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Johnes, Jonathan R. "Human movement the transition of people through space and time /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/378.
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.
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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Sell, Andrea J. "The influence of movement on the directionality of space-time representation mappings." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-10302009-134713/.
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Thesis (M.S.)--Florida State University, 2009.Advisor: Michael Kaschak, Florida State University, College of Arts and Sciences, Dept. of Psychology. Title and description from dissertation home page (viewed on May 14, 2010). Document formatted into pages; contains vii, 25 pages. Includes bibliographical references.
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Van, Dokkum Elisabeth Henriëtte. "Unfolding movement in time and space : defining upper-limb recovery post-stroke." Thesis, Montpellier 1, 2013. http://www.theses.fr/2013MON14004/document.
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Plusieurs champs de recherche ont été combinés - mettant en évidence l'utilité de l'analyse cinématique, non seulement afin d'évaluer le comportement moteur, mais aussi afin de contribuer à la compréhension de la récupération motrice post-AVC. Au travers d'analyses cinématiques, les mouvements du membre supérieur hémiplégique ont été décomposés dans le temps et l'espace, afin d'en extraire l'échelle et les composantes structurelles. Cette décomposition systématique, d'abord connue pour son bien-fondé clinique, nous a permis d'identifier les marqueurs les plus pertinents du contrôle du membre supérieur parétique : i.e., la fluidité, la rectitude et la vitesse. Subséquemment, il a été démontré que i) les changements cinématiques se stabilisent au cours de la phase de rééducation, indiquant potentiellement la nécessité de modifier la stratégie thérapeutique; ii) les patient post-AVC sont capables de percevoir la fluidité du mouvement en réalité virtuelle, cette perception étant meilleure lorsque le feedback visuel ne concerne que le point du travail du membre; iii) l'espace de travail post-AVC n'est pas isotrope pour un patient hémiplégique; iv) chez les patients post-AVC, le niveau de ‘bruit neuromoteur' est augmenté; et v) la cinématique reflète la conséquence des stratégies d'adaptation à l'augmentation du bruit, ces stratégies étant basées sur un compromis entre des modes de contrôle d'erreur en feedforward et en feedback des actions motrices. Ainsi, il peut être conclut que la décomposition du mouvement dans le temps et l'espace est un moyen simple et efficace d'appréhender contrôle moteur chez l'Homme en situation normale et âpres AVC. L'enjeu est maintenant d'implémenter ces méthodes d'analyse cinématique dans les protocoles de rééducation post-AVC quotidienne afin de développer de larges bases de données permettant, à l'aide de méthodes de modélisation, de définir des profils de récupération et ainsi personnaliser de façon optimale la rééducation à chaque patient particulierMultiple research fields were combined – highlighting the value of kinematic analysis, not only to evaluate motor behaviour, but also to contribute to the understanding of motor recovery post-stroke. By means of kinematics, hemiplegic upper-limb movements were unfolded in time and space, to extract the scaling and structural components of the movement. This systematic decomposition, first proven to have clinical relevance, allowed us to identify the most pertinent markers of paretic upper-limb control: i.e. smoothness, directness and velocity. Subsequently it was shown that i) change in kinematics levels off over rehabilitation, possibly indicating that treatment may profit from change; ii) people post-stroke are able to perceive movement fluency in virtual realities, whereby simple end-point displays facilitate perception; iii) the workspace post-stroke is heterogeneous; iv) stroke patients have increased levels of neuromotor noise; and v) kinematics reflect the outcome of adaptation strategies to the increased noise in relation to the automaticity of error-corrections on the trade-off between feedforward and feedback based motor control. It may thus be concluded that unfolding the movement in space and time, is a simple and powerful way to define human motor control. The challenge is to implement kinematic analysis in daily post-stroke practice to develop a large database enabling the definition of recovery profiles contributing to provide each individual patient with the right therapy at the right time
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Papadopoulos, Marios. "Motion in music : a study of movement and time through musical interpretation." Thesis, City University London, 1996. http://openaccess.city.ac.uk/7769/.
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'Motion in Music' is a study of movement and time through musical interpretation. It looks at ways in which motion, both physical and conceptual, is featured in the musical performance and it is, therefore, written with the performance of music in mind. As such, it provides us with a fresh approach to music-making. The study is based on a series of definitions and a distillation of personal experiences rather than a summation of experimental observations. In view of the author's musical background, the piano is featured most prominently in this study. In Chapter I, we examine the background on the subject and, so as to determine to what extent such motion is virtual and to what extent real, we look at it in its aesthetical, psychological and philosophical contents. The act of music-making is then analysed in four stages: from the preparatory, to the moment contact is made with the instrument and to the passage through time from one note to the onset of the next. The concept of the 'sphere', as representing the musical tone, is introduced in order to trace the course of this sonorous body through tonal space. In the ensuing chapters, we examine the forces which initiate sound - the mechanisms of the instrument and the mechanics of the body - and see how the tonal body reacts when these are applied. Such an investigation permits us, however loosely, to relate musical phenomena tothe laws of motion and to show how the sonorous body, once set in motion, undergoes changes to its speed, shape and direction - changes we refer to as 'speed of music', 'mass of music' and 'direction of music'. As the perception of movement in music involves directly or indirectly the participation of all our sensory system, both in the creative process of expressing the musical line and in its apprehension in the first place, we examine its effect on our tactile, auditory and visual channels of communication. In order to enhance our understanding of musical growth and musical progression further, we impart to it a visual perspective based, amongst others, on melodic contour and bodily movement as well as on the gestures of the conductor or those commonly used in the world of pedagogy. Thus, in Chapter V, a series of free hand-produced graphic representations emerge which represent such musical activity. By way of conclusion, we seek out various degrees of motion and their relationships. We identify these as being of paramount importance in producing aesthetically pleasing musical textures and propose further study as to the precise nature of such relationships.
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Tarren, Christopher James. "Time, space, memory : a portfolio of acousmatic compositions." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5208/.
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This portfolio comprises of a collection of acousmatic works which investigate the role of source bonding in music – the tendency of listeners to relate sounds to their real-world sources and the signifying implication of such a link – with a particular focus on how spatial design can contribute towards source-bonding in the music’s perception as a holistic spatio-sonic entity. A number of compositional strategies, multichannel formats and spatial audio technologies are investigated, with their merits assessed based on their suitability for shaping the qualities of musical space explored. The discussion in this commentary will show how these holistic spaces can have similar qualities of perceived ‘reality’ and ‘abstraction’ to the individual sounds, and how this is investigated in the musical works. I shall also show how the contrasting environmental qualities of these spaces became a source of of inspiration for structuring the development of my music, and how they might evoke subsequent meaning in their experience based on the listener’s understanding of the spatial source bonds.
