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Dissertations / Theses on the topic 'The art subject'
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Greening, Daniel John. "Art, landscape and material : subject into media." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.
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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.
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Bishop, Claire. "The subject of installation art : a typology." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395950.
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Eklund, Chica. "The Art Subject in Thailand : A study about the role of the art subject in some schools in Thailand." Thesis, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1463.
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<p>Historically the art subject has never had a main role in the school education.</p><p>The main subjects in Sweden have been mathematics, Swedish and English, even if the other</p><p>subjects also have been important. Unfortunately the subject of art has been considered less</p><p>important. For a long time the art subject has been a subject that only teaches the students how to</p><p>paint in different ways, but lately it has been noticed that the art subject has more qualities, for</p><p>example concerning personal expressions. Now we can confirm that the art subject does have an</p><p>important role in the school world, but how big a role?</p><p>With the help from interviews and literature studies, this essay wants to show if this ideology</p><p>and knowledge already has been used in other countries, in this case Thailand. Through my</p><p>interviews and examinations I could confirm that the responders consider the art subject important</p><p>for the students’ creative thoughts and personal development. The question is: is this only an</p><p>opinion or is it something that has already been used? My practise in the Thai schools has therefore</p><p>been useful for me in this essay, since I could closely study the art subject, and see everything with</p><p>my own eyes.</p><p>_____________</p>
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McGrath, John Thomas. "Body, Subject, Self: The Art of Piero Manzoni." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11623.
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Piero Manzoni (1933-1963) is one of the best-known and under-theorized artists in all of postwar Europe. His body of work includes a range of practices from monochrome painting to readymade objects, from participatory sculpture to designs for architecture. More than simply innovative in its form and media, however, Manzoni's practice articulates a politics of the body and of the self that departs radically from the belief systems at stake in the work of his contemporaries in both Europe and America. If other postwar artists still claimed access to transcendence, to nature, or to autonomous subjectivity, Manzoni responds with works that reveal the body and the self as material and discursive effects of power relations.<br>History of Art and Architecture
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Pedersen, Courtney Brook. "The Indefinitive Self : Subject as Process in Visual Art." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16139/.
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THE INDEFINITIVE SELF:
subject as process in visual art
This doctoral study is comprised of both creative work and accompanying critical study and exegesis, each comprising 50 per cent of the total weight of submission. The body of research develops a feminist genealogical methodology to explore the study’s central idea: that envisioning the feminine subject as process rather than a fixed entity enables political agency without recourse to rigid essentialism.
The creative work, a public space installation in South Brisbane Cemetery at Dutton Park, is titled Last Drinks Gentlemen Please and traces the life and character of my great, great aunt Cecilia Mary Tennant (1875-1938). Documentation and discussion of this work is included in the exegesis and can also be viewed online at the web address http://www.GMTplus10.info/.
The thesis presents a critical contextualisation analysing the work of the artists Tracey Moffatt, Mona Hatoum and Pipilotti Rist, as well as my own practice, and identifies key strategies enabling the representation of identity as process. Finally, this study proposes the figure of the Aunt as an elective relationship that enables both intimacy and agency beyond patriarchal constructions of the feminine.
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Long, T. J. "Material thinking in art : subject, object and the subjectile." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1364563/.
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My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object. As a critical device the subjectile is useful both for discussing art and making it, enabling me to explore my own practice, which seeks to articulate problematic aspects of subjective status and the end limits of the subject. Artaud describes in his writing and depicts in his drawing how his body is in a state of fusion with objects. Or, he adopts a creative process that presents subjective integrity as if it overlaps and is contiguous with objects. The first, rational and empirical direction determines there is no sensation and no animation in objects, so they do not retain in their material mass any attributes of subjectivity. The second direction proposes that objects are hybrid and metamorphic: sensation, and attributes of the subject are contiguous with the material properties of objects. The poetics of corporeality Artaud develops in his works maintains a consistent attitude to extension, proposing that sensation and substantial material qualities of the human body are discovered in objects, especially in art. I argue that the subjectile deploys paranoid devices to understand subjective difficulties. I discuss paranoia and the subjectile in relation to Deleuze and Guattari's understanding of Artaud's 'Body without Organs', and Derrida's essay 'Maddening the Subjectile'. I also draw upon Melanie Klein's object relations theory, which discusses split up parts of the subject that are ambivalent, projected and expelled, enabling discussion of subjectiles as partial attributes of the subject that form part of a broader culture, through the engagement of aesthetic, formal, and historical registers in art.
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West, Katie. "A Space for the Contemplation of a Sacred Subject." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5792.
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This paper discusses a Fine Art Master thesis exhibition. The show was on the topic of the Latter-day Saint doctrine of a Mother in Heaven. It contains a project statement detailing the theological meanings and reasons, an overview of the visual elements of the exhibition, and a section contextualizing the exhibition within the art world.
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Washkansky, Dale. "A space between : contemplating the post-Holocaust subject." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11210.
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Includes abstract.<br>Includes bibliographical references (p. 117-119).<br>In 2008 I travelled, with camera in hand, to Germany in order to photograph the two concentration camps to Buchenwald and Ravensbrück. These are two of several camps that Germany established during the late 1930s to house so called undesirables or those believed to be enemies of the Reich. These people were not only extracted from society within Germany, but later from all occupied territories. European Jewry was the primary target of this policy. Six million Jews were murdered during the Holocaust, but they were not the only victims. Approximately one and a half million Gypsies, at least 250 000 physically or mentally disabled people, three million Soviet prisoners of war, Jehovah's Witnesses, homosexuals, Social Democrats, Communists, partisans, trade unionists and Polish intelligentsia were among those that fell victim to the Nazis. The Germany's concentration camps, these prisoners of the Reich were set to work under severe inhumane conditions as slave labour, which was also a means of torture, as efficient production was not the primary endeavour of these camps. It was only when war broke out that policy altered and the labour was utilised by German enterprises and to aid Germany's war effort. These camps formed part of a larger system that later sought to eventually annihilate these "enemies". There were also transit camps to those camps located towards the east, in Poland - the notorious death camps, where mass murder became harrowingly efficient.
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Tipple, Robin A. "Looking for a subject : art therapy and assessment in autism." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6596/.
