To see the other types of publications on this topic, follow the link: Video art. Visual poetry.
Dissertations / Theses on the topic 'Video art. Visual poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Video art. Visual poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Rutter, Mark. "Visual art and the book in modern poetry." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438695.
Full text
2
Olsson, Mica. "Visual composition in video games : Visual analyzation using eye-tracking." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64489.
Full textAbstract:
This thesis studies how classical fine art theory and visual structure can be applied to predict the viewers attention and use eye-tracking as a tool to gather results. Also if eye-tracking is applicable for testing game environments and how the artist can affect the player’s choices and actions. First it will go through classic art theory and visual structure principles such as image composition, working with color, line and shapes and contrasts between them. Based on the theory an experiment is made using several pictures and predict where the viewer would look and find interesting and gave the viewer a game environment to interact with and see how it also can be applied in interactive media. All data during these experiments is captured using an eye-tracker system which will register the viewer’s eye movement and placement on the monitor screen. Based on the experiment there is still a lot more to research in using eye-tracking for game analysis. Eye-tracking for still images worked very well and the result data was easy to follow and read, but in interactive environment it becomes more abstract and needs to be evaluated more how to best utilize eye-tracking there.<br>Denna rapport undersöks hur man kan applicera teori från klassisk konst och visuell struktur till interaktiva spel-miljöer i realtid och kunna påverka en spelares val och handlingar. Först går den igenom teorin som används inom klassisk konst såsom komposition, arbeta med färger, linjer och former samt kontraster mellan dem. Baserat på teorin används olika bilder där teorin appliceras och förutspår vad tittaren ska kolla och finna intressant och vidare därifrån applicera samma metod men på interaktiv media. All data under dessa undersökningar kommer samlas in användandes av eye-tracking system vilket registrerar tittarens ögats rörelse och placering på en datorskärm. Baserat på resultaten finns det mycket mer att studera inom användning av eye-tracking för spelanalys. Eye-tracking för stillbilder fungerar väldigt bra med klar data att se och läsa, men för interaktiva miljöer blir det snabbt mer abstrakt och behöver utvärderas mer om hur Eye-tracking bäst kan användas där.
3
Havelda, John. "MEANINGLÊS : John Havelda's multilingual poetry and language-based art." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/meaningles-john-haveldas-multilingual-poetry-and-languagebased-art(bf810005-4092-4040-93e9-6f9041ab2128).html.
Full textAbstract:
This PhD by publication focuses on over fifteen years of my cultural production, including poetry, translation, critical essays, and work produced in the context of the visual arts. Ranging from my earliest published work in mor (1997) to my most recent writing projects such as pulllllllllllllllllllllllll: Poesia Contemporânea do Canadá (2010) and the “:”s, published in Open Letter (2012). I have consistently produced work in dialogue with the international context of linguistically innovative writing. The fourteen texts collected here provide clear examples of my approach to practice-led research. Accompanying this portfolio, I have produced a critical essay which reflects on the work. This essay employs a modular rather than a standard hypotactic structure to trace the influences on and the connections among the disparate group of texts which make up my portfolio. A crucial element in my work is the notion—expressed by various proponents of Language Writing and other key influences—that literary production and reception are political as well as aesthetic activities. The critical essay thus contextualizes my work in relation to the politicized experimentalism of North American and European poetics, and clarifies how my writing has consistently challenged the social authority of standard
4
Kimberley, Emma. "Ekphrasis and the role of visual art in contemporary American poetry." Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/9042.
Full textAbstract:
This thesis engages with three US poets – Jorie Graham, Charles Wright and Mark Doty – as well as using other writing, from the Modernists to the ekphrastic collection, to engage with the context of ekphrasis, ‘the verbal representation of visual representation’, in the US. After an introduction that evaluates previous work on ekphrasis and studies the forms of engagement between visual and verbal art, a section of three chapters is devoted to each poet. The first explores Jorie Graham’s work on abstract painting, photography and film, analyzing how she uses the different temporal conventions of each genre to write about the past. The second section looks at the links between memory and present perception in the work of Charles Wright and his struggle with how to represent as he follows the path to abstraction before returning to the more simple desire to say what he sees, accepting the sleight of hand that is necessarily a part of this. The third section goes on to explore the work of Mark Doty, a poet who embraces illusion in representation, arguing that the process of creating and deconstructing illusions is a fundamental part of how we define our own identity as well as how we make space for ourselves within the community. Refuting accusations that ekphrastic writing often depends too heavily on the visual artwork for its credibility, this section considers how it can be used positively as a tool for legitimation by writers who come from a minority perspective, analysing the visual aspect of poems on cruising, drag and public sex performances. A final section uses the relatively new phenomenon of the ekphrastic collection – with work by Cole Swensen, Debora Greger and Claudia Rankine– to examine how ekphrasis deals with issues of gender and iconic cultural images.
5
Fisher, Matt 1966. "Animated writing." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28047.
Full textAbstract:
Accompanying materials housed with archival copy.<br>Using an animation program on a Macintosh computer, I have animated poems, song lyrics and expressions in an experimental way to investigate alternatives to the restrictive poetics of the static medium of paper. Animated Writing is thus the process of enacting, in a visually rich and compelling fashion, the various semantic possibilities of text presented on a screen. While a CD-ROM or Web site would flawlessly display the pristine digital content of the animations which comprise the Creative Writing Master's Thesis, for ease of distribution the thesis is presented on analog VHS videotape. An animated text offers many subtle nuances, doubling of meaning and delicate complexity which are wholly impossible to achieve on paper. This technique of animating words provides for an exciting and intriguing enrichment of both original poetry created specifically for the form, and prose, lyrics or other found text adapted for use.
6
Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.
Full textAbstract:
The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
7
Bertling, Wiik Siri. "Whispering Bodies : The Textual Brain." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-939.
Full textAbstract:
During this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening. This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional. If you have any questions, feel free to contact me about the work.
8
Brink, Deborah. "The woman of the street." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,135.
Full textAbstract:
Thesis (M.F.A.)--University of New Orleans, 2004.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the department of English."--Thesis t.p. Vita. Includes bibliographical references.
9
Asad, Mariam. "Making it difficult: modernist poetry as applied to game design analysis." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39617.