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Tonkin, Christopher Tonkin Christopher Tonkin Christopher. "Compositional metaphors of space and perspective /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3266845.
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Thesis (Ph. D.)--University of California, San Diego, 2007.Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.
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Holdar, Magdalena. "Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman." Doctoral thesis, Stockholm : Konstvetenskapliga institutionen, Stockholms universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-427.
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Potts, Ben N. "Sound as, and beyond, sculpture : a creative investigation of physicality, space and movement through otoacoustic emissions." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34772/.
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This research project has explored the relationship between sound and sculpture, looking particularly at how sound can become sculptural. A sound sculpture is defined in this project as a sound-only entity, which explicitly extends sound’s physical and spatial aspects to take on the role of a physical, visual sculpture. In this research, this is achieved by the use of otoacoustic emissions. There is a lack of music and sound art material that actively intends to utilise the creative potential of otoacoustic emissions. This portfolio of works explores the bodily sensation of otoacoustic emissions and importantly, the agency the audience/listener has on changing their own perception and experience of the sound through their movement choices around an installation space. This novel application of otoacoustic emissions is what the author terms ‘otokinetic shaping’. This goes beyond that of the visual sculptural paradigm by introducing an element of audience participation and control. The pieces are created in a manner in which they are a collaboration between the artist and the audience, with the audience having more creative control than the artist on the work’s sound, structure and duration. The works also examine creative themes such as minimalism and indeterminacy controlled by computer algorithms as a method of extending the already limited decisions made in the creative and compositional process by the artist.
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Terzian, Deirdre A. (Deirdre Ann). "How color and light change our perception of space, time and movement in architecture." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/37188.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (p. 45).
This thesis explores the way in which color and light change the way we understand our built environment. The site for this thesis is at the west end of the Esplanade. The Esplanade is a recreational park along the Boston side of the Charles River in Massachusetts. The park has built facilities for sailing, concerts, and eating that detour off to one side or the other of the park's system of paths. The topography of the site is quite flat. Movement through the park is seemingly timeless as one walks parallel to the water, past unremarkable landmarks. The west end of the Esplanade is a long, narrow strip of land between the Charles River and a small lagoon. Through the exploration of color and light, this thesis tries to recover a sense of time at both a large and small scale as one moves through the site. The sense of time is revealed through the constantly changing interaction between light and materials as the sun moves from east to west. It also tries to introduce a new spacial understanding of the site by breaking away from the existing parallel movement both physically and visually. The vehicle for this exploration is a proposal for a recreational building that includes a swimming pool with changing facilities, cafe and community art gallery.
by Deirdre A. Terzian.
M.Arch.
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Cooney, Denise von Glahn. "Reconciliation : time, space and the American place in the music of Charles Ives /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11346.
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Bevanda, Mirjana [Verfasser], and Björn [Akademischer Betreuer] Reineking. "Animals in space and time : spatio-temporal movement pattern analysis / Mirjana Bevanda. Betreuer: Björn Reineking." Bayreuth : Universität Bayreuth, 2015. http://d-nb.info/1088513395/34.
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LaMonde, Anne-Marie R. "The neuroscience of movement, time and space : an arts educational study of the embodied brain." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33961.
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This thesis is an exploration of the contributions of contemporary theories in film and literacy with the purpose of understanding how those theories inform an arts-based researcher in education. Additionally, further insights are drawn from cognitive, social, and neurosciences with the purpose of broadening the scope of understanding that stretches across multiple disciplines wherein film and literacy education is found. By engaging in a wide exploration across multiple fields of knowledge, this thesis shows the extent to which the general belief of the incommensurability between the arts, philosophy, cognitive, social and neurosciences has impacted negatively on education. It is believed, however, that knowledge gained through the study of contemporary theories in film and literacy, which is founded upon the philosophical, psychological, and sociological, may achieve greater clarity and insight when framed within the scope of advanced studies in neurosciences. With the interweaving of autobiographical accounts, explorations in the theoretical and experimental lead to a renewed understanding of film, arts, and literacy pedagogy. Finally, it is believed that understanding the convergence of the brain’s cognitive, emotional, and sensorimotor functions and the primacy of movement, is pivotal to understanding the complex issues of brain-body-mind that range from consciousness to learning.
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Jaegal, Young. "Measuring Similarity of Network-Time Prisms and Field-Time Prisms." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1606838396056339.
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Sponheuer, Silke. "Music made visible in time and space : concepts of simultaneity in tone-eurythmy choreography." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8251.
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Includes bibliographical references (leaves 105-113).Eurythmy is an art of movement that expresses music and speech. This dissertation explores eurythmy's musical field, called tone-eurythmy, in its multifaceted appearances, background and within its philosophical context. Tone-eurythmy, carried out by performers moving in space and time, makes music visible. It transforms music into a new movement-art form, that of audible-visible music, by expressing musical components as well as the artistic intentions within a composition and those held by the performing artists. The dissertation examines how musical concepts are seen by eurythmists to integrate ideas of wholeness and to understand music as both audible and inaudible. It draws on studies and findings from music psychology to show distinct effects of musical elements on the human being, and to indicate the similarities between those and the qualitative expressions of music through tone-eurythmy.
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SAPUNARU, RAQUEL ANNA. "THE NEWTONIAN STYLE, THE SPACE, THE TIME AND THE MOVEMENT ABSOLUTES: CONTROVERSIES BETWEEN CARTESIANS AND NEWTONIANS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8013@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRONesta dissertação iremos analisar de forma pormenorizada os conceitos de espaço, tempo e movimento absolutos de Newton, assim como apresentar uma descrição do método utilizado na elaboração da Física newtoniana, mais precisamente, na confecção dos Princípios Matemáticos de Filosofia Natural. Argumentaremos também que esses conceitos de espaço, tempo e movimento absolutos teriam como origem a controvérsia entre cartesianos e newtonianos sobre os fundamentos da Filosofia Natural e, finalmente, mostraremos que esses conceitos vieram a servir de base para a definição newtoniana de forças e leis do movimento.
In this dissertation we will analyze in detail Newton´s concepts of absolute space, time and movement, as well as present a description of the method used to elaborate Newton´s Physics - more precisely, to create the Mathematical Principles of Natural Philosophy. We will also argue that those concepts of absolute space, time and movement would originate with the controversy between Cartesians and Newtonians about the foundations of Natural Philosophy. We will finally show that those concepts happened to serve as the basis for Newton´s definition of forces and laws of movement.
