174666.

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6

BARROS, ANA REBEL. "FROM FRIEDRICH TO NOSFERATU: ROMANTICS ASPECTS IN THE GERMANY MODERN ART." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15486@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Este trabalho se propõe a estudar o diálogo entre elementos da cultura romântica expressos no filme Nosferatu, de Friedrich Wilhelm Murnau - sem deixar de lado as influências do movimento Expressionista e do contexto sóciocultural da Alemanha pós-guerra, partindo da observação do historiador Robert Gerwarth (2006) acerca da predominância dos estudos culturais e históricos que ligam os acontecimentos da República de Weimar (1918-1933) ao passado imediato da Grande Guerra, obliterando influências anteriores a ela, e também levando

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7

Remond, Jaya Marie-Paule. "The Kunstbüchlein: Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.

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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham,

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8

Meyer, Anna R. "That wasn't funny! the critical humor of Otto Dix in Weimar Germany /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6111.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 13, 2009) Includes bibliographical references.

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9

Lennox, Jordana Kay. "Envisioning the new woman : women and art in Weimar Germany 1918-1933 /." Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arl568.pdf.

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10

Lim, Shan. "Intermedial art and cybernetic vision : Nam June Paik in Germany, 1956 - 63." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557302.

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This study traces Nam June Paik's intermedial art and cybernetic vision in his German period (1956-63) from the diverse activities as an Action Musician to the making of electronic media artwork. Most of the information was gathered from Paik's writings, correspondences and interviews. Much literature ofPaik extols the new possibilities offered by Video Art, but Paik's early days in Germany, and his intermedial practice and cybernetic strategy of the period have been little explored. This study attempts to examine Paik's German period based on the concepts of intermedia and Cybernetics. Part I

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11

Andrews, Noam. "Irregular Bodies: Polyhedral Geometry and Material Culture in Early Modern Germany." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493270.

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The dissertation explores the centrality of the Platonic Solids, and polyhedral geometry generally, to the artistic and mixed-mathematical cultures of Renaissance Germany. Beginning with Albrecht Dürer’s groundbreaking treatise on geometry, the Underweyung der Messung (1525), the dissertation redefines sites of early modern experimentation to include the graphical spaces in which new geometrical knowledge was practiced, invented, contested, manipulated, discarded, and presented. The research describes the historical contexts and development of the practice of polyhedral geometry over the cours

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12

Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.

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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impres

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13

Doukas, Emmanuel. "Modern art, criticism and the politics of national identity in Germany, 1890-1914." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361036.

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14

Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world init

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15

Gibson, Jeffrey Lanham. "The early high-rise in Germany a study in modernism and the creation of a modern metropolis /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313347215.

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16

Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressioni

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17

Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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18

Schmidt, Alexander. "Kultur in Nürnberg 1918-1933 : die Weimarer Moderne in der Provinz /." Nürnberg : Sandberg, 2005. http://www.loc.gov/catdir/toc/fy0611/2006402832.html.

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19

Couronne, Céline. "What can Art Teach us about Integration? : The role of art in postmigrant integration: cases from Germany, Sweden and Luxembourg." Thesis, Linköpings universitet, Avdelningen för migration, etnicitet och samhälle (REMESO), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-170776.

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The term integration became a buzzword and is omnipresent in the current European discourses. Despite its broad definitions, there is a tendency in migration studies and the political narrative to focus exclusively on migrants and their descendants while upholding the vision of a fixed “host society”, with an established national culture, in which migrants should integrate. The present study aims to reframe the concept of integration by adopting a postmigrant approach and by analyzing the contribution of art projects in this regard. To do so, the study draws on two current theoretical approac

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20

Penzel, Joachim. "Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914." Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.

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21

Zabecki, D. T. "Operational Art and the German 1918 Offensives." Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.

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At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operat

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22

Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.

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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those

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23

Khut, Chiew-Lee. "Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /." Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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24

Dortch, Jamie. "Kaethe Kollwitz women's art, working-class agitation, and maternal feminism in the Weimar Republic /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-103433/.