Full textAbstract:
The process of reading a modernist poem is just as much a process of deconstructing it: the language is designed to make meaning through inefficient means, like the aforementioned fragmentation and assemblage. The reader must decode the text. This is what I want to extract as a point of entry to my videogame analysis. The process of reading is not unlike the process of playing. Instead of linguistic structures, a player must navigate a game‟s internal rule system. The pleasure for both the reader and player comes from decoding the poem and game, respectively. I am not making claims that relationships between modernist poetry and videogames are inherent or innate. Similarly, I am not providing a framework to apply one medium to the other. Instead I want to investigate how each medium uses its affordances to take advantage of its potential for creative expression. I do not consider poetry or literature to be superior to videogames, nor am I invoking the argument that videogames should imitate earlier media. My goal is to compare specific modernist poems and videogames to see how each medium makes meaning through its respective processes.
10
Nader, Myrna. "Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5439.
Full textAbstract:
This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
11
Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
Full textAbstract:
Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.<br>Includes bibliography.<br>ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can
be understood, in my view, as symptomatic of a primary interest in representing experiences of
affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical
interrogation of the notion of self. These phenomena include notions of the body (animal and
human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality
and most critically, nostalgia as understood through experiences of homesickness and heimwee.
My focus is on the affective potential of contemporary lens-based (photographic and video) art. I
approach this study by way of three central ideas: the longing for home (the relationship between
self/space); the longing for the body (the relationship between body/self); and the longing for the
other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as
well as theoretical interpretations of photography and screen-based media, in the broader context
of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of
Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between
photography and memory, and develops these to include ideas of the gaze, self and alientation from
the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and
homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny)
and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the
animal-other.
This study is intimately linked with, and critically informed by my personal artistic practice, which
focuses specifically on the photographic or filmic representation (projection) of separation,
displacement and longing for an absent other (home, partner & domestic animal). I discuss my own
work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis
and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic
and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing
and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions
made possible by lens-based processes and their presentation as print and projection, image and
screen.<br>AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde
verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin
om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op
die verband tussen kontemporêre kuns en affek wees.
Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie,
identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike
ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie
(heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie;
liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met
inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel
deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing.
Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die
verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die
verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen
self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns,
asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my
eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en
verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek.
Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag,
Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en
Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie
en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike,
veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en
heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die
objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat
deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak
word.
12
Tunstall, Lucy Suzannah. "Vision and visual art in Sylvia Plath's 'Ariel' and last poems." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/24401.
Full textAbstract:
This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.
13
Woodcock-Squires, Zoe E. "Art Deco poets : reframing the works of W.H. Auden and Louis MacNeice in the context of Interwar Visual Art." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17419.
Full textAbstract:
This thesis examines works by the British interwar writers W.H. Auden and Louis MacNeice in the context of their relationship with the contemporary style of visual art known as Art Deco or the Moderne. It is my contention that, having absorbed many of the Art Deco idioms as an accepted part of the world they experience, these are reflected in the writers' works, firmly relating the work to a unique historical moment, place and social and cultural environment. In my reading of their work I identify sources of inspiration in their themes, idioms and imagery common to the artistic style, and investigate the extent to which their work has been informed in content and composition by visual art. Using diaries, travelogues, letters, essays, prose and poetry, I will argue that if Art Deco characterised the interwar period, it follows that it will also characterise the work of Auden and MacNeice. As such, I seek to reframe their work in an entirely new context, one seemingly unnoticed by earlier critics. My project also considers the ways in which a worldview is formed and environments are learned from childhood, with reference to early twentieth-century psychologists Erich Fromm, Lev Vygotsky and Maria Montessori, in order to posit the notion that growing up in the heyday of Art Deco, Auden and MacNeice may have subceived a great many of its motifs. I also identify the ways in which the writers engage visual art with intent, and establish a relationship between the writers and Art Deco's politics, imagery and composition through discussion of individual poems and their co-authored book Letters From Iceland (1937). In particular, the thesis examines the presence and impact of Art Deco elements in their work, such as Cubism (using both visual and literary examples), Futurism, the cinema, the Ballets Russes, and interwar attempts at producing what Wagner termed gesamtkunstwerk, the 'total work of art'.
14
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.
Full textAbstract:
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.
15
Perry, Allison. "Women and Video Games: Pigeonholing the Past." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/135.
Full textAbstract:
Academic work dealing with the overlap between video games and female representation is limited in both volume and proper research. Most texts agree on three supposed flaws with video games: they alienate female participants, there are no games for female players, and female players cannot relate to female characters. This thesis sheds light on these points, not only citing specific counter-examples, but also showing how many of these issues reflect on a larger societal problems.
16
Vikander, Vincent. "Well-articulated nonsense." Thesis, Konstfack, Institutionen för Konst (K), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5709.
Full textAbstract:
Essay concerning some of the methods used in my artistic practice. With starting point in art as a tool for communication I explain how I in the making process divide all works into their content (what is being said) and their package (how it's said). This is discussed in relationship to Nicolas Bourriad's "Postproduction" and Kenneth Goldsmith's "Uncreative writing".
17
Huttunen, Hinni. "CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO : Master essay 2018 / Hinni Huttunen." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-368.
Full textAbstract:
CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.
18
Patterson, Jennifer J. "Fragmented bodies : towards a feminist analysis of visual and verbal language in in early surrealist poetry and art." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410225.
Full text
19
Mencia, Maria. "From visual poetry to digital art : image-sound-text, convergent media, and the development of new media languages." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2280/.