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Moroney, Kathleen. "Stillness in motion : an interdisciplinary study of movement in time and space through ceramics and dance." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/8476/.
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The research investigates stillness as movement in time and space explored and exploited through an interdisciplinary study of ceramics and dance. Exercises consistent with Butoh, a Japanese dance form, are employed as an exploratory tool to facilitate a broader interpretation of stillness as motion through a corporeal processing of concepts such as time and space. Laban's 'principles of movement' are observed, explored and employed as a method used in choreography to analytically study movement as still components of a flux within space to inform dance composition. This study maps a path to practice that involves the constructing of a material bridge that links two disciplines, ceramics and dance, through similarities and varying approaches to a shared area of concern: movement in time and space. The constructing of this path to practice and its effect on the composing and installing of ceramic composition is the focus of the study. The study begins with the contextualising of 'stillness' as a state of 'movement in time' through Bergson's concepts in philosophy. The experience of real time is located internally by the philosopher Heidegger, who references real time as lived time felt in and through the body. At this point in the research the path transitions to a physical and performative engagement with 'stillness in time and space' in search of its qualities and textures, which shifts studio practice for a period of time from ceramics to dance practice. Two three-part case studies are constructed from participation in a Butoh dance workshop and through the observation of a choreography workshop. Studio experimentation follows which maps a ceramic path to practice through the perspective of dance, exploring the potential to share learning across a disciplinary divide. The final part of the case studies involves the composing and constructing of ceramic installations through the shared perspective of ceramics and dance. This thesis contributes to the discourse on interdisciplinary practice, specifically relating to ceramics and dance. It provides a transferable model of research that merges two fields of practice, broadening and intensifying the experience of learning through a combined kinesthetic, visual and cognitive approach. This model has been tested as an extension of this research within the field of dance and within a therapeutic environment to effect learning.
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SWARTZ, PAULA Hunter. "TIME VERSUS SPACE: A RELATIONSHIP BETWEEN MUSIC AND THE VISUAL ARTS AS REVEALED IN PETR EBEN'S OKNA AND MARC CHAGALL'S JERUSALEM WINDOWS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1113678371.
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Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.
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Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion of the musical work; a new typology of spatial designs embraces music for different acoustic environments, movements of performers and audiences, various positions of musicians in space, etc. The study of spatialization includes a survey of the writings of many composers (e.g. Ives, Boulez, Stockhausen, Cage) and an examination of their compositions. The final part of the dissertation presents three approaches to spatialization: Brant’ s simultaneity of sound layers, Xenakis’s movement of sound, and Schafer’s music of ritual and soundscape.
Cette thèse présente l’histoire de l’espace dans la pensée musicale du vingtième siècle (de Kurth à Clifton, de Varèse à Xenakis) et retrace le développement de la spatialisation dans la théorie et la pratique de la musique contemporaine (après 1950). Le texte souligne les aspects perceptuels et temporels de la spatialisation musicale, reflétant ainsi le lien étroit entre temps et espace t!ans l’expérience humaine. Une nouvelle définition de la spatialisation tire son origine de la notion de l’oeuvre musicale d’Ingarden; une nouvelle typologie des plans spatiaux prend en considération des musiques pour différents environnements acoustiques, diverses positions des musiciens dans l’espace de même que le mouvement de ceux-ci et des auditeurs, etc. L’étude de la spatialisation inclut un survol des écrits de plusieurs compositeurs (Ives, Stockhausen, Boulez et Cage, par exemple) de même qu’un examen de leurs oeuvres. La dernière partie de la thèse présente trois approches compositionnelles de la spatialisation: la simultanéité de strates sonores ,:hez Brant, le mouvement du son chez Xenakis et la musique du rituel et l’écologie sonore chez Schafer.
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Cheong, Yong Jeon. "Worlds of Musics: Cognitive Ethnomusicological Inquiries on Experience of Time and Space in Human Music-making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555598154844572.
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Gokbulut, Alev. "Monorail: An Alternative Transportation Mode For Metu." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1252667/index.pdf.
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The aim of this thesis is to investigate an alternative mode of transportation for METU and the impacts of spatial transformations generated by the proposed system in an
architectural context. This study embraces modern concepts of space-time in the practice of architectural design, and involves a sensitive consideration of the perception of space
relative to position, speed and movement. In an urban context, the thesis unfolds spatial transformations affected by new movement technology. While the notions of movement
and speed fundamentally shape the image of the contemporary city, METU campus will be reanalyzed within this framework.
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St, George Paul Angelo. "An Investigation into the aesthetic codes and strategies used within visual art to represent and construct space, time and movement." Thesis, London Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536737.
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Eric, Dicaire. "Playing for Change: the Crystallization of Time, Space and Ideology in a Music Video from Around the World." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38681.
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Online music videos have become a space for new cultural articulations. These articulations differ from one video to the next, as each instance mobilizes a particular set of production practices aimed at a specific purpose. From a theoretical standpoint, it is therefore challenging to qualify the broad cultural significance of these media objects. This thesis proposes a potential remedy to this issue, using a theoretical framework based on the theories of articulation, encoding/decoding, and crystallization to assess the cultural significance of an ideologically driven music video produced by Playing for Change—a not-for- profit organization with a mandate of uniting the world through music. These theories reveal how a cosmopolitan ideology is crystallized into the production practices of Playing for Change’s music video “One Love”.
Through this theoretical mobilization, I examine the plurality of identities distilled in the music video, since it functions as a political, economic, and ideological object. These identities are crystallized on multiple levels, leading us to question whether complex articulations of this type can ever fully be conceptualized. Ultimately, I argue that the burgeoning field of music video studies must continue exploring theoretical models in order to develop adequate tools for analyzing the various elements, including discursive constructions, which characterize these complex, yet valuable, cultural objects.
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Xie, Jiajing. "An Architectural Rendition of Shadow Puppetry: a Translation from Shadow Puppetry to Architecture Through Movement." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308486236146.
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Debbeler, Judith. "Harmonie und Perspektive : die Entstehung des neuzeitlichen abendländischen Kunstmusiksystems /." München : Epodium-Verlag, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3005348&prov=M&dok_var=1&dok_ext=htm.
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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Yavuz, Mehmet Emre. "Time reversal based signal processing techniques for ultrawideband electromagnetic sensing in random media." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1198770526.
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De-Henau, Joris Andre Odiel. "Towards an aesthetics of the '(in)formel' : time, space and the dialectical image in the music of Varèse, Feldman and Xenakis." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11343/.