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This research makes use of a case study methodology employing discourse analysis. It represents a reflection on the practice of art therapy assessment in a service which provides a diagnosis of children who present with Autistic Spectrum Disorders, that is, with social impairments, communication disorders, developmental delays and behavioural problems. An investigation of art production in assessment and an interest in the institution’s discourses, are pursued through the construction of case reports. Four subjects (children aged 4 years, 5 years 8 months, 7 years 7 months, and 11 years 5 months) are presented in three forms. Firstly as “documentary subjects” through an analysis of the clinic’s documents. Secondly as “ekphrastic subjects” – here the subjects are presented through a description and reproduction of the art work produced in the assessment, and thirdly as “discursive subjects”, presented through an analysis of speech and actions recorded on video. Emphasis has been given to the discursive construction of subjectivity and the relation between subjects and art production. The documentary subjects illustrate a story showing that difference disrupts and families seek a restoration of union through engagement with professionals. This story provides a frame which conditions the art therapy assessment and influences art production. A social and cultural understanding of the art production in the clinic, an interpretation that does not discover signs of pathology in the art work, shows that the art work and its intentionality is jointly produced through negotiations between the child and the therapist. The child is able to use art making to assess the situation and present a propositional self in an iconic form and art production also supports the generation of imaginary situations which enables the child to contest and explore power relations.
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Fuller, Stephen. "NEW PATRIARCHIES: A TURBULENCE OF SOURCE AND SUBJECT." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3889.
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Experiencing a turbulence of source and subject in the variable inversions and supports of one source to another--the wreck of the U-352, Carpeaux’s Ugolino and his Sons, a movie poster for J.A. Bayona’s The Impossible, and Cassiopeia mythology--these four sources as sons, in sacrifice to and surviving by way of “daddy” documentation, are here refigured to reenact and critique the patriarchally recreational, monumental, cinematic, and mythological infrastructures supporting the sources of this work and thereby serving to critique the newer patriarchies to which these sources and their subjectifications here seek to cross consumptively dead end. Following three public installations, and in service to a final publication, this text hereby functions as the myth of this work.
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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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Heddon, Deirdre E. "In search of the subject : locating the shifting politics of women's performance art." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/1590/.
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From the late 1960s to the present, women have utilised performance art as a 'form' with which to resist, transgress, contest or reveal the position of women within wider society. However, as both the nature of feminist politics and the contexts within which the work has been produced have changed, the enactment of such oppositional strategies has also shifted. This thesis aims to locate and account for such shifts by mapping multiple subjects, including performance art, feminism(s), contemporary theory, performers and women's performance art. In the late 1960s throughout the 1970s, the strategies most often utilised by women performance artists either offered alternative, supposedly more 'truthful' representations which drew on the real, material lives of women, or completely reimagined woman, locating her in a place before or outside of the patriarchal structure. From the 1980s onwards, however, the practice of women's performance art looks somewhat different. While performers continue to contest the material conditions and results of being positioned as female in Western society, such contestations are now often enacted from within what might be considered a 'deconstructive' or 'poststructuralist' frame. Acknowledging the impossibility of ever representing the 'real' woman, since 'woman' is always already a representation (and is always multiple), I suggest that the aim of this work is therefore not so much to reveal the 'real' woman behind the fiction, but to take apart the fiction itself, revealing the way in which the signifier 'woman' has been differentially constructed, for what purpose, and with what real effects. I have nominated this shift as a movement from a performance and politics of identity to a performance and politics of subjectivity.
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Kellner, Clive. "Representations of the Black subject in Irma Stern's African periods : Swaziland, Zanzibar and Congo 1922-1955." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14244.
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This dissertation explores the major themes of Irma Stern's (1894-1966) representation of the black figurative subject in her African periods: Swaziland, Zanzibar and Congo (1922-1955). Germane to these periods are Stern's childhood experience in the Transvaal and her training and influences in Germany. My research aims to do the following: (1) address a gap in the current literature on Irma Stern and her African periods (2) to consider whether Stern's mature periods, Zanzibar and Congo reveal an imaginary 'primitivist' mode of representation. Central to my research is the question of Stern's identity as a woman, settler and Jew, as it is critical to exploring the relation between Stern as a white settler and that of her black figurative subjects as viewed through the discourse of 'primitivism'. My methodology involves drawing from various archives, primary and secondary literature on Stern and Stern's own writings. My visual methodology includes a comparative analysis of Stern's early paintings in relation to her influences and formal and iconographic analysis of select 'mature' paintings.
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Kivland, Sharon. "The school for lovers : (or, The psychic relation between viewer and work of art)." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272643.
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Taking at least two roles in Mozart's opera Cost fan tutte, in addition to my borrowing of its subtitle and some of its form, I will argue that works of art do not lie down on any couch of wild analysis. Rather, I will say, it is the viewer of a work who submits to an analysis in the encounter. A 'psychoanalysis of art' has become rather commonplace, and in this method of interpretation the intentionality of the artist, linked to individual psychic formations, are of paramount importance, understood as evidenced in the work of art. While works of art may indeed reveal truths about the artist, they may also - and more interestingly - show something about the psychic structure of the viewer. This is suggested by Jacques Lacan, as he links the presence of the analyst with the presence of the work of art in the elaboration of his theory of objet a and the gaze in The Seminar. Book XI. He outlines a theory of art in which it is the work that brings the viewer to speech, through the structure of the relationship between them. In this relationship, the work of art is a paradoxical object, for it is both the thing and effect that cannot be represented, and the thing and effect that indicates its absence by its presence. I will take up the proposition that the work of art may occupy the place of the analyst in a number of ways, in order to examine its effects upon the relationship between work of art and its viewer. The effects are at the level of structure and I continue to take the opera as my model, as both work of art and the discursive means by which the effects of a work of art may be explored. I am tuneful, if at times repetitive, malicious, or capricious, throughout, and there will be an ensured encounter, good, bad, or quite simply, missed.
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Makhubu, Nomusa Mary. "The fantastic subject: a visio-cultural study of Nollywood video-film." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1021166.