Full textAbstract:
This research arises from my practice as a professional artist and my concern with issues of language and communication, particularly, the investigation of ways that arouse emotion and rational thought at once through language. Visual Poetry is a form of expression, which provokes both, and I saw the potential to expand its underlining principles further with the emergence of new technologies. With the digital medium, the main elements of visual and sound poetry: image, sound and text, can now be incorporated into the same piece of work. The aim of this study is to explore new digital communicative systems that interweave visual, oral and semantic elements of language, to produce new media languages where the pre-linguistic and linguistic maintain their symbiotic identities. This study examines theoretical and artistic concerns emerging from the area in-between, which is created by interlacing image, sound and text in the same artwork. It addresses the following series of questions: How to transfer the main concepts from Visual Poetry to Digital Art? How does computer technology transform image, sound and text to create new media languages? What is the role of the author, reader, writer, producer in these new interactive textualities of image, sound and text? How has this affected the new conventions of reading, looking, producing, using and thinking? What does the digital add to the interactivelexts of Visual Poetry? What new meanings and processes of thinking, understanding and interpretation are appearing? In which way do new technologies enhance the collaborative nature of practice? This investigation brings knowledge from other disciplines into the art field and it explores different serniotic models such as the linguistic the visual and the aural. It blurs the barriers between the visual and the linguistic: between different art forms such as fine art, visual poetry and sound art/poetry in a new digital and technological arena. It questions the conventions applied to these critical areas with the aid of the new tools and critical concepts available through digital technology. This study challenges the viewer/listener/user with an interface of signs from different languages and serniotic systems: the visual (still and moving images), the audible and the linguistic, to participate and explore the multiple possibilities within a work. This investigation seeks to contribute to a new body of knowledge in the development of the areas of Visual Poetry, Digital Art and the new genre of Electronic Poetry, by creating new, innovative, digital artworks for which, as a new form of expression, critical and analytical conventions are still in the process of development.
20
Van, Heerden Lorinda. "The poetry of silence : perpetuating the profound burden : a female family narrative." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18032.
Full textAbstract:
Thesis (MA (VA)--Stellenbosch University, 2011.<br>ENGLISH ABSTRACT: The thesis investigate the family narrative. While engaging specifically with my female
family narrative, it essentially questions how and why we create and perpetuate this narrative
of absence and presence. The acts of memory, autobiography, testimony and the subsequent
creation of the archive are probed. Such probes attempt to enter the sphere of the unsayable
and unsaid, partially lifting the female existence, identity and body from the silence
surrounding the private and intimate realm she dwells in.
The creation and recreation of meaning through the use and manipulation of time and
language is examined through-out whilst continually reading absence as presence. This is
done in order to locate and access the silent and forgotten. The thesis problematises the
notion of the ‘I’ and the ‘initial’ through looking at the repercussions of the employing
linearity. Ultimately, this writing process reveals the contradictions and dualities we both
create and aim to obliterate within the individual and collective composition of the family
narrative.<br>AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die familienarratief. Terwyl dit spesifiek die vroulike familienarratief
bespreek bevraagteken dit hoe en hoekom ons die narratief van afwesigheid en
teenwoordigheid skep en voortsit. Die dade van onthou, outobiografie, getuienis, en die
daaropvolgende ontstaan van die argief, word gepeil. Hierdie ondersoeke poog om die sfeer
van die ‘ongesêde’ en die ‘onsêbare’ binne te dring, en so die vroulike bestaan, identiteit en
liggaam te bevry uit die stilte van die ‘private’ en die intieme terrein waarbinne sy woon.
Die skep en herskep van betekenis deur die gebruik en manipulasie van taal en tyd word
deurlopend ondersoek, terwyl afwesigheid as aanwesigheid gelees word. Dit word gedoen in
orde om die stilte en vergete te vind en toegang daartoe te bewerkstellig. Die tesis
problematiseer die begrip van die ‘ek’ en die ‘initiële’ deur na die reperkussies van die
toepassing en gebruik van lineariteit te kyk. Uiteindelik onthul die skryfproses die
kontradiksies en dualiteite wat ons beide skep asook poog om uit te wis binne die individuele
en kollektiewe komposisie van die familie narratief.
21
Etheridge, Kate. "Dynamic reflections : mirrors in the poetic and visual culture of Paris from 1850 to 1900." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0ad79384-a85e-4fbd-93d5-d5b993844ffb.
Full textAbstract:
This thesis explores the transformation of the mirror's symbolic role in the poetry and visual art of late nineteenth-century Paris. For centuries the mirror has been associated with both truth and artifice, whether in religion, popular culture, art, or theories of aesthetics. In the context of nineteenth-century literature, M.H. Abrams uses the mirror to represent the age-old idea of the artist as an objective reflector of the world, juxtaposing this with the nineteenth-century notion of the artist as a subjective lamp. However, this thesis shows that, far from being abandoned as a symbol of artistic expression, the mirror motif was reclaimed and reinterpreted by Baudelaire and his artistic and poetic successors. The thesis argues that their works highlight the distortions and ambiguities that the mirror can produce, using it as a motif to challenge and alter our mode of vision. This thesis focuses on the visual and poetic culture of Paris between 1850 and 1900, when mirrors were increasingly visible in a range of public and private settings. Building on Walter Benjamin's descriptions of Paris as a city of mirrors and a locus of multiple, shifting gazes, the thesis examines how the perceptual experiences of modernity feed into the development of the mirror's symbolic role. Through a series of close readings, the thesis analyses the dynamics of mirror-vision and explores the shared preoccupations of art and poetry in their treatment of subjectivity, vision, and self-reflexive artistic practices. The thesis is arranged into three sections, examining texts by Charles Baudelaire, Henri de Régnier, Jules Laforgue, Stéphane Mallarmé, and Marie Krysinska, and artworks by Edgar Degas, Edouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, and Mary Cassatt. The first section assesses Baudelaire's works as a turning point for the mirror's symbolic significance, particularly examining how Baudelaire reinterprets the association between mirrors and femininity. The second section explores this latter connection in the art and poetry of Baudelaire's late nineteenthcentury successors. The third section examines the mirror's appearance in various ambiguous or ill-defined spaces, assessing how this affects the reader's or viewer's perceptions. I conclude that in the art and poetry of this period, the mirror becomes an emblem of self-reflexivity. Through works that prioritise mobility, multiplicity, and fragmentation, these artists and poets subvert the mirror's associations with mimesis in order to expose the dynamic uncertainty of vision and artistic representation.
22
Weiss, Francine. "Visual verses: Edward Weston's photographs for Walt Whitman's Leaves of Grass, 1941-1942." Thesis, Boston University, 2012. https://hdl.handle.net/2144/33264.
Full textAbstract:
Thesis (Ph.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>This dissertation examines the photographs created by Edward Weston during
his travels through the United States in 1941 and intended for a luxury reprint of Walt
Whitman's Leaves ofGrass published by the Limited Editions Club in 1942. By
contrasting the hundreds of photographs Weston made now residing in archives and
collections with the forty-nine images ultimately selected and arranged by the Club's
director, George Macy, I argue that Weston's larger, more complex and diverse version
of America more closely resembled Whitman's text than his publisher's limited
selection. Moreover, this under-examined body of work promotes a new understanding
of Weston's late oeuvre; inspired by cross-country travel, Whitman's poetry, and other
artists, Weston tackled new subject matter, experimented with different styles, and
synthesized artistic and documentary modes in his photographs.