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This thesis addresses the issue of the modernist musical artwork, specifically in terms of the spatialization of musical time, in aesthetic and music-analytic terms. Firstly, it focuses on the notion of musique informelle as it was expounded in Adorno’s essay ‘Vers une musique informelle,’ (1961) and its place in Gianmario Borio’s elaboration of this in terms of an aesthetics of the informel. Secondly, it proposes a further expansion of these aesthetics via a double strategy: a comparative reading of Walter Benjamin’s critique of philosophies of time (including the work of Henri Bergson), language and objects, and furthermore a reconceptualization of both Adorno’s and Borio’s aesthetics in terms of a new theory of the object (as sound-object) in light of a new reading strategy. This reading is based on Walter Benjamin’s notion of the dialectical image, which proposes a new form of philosophical interpretation. The theorizations of the sound-object and the dialectical image furnish a basis for a re-conceptalization of the (in)formel, allowing for the interpretative reading of the music of three composers in particular: Edgard Varèse, Morton Feldman and Iannis Xenakis. Particularly, the study of a number of their works, including Intégrales (Varèse), On Time and the Instrumental Factor and Words and Music (Feldman), and Duel (Xenakis), reveals what Adorno terms their (truth) content, in their mediation of rationalization and intuition. Finally, it is argued that these modernist works can in turn bring new insights into Adorno’s aesthetics of the modernist work of art.
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Kaldy, David A. "Reactive Boundaries: Movement Informing Design." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242677314.
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Langille, Nicole. "Of Measure and Material." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.
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Marques, Ana Paula Aquino. "Percursos arquitectónicos. Como forma de viver e habitar a cidade." Master's thesis, Faculdade de Arquitetura de Lisboa, 2013. http://hdl.handle.net/10400.5/5842.
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Swartz, Paula Hunter. "Time versus space a relationship between music and the visual arts as revealed in Petr Eben's Okna and Marc Chagall's Jerusalem Windows /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1113678371.
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Patel, Suaad. "The illusion of time: a study of heterotopic interstitial space and interplay of dynamic movement systems as an architectural strategy to investigate new modes of space making in the age of the network." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/28258.
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Within a thriving modern society, nothing is more important than the constant flux of information, communication, transportation and plethora of other activities all moving and intermingling with one another over time and space. This dissertation is a purely hypothetical project which aims to explore the links and relations between spaces; specifically, the connection between the creations of heterotopic interstitial space within the urban fabric due to the interplay of dynamic movement systems in society. Within this particular project, the role of architecture will focus on a building typology (the heterotopia), which encompasses the merging of movement and stasis to inhabit the void created by the dynamic movement systems within our cities. It will aim to challenge intense, fast paced networks of flows, by temporarily obstructing and exaggerating the fluidity of communication, information, transportation and technology. An architectural system which has the ability to deal with the complexities, multi-layered and multi-dimensional systems of information, communication and transport, that current society has to deal with on a daily basis. A gateway to the city, the potential site location sits on the periphery of the Cape Town CBD- a forgotten area in-between an old industrial region and transport route. The chosen site, now completely derelict, used to once function as a manufacturing and repair warehouse for boats many years ago. This dissertation will focus on an architectural design process which deals with the intertwined existence between people and the datascape/system, within a world of pixelated elements and bits merging together to generate the whole. An architectural revolution brought about by technology, this study of heterotopic interstitial space and the interplay of dynamic movement systems as an architectural strategy, aims to investigate new modes of space making in the age of the network. In so doing, resolve issues of dislocation and disconnection, and ultimately accentuate the importance of 'place' as site.
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Eriksson, Adam, and Hugo Uppling. "Applying Human-scale Understanding to Sensor-based Data : Generating Passive Feedback to Understand Urban Space Use." Thesis, Uppsala universitet, Byggteknik och byggd miljö, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447118.
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The aim of this thesis is to investigate how parametrization of large-scale person movement data can contribute to describing the use of urban space. Given anonymous coordinate and timestamp data from a sensor observing an open-air mall, movement-based parameters are selected according to public life studies, behavioral mapping, and space syntax tools. The thesis aim is operationalized by answering how well the parametrizations perform in capturing urban space use, as well as investigating how the use is described when applying the parameterized data in selected urban space use tools. Also, the parameterized data are evaluated as time series to investigate possible further understanding of urban space use. The parametrization performance is evaluated by accuracy and F1-score and time series forecasts are evaluated by root mean square error (RMSE) and mean absolute error (MAE). The results indicate a parametrization accuracy of 93% or higher, while a high yet fluctuating F1 -score indicates that the parameterizations might be sensitive to imbalanced data, and that accuracy alone might not be sufficient when evaluating urban data. The parameterized data applied in the selected urban space use tools highlights the granularity achieved from sensor-based data. In the time series analysis, a Facebook Prophet forecast model is implemented, with an MAE of 8.6% and RMSE of 11.7%, outperforming a seasonal naïve forecast implementation with an MAE of 14.1% and RMSE of 18.8%. The thesis finds that time series modelling adds to understanding patterns and changes of use over time and that the approach could be developed further in future studies. In answering how the urban space is used, the thesis develops a new methodology. This methodology combines human-scale understanding of urban space use with large-scale data, generating citizen passive feedback.Vikten av att förstå hur en plats, eller ett stadsrum, faktiskt används härstammar ur det faktum att användningen ofta avviker från vad som var planerat. Genom en utökad förståelse för användningen av en plats går det exempelvis att anpassa platsens utformning efter faktisk användning. För att uppnå denna djupare förståelse finns flera olika tillvägagångssätt. Ett sätt är att använda de analoga teorier och verktyg som under lång