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The increasing popularity of Nigerian video-film, defined as the ‘Nollywood phenomenon’ (Barrot 2008, Haynes 2010, Adesokan 2011), has attracted recent interdisciplinary academic attention, now known as ‘Nollywood Studies’. The aesthetics and ideological approach of Nollywood video-film are often differentiated from those of the long-established and illustrious African Cinema. Films of Africa are, however, generally characterised by seemingly unique forms of the fantastic – an uneasy theme in scholarship on Nollywood. Although Nollywood video-film is commended by some scholars, its representation of the supernatural and the fantastic is often perceived to be demeaning. Considering the complexity of fantastic themes in creative arts of Africa, this study contributes to this field of study by positioning Nollywood as an interventionist artistic practice that subverts the division between art and popular culture. Further, it considers how this positioning could shift our thinking about what constitutes art and creative practice in Africa. The distinctions between art and popular culture have been inherited from particularly Western disciplines. A critical analysis of the fantastic in Nollywood could expand interpretations of the broader uses of new media and appropriation and develop the discourse on contemporary creative practices of Africa and the parameters of the art history discipline. I interrogate the visual language of the video-film medium through a discussion of other forms of artistic media such as photography, video art, and performance art. The fantastic themes, such as ‘magic’, ‘fetishism’ and violence, conveyed through new media open up a field of questions regarding contemporary social-political dynamics. The cultural value of Nollywood video-film is often based on who makes it. As a proletarian product, Nollywood has been underestimated as a ‘low’ form of culture. Its use of appropriated material connotes the complex dialectics that formulate class difference. I consider how a positioning of video-film as a creative practice could be complicated by the fact that it also operates as a theocentric implement that is used by churches to evangelise. Moreover, I examine how ‘epic’ films construct idyllic notions of ‘ethnicity’ based on dialectics of rational/irrational or real/fantastic. Nollywood video-film also creates images of fantastic spaces. In this thesis, I address concepts of space in Nollywood from which fantastic desire is constructed.
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O'Brien, Sarah Joanne. "Creating the subject : towards a psychoanalytical framework for the use of video in performance art." Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441131.
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Etherington, Margaret. "What leads to A-level Art becoming a girl-dominated subject at a mixed school?" Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431559.
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Stevenson, Barbara K. (Barbara Kathryn) Carleton University Dissertation Canadian Studies. "The political and social subject matter in the art of Joyce Wieland and Greg Curnoe." Ottawa, 1987.
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Goff, Samuel Alec. "Physical culture and the embodied Soviet subject, 1921-1939 : surveillance, aesthetics, spectatorship." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273344.
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My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.
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Isbell, Anna Luella. "Broaching the subject: the geometry of Anglo-Saxon composite brooches." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1641.
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The various surviving disc and composite brooches provide proof of the skill and craftsmanship of Anglo-Saxon metalsmiths. Surprisingly, no one has conducted a full geometrical analysis of these brooches to discover the design process preceding the casting and decoration. This thesis endeavors to rectify this through a geometrical investigation of the sophisticated geometrical planning principles used by Anglo-Saxon craftsmen in the creation of these elaborate brooches. Through the use of simple geometrical constructions, smiths were able to create works of great beauty and sophistication. Closer inspection reveals that Anglo-Saxon smiths produced all the composite disc brooches in this study using similar processes of planning. In order to plan out the compositions of each brooch, master smiths would only need a compass, a straightedge, and some material on which to write. Each brooch reveals the same kind of coherent geometry, sharing traits and patterns; with proportions tend to be governed by a series of modular association.
Although the master smiths or designers of the composite brooches used simple tools to create the composition, the figures in this thesis were created using the Vectorworks CAD program. This significantly expedited the analytical process and allowed for exact measurements. Despite using the computer program to replicate the planning process, all the figures can be recreated with just a compass and straightedge. While a complete geometric study of all the composite disc brooches needs to be done, this study examines five of the best preserved and well-crafted of that type, ranging from some of the simplest to the most elaborate, as an introduction to the subject.
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Gullichsen, Heléne. "Visual arts education according to the art teachers : A Minor Field Study in The Gambia on how art as a school subject is percevied." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14330.
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The aim is to try to find out how art as a school subject, according to art teachers, is perceived in The Gambia and how the art syllabus in The Gambia and in Sweden are alike and/or different. This is done through a field study where interviews have been done and theories on art as a notion in West Africa have been searched for in books. Art as a school subject is, according to the people here interviewed, not fully accepted as a way of learning and gaining knowledge in The Gambia, and they feel that art education is not valued and appreciated enough.
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Corner, Frances. "Drawing the line : the effects of the changes in higher education on the subject of fine art." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405029.
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Butt, Gavin. "Men on the threshold : the making and unmaking of the sexual subject in American art 1948-1965." Thesis, University of Leeds, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394596.
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Cope, Andrew. "Challenging fragmentation : overcoming the subject-object divide through the integration of art-making and material culture studies." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3032.
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This practice-led thesis explores ways in which to integrate art and material culture studies as a manifestation of philosophy’s process thread. In doing so, its goal is to generate a praxis which is able to come to holistic terms with the fragmenting dualism of subject-object binaries. By seizing my own subjectivity in its representation of this problem, the thesis develops a performance-led practice which seeks to overcome the barriers that its divisive ‘I’ presents to process. This interdisciplinary project is an explicit response to the figure of Friedrich Nietzsche; his bearing helps to constitute its methodology and repertoire as his presence is creatively teased from the pages of his own books. Part One of the thesis discusses how the mimetic aims of artistic representation were harnessed to challenge my own subjectivity’s singular sense of authority. Thereafter, Nietzsche’s pre-modern temperament comes to enable a holistic consideration of the perceptual ambiguity within Jacques Lacan’s geometric model of ‘seeing things’. Part Two engages with representation as a method of making difference for the bridging of subject-object divisions. This occurs as subjective experience and is extended to some inorganic others, producing creative outcomes which aim to access a cosmological principle of affect that is identified with Nietzsche’s thesis of will to power. The third part of this thesis aligns the research aim, of making apparent the oneness of the cosmos, with the shamanic dimensions of some vintage slapstick cinema. In its development, it comes to terms with the subjective gaze and identifies process-led strategies for challenging and changing its outlooks. This provides a background for Part Four, which marks the beginning of my attempts to engage the gaze of other people in processes that procure and ideally affect their perspectives. While the first four parts of the thesis demonstrate the progress of the research project through the deployment of art and its affecting capacities, its final two parts put the work of philosophy into aesthetic effects, and represent artworks that constitute elements of the thesis itself. Part Five evidences my art practice re-engaging with the world through a project which holistically involves the outlooks of subjects, whilst nevertheless challenging their perceptual precepts. Part Six discusses a performative experiment that consolidates and tests the research findings in a potentially affective structure, expressed through Laurence Halprin’s RSVP cycle. Finally, as it reflects on the potential healing capacities of my practical research and the possibilities for ‘doing’ philosophy, the thesis details how an art-making that embraces both visual and material cultures through the eventness of performance might be able to overcome the problematic perceptual divides that limit the progress of process logics.