Chapter I introduces the commission, the role of Weston's wife Charis Wilson
in the project, the timely choice in 1941 of pairing Whitman and Weston, both of whom
challenged boundaries of their respective media, and the outcome of the book's design.
Chapter 2 turns to an analysis of the sequence of the first ten images as representative of Macy's caption-driven approach to the book, which generally discouraged the probing of close relationships among images. The chapter concludes with an analysis of the images themselves paired with close readings of select poems in order to establish the parallels in sensibility of the two artists.
Chapters 3 through 5 broaden the discussion by including Weston's
unpublished images from the 1941 trip. Focusing on Weston's portraits, Chapter 3
discusses Weston's diverse sitters-African and Native Americans and womensometimes
selected while researching ethnography. Chapter 4 focuses on landscapesindustrial,
urban, desert, and rural-in which he engaged with popular American
imagery and created art and documentary images. Chapter 5 analyzes Weston's
photographs of plantation ruins and cemeteries in Louisiana, and folk art and customs
for which he recorded examples of American ethnography.
Through examination of these images, a new picture of Weston emerges as not
only a modernist art photographer, but also a photographer with deep interests in
American people, landscape, and culture.<br>2031-01-01
23
Avgousti, Nicoleta. "Contemporary Cypriot video art : an investigation of artistic practice and its educational implications for the visual arts curriculum." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21231/.
Full textAbstract:
This qualitative project concentrates on the creative research processes of contemporary Cypriot video artists and on their interrelation with the field of visual arts education, examined through the triple role of artist/researcher/teacher. The project contains evidence of the achievement of a tangible research product in the form of an Educational Guide, accompanied by a DVD collection as a creative outcome that presents, in 10 DVDs, the video profiles of 10 local artists with a selection of their video artwork. The project adopts a pluralistic research methodology, and identifies and presents multiple results that are extracted from the artists’ case studies, together with a self-study concerning artistic research approaches to video art-making. The results are transformed through a hermeneutical and semiotic approach into educational suggestions for the employment of video art as an art form, and video as a medium into the visual arts educational context. The body of knowledge presented contributes to three major areas: the documentation and accessibility of the artistic practices of contemporary living Cypriot artists, the understanding of their artistic research processes, and the attribution of pedagogical value to video art’s content and context through the creation of educational materials that consider the availability of the artists’ video works. The outcome of the project is intended for general and visual arts educators, artists, art historians and gallery and museum professionals who wish to study the insights of video art in Cyprus through an audio-visual presentation. The overall contribution of the project to professional practice is summarised in the bridging of the gap between the sister fields of visual arts and contemporary visual arts education, by transforming everyday artistic practice in appropriate material for pedagogical contexts.
24
Underriner, Chaz 1987. "The Sound-Poetry of the Instability of Reality: Mimesis and the Reality Effect in Music, Literature, and Visual Art." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849623/.
Full textAbstract:
This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.
25
Colwell, Virginia Kathryn. "The Present Absence." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308167144.
Full text
26
Hermsen, Terry. "Languages of engagement." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070294401.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xvi, 700 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
27
Zhang, Ruiqi. "Parallel Narrative: Short-Video Social Media Platforms’ Influences on Contemporary Narrative." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5935.
Full textAbstract:
Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.
28
Riley, Rachele Cyr. "Aesthetic Representations of Violence: Visualizing the Art of War." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/40.
Full textAbstract:
In this project I explore visual representation, abstraction, and the interpretation of violence as transformed aesthetic forms. Through drawing and film, I develop a visual language to interpret the subject of war, to allow my audience to experience the dynamics of conflict and to reflect upon the devastating toll that war takes on humanity.
29
Soto, Reátegui Boris Daniel. "Análisis de los elementos visuales utilizados en videojuegos independientes de plataforma en el Perú durante los últimos cinco años." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653069.
Full textAbstract:
En esta investigación se analizaron las características de los elementos visuales utilizados en videojuegos independientes de plataforma en el Perú durante los últimos cinco años, a lo cual se formuló la hipótesis de que estas características generan su propia categorización de los elementos visuales, lo cual aporta a la narrativa visual e interacción de los usuarios. Para comprobarla, se analizaron 8 videojuegos independientes de plataforma desarrollados en Perú en los últimos cinco años. Además, se entrevistó a dos profesionales del área para conocer la situación real del desarrollo en la industria y ampliar los conocimientos para el análisis visual. Los resultados del análisis visual demuestran que el 50% de los juegos presentan un estilo pixel art, con elementos similares entre las diferentes entregas; sin embargo, tienen diferentes formas de expresar su temática usando los personajes y el entorno. La interfaz de los juegos mantiene las mismas características y solo cumplen la función de informar. Se concluyó que la mayoría de los videojuegos independientes de plataforma optan por el estilo pixel art para sus gráficas por ser fáciles de trabajar, pero solo se centran en la utilidad y no en el impacto visual. Por otro lado, se determinó la falta de experiencia de los desarrolladores al trabajar sus propuestas, lo que conduce a usar plantillas predeterminadas de los motores gráficos.<br>In this research, the characteristics of the visual elements used in platform independent video games in Peru during the last five years were analyzed, to which the hypothesis was formulated that these characteristics generate their own categorization of the visual elements, which contributes to the visual narrative and user interaction. To verify it, 8 independent platform games developed in Peru in the last five years were analyzed. In addition, two professionals from the area were interviewed to learn about the real situation of development in the industry and expand their knowledge for visual analysis. The results of the visual analysis show that 50% of the games have a pixel art style, with similar elements between the different installments; However, they have different ways of expressing their theme using the characters and the environment. The interface of the games maintains the same characteristics and only fulfill the function of informing. It was concluded that most of the independent platform video games choose the pixel art style for their graphics because they are easy to work with, but they only focus on utility and not on visual impact. On the other hand, the lack of experience of the developers when working on their proposals was determined, which leads to using predetermined templates of the graphics engines.<br>Trabajo de investigación
30
Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.
Full textAbstract:
Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.
31
Tosin, Giuliano. "Do papel aos suportes eletronicos : o percurso da poesia experimental e sua tradução para as novas tecnologias." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284845.