tid har utvecklats av arkitekter och stadsplanerare, med avsikt att förstå sig på människors beteenden i olika stadsrum. Dessa urbana analysverktyg innefattar exempelvis ramverk för att kartlägga människors aktivitet. Ett annat sätt är att analysera stora datamängder för att utvinna generella rörelsemönster eller detaljerade trender. I denna uppsats presenteras en metod som kombinerar dessa två tillvägagångssätt i syfte att väva in de analoga teoriernas mänskliga utgångspunkt med de möjligheter som uppstår vid analys av stora datamängder. Genom att utveckla algoritmer kan rörelse-baserad information utvinnas, eller parametriseras, ur data från människors rörelse. Metoden innebär i kontexten av denna studie således en parametrisering av rörelse-data från en sensor uppsatt på shoppinggatan Kompassen i Göteborg. Urvalet av parametriseringar har baserats på de urbana analysverktygen. Detta sammanfattas i studiens övergripande syfte: att undersöka hur parametrisering av storskalig rörelsedata kan bidra till att förklara användningen av stadsrum. För att uppnå detta syfte besvaras tre frågeställningar. Först utvärderas hur väl det parametriserade rörelsedatat kan fånga upp användningen av stadsrum. Sedan undersöks hur användningen gestaltas genom att det parametriserade datat appliceras i utvalda urbana analysverktyg. Till sist analyseras datat som tidsserier i syfte att undersöka hur en förståelse över tid kan öka förståelsen för användningen av stadsrum. Genom att utgå från rörelsedata utvanns personers hastighet, startpunkt, och destination. Vidare parametriserades klasserna butiksinteraktion, grupptillhörighet, och stillastående i enlighet med de urbana analysverktygen. Vid utvärdering av dessa tre klasser visar studiens resultat att användningen av stadsrummet fångas upp till hög grad och uppnår åtminstone 93% i precision. Dock visar resultaten även att träffsäkerheten minskar ju mer obalanserat datat är. Detta innebär att ju lägre frekvent en klass är i datat desto svårare är den att fånga upp. När det parametriserade datat används i de urbana analysverktygen, visar resultaten att det utvunna datat bidrar med en högre upplösning som kan bana väg för ny förståelse för hur stadsrum används. Den högre upplösningen möjliggör även för tidsserieanalys av det parametriserade datat. Resultaten pekar på en mer detaljerad förståelse för trender och användningen av stadsrummet över tid. Till exempel implementeras verktyget Facebook Prophet som i detta fall prognostiserar andelen med grupptillhörighet. För en prognos på två veckor uppnås ett genomsnittligt absolutfel på 8.6%, vilket anses vara ett träffsäkert resultat. På så sätt medför möjligheten att prognostisera användning och identifiera avvikelser från trender ett ytterligare bidrag till förståelsen för hur platsen används. Tidsserieanalysen uppvisar stor potential och tolkningar från såväl tidsserierna som prognosmodeller har utrymme att vidareutvecklas. I framtida studier bör även algoritmer för fler aktivitetsbaserade parametrar, till exempel sittande eller samtalande, utvecklas. Uppsatsens fokus kretsar kring att skapa förståelse för hur ett stadsrum används och lämnar således frågan varför åt framtida studier, där resultat från denna studie kan fungera som viktigt underlag. Studiens metod tillför ett mänskligt perspektiv till stora datamängder och bidrar på så sätt till ett bredare underlag för hur stadsrum används. Med utgångspunkt i urbana analysverktyg har insamlad sensordata parametriserats till viktiga rörelse-baserade klasser. Detta underlag motsvarar en passiv återkoppling från användarna av stadsrummet som därigenom förklarar hur en plats faktiskt används.
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Caetano, Alexandre Cesar. "In(ve)stigando o ritmo : a importancia da conscientização ritmica atravez da percussão e sua transposição para a cena." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284691.
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Orientador: Veronica Fabrini Machado de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T02:41:08Z (GMT). No. of bitstreams: 1 Caetano_AlexandreCesar_M.pdf: 3136905 bytes, checksum: 5dea8647523966477b7e1324a44689a7 (MD5) Previous issue date: 2004
Resumo: "In(ve)stigando o Ritmo: a Importância da Conscientização Rítmica Através da Percussão e sua Transposição para a Cena" é um trabalho que procura salientar a importância do estudo do ritmo como 'ferramenta' útil de pesquisa do intérprete em sua relação com a cena, desfrutando da linguagem percussiva como elo de ligação com a linguagem corporal. Fazendo uso dos conceitos rítmicos ligados à percussão e do movimento do corpo regrado pelo ritmo, buscamos estabelecer uma analogia que permita a aproximação destas duas abordagens, na tentativa de contribuir para o apuro - instigado pelo ritmo e investigado pelo corpo - da conscientização temporal da ação cênica, desde a ótica de quem toca o instrumento até a de quem é estimulado(a) por ele. Como demonstração prática de nossas reflexões serão apresentados trechos do espetáculo PRIMUS, material empírico do qual extraímos alguns de nossos pressupostos e no qual aplicamos alguns fundamentos advindos do estudo da percussão em sua relação criativa com a cena. Anexo ao material escrito disponibilizamos um CD com exemplos sonoros de nossa investigação, com o intuito de complementar a compreensão do universo rítmico que apresentamos, oferecendo ao leitor leigo uma referência concreta dos assuntos abordados.
Abstract: "In(ve)stigating Rhythm: The Importance of Rhythmical Awareness Through Percussion and its Transposition to the Scene" is a piece of work that seeks to stress the importance of the study of rhythm as a useful research "tool" for the performer in its relation with the scene, linking the percussive language with the body language. Working from percussion rhythmical concepts and from body movement regulated by rhythm, we try to draw an analogy that allows an approximation of the two approaches, so as to contribute with the improvement - instigated by rhythm and investigated by the body - of the temporal awareness of the action in the scene, both from the point of view of that who plays the instrument and of that who is stimulated by it. Extracts of the performance PRIMUS will be put on as a practical demonstration of our reflection. The performance is the empirical material of which we extracted some of our assertions, and to which we applied some of the principles discovered in the study of percussion and its creative relation with the scene. A CD is available annexed to the written material with sonorous examples of our investigation, so as to provide a better understanding of the rhythmical universe we present, offering the non-specialized reader a concrete reference of the approached topics.
Mestrado
Mestre em Artes
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Ernst, Erinn Kelley Thompson 1980. "A Collaborative, Site-Specific Dance Performance for Alton Baker Park in Eugene, Oregon: Focus on Community Building for Participating Artists Through the Concepts of Space and Time." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11481.
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viii, 77 p. : ill.The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors.
Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member
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Carvalho, Francisco Egydio de. "O cinema como experiência sinfônica = a partitura orquestral do filme "O iluminado", de Stanley Kubrick." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283957.