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Benjamin, Garfield. "The cyborg subject : parallax realities, functions of consciousness and the void of subjectivity." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/621858.
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This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.
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Avgitidou, Angeliki. "The artist as subject in creative stasis and drasis, explored through performative subjectivity in media art and diary practice." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2020/.
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This research began as an investigation of the artist's subjectivity within the process of creating art. The focus of the research was the state of stasis, experienced by the artist as absence of action and nothingness. Reflexive methodology and autobiography were chosen as the basic epistemological and methodological approaches in order to fulfil the framework, questions and needs of this research. Diaries and Meta-Diaries as tools of the methodological approach were significant in the understanding of the artist's subjectivity and its manifestation in the written document. Diary entries were treated as instances of subjectivity rather than symptoms of the truth of the subject. I referred to diaries as part of a 'diary practice' which is inclusive of the time not writing in the diary. Additionally diaries developed an exchange with the artist's practice, became part of the concerns of this research and finally became part of the practice as much as a way of exploring it. Stasis was examined through diary practice and artworks and its characteristics were mapped out. These characteristics were uncertainty, frustration and anticipation of action for the subject. The artist's own diaries and works were examined within the contemporary artistic and theoretical context to determine the strategies the artist adopts to escape stasis. These strategies were initially determined as: Repetition creating a refuge for the subject; Submission to arkhé as a way of providing continuity and The creation of a network of complicity as an affirmation of existence. Drasis, a Greek concept the meaning of which includes both 'act' and the 'performance', was adopted to describe the strategy by which the eventisation of stasis is performed. In drasis the focus of my artwork would become stasis and not action. Through drasis the eventisation of stasis was carried out, marking a strategy of the artist in stasis. Drasis, a strategy for the artist as subject in stasis, is, together with the creative work, my main contribution to knowledge in this research.
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Avraam, Elsa. "Knowledge Organisation and Contemporary Art : Cataloguing Practices in two Libraries in Sweden, Umeå universitetsbibliotek and Konstbiblioteket." Thesis, Uppsala universitet, Institutionen för ABM, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-334088.
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This master thesis examines the cataloguing practices of two art libraries in Sweden in relation to contemporary art. The aim of this study is to show how classification systems and other forms of controlled vocabulary correspond to contemporary art and reveal the factors that influence the everyday practice of cataloguing. The qualitative methods of semi-structured interviews and an analysis of bibliographic records have been used for the purposes of this study. The study is based on domain analysis as conceived by Hjørland and Albrechtsen and some concepts and principles of Knowledge Organisation in the field of Library and Information Science. A total of three interviews of cataloguers has proved that perceptions concerning classification and subject indexing differ among cataloguers and cataloguing practices depend on local policies concerning acquisition, shelving and user perspectives, but also each library’s resources and the institutional context (academic vs museum). Through the analysis of eleven bibliographic records, no consistent pattern has been detected, in relation to indexing and classification. The libraries do not use special systems for subject analysis. The classifications provided by universal systems have been considered insufficient to express all the concepts found in documents. The use of subject headings is, therefore, important and complements the process of subject analysis. The classification systems and subject headings lists analysed include the Dewey Decimal Classification (DDC), the Swedish Sveriges Allmänna Biblioteksförenings Klassifikationssystem (SAB) and the Svenska ämnesord (SAO). This is a two-year master’s thesis in Archive, Library and Museum studies.<br>Denna masteruppsats handlar om katalogiseringspraktiker på två konstbibliotek, nämligen Umeå universitetsbibliotek och Konstbiblioteket, i relation till samtida konst. Syftet med denna studie är att visa hur samtida konst återspeglas i klassifikationssystem och andra former av kontrollerad vokabulär och ta reda på vilka faktorer påverkar katalogiseringsarbete. Metoden som har använts i studien består av halvstrukturerade intervjuer med katalogisatörer och en analys av bibliografiska poster. Studien baseras på domänanalys som har utarbetats av Hjørland och Albrechtsen samt vissa begrepp och principer från Kunskapsorganisation inom ramen för Biblioteks- och Informationsvetenskap. Analysen av tre intervjuer visade på att uppfattningar om klassifikation och ämnesordsindexering skiljer sig åt bland katalogisatörer och att katalogiseringspraktiker beror på varje biblioteks riktlinjer med avseende på förvärv, hylluppställning, användarperspektiv, bibliotekets resurser samt institutionell kontext (akademisk vs museal). Elva bibliografiska poster har analyserats och genom analysen har inga mönster i relation till ämnesordsindexering och klassificering identifierats. De undersökta bibliotek använder inte något specialsystem för klassifikation eller ämnesordsindexering. Klassifikationskoder från universella system ansågs otillräckliga för att uttrycka alla begrepp i dokumenten. Ämnesordsindexering är därför viktig och anses vara mer effektiv för ämnesanalys. Klassifikationsssystem och ämnesordlistor som har analyserats är Dewey Decimal Klassifikation (DDK), Sveriges Allmänna Biblioteksförenings Klassifikationssystem (SAB) och Svenska ämnesord (SAO). Detta är en tvåårig masteruppsats i Arkiv-, Bibliotek- och Museumstudier.
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Shtutin, Leo. "Mallarmé Apollinaire Maeterlinck Jarry : space and subject in French poetry and drama, c.1890-1920." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:5599de57-2028-4292-80c7-72f79326925b.