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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Joseph Perry, committee chair. Electronic text (90 p. : ill.) : digital PDF file. Description based on contents viewed May 1, 2007. Includes bibliographical references. Includes bibliographical references (p. 72-75).

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25

Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin

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26

Boetzkes, Amanda. "Berlin in disorder : the representation of nature in the works of George Grosz." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79288.

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George Grosz's paintings and drawings of Berlin during the Weimar period demonstrate a complex matrix of tensions between nature and the urban experience. In his work, mechanization, sexuality, gender and animality are recurring themes that cue the viewer to the profound anxiety that modernity had unleashed a chaotic force into the city. Using an ecofeminist analysis, I show how the disorder of the city was imagined as a primordial human condition in which a previously disavowed connection to nature was suddenly foregrounded. Though Grosz's renditions of Berlin scenes are ironic, they a

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27

Arora, Chaya. "Germany's civilian power diplomacy : NATO expansion and the art of communicative action /." New York : Palgrave Macmillan, 2006. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781403974198.

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28

Brooke, Magdalene A. "Mauerkunst, lebenskunst: an anlysis of the art on the Berlin Wall." Scripps College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,8.

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The art on the Berlin Wall has been looked at often for its social and political meaning. Instead, I intend to look at the artwork and text which appeared on the Berlin Wall as art. In this paper I will discuss the formal aspects of the art on the Berlin Wall as well as its import as an example of public art and as a forum created through visual representation.

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29

Link, Anne-Marie Luise. "Papierkulture : the new public, the print market and the art press in late eighteenth century Germany." Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260932.

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The thesis investigates some elements of the eighteenth century German public sphere concerned with the visual arts. It considers the periodical press (with the art journal Miscellaneen artistischen Inhalts [1779-1808] providing a particular focus), the new bourgeois public for this press (the subject of Part I), and what is argued was the most crucial mediator of the visual to the new public, the engraved print, particularly the English print. The thesis locates these issues into the larger project of eighteenth century German bourgeois society, that is, the creation of a cultured class, with

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30

Enderlein, Angelika Graetz Robert. "Der Berliner Kunsthandel in der Weimarer Republik und im NS-Staat : zum Schicksal der Sammlung Graetz /." Berlin : Akad.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838732&prov=M&dok_var=1&dok_ext=htm.

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31

Roth, Isabel L. "From the Attic to the Cosmos: Myth in the Art of Anselm Kiefer 1973-2007." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/122.

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Anselm Kiefer was born in Germany, 1945—the year of Adolf Hitler’s suicide, and subsequently, the end of World War II. His own beginnings were shrouded by a national “repression” of history. This repression was at odds with Kiefer’s needs to establish his own origin. For this reason, the spirituality in his earlier work is often overshadowed by its subject—Nazi Germany. This thesis will look back on Kiefer’s work through the lens of mythology in an effort to re-evaluate his earlier art within the context of his works since 1990. From the 1970s to the present, Kiefer has drawn from mythology to

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32

Bryan, Sarah M. "African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.

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33

Mock, Markus Leo. "Kunst unter Erzbischof Ernst von Magdeburg." Berlin : Lukas, 2007. http://catalog.hathitrust.org/api/volumes/oclc/85842098.html.

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34

Maxon, Wendy S. "The body disassembled : world war I and the depiction of the body in German art, 1914-1933 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044795.

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35

Elliott, Benjamin Wing. "An object under light : the metaphysical strength of light as revealed in Saint Augustine's Confessions." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23928.

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36

GRATSON, SCOTT D. "A STRATIFICATION OF DEATH IN THE NORTHERN RENAISSANCE: A RECONSIDERATION OF THE CADAVER TOMBS OF ENGLAND AND GERMANY." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587512.

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Art History<br>Ph.D.<br>This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionall

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37

Chadwick, Catherine Mary. "Wassily Kandinsky and the Gesamtkunstwerk tradition : the role of south German baroque architecture in Kandinsky's move to abstraction." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65454.