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Orientador: Francisco Elinaldo TeixeiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T23:12:12Z (GMT). No. of bitstreams: 1 Carvalho_FranciscoEgydiode_M.pdf: 1016284 bytes, checksum: 212eacc09a57d8e76634395d3805721b (MD5) Previous issue date: 2010
Resumo: O presente estudo tem como objetivo estabelecer uma aproximação entre cinema e música no que concerne aos mecanismos de produção de sentido articulados por ambas as artes. A partir dos conceitos de imagem-movimento e imagem-tempo, concebidos por Deleuze através das teorias de representação da matéria de Bergson, o estudo propõe defender a idéia de que a narrativa encampada pela imagem pode ser lida e compreendida também como uma partitura musical sinfônica, aproveitando, para tanto, os estudos de André Parente sobre a narratividade fílmica
Abstract: The goal of present study is to establish a bridge between cinema and music concerning in particular the generating mechanisms of articulated senses in both art forms. From the concepts of image-moviment and image-time, determined by Deleuze through Bergson's representation of matter theories, this work sets to defend the idea that the narration expropriated by image can be read and equally understood as a symphonic music score, taking advantage for such analysis of Andre Parente's studies about the filming narrative
Mestrado
Mestre em Multimeios
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Akelytė, Simona. "Erdvės ir laiko konceptai Deleuze'o kino filosofijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120731_112328-25611.
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Gilles Deleuze'as kuria kinui būdingus konceptus, kurie pagilina kino problematiką, suteikdami jai filosofinį pagrindą. Savo vaizdinio-judėjimo ir vaizdinio-laiko knygose – Kinas 1 ir Kinas 2 – Deleuze'as konceptus taiko klasikiniui ir moderniajam kinui. Kino filmų jis nepasirenka kaip savo konceptų iliustracijų, o juos vertina kaip tuos pačius konceptus, išreikštus vaizdine forma. Pagrindinis šio magistrinio darbo tikslas – aptarti bet-kurios-erdvės, kuri priklauso vaizdinio-judėjimo kinui ir išreiškia netiesioginį laiką, ir vaizdo-kristalo, išreikšiantį sudėtingą tiesioginio laiko sistemą, konceptus ir tirti jų apraiškas kino mene.Gilles Deleuze creates concepts characteristic of cinema which deepen the problematics of cinema providing a philosophical basis to it. In his books of movement-image and time-image – Cinema 1 and Cinema 2 – Deleuze applies concepts to classical and modern cinema. He doesn‘t choose movies as illustrations of his concepts but values them as the same concepts expressed in visual form. The main aim of this master thesis – to discuss the concepts of any-space-whatever, which belongs to the cinema of movement-image and expresses indirect time, as well as of crystal-image, which expresses a complex system of direct time, and to investigate their manifestations in the art of cinema.
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Quinn, Rapin, and rapin quinn@dest gov au. "NGOs, Peasants and the State: Transformation and Intervention in Rural Thailand, 1970-1990." The Australian National University. Research School of Pacific and Asian Studies, 1997. http://thesis.anu.edu.au./public/adt-ANU20060227.084102.
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Abstract
This study examines people-centred Thai NGOs trying to help peasants empower themselves in order to compete better in conflicts over land, water, forest, and capital, during the 1970s to 1990s. The study investigates how the NGOs contested asymmetric power relations among government officials, private entrepreneurs and ordinary people while helping raise the peoples confidence in their own power to negotiate their demands with other actors.¶
The thesis argues that the NGOs are able to play an interventionist role when a number of key factors coexist. First, the NGOs are able to understand local situations, which contain asymmetric power relations between different actors, in relation to current changes in the wider context of the Thai political economy and seize the time to take action. Secondly, the NGOs are able to articulate a social meaning beyond the dominating rhetoric of the state and the capitalists which encourages the peoples participation in collective activities. Thirdly, while dealing with one problem in social relations and negotiation with local environment, the NGOs are able to recognise new problems as they arise and rapidly identify a new political space for the actors to renegotiate their conflicting interests and demands. Fourthly, the NGOs are able to recreate new meanings, new actors and reform their organisations and networks to deal with new situations. Finally, the NGOs are able to effectively use three pillars of their movement, namely individuals, organisations and networks to deal with everyday politics and collective protest.¶
The case studies in three villages in Northern Thailand reveal that the NGOs were able to play an interventionist role in specific situations through their alternative development strategies somewhat influenced by structural Marxism. The thesis recommends that the NGO interventionist role be continued so as to overcome tensions within the NGO community, for instance, between the NGOs working at the grass-roots level and the NGOs working at regional and national levels (including NGO funding agencies); local everyday conflicts; and the bipolar views of a society among the NGOs expressed in dichotomous thinking between rural and urban, community and state, conflict and order, actor and system.¶
The fragmentation of NGO social and environmental movements showed that there is no single formula or easy solution to the problems. If the NGOs want to continue their interventionist role to help empower ordinary people and help them gain access to productive resources, they must move beyond their bipolar views of a society to discover the middle ground to search for new meanings, new actors, new issues and to create again and again counter-hegemony movements. This could be done by having abstract development theories assessed and enriched by concrete development practices and vice versa. Both theorists and practitioners need to use their own imagination to invent and reinvent what and how best to continue.
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Aldrich, Catrina. "Ruimte, identiteit en beweging in Tommy Wieringa se Joe Speedboot (2005)." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5308.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die wyse waarop die ruimtebeelding in Joe Speedboot deur Tommy Wieringa in wisselwerking tree met die identiteitsontwikkeling in die roman. Aan die hand van teoretisering deur onder andere Henri Lefebvre word die uitbeelding van die sosiale ruimte in die roman aan die orde gestel. Die klassifikasie van Joe Speedboot as ‟n ontwikkelingsroman is hierby ‟n noemenswaardige uitgangspunt, omdat Wieringa die sentrale karakters se adolessensie, oftewel vormingsjare, in die roman uitbeeld. Die identiteitskonstruksie wat in die roman voorgestel word, strook met teoretiese beskouings van identiteit as ‟n dinamiese en gekonstrueerde konsep wat deur sosiale en kulturele oorwegings beïnvloed word. ‟n Ondersoek na die gesimuleerde werklikheid waarin Wieringa sy hooffigure situeer, dui aan dat die parogiale ruimte in die roman as stagnerend en voorspelbaar uitgebeeld word. In teenstelling tot die stilstand wat die ruimte kenmerk, word ‟n preokkupasie met beweging en vooruitgang aan die sentrale karakters toegeskryf. Beide die fisiese én eksistensïele dimensies van beweging en beweeglikheid figureer prominent in die roman. Dit word nóú verweef met die liminale posisie wat die karakters as adolessente in die gemeenskap beklee. Daar word geponeer dat die opposisie tussen stilstand en beweging nie net ingespan word by die ruimtebeelding en strukturele samestelling van die roman nie, maar ook ten grondslag lê aan die uitbeelding van die hoofkarakters se ontwikkelende identiteite. Die outeur kies in Joe Speedboot ‟n hoofkarakter met beperkte opsies en demonstreer hoe sy fisieke belemmeringe onafwendbaar op ‟n slot afstuur wat negatief óf positief geïnterpreteer kan word. In die lig van die hoë lof wat hierdie roman toegeswaai is, val dit vreemd op dat so min navorsing tot dusver oor Joe Speedboot onderneem is.