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This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a relatively narrow corpus of core texts: Mallarmé’s Igitur (c. 1867-70) and Un Coup de dés (1897); Apollinaire’s “Zone” (1912) and various of his calligrammes; Maeterlinck’s early one-act plays—L’Intruse (1890), Les Aveugles (1890), and Intérieur (1894); and Jarry’s Ubu roi (1896) and César-Antechrist (1895). The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé’s Un Coup de dés and Apollinaire’s calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality (the experience or condition of the betwixt and between) is implemented in an analysis of character and diegetic space as constructed in Jarry’s Ubu roi and Maeterlinck’s one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes—the subjectivisation of space and the spatialisation of the subject —manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire and Jarry, but in the period’s poetry and drama more generally.
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Amorena, Maria Florencia. "Science, art, fiction : l'image chez Juan José Saer." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080143.
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Cette recherche se donne pour objectif d’analyser les images verbales dans l’œuvre de l’écrivain argentin Juan José Saer (Serodino 1937- Paris 2005). Elle s’appuie sur une étude du corpus littéraire ainsi que sur le scénario inédit Las nubes de Magallanes. Elle vise à comprendre dans quelle mesure les images verbales et mentales sont pertinentes dans la construction d’une esthétique et d’une épistémologie saeriennes. A partir d’une analyse des images verbales et mentales dans l’œuvre de Saer, cette étude veut non seulement montrer que description et narration sont intimement liées, mais que leur relation constitue une possibilité pour penser la présence des arts et des sciences dans l’œuvre de Saer autrement que de manière dichotomique. En tant qu'éléments de son programme d’écriture, les arts et les sciences sont insérés dans un ensemble plus vaste. En conséquence, la structure narrative configurée à partir des images vise davantage à la complémentarité des contraires. Elle implique donc également une possibilité pour penser le lien entre l’homme et le monde, ainsi qu’entre les sciences et les arts, à partir d’un système holistique et non dualiste. La clé de cette nouvelle forme narrative sera, non l’opposition, mais au contraire une esthétique de l’empathie<br>The objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
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Calvert, Michelle Carleton University Dissertation Canadian Studies. "The body as topos: the discursive mapping of the feminine subject in selected works of Canadian art and literature." Ottawa, 1991.
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Helgadóttir, Guðrún. "A survey of the attitudes of Icelandic art and craft teachers toward curriculum and practice in their subject area." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28233.
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Teachers do not merely implement the formally approved curriculum, they actively develop a personal curriculum. Teachers adopt, adapt and select to shape their personal curriculum. Teachers' attitudes, particularly toward curriculum rationales, prominent practices, policy issues and personal efficacy or concept of self as a professional are key factors in this process.
This study surveyed Icelandic art and craft teachers' attitudes toward curriculum rationales, current practices and personal efficacy factors including their attitudes toward subject, student and society centered rationales for art and craft education, the practices of ability grouping and subject matter integration, their perceptions of gender differences in their students' relation to their subject. Teacher attitudes toward statements reflecting curricular autonomy, a strong self concept and the influence of others were also measured. Relations between attitudes and demographic variables were also sought. The survey was conducted by a mailed questionnaire that consisted of Likert scale items for measuring attitudes and limited choice items to elicit demographic information.
It was concluded that attitudes toward curricular rationales signify a transition from subject centered to student centered rationales and that society centered rationales are currently of marginal importance to Icelandic art and craft teachers. Respondents disagreed that gender based differences in students' relations to the art and craft subjects exist. This was perhaps a denial of an unresolved issue rather than an indication that these differences do not exist. Within the school the art and craft teachers enjoyed the status of experts but believed themselves to be marginal as decision makers which could be a threat to their efficacy.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Schachnow, Ellionore. "Marten van Cleve - The Massacre of the Innocents : Comparative study of different versions of the subject and the function of drawings in flemish workshops during the 16th-century." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193262.
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The thesis examines Marten van Cleve’s painting the Massacre of the Innocents from the Stockholm University Art Collection through a series of technical examinations that were conducted at Spökslottet in January 2020 (X-ray, UV, IRR). The aim of the thesis is to examine Marten van Cleve’s painting technique, style and composition by comparing the painting with five contemporary similar versions of the subject the Massacre of the Innocents. Moreover, the thesis compares the underdrawing of the painting from the Stockholm University Art collection with the drawing from the Göttingen University art collection that are similar in composition and signed by Marten van Cleve. Additionally, the thesis examines the relationship between preparatory drawings and underdrawings in the artists environment in order to learn more about Marten van Cleve’s painting process as well as gain insight into the practice of contemporary 16th-century Flemish artists.
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Larusdottir, Alfheidur. "Indexeringsspråk, indexerare och användare : en jämförelse av Library of Congress Subject Headings, Svenska ämnesord och The Art & Architecture Thesaurus." Thesis, Uppsala University, Department of ALM, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-101635.
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Parviainen, Jaana. "Bodies moving and moved : a phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art /." Tampere : Tampere university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb377551707.
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Chui, Wai-ngor, and 崔惠娥. "The design of a Chinese culture subject aiming at enhancing cultural awareness and the evaluation of itseffectiveness =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38787441.
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Pihl, Lina. "IDENTITY : In search of identity construction through the narrative of the pearl necklace." Thesis, Konstfack, Ädellab/Metallformgivning, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3431.
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IDENTITY In search of identity construction through the narrative of the pearl necklace Lina Pihl Can one reach an understanding of identity through the narrative of the pearl necklace? The pearl necklace plays the role of the main character as well as the attribute in portraying identity in this dissertation. By looking at the pearl necklace as an object through its social context, it is possible to open it up for an understanding of its relation and impact on the individual. The world is not constructed of entities, but on relations. Thus it makes no sense to try to understand it through the notion of a predefined entity. Through the investigation of the pearl necklace as a signified, and myth in the modern Western society, its relation to and affect on the subject when worn and the creation of a new context within the performance – a system for how we can see and look upon identity takes form, in which they both, myth and signified, play a part in the construction of identities. The myth of the pearl necklace makes it into a strong, signified that is used to manifest social belonging: by wearing the pearl necklace one becomes a part of the myth and its signified, which creates a new form, where the subject-object is the signified in action, a performance that makes the myth present and an active, living part of a society. This proves that by taking an everyday object such as the pearl necklace and understanding it in a social context and in relation to the body and individuals, we can reach a deep and complex understanding of what identity is, how it is constructed and what potentials it possesses.