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38

Van, Loo Anne. "Un architecte belge au coeur de l'Allemagne wilhelminienne: Henry van de Velde 1900-1917." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212625.

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39

POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.

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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni. La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata

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POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.

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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni. La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata

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41

Kunau, Katherine Anne. "Borrowing the wings of Daedalus: competing ideas of divine wisdom and secular scholarship in the decoration of the library hall of Bad Schussenried." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1007.

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An examination of the iconography (primarily ceiling fresco) in the library hall in the German monastery of Schussenried. Thesis deals with the historical context surrounding the creation of this space and how the depicted scenes reflect both the influences of the Counter Reformation and Enlightenment.

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42

Salty, Iman. "Ha Ha Hannah Höch: Beautiful, Dancing, Androgynous Girls, 1919-22." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1021.

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This thesis examines three photomontages by Berlin Dada artist Hannah Höch, The Beautiful Girl (1919-20), an untitled work from 1920, and Dada-Tanz (1922). It discusses how Höch used photomontage to fulfill the Dada mission of incorporating chaos into art as an expressive means of commenting on the sociopolitical climate of Germany post-World War I. These three photomontages specifically reveal Höch's concerns for female individuality in an environment of gender inequality during this early modern era.

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43

Stoll, Ulrike. "Kulturpolitik als Beruf : Dieter Sattler (1906 - 1968) in München, Bonn und Rom /." Paderborn [u.a.] : Schöningh, 2005. http://www.h-net.org/review/hrev-a0e7g8-aa.

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44

Huyer, Michael. "Die Stralsunder Nikolaikirche : die mittelalterliche Baugeschichte und kunstgeschichtliche Stellung : mit formalanalytischen Betrachtungen zu den Architekturgliedern der Domchöre in Lübeck und Schwerin, der Klosterkirche Doberan und den Pfarrkirchen St. Marien in Lübeck und Rostock." Schwerin Helms, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2677420&prov=M&dokv̲ar=1&doke̲xt=htm.

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Ziegler, Ulrike. "Kulturpolitik im geteilten Deutschland : Kunstausstellungen und Kunstvermittlung von 1945 bis zum Anfang der 60er Jahre /." Frankfurt am Main [u.a.] : Lang, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014659178&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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46

Hahn, Stephanie. "Fulda "Zur Zierde der Stadt" : Bauten und Bauaufgaben der Residenzstadt im 18. Jahrhundert /." Petersberg : Imhof, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2642827&prov=M&dok_var=1&dok_ext=htm.

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47

Sokolova, Lilia [Verfasser], and Norbert [Gutachter] Nußbaum. "Post-Secular Space: On the Strange Place of Contemporary Art in Old Active Churches in Germany, 1987–2017 / Lilia Sokolova ; Gutachter: Norbert Nußbaum." Köln : Universitäts- und Stadtbibliothek Köln, 2018. http://d-nb.info/1183255438/34.

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48

Davies, Veronica. "A comparative study of state art policies : institutional practices and exhibition organisation in Britain and Germany c.1945-51 with particular attention to the cultural policies of the British-occupied zone of North West Germany during these years." Thesis, University of East London, 2005. http://roar.uel.ac.uk/1300/.

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This thesis is a comparative study of state policies and institutional practices relating to art in Britain and Germany in the period from 1945-5 1. This study examines the context for the production of visual art and considers its dissemination through art exhibitions and criticism in this important transitional period. It also assesses the contribution of the visual arts towards the process of cultural reconstruction and to the re-negotiation of national identities in both countries. Significantly, the cultural history of this period has been relatively under-examined and has not been the su

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49

French, Rebecca S. C. "The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.

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Pettersson, Jimmy. "Analys av meningsskapandet i Hannah Höchs fotomontage Schnitt mit dem küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3178.

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Abstract:

This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potent

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