ENGLISH ABSTRACT: This study explores the way in which the construction of space interacts with the development of identity in Joe Speedboot by Tommy Wieringa. On the basis of theoretical perspectives of, inter alia, Henri Lefebvre attention is given to the construction of the social space in the novel. The classification of Joe Speedboot as a Bildungsroman is an important point of departure in this regard, due to the fact that Wieringa depicts the central characters‟ adolescence in the novel. The portrayal of the construction of identity in the text corresponds with theoretical thoughts on identity as a dynamic and constructed concept that is affected by social and cultural considerations. An exploration of the simulated reality in which Wieringa situates his characters, indicates that the parochial space in Joe Speedboot is sketched as being stagnant and predictable. In contrast to the standstill which characterizes the social space, a preoccupation with movement and progress is ascribed to the central characters. Both the physical and existential dimensions of movement and mobility figure prominently in the novel. It is also interwoven with the liminal position the characters occupy in the community due to their adolescence. It is postulated that the opposition between stagnation and movement is not only exerted in the construction of space and the structural composition of the text, but is also presented as playing a determinative role in the development of the characters‟ identities. The author chooses for a main character with limited prospects and demonstrates how his physical handicap necessarily leads to a conclusion that allows for both positive and negative interpretations. Given the critical acclaim that the novel has received, it seems strange indeed that Joe Speedboot has thusfar not been the subject of analytical research.
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Karlsson, Klas Richard. "Det Sublima." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-35183.
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Projektet behandlar det sublima i relation till arkitektur; både som händelse, diskurs och institution. Genom ett event som dynamisk förskjuter arkitekturens parametrar och sätter dessa i kontinuerlig förändring i relation subjekt-tid och objekt-rum. Ett gränsöverskridande erfarande av arkitektur.The project deals with the sublime in relation to architecture; both as event, discourse and institution. Through an event that dynamically shifts architectural parameters and position these in continuous change in relation to subject-time and object-space. A cross-border experience of architecture.
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Bonus, Alexander Evan. "The Metronomic Performance Practice: A History of Rhythm, Metronomes, and the Mechanization of Musicality." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270221548.
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Yaghoubi, Seyedvahid. "L'esthétique de la courbe dans la poésie surréaliste." Thesis, Mulhouse, 2019. http://www.theses.fr/2019MULH7515.
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La connaissance du monde intérieur est réalisée dans la philosophie de Bergson par le moyen de l’intuition, et les Surréalistes réalisent par le voyage de l’imaginaire la découverte des réalités au-delà de ce monde du réel. Dans le cas de Bergson la réalisation principale est la durée, et chez les surréalistes l’effondrement de la raison et le déplacement des limites habituelles du temps et de l’espace sont la conséquence de leur effort de création poétique. Poursuivant son raisonnement philosophique Bergson révèle la forme mouvante de la durée, c’est-à-dire la courbe, mouvement fondé sur la grâce et la dissolution des trois temps. C’est alors que la créativité artistique et poétique du surréalisme se révèle proche de la pensée bergsonienne, et l’analyse de Julien Gracq en vertu de laquelle les Surréalistes sont plus proches de Bergson que de Freud prendra tout son sens.La présente recherche s’efforcera donc de mettre en évidence cette proximité entre le surréalisme et la pensée bergsonienne en recherchant la présence de la durée (telle que définie par Bergson) et de ses qualités spatiales et temporelles, c’est-à-dire la continuité dans le temps et la simultanéité, dans l’art surréaliste. Cette recherche intitulée « L’Esthétique de la courbe dans la poésie surréaliste » vise à révéler la forte présence de la notion de la courbe et de ses caractéristiques formelles et internes comme la fluidité, la grâce, le caractère serpentin et cyclique, dans la poésie et l’art de ce mouvement artistique contemporainIn Bergson’s school of thought the knowledge of the inside world is achieved through intuition, and in the Surrealism artistic movement it’s through the “voyage of imagination” that one achieves the discovery of the reality beyond this world. The former reaches the concept of “duration”, while the result of the latter’s poetic efforts is the dissolution of logic and the moving of the boundaries of time and space. In his philosophical musings, Bergson discovers the true form of the “duration” which is the curved line, a movement based on grace and the union of the three tenses. At the same time, the surrealist artists will reach through their poetic and artistic creation something that is very similar to Bergson’s philosophy. It is then that Julien Gracq’s analysis about surrealism being closer to Bergson than to Freud becomes meaningful to us.That being in consideration, the aim of this work will be to reveal the close proximity between the surrealist artists and Bergson, and doing so identify the place of the bergsonian “duration” and its spatio-temporal qualities, namely “continuity in time” and “simultaneity”, in surrealist art. This research, entitled “Esthetics of the curve in surrealist poetry” aims to bring the evidence of the presence of the concept of the curve and its formal and internal qualities like fluidity, graciousness and the serpentine and cyclic qualities, in the art and poetry of the surrealism
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Lukačovič, Markéta. "Paralela mezi konceptem díla v architektuře a hudbě." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-233234.
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The doctoral thesis preliminary focuses on the comparison of concepts of creation in music and architecture and to explore the connection and possible blending of both arts. The main focus of the dissertation is the research of the parallel between the composition of music and architecture, in their characters, means of composition and methods. The methods of approaching the topic were the analysis's of music and architectural materials such as dedicated books, magazines, internet articles, as well as audio recordings, realisations of architectonic works, printed materials on acoustics, psychology of perception and aesthetics as well as own experience and knowledge in the field of music and architecture and the experiment in composition. Results of the dissertation are theoretical conclusions enlightening the given topic and the practical experiment in the form of the analysis of the music composition and the application of its compositional methods into the architectonic design.
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Oliveira, Livia Roberta. "Práticas musicais constituídas pelos alunos nos espaços/tempos livres no/do Conservatório Estadual de Música de Ituiutaba-MG." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/18903.