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Skaggs, Meredith L. "Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338435148.
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Haden, Heather Jean. "The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429862881.
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Engström, Elin. "Integrering av Bild och Svenska : Att skapa sammanhang i undervisningen." Thesis, Södertörn University College, Lärarutbildningen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1479.
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<p>The purpose of my essay is to see how teachers are working to integrate the two subjects Art and Swedish in their teaching, and to see how this integration is made. What do teachers think about subject-integration? What are the positive effects of it? Are there any difficulties involved? Do the teachers prioritize cooperation with other subjects?</p><p>To answer my questions I have interviewed eight teachers, four of them in upper secondary school and four in lower secondary school. I have also studied literature about subject-integration and children’s learning, curriculum’s and syllabi in the subjects of Art and Swedish.</p><p>The results of my study show that the interviewed teachers are positive when it comes to integrating Art and Swedish and other subjects. Most of them see no problems when integrating subjects. Still several teachers do not integrate Swedish and Art in their teaching, even if they find it positive. The teachers who are integrating Art and Swedish today present many practical ideas of how to do it, and they think that integration of subjects is very important.</p><p>As a teacher you have to be open-minded. There is no difference if you work in upper secondary school or in lower secondary school. The most important thing is your own attitude and your willingness to make subject-integration come true.</p><br><p>Syftet med min uppsats är att se hur lärare arbetar med att integrera ämnena Bild och Svenska i sin undervisning, och om det finns en integrering mellan dessa ämnen på skolorna. Vad tycker lärarna om ämnesintegrering? Ser de några positiva respektive negativa effekter av integreringen? Ser de några svårigheter med ämnesintegrering? Prioriteras samarbeten med andra ämnen?</p><p>För att svara på mina frågeställningar har jag intervjuat åtta lärare, fyra på högstadiet och fyra på gymnasiet. Jag har även studerat litteratur kring ämnesintegrering och barns lärande, läroplaner och kursplaner i ämnena Bild och Svenska.</p><p>Resultatet av min studie visar att de intervjuade lärarna är positiva till att integrera Bild och Svenska, och även andra ämnen, många av lärarna ser inga problem med denna integrering. Flera av dem integrerar inte dessa ämnen, trots att de säger att det är positivt med integrering. De lärare som integrerar Bild och Svenska har många praktiska idéer på hur man kan göra detta, och de tycker att ämnesintegration är väldigt viktigt.</p><p>Du måste ha ett öppet sinne som lärare, och vara öppen för att integrera ämnen. Det är ingen skillnad oavsett om du arbetar på gymnasiet eller högstadiet, det viktigaste är din egen attityd till att integrera ämnen och att du försöker att förverkliga ämnesintegreringen.</p>
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Pérez-Rementería, Dinorah. "Osvaldo Sánchez's Art Criticism: An Aesthetics of Reconciliation." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/16.
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Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly critics, which demonstrates the significance of developing a flexible, available and aesthetic learning model of art appreciation. I will analyze as well various models of experience, subjective and objective, that release certain "openness" as a premise for their existences. Here are included the Kantian sublime, Heidegger's ontological Being, the surrealist cultivation of chance, Kaprow's happenings, and the attitude of disinterest developed by the vanishing poets as defended by the scholar Rafael Hernández Rodríguez. I will show that, by choosing an accommodating approach to discover forms of knowledge, an assortment of valuable empirical content can be found. Finally, I investigate the writerly work of Cuban critic Osvaldo Sánchez that does not adopt a fixed critical pattern. Instead, Sánchez's art writing passes through fields, providing us with a heuristic methodology in which the aesthetic emerges not as a preconditioned set of principles/procedures, but as a true lived experience.
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Cintra, Sonia Maria de Araujo. "Paisagens poéticas na lírica de Albano Martins: natureza, amor, arte." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-18082016-125409/.
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Esta tese se propõe a demonstrar como, na poesia de Albano Martins, o sujeito poético se constitui um eu que se depara com paisagens entendidas como um conjunto de formas em mútuas relações que se apresentam tais quadros, despertando nele sensações e significados, obrigando-o a mobilizar valores, sentimentos, memórias relativas a experiências individuais e coletivas. As formas do mundo organizam-se em poemas pelo olhar do sujeito lírico e provocam nele emoções ligadas à sua percepção e vivência, que estão à flor da pele ou nas suas profundezas. Tudo isto em ebulição no eu lírico, na medida em que cria, erige-se como uma força criadora, Eros, uma capacidade de dar vida a uma folha de papel ou tela em branco, preenchendo-as com sua imaginação. O sujeito poético, após experimentar a angústia da criação, recria formas que lhe são oferecidas pela natureza em si ou por sua transfiguração em arte por outros artistas, com seu poder de verbalização poética. O resultado, trabalho de dotar o mundo de paisagens novas, são conjuntos de formas e significados na procura de preenchimento, poemas. Neste jogo de forma e vazio, múltiplo, perene e sempre renovado, modula-se a identidade criativa do sujeito poético, do poeta e sua cosmovisão. A visão de mundo na poesia de Albano Martins é a de busca angustiada que passa por perdas e ausências mas que alcança a plenitude nos encontros. Neste processo, envolve o leitor, ora atraindo-o, ora distanciando-o, ora fazendo-o coautor, Eros também ele na recriação da Natureza, do Amor e da Arte.<br>This thesis intends to show, in the poetry of Albano Martins, how the poetic subject consistis of a lyric self, who faces landscapes understood as a set of forms in mutual relationships, which present themselves like paintings, arousing sensations, emotions, meanings, and leading him to mobilize values, feelings, memories related to the individual and collective experiences. The shapes of the world organize themselves into poems through the vision of lyric self and bring to him sensations and emotions linked to his superficial and profound perceptions and experiences. All this boiling in the lyric self, while he creates, emerges as creative force, as Eros, a capacity to give new life to a sheet of paper or a blank screen, by filling them up with his imagination. The lyric subject, after the anguish of creation, recreates forms which are offered from nature itself or from its transfiguration into art by other artistes, with his power of poetic verbalization. The result, work of endowing the word with new landscapes, are groups of forms and significances searching for fulfillment, poems. In this multiple, perennial and always renewed game of forms and emptiness is modulated the creative identity of the poetic subject, of the poet and his cosmic vision. The view of the world in the poetry of Albano Martins is one of anguish search which passes through losses and absences but reaches plenitude in the encounters. This creative process involves the reader, sometimes attracting him, sometimes pushing him away, sometimes making him coauthor, himself Eros in the recreation of Nature, of Love and of Arte.