Full textAbstract:
Orientador: Fernando Cury de Tacca<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-03T21:19:17Z (GMT). No. of bitstreams: 1
Tosin_Giuliano_M.pdf: 8654138 bytes, checksum: 452fd5c864b8c74c43bde384b55379e4 (MD5)
Previous issue date: 2003<br>Resumo: Esta dissertação de mestrado apresenta um percurso histórico da poesia experimental que vai desde a Grécia Antiga até os dias de hoje, dando destaque aos principais movimentos artísticos e poéticos do século XX, entre eles os mais recentes, que utilizam meios de realização vinculados às tecnologias eletrônicas e digitais. Através do emprego da teoria semiótica, sobretudo a concebida por Charles S. Peirce, propõe-se a
interpretar alguns princípios da poesia experimental e aprofundar-se na teoria da tradução intersemiótica, desenvolvida por Julio Plaza. Baseada nesta teoria, somada a fundamentos da teoria da informação, procura analisar a dinâmica dos processos pelos quais poemas visuais e verbais feitos em suportes convencionais (impressos) foram traduzidos para novas
tecnologias<br>Abstract: This study presents a historical retrospective of experimental poetry that comprehends the period from Ancient Greece to present production, focusing on the main artistic and poetic movements of the 20th century, among them the most recent ones, which utilize electronic and digital technologies. Through the application of the semiotical theory,
especially Charles S. Peirce¿s theory, it attempts to interpret some fundaments of experimental poetry and, afterwards, going into the theory of intersemiotical translation, developed by Julio Plaza. Based on this theory along with fundaments of the theory of information, the study aims to analyse the dynamics of the processes in which visual and verbal poems made in conventional media (print) have been translated into new
technologies<br>Mestrado<br>Multimeios<br>Mestre em Multimeios
32
Ash, Mary. "Integration in the teaching of the arts : a study of the role of metaphor across four forms - music, movement, poetry and visual art." Thesis, Institute of Education (University of London), 1986. http://eprints.ioe.ac.uk/6537/.
Full text
33
Kreuser, Carla Louise. "The meandering narrative : poetry and illustration engage in a moment of indiscipline : demonstrated in an analysis of Sara Fanelli’s illuminated poem - And all men kill the thing they love." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86503.
Full textAbstract:
Thesis (MPhil)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: This is
a
study
about
the
inner
workings
of
an
illuminated
poem
–
about
the
dialogue
that
develops
between
poetry
and
illustration
when
they
encounter
each
other
on
the
page.
However,
the
illuminated
poem
is
more
than
just
a
relation
between
words
and
images,
it
is
also
a
composite
art
in
its
own
right.
This
study
explores
the
dynamic
of
this
particular
type
of
imagetext
by
firstly
claiming
that
the
illuminated
poem
embodies
a
moment
of
indiscipline
and
secondly,
by
positing
that
illustration
should
contribute
to
this
pairing
by
acting
as
a
manifestation
of
illumination,
instead
of
posturing
as
merely
‘illustrative’
or
decorative.
The
inherent
indisciplinarity
of
the
illuminated
poem
as
an
imagetext
is
dissected
–
it
is
simultaneously
two
independent
art
forms
and
an
integrated
one;
it
can
therefore
be
seen
as
both
an
interdisciplinary
concern
and
a
new
art
form.
The
illuminated
poem
as
a
visual
art
blurs
the
boundaries
between
words
and
images,
upending
the
traditional,
rigid
boundaries
of
image-‐text
discourse.
Additionally,
a
meandering
narrative
is
set
in
motion
when
poetry
and
illustration
engage
in
an
illuminated
poem
–
a
slower,
involved,
cross-‐pollinating
reading
that
results
in
the
activation
of
a
reader’s
imagination.
The
idea
of
Illumination
is
thus
examined
as
both
an
orchestrated,
visual
choice
and
an
active,
conjuring
process.
Various
strategies
of
illumination
–
with
which
illustration
can
open
up
a
poem
to
new
conceptual
and
narrative
possibilities
–
are
also
discussed.
These
theories
of
interplay
and
interaction
are
then
applied
to
an
analysis
of
And
all
men
kill
the
thing
they
love,
an
illuminated
poem
by
Sara
Fanelli
and
Oscar
Wilde,
revealing
some
of
the
ways
in
which
illustration
and
poetry
act
as
co-‐conspirators
and
collaborators
when
they
engage
in
a
moment
of
indiscipline.<br>AFRIKAANSE OPSOMMING: Hierdie
is
‘n
ondersoekende
studie
na
die
dieperliggende
werking
van
‘n
“illuminated”
gedig.
Die
studie
fokus
op
die
dialoog
wat
ontstaan
wanneer
‘n
gedig
en
illustrasies
mekaar
op
papier
ontmoet.
Die
“illuminated”
gedig
is
egter
soveel
meer
as
net
die
saamgestelde
som
van
woord
en
beeld
–
dit
is
ook
‘n
verstrengelde
nuwe
kunswerk
in
eie
reg.
Hierdie
studie
verken
die
dinamiek
van
dié
besondere
soort
beeldteks
deur,
eerstens,
te
verklaar
dat
“illumination”
‘n
moment
van
ongedissiplineerdheid
behels
en,
tweedens,
deur
te
verwag
dat
die
illustrasies
bydra
tot
hierdie
verhoudingsdinamika
deur
‘n
manifestasie
van
“illumination”,
pleks
van
net
‘illustrerend’
of
dekoratief,
te
wees.
Die
inherente
ongedissiplineerdheid
van
die
“open-‐ended”
gedig
as
beeldteks
word
ondersoek
–
dit
vorm
tegelykertyd
twee
onafhanklike
kunsvorms
en
‘n
geïntegreerde
geheel;
dit
kan
dus
beskou
word
as
beide
‘n
interdissiplinêre
kunswerk
en
‘n
nuwe
kunsvorm.
Die
‘mengsel’-‐gedig
as
visuele
kunsvorm
oorskry
die
bekende
grense
tussen
woorde
en
beelde
en
gooi
alle
rigiede,
streng-‐tradisionele
riglyne
van
die
beeldteks-‐geding
omver.