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A presente pesquisa tem como objetivo compreender como se constituem as práticas musicais realizadas fora da aula de música, nos espaços/tempos do/no Conservatório Estadual de Música "Dr. José Zóccoli de Andrade” de Ituiutaba-MG. O aluno desse Conservatório é visto como um ser social, tecido por inúmeras características ligadas ao seu contexto sociocultural, e que têm relação direta com suas práticas musicais nessa escola de música. A partir de um olhar ligado às teorias do cotidiano, pretendeu-se também compreender quais eram essas práticas musicais, como aconteciam e se organizavam nos espaços/tempos em que os alunos estavam no Conservatório, mas, fora da aula de música, em espaços/tempos como corredores, pátio, hall e, até mesmo, na própria sala de aula, horários vagos, recreios, horários burlados, entre outros. O olhar teórico dirigido para essas práticas está fundamentado em alguns conceitos das teorias do cotidiano, sobretudo na perspectiva de Pais (2003); da música e da educação musical como prática social, na visão de Souza (2000, 2004, 2009); nas ideias de Brougère (2012) sobre aprendizagem no cotidiano; e nos conceitos de espaços/tempos, de Lindón (2000). Em uma abordagem qualitativa, o estudo de caso foi o método adotado nesta pesquisa, e os procedimentos de coleta de dados foram observações e entrevistas com alunos. Como conclusão, os alunos se organizam de diferentes formas para realizarem essas práticas musicais, algumas delas de forma prevista e outras não previstas, de formas individuais e/ou compartilhadas, e subsidiadas pela execução e escuta musical. As práticas musicais realizadas nos espaços/tempos livres da aula de música são ações importantes no contexto diversificado dessa escola de música, e que contribui para o entendimento dos processos de ensino/aprendizagem musical nesse Conservatório.The present research aims at understanding how the musical practices are carried out outside music classes in the space/time in the State Conservatory of Music "Dr. José Zôccoli de Andrade" of Ituiutaba-MG. The student of this Conservatory are seen as social beings made of numerous characteristics due to their socio-cultural context, which is directly related to their musical practices in the school of music. From the point of view related everyday life theories, it was intended to also understand what those musical practices were and how they used to happen and to be organized in space/time when students are at the Conservatory but out of music class in space/time like hallways, patio, hall and even the classroom itself, free time between classes, at the unofficial break time, among others. The theoretical view directed to these practices is based on some concepts of theories of everyday life from the perspective of Pais (2003), of music education as social practice in the vision of Souza (2000, 2004, 2009), the ideas of Brougère (2012) about learning in daily life, and in the concepts of space/time of Lindôn (2000). In a qualitative approach, the case study was the method adopted in this research, and data collection procedures were observations and interviews with students. It is concluded that the students are organized in different ways to perform these musical practices, some of them expected and not expected, individual or/and shared ways and grounded on performances and musical listening. The musical practices carried out in the space/free time music class are important actions in the context of this diversified School of music, and that contributes to the understanding of the teaching/learning processes in the musical Conservatory.
Dissertação (Mestrado)
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Blazanovic, Marta. "Echtzeitmusik." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16981.
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Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient.The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside.
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Meyer, Markus Georg. "Space time architecture movement." Diss., 2000. http://hdl.handle.net/2263/24775.
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This treatise aims to investigate the components of good architecture. Good architecture is appropriate to its contexts, responds to its users, lets its users respond to it. Good architecture is beautiful. Good architecture is brought about by movement and in return it “moves” us.Dissertation (MArch)--University of Pretoria, 2006.
Architecture
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"Synapse-a movement through space, time and memory." Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-05072008-111420/.
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WU, JAU-WEI, and 吳兆威. "An Analysis on Background Music Dubbing of “ Time and Space”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/86955478115886005694.
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碩士中國文化大學
音樂學系西洋音樂組
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When I read the paper of "time and space" by Einstein, especially the four elements mentioned time, speed, quality and spatial configuration concept of "time and space", these narrative touches on the author’s to imagine music; in the same period, author see paper cited paragraphs movie, again touched the concept of "time and space" presented, therefore the creation of "time flow", "space shuttle", "devour", "pass", "love", "broad" and six works, which the author of six works reflect the "time and space" moved. This paper is divided into three chapters, the first chapter, which contains research motivation, research methods and research, as well as "time and space" works series hardware and software introduction, the second chapter for the creation of "time and space" series Works and Analysis sequentially introduce "time flow", the creative process and the song "space shuttle", "devour", "pass", "love", "broad" and six other works of analysis, the third chapter is the conclusion, is the author of the "time and space "series of works creation and analysis of experiences and thought.
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Long, Jed. "Developing Quantitative Methods for Movement Data." Thesis, 2013. http://hdl.handle.net/1828/4801.
Full textAbstract:
Scientists are now able to collect ubiquitous data on individual-level movement at increasingly fine spatial and temporal resolutions. Despite this surge in data availability, methods for extracting relevant information about spatial-temporal movement patterns remain limited in scope and sophistication. The objective of this PhD research is to develop novel quantitative approaches for analyzing spatial-temporal patterns in modern movement datasets. A review of the state-of-the-art in quantitative movement analysis identifies the current breadth of available methods, while highlighting key limitations and fragmentation in the literature across multiple disciplines. Existing theory from the geographical literature, namely time geography is applied to a novel application – wildlife movement ecology (termed the PPA home range), in an attempt to expose these ideas to wildlife researchers. The PPA home range method has several advantages over existing methods, most notably its ability to identify omission and commission error in existing home range techniques. Next, an advance to time geography theory is proposed for incorporating object kinetics (i.e., velocity and acceleration) into a probabilistic movement model termed kinetic-based probabilistic time geography. Kinetic-based probabilistic time geography provides a more accurate model for predicting object movement when object kinetics are relevant (e.g., with fast moving vehicles, or athletes). A novel method (termed the DI index) for quantifying dynamic interactions between moving objects is presented, focusing specifically on examining cohesive movement behaviour. The DI index is advantageous over existing dynamic interaction measures in that it is computed at the local level, facilitating a finer treatment of interactive movement behaviour. The DI index is then contrasted with seven alternative measures of dynamic interaction to examine the effectiveness of each at identifying expected and unexpected interactive behaviour, at a range of sampling resolutions, in the context of wildlife movement ecology. The results highlight the value of the DI index, especially as a local level index, capable of identifying variable and infrequent interactions in pairs of moving objects. In summary, this dissertation contributes to the rapidly expanding body of quantitative movement research by providing: 1) a cross-disciplinary methodological review, 2) expanding the application of core time geography theory to wildlife ecology, 3) advancing time geographic theory in development of kinetic-based probabilistic time geography, 4) developing a novel index (the DI index) for measuring inter-object interactions, and 5) examining the effectiveness of available dynamic interaction measures, and their sensitivity across sampling resolutions, in the context of wildlife ecology.Graduate
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