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Ishii, Kotoe. "Double bind : splitting identity and the body as an object /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7075.
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Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture.<br>During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art.<br>The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.
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Gaité, Florian. "L’art et la schize du sujet : plasticités contemporaines." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100193/document.
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Organiser la rencontre des concepts de force, de forme et de figure s'inscrit dans le cadre d'un examen critique des modélisations organiques en philosophie. en éprouvant l'opérativité de ce complexe conceptuel à trois têtes, nous souhaitons définir le champ d'action d'une énergétique d'inspiration nietzschéenne, nourrie des réflexions sur le figural de lyotard ou sur le corps sans organes de deleuze et guattari. nos travaux antérieurs ont pensé une approche << plastique >> de l'art contemporain, capable de conceptualiser les dynamiques de transformation propres aux œuvres comme aux processus de création. une relecture des philosophies de la différence permet d'évaluer à nouveaux frais le modèle du vivant et de le confronter au champ de la philosophie politique en y appliquant les moyens mis en œuvre par une esthétique plastique. tant du point de vue des forces échangées du << corps social >> - métaphore dont nous apprécierons les limites - que de la figure du politique, la question est de juger la pertinence d'une philosophie qui interprète les actes humains à partir de modélisations scientifiques de la vie (données des sciences biologiques, physiques, physiologiques ou encore neuronales) /<br>Clinical sociology (Ehrenberg, Gauchet), Lacanian psychoanalysis (Melman, Kristeva, Lebrun) and part of the French philosophy (Lyotard, Deleuze, Guattari, Stiegler Malabou) come together to confront the evolutions of the « Libidinal economy » of the Self to the repressive forces of the capitalist system and the macro-orders of neoliberalism. Based on a reflection on social psychopathology, they all note the emergence of a Subject submitted to processes of depersonalization (loss of identity unit), derealization (break with the world) and disaffection (inability to express or feel emotions). This (new) figure of the contemporary subject, we conceptualize with the term "schised", is the central theme of this work focused on the different forms of indifference, boredom or inertia that seem to affect both the public and the plastic wire. Described as "schizo", "exhausted" and "traumatized", the subject of Art reveals a transformation of Plasticity we’ll analyse on two levels: as a process of self-shaping (the plasticity of the subject) and works-shaping (the plasticity of the Art). Focused on the various metamorphoses of this concept, this work seeks to highlight the potential of a hermeneutic aesthetics term at the intersection of neurosciences and psychoanalysis, and to retrace the formal evolutions of a conception of aesthetics marked by collective movement disorders. This reflection starts with a double problematic: Which Art can produce a Subject troubled in its plasticity? Can these psychopathological models help us to explain the indifference of contemporary public ?
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Chui, Wai-ngor. "The design of a Chinese culture subject aiming at enhancing cultural awareness and the evaluation of its effectiveness Yi wen hua jue xing wei jiao xue mu di zhi Zhongguo wen hua ke jiao xue she ji ji qi cheng xiao ping gu /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38787441.
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Serrano, Raurell Andrea. "L’autòmat, la fotografia i la crisi del model de subjectivitat clàssica en el surrealisme. Claude Cahun i Jindřich Štyrský." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/666305.
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La present investigació té com a objecte d’estudi la significació de la figura del maniquí en el surrealisme, entesa com a imatge representativa o simptomàtica de la crisi del model de subjectivitat clàssica. Per fer-ho, es pren com a exemple l’obra fotogràfica de Claude Cahun i la de Jindřich Štyrský, en les quals, sigui com a objecte o com a concepte, la figura del maniquí adquireix un lloc destacat. En aquest sentit, per una banda, es reflexiona entorn la caiguda del subjecte substancial i es planteja la possibilitat d’entendre la figura de l’autòmat, el maniquí o la nina com una image-symptôme d’un subjecte que ha entrat en crisi; d’una altra, s’aprofundeix en el tractament que té aquesta figura en l’obra fotogràfica de Claude Cahun i en la de Jindřich Štyrský. Recorregut que, alhora, ens submergeix en el surrealisme francès i en el surrealisme txec, dos mons aparentment allunyats que, tanmateix, es troben interconnectats.
En els capítols introductoris, que serveixen per ubicar la tesi en el seu marc teòric i contextualitzar l’àmbit d’estudi, a més de definir a què ens referim quan parlem de crisi de la subjectivitat clàssica, es planteja un dels punts de partida de la present investigació, és a dir, la possibilitat d’entendre el surrealisme com una expressió del Romanticisme al segle XX. Al llarg d’aquest recorregut, apareixen així des de l’Olímpia d’E.T.A. Hoffmann a Hadaly de Villiers de l’Isle-Adam, al mateix temps que es fa una aproximació a diferents aspectes que ens ajuden a entendre el surrealisme i el tractament que en aquest té la figura del maniquí. En aquest sentit, es realitza una aproximació als fonaments teòrics del surrealisme, així com a aspectes com el mite, la màgia, la infància o la meravella, que ens porten a parlar, al seu temps, d’un rebuig a un sistema polític, econòmic i social.
A continuació, en els capítols centrals, prestant atenció al maniquí, al mateix temps que viatgem al París dels surrealistes, descobrim algunes de les principals manifestacions en què aquesta figura participà. Així, de la Rue surréaliste a les Puppen de Hans Bellmer, transitem fins als capítols dedicats a Claude Cahun i Jindřich Štyrský, en els quals, el maniquí, sigui com a objecte o com a concepte, adquireix un rol destacat.