Die
verhaaltrant
volg
kronkelpaaie
wanneer
digkuns
en
illustrasie
slaags
raak
op
papier
of
meedoen
aan
die
“open-‐ended”
gedig
–
‘n
stadiger,
meer
betrokke,
kruisbestuiwende
leestempo
word
afgedwing,
wat
sodoende
die
leser
se
verbeelding
aktiveer.
Die
idee
van
“illumination”
word
dus
ondersoek
as
beide
‘n
georkestreerde,
visuele
keuse
en
‘n
meelewende
(verwonderings)proses.
Verskeie
verhelderings-‐
moontlikhede
–
waardeur
illustrasie
‘n
gedig
kan
ontsluit
om
nuwe
konseptuele
en
vertellingsmoontlikhede
te
ontgin
–
word
ook
bespreek.
Hierdie
teoretiese
benadering
van
‘n
heen-‐en-‐weer-‐spel
se
wisselwerkende
interaksie
word
dan
toegepas
op
‘n
analise
van
And
all
men
kill
the
thing
they
love,
‘n
“illuminated”
gedig
deur
Sara
Fanelli
en
Oscar
Wilde.
Verskeie
wyses
waarop
illustrasie
en
digkuns
as
samesweerders
en
samewerkers
kan
optree
wanneer
hulle
hulself
in
‘n
oomblik
van
ongedissiplineerdheid
bevind,
word
aangetoon.
34
Humphreys, Brianne Alta. "Humans Aren't Boxes, Art Isn't Finite." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5894.
Full textAbstract:
I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons.
This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.
35
Nannini, Priscilla Barranqueiros Ramos [UNESP]. "Palavra e imagem: possíveis diálogos no universo do livro de artista." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139484.
Full textAbstract:
Submitted by PRISCILLA BARRANQUEIROS RAMOS NANNINI null (prnannini@uol.com.br) on 2016-06-15T20:12:13Z
No. of bitstreams: 1
tese_priscilla nannini_Palavra e imagem possíveis diálogos no universo do livro de artista.pdf: 10603974 bytes, checksum: afe80c3c4e9eb2cb1f57f8f62e0b13ff (MD5)<br>Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-20T13:31:01Z (GMT) No. of bitstreams: 1
nannini_pbr_dr_ia.pdf: 10603974 bytes, checksum: afe80c3c4e9eb2cb1f57f8f62e0b13ff (MD5)<br>Made available in DSpace on 2016-06-20T13:31:01Z (GMT). No. of bitstreams: 1
nannini_pbr_dr_ia.pdf: 10603974 bytes, checksum: afe80c3c4e9eb2cb1f57f8f62e0b13ff (MD5)
Previous issue date: 2016-04-28<br>O objetivo desta pesquisa é encontrar os possíveis diálogos entre palavra e imagem, dentro da Poesia Visual, Artes e Design. A proposta é realizar entrelaçamentos entre a palavra e imagem nessas linguagens, buscando encontros e desencontros, usando como fio condutor dessas reflexões a produção de Livros de Artista feitos por Mira Schendel, Lygia Pape, Edith Derdyk e do poeta visual Ronaldo Azeredo, que trabalharam a relação verbal e visual explorando diferentes possibilidades de representação, gerando obras representativas com grande valor artístico, estético e cultural. A ideia é traçar o caminhar dessas linguagens desde seus primórdios até os dias de hoje, relatando seus diálogos e retomando as origens dessas relações, pesquisando onde palavra e imagem iniciam seus encontros, quais suportes usados e sua exploração, quais as influências dos movimentos artísticos e como isso refletiu nas representações artísticas. A contemporaneidade é marcada por uma grande proliferação de imagens nas mídias e no cotidiano, mas como é feita esta leitura? Acredita-se na importância do olhar crítico em relação à visualidade, por isso a relevância deste estudo, que pensa sobre a imagem e sua relação com o verbal, levantando questões tão contemporâneas como a grande quantidade de imagens que recebemos no dia-a-dia, constatando que é preciso um olhar apurado sobre elas. O que se consegue elaborar em termos de conhecimentos nessas relações? Após a leitura dos autores, análise dos Livros de Artista, conversas e entrevistas com a artista Edith Derdyk, buscou-se um entendimento sobre os diálogos entre a palavra e a imagem, suas relações, encontros e desencontros. Esta pesquisa finaliza com um relato de experiência realizado com alunos do ensino médio na construção do livro de artista.<br>The goal of this research is to find possible dialogues between word and image within visual poetry, art and design. The proposal is to interweave word and image within these languages, seeking agreements and disagreements, using as a thread for these reflections the production of artistsʼ books made by Mira Schendel, Lygia Pape, Edith Derdyk and by visual poet Ronaldo Azeredo, who investigated verbal and visual relationship through different possibilities of representation, creating representative works with great artistic, aesthetic and cultural value. The idea is to outline the evolutions of these languages from their beginnings to the present day, narrating their dialogue and looking back on the origins of these relationships, researching where word and image started to merge, what media were used and how they were used. This paper also reflects on the influence of the avant-garde and how these movements are expressed in the artistsʼ books. The contemporary world is marked by a proliferation of images in the media and in everyday life, but how is this reading done? The critical eye toward the visual is seen today as highly important. This accounts for the relevance of this study, which proposes to think about the image and its relationship with the word, raise contemporary issues such as the large amount of images we receive from day to day and corroborate the idea that you must have a sharp eye on them. What knowledge can we draw from these relationships? After reading authors, analyzing artistsʼ books, interviewing the artist Edith Derdyk, we looked for an understanding of the dialogue between word and image, their relations, agreements and disagreements. This research concludes with an annexe that describes the experience undertaken with high school students during the creation of artistsʼ books.
36
Adinolfi, Mauricio Pinto. "Estruturas : entre madeira e mar: homem inundado /." São Paulo, 2020. http://hdl.handle.net/11449/192482.
Full textAbstract:
Orientador: José Paiani Spaniol<br>Resumo: Homem Inundado apresenta-se como objeto artístico, um livro em fluxo narrativo contínuo relacionado aos processos e procedimentos que abarcam os últimos cinco anos dedicados à pesquisa e produção de instalações, site specifics e pinturas. Tais práticas estão voltadas à investigação de questões estruturais e matéricas associadas à experiência com a construção naval e com comunidades litorâneas em diversas partes do Brasil, Portugal e França e abordam situações críticas decorrente das transformações sociais e exploração regional. Sua estrutura está baseada na diagramação e espaçamento entre texto, caracteres e imagens, interferindo no movimento de leitura e afirmando a linguagem como construtora de sentido - enquanto signo, letra e palavra - buscando na experiência estética um questionamento existencial. O texto se caracteriza como uma prática de fragmentação, de uma multiplicidade dos grupos composicionais, junto a certa assimetria de ritmo, tendo por fio condutor um corpo que se inunda. Esses grupos se desenvolvem de forma ensaística, concomitante à influência da montagem dramatúrgica, com prólogo, atos e epílogo. As imagens variam de tamanho e espacialização, e os blocos de texto afirmam uma fisicalidade do verbo outorgando ao livro uma corporeidade objetual.<br>Doutor
37
Thune, Lucie Noel. "Sense of Duration." VCU Scholars Compass, 1998. http://scholarscompass.vcu.edu/etd/1279.
Full textAbstract:
The following writings contain different segments about the concept of time. To best describe certain feelings and thoughts concerning my ideas and work I have used poetry and short stories in a prosaic manner. I also felt it necessary to include some historic facts about the history of time and its measuring devices.
38
Hartigan, Patrick Art College of Fine Arts UNSW. "Within words, without words." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43083.
Full textAbstract:
This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')
39
Araujo, Rodrigo de. "Ocupar as fendas: intervenções na cidade com uma bicicleta visual." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-17102014-154806/.
Full textAbstract:
Ocupar as Fendas: Intervenções na cidade com uma Bicicleta Visual é composto por uma investigação-ação na cidade de São Paulo, na qual três intervenções urbanas foram realizadas: Ruínas Transitórias, Contra-Vigilância e Metro Quadrado. Para executar as ações foi desenvolvida a Bicicleta Visual, um veículo elétrico equipado com projetor de vídeo e um computador. A Bicicleta Visual atua como um dispositivo de ativação do espaço, ao projetar imagens em movimento sobre a arquitetura. As imagens projetadas e o modo como são feitas configuram uma intervenção urbana. As intervenções urbanas instauram desvios, rupturas e novas tensões, explicitando as contradições da cidade - distensões perceptivas, dissensos, que gestam a possibilidade de reflexão sobre a partilha do sensível. Essas ações propõem ao complexo tecido do espaço público novas experiências e invenções, anunciando outras formas de convivência. Nesse tipo de trabalho, que pretende intervir na realidade, prioriza-se, enquanto metodologia, o processo, os meios, a criação de formas que permitam agir e pensar simultaneamente. Esse tipo de pesquisa, transformadora do real, é denominada investigação-ação. Ocupar as Fendas é um trabalho composto de três procedimentos fundamentais: deslocar, projetar e intervir. Ruínas Transitórias investiga a transitoriedade dos espaços vazios gerados pelo processo de gentrificação e as apropriações formais e informais dos mesmos. Contra-Vigilância interage com a esfera da vigilância e da segurança privada nos enclaves fortificados da metrópole paulistana. Metro Quadrado verifica a relação entre o valor do metro quadrado e os tipos de uso do espaço urbano. Com a finalidade de enfatizar o processo de construção da intervenção urbana - e o que nela é mais potente, subversivo e transformador -, esse trabalho cria quatro vozes textuais que dialogam com as ações, deflagrando a experiência de investigar-agir.<br>Occupying the Gaps: Interventions in the city with a Visual Bicycle is formed by an investigation-action in the city of São Paulo, where three urban interventions were made: Transitory Ruins, Counterwatch, and Square Meter. The Visual Bicycle, an electrical vehicle equipped with a video projector and a computer, was developed to implement these actions. It serves as a space activation device by projecting moving images on the architecture. Those projected images and the way they are made convey an urban intervention. Urban interventions create digressions, ruptures, and new tensions, exposing the city\'s contradictions - perceptive distensions, dissensuses, begetting the possibility of reflection about the distribution of the sensible. Those actions offer new experiences and inventions to the complex fabric of public space, announcing different forms of socialization. In this sort of work, which aims at intervening in our reality, the methodological priority is the process, the means, the conception of ways to allow acting and thinking simultaneously. This kind of reality-transforming research is called investigation-action. Occupying the Gaps is a work comprising three basic procedures: displacing, projecting, and intervening. Transitory Ruins investigates the transience of empty spaces generated by the process of gentrification, as well as both the formal and informal appropriations of those spaces. Counterwatch interacts with the world of watchmen and private security in the fortified enclaves of the metropolis. Square Meter notes the relation between the value of a square meter and the ways urban space is used. With the goal of emphasizing the process of building an urban intervention - and its most potent, subversive, and transformative aspects -, this work creates four textual voices that converse with the actions, prompting the experience of investigating-acting.
40
Batista, Ana Luiza Dias. "Um programa." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-24042009-151004/.
Full textAbstract:
Esta pesquisa envolveu a realização de um trabalho de arte o conjunto de vídeos intitulado Programa e, paralelamente, de uma reflexão teórica. A reflexão tomou o Programa como objeto, procurando compreendê-lo, mas ela também constituiu instrumento do Programa, conduzindo as formalizações. Ao dedicar-se à investigação da área de Poéticas visuais, às dificuldades da reflexão sistemática sobre uma obra em andamento e às especificidades da fala do artista sobre o próprio trabalho, enunciou, para o trabalho que então se iniciava, as condições do contexto em que ele iria se produzir. Descrevendo um procedimento geral reincidente nos meus trabalhos, a reflexão apontou-lhe um repertório de operações. Ela foi movimento interno do Programa nas considerações sobre o campo que ele elegeu como objeto: as propagandas de televisão, e sobre aqueles que surgiram de modo incidental, como o vídeo. Também o foi na discussão de cada um dos esquetes que foi esboçada antes da finalização do trabalho e orientou algumas últimas decisões. Depois do trabalho pronto, procurou-se rever e aprofundar os conceitos que vinham sendo utilizados, bem como submeter o Programa a uma apreciação mais distanciada.<br>This research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.
41
Stillwell, Joana. "a window the color of her sunburn." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4821.
Full textAbstract:
I use video and material fragments to investigate the collapse of virtual and physical spaces as memories, lived environments, and digital interfaces become overlaid and interchangeable. I am interested in the capacity for technology to propose alternative strategies in which to engage with the world as we continue to extend ourselves in new and enduring methods. Seemingly unremarkable fragments offer new potentials in questioning meaning, worth, and care within spaces of downtime, boredom, and play.