És al llarg d’aquest recorregut, una trama interconnectada d’idees en què cada apartat té la seva raó de ser, que assistim a l’adveniment d’un nou tipus de subjecte. Idea del jo entès com a màscara, que evidencia una realitat contingent, mutable i polimòrfica. Un subjecte entès com a procés, mancat de tota possibilitat de síntesi, marcat per l’alteritat i l’inconscient. En aquest sentit, tal com digué Claude Cahun, “je suis autre, un multiple toujours”.
La figura del maniquí surrealista, d’aquesta manera, se’ns presenta com una figura transfronterera, una imatge amb valor de símptoma que es relaciona amb un subjecte construït en gran part fora de si mateix. L’inconscient, l’alteritat o la follia, són alguns dels aspectes que es vinculen amb aquesta inquietant figura. Efígie que, com a doppelgänger o com a tout autre, sovint es converteix en un motiu discursiu que ens porta a parlar de l’emergència de nous models de subjectivitat. Així doncs, en el diàleg entre l’humà i l’inhumà, en la imprecisió dels límits que separen el subjecte de l’autòmat, el maniquí esdevé una expressió de l’unheimlich freudià. Figura que, altrament, se’ns presenta com a passatge. Una imatge de la poésie moderne, tal com observava Nezval, que esdevingué un punt de fuga per retrobar la meravella perduda en un món desencantat.<br>The present research deals with the figure of the mannequin significance in surrealism, understood as a representative or symptomatic image for the crisis of the classic subjectivity model. Our investigation is based on the photographic works of Claude Cahun and Jindřich Štyrský, in which the figure of the mannequin acquires a prominent place, either as an object or as a concept. On the one hand, this leads us to reflect on how the fall of the substantial subject raises the possibility of understanding the figure of the automaton, the mannequin or the doll as an image-symptôme of a subject who has entered into crisis. On the other hand, our work deepens the understanding of the treatment this figure has in the photographic works of Claude Cahun and Jindřich Štyrský. This journey will immerse us in the French and Czech surrealisms at the same time, two apparently remote worlds that are nevertheless interconnected.
In this way, the figure of the surrealist mannequin is presented as a cross-border figure, an image bearing a symptomatic value referring to a subject building himself largely outside his own self. The unconscious mind, the otherness, and the madness are some of the aspects intertwined in this disturbing figure. This effigy, as a doppelgänger or a tout autre, often becomes a discursive motive leading to the emergence of new models of subjectivity. Therefore, in the dialogue between human and inhumane, and in the unclear boundaries separating the subject from the automaton, the mannequin becomes an expression of the Freudian unheimlich; this figure is otherwise presented as a passage. As observed by Nezval, this image of poésie moderne has become a point of escape to regain a lost wonder in a disenchanted world.
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Bouzidi, Carole. "Créations, performances artistiques et sportives : du fantasme à l'oeuvre." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20036/document.
Full textAbstract:
Le concept de fantasme, dans le champ psychanalytique, permet de rendre compte à la fois de l'identité construite et des investissements du sujet. Dans notre revue de littérature nous en présentons les divers aspects. Nous proposons d'en cerner les incidences cliniques, au travers de publications et de rencontres d'acteurs artistiques et sportifs. Notre thèse est que le fantasme est sous-jacent à la passion liée à une activité, bien que celle-ci prenne source en un point qui reste obscur. Nous avançons de plus qu'une part du fantasme est dépassée, pour pouvoir atteindre une performance reconnue comme telle. Ce double mouvement qui se joue dans toute performance, explique les engouements qui y sont inhérents<br>The concept of fantasy, in the psychoanalytic field, allows us to explain both the built identity and the investments of the subject. In our litterature revue we show its various aspects. We propose its clinical implications, through publications and interviews from artists and sport players. Our thesis is that fantasy is required to explain the passion linked to an activity (sport or art), but the origin of the passion is still unknown. We promote that it is necessary to subvert a part of fantasy, to be able to achieve an artistic or a sport performance. This double mouvement can explain the enthusiasms that grow around performances
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Snyman, Amé. "Die karnavaleske as sosiale kommentaar : 'n ondersoek na geselekteerde werke van Steven Cohen / A. Snyman." Thesis, North-West University, 2012. http://hdl.handle.net/10394/9204.
Full textAbstract:
This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation.<br>Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.
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Cruise, Wilma. "Artist as subject : subject as object." Diss., 1997. http://hdl.handle.net/10500/17941.
Full textAbstract:
The artist uses herself as the object of study. Her subjective position is
validated within a theoretical framework provided by feminism,
existentialism and Freudian theory. The three world views provide the
context for an analysis of sculpture produced between the years 1988
and 1997. Three one-person exhibitions held in 1990, 1993 and 1996,
are examined in terms of their iconographic emphasis and their
theoretical bias. The role of the unconscious in the genesis of the
sculptures and the problem of author/reader dichotomies in interpretation
are dealt with as thematic threads throughout the dissertation.<br>Department of History of Art and Fine Arts<br>M.A. (Fine Arts)
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Su, Jen-chieh, and 蘇仁傑. "Shadows and Its Subject-Object Relations in Installation Art." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/05902113011274295769.
Full textAbstract:
碩士<br>國立臺南大學<br>美術學系視覺藝術教學碩士班<br>101<br>This research focuses on the subject-object relations of shadows in installation art. The section of literature review collects relevant studies on shadows and tries to clarify the meaning and implication of shadows. Different artists and their works on shadows are analyzed to see their subject-object relations. “The shadow personifies everything that the subject refuses to acknowledge about himself." The author creates two works. One is “Closet,” hoping to explore the unknown side of gays in the closet. The other is “Dialogue,” aiming at knowing the creator’s father and rebuilding and making up the relationship
In the creation of shadow, the creator adopts the method of installation art with the findings of theoretical studies and presents the inner state of mind of gays and also of the creator himself with a viewpoint of gay and self dialogues. The installation artworks of shadow not only bring the viewers a visual experience but also engage the creator to have an in-depth dialogue with myself.
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Ozolins, Brigita. "Searching for the subject : new narratives through installation /." 2004. http://adt.lib.utas.edu.au/public/adt-TU20050302.152001.
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