This document accompanies my thesis exhibition a window the color of her sunburn. It provides background information on selected fragments and residues from my own life alongside philosophical and art historical research, which informs my exhibition.
42
Pienaar, Pieter Abraham. "Analysing guided and recorded self-generated visual and expressive personal constructs as adjuncts to the counselling process." Diss., Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-03072005-142413.
Full text
43
Stansell, Thomas Micah. "Between You and Me." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.
Full textAbstract:
In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.
44
Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
Full textAbstract:
La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation<br>The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
45
Marshall, Jonathan. "The Adventures of a Young Artist, and the Promise of the Digital Culture in Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2158.
Full textAbstract:
An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.
46
Gonçalves, Bettina Wieth, and Bettina Wieth Gonçalves. "Autopaisagem: uma possibilidade." Universidade Federal de Pelotas, 2017. http://guaiaca.ufpel.edu.br:8080/handle/prefix/3914.
Full textAbstract:
Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2018-05-18T13:07:02Z
No. of bitstreams: 2
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Bettina Wieth Gonçalves_Dissertação.pdf: 51390005 bytes, checksum: 51eceaeca161090ea608099d11db678b (MD5)<br>Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:54:21Z (GMT) No. of bitstreams: 2
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Bettina Wieth Gonçalves_Dissertação.pdf: 51390005 bytes, checksum: 51eceaeca161090ea608099d11db678b (MD5)<br>Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:54:30Z (GMT) No. of bitstreams: 2
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Bettina Wieth Gonçalves_Dissertação.pdf: 51390005 bytes, checksum: 51eceaeca161090ea608099d11db678b (MD5)<br>Made available in DSpace on 2018-05-18T20:54:38Z (GMT). No. of bitstreams: 2
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Bettina Wieth Gonçalves_Dissertação.pdf: 51390005 bytes, checksum: 51eceaeca161090ea608099d11db678b (MD5)
Previous issue date: 2017-08-22<br>Sem bolsa<br>A presente pesquisa, denominada Autopaisagem: uma possibilidade,é uma investi-gação poética sobre minha produção como artista visual considerando uma série de trabalhos realizados durante o Mestrado em Artes Visuais do Centro de Artes da Uni-versidade Federal de Pelotas. Este fazer ocorreu dentro de questões pertinentes ao universo da fotografia e da utilização do suporte em vídeo. O caminho da investiga-ção é dividido em três momentos. Em um primeiro, faço uma auto-investigação ao relatar meu percurso poético até esta etapa do mestrado. Em uma segunda fase, é proposta a reflexão sobre este caminho feito, considerando suas possibilidades feno-menológicas em meu papel como artista diante do que vejo. Dentro desta relação, há a busca de uma reflexão genealógica sobre este fazer que, embora considere certo conflito com a primeira posição, permitiu observar que a formação desse olhar partiu em muito do que aprendi a ver por meio de outros artistas e da consciência de minha reflexão como observadora diante do próprio trabalho. Uma terceira parte dedica-se especialmente a pensar os trabalhos propostos dentro da série Autopaisagemtendo em vista, especificamente, o diálogo entre o fenomênico e o genealógico expresso neste fazer.<br>The present research, denominated Autopaisagem: a possibility, is a poetic investiga-tion about my production as a visual artist considering a series of works realized du-ring the Master’s Degree in Visual Arts of the Centro de Artes in Universidade Federal de Pelotas. This has occurred within issues pertinent to the universe of photography and the use of video support. Therefore, the investigation is divided into three mo-ments. In a first, I realize a self-investigation while reporting my poetic journey to this stage of the master’s degree. In a second phase, it is proposed to reflect on this path, considering its phenomenological possibilities in my role as an artist in front of what I see. Within this relation, there is the search for a genealogical reflection on this work which, although it considers a certain conflict with the first position, allowed to ob-serve that the formation of this look departed in much of what I learned to see throu-gh other artists and of the conscience of my reflection as an observer in front of one’s work. A third part is devoted specially to thinking about the works proposed within the Autopaisagemseries, specifically in view of the dialogue between the phenome-nal and the genealogical expressed in this work.
47
Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
Full text
48
Dourado, Diego de Menezes. "Convergência : relações entre arte, poesia e música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/171443.
Full textAbstract:
O presente projeto concentra-se nas relações entre artes visuais, poesia e música. A partir de uma produção poética individual e em diálogo sistemático com outros autores e artistas, a investigação pretende levantar alguns questionamentos sobre os limites da linguagem, bem como apresentar novas possibilidades de criação poética num contexto relacional com outras proposições artísticas.<br>The present project concentrates on the relations between visual arts, poetry and music. From a poetic production individual and systematic dialogue with other authors and artists, as well as raise some questions about the limits of language, seeking new possibilities of poetic creation in a relational context with other artistic propositions.
49
Varde, Abhijit. "Local looking, developing a context-specific model for a visual ethnography a representational study of child labor in India /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132682652.
Full text
50
Håkansson, Jens. "Ytans djup : Visuell ikonicitet i den grafiska konstformen lyrik." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35110.
Full textAbstract:
This thesis revolves around an obvious fact: printed (or otherwise two- or three-dimensional) poetry is always and inevitably visual. By analysing a representative selection of poems, including conspicuously experimental and image-like poems as well as examples of more conventional poetry, the thesis points out that visual iconicity is an equally inevitable consequence of the visuality of printed poetry. The analysis applies terminology relating to iconicity and intermediality (presented by Lars Elleström, whose theoretical basis is the semiotics of Charles Sanders Peirce) to the selected poems, while avoiding making too specific interpretations, in order to maintain a discussion of the ever-present phenomenon of visual iconicity as such, and not just the individual examples. Rather than introducing visual iconicity specifically to confirm more or less specific interpretations of poetic texts, this method of approaching poems as two-dimensional works of art is what this paper mainly aims to propose, as a productive starting point for literary analyses in general; as is concluded in the theoretical framework by Elleström, the actual modal and iconic properties of printed poetry contradict mutually exclusive dichotomies such as verbal/visual and text/image. While indirectly visually iconic poems tend to have a wider range of possible interpretations at the outset, the existence of iconic potential, however, does not depend on any specific interpretation.