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Belan, Kyra. "The effect of sexist attitudes on the perception of visual artists by community college and university students". FIU Digital Commons, 1992. http://digitalcommons.fiu.edu/etd/1507.
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This study compared the effects of sexist labeling on the perceptions of visual artists by the community college and university students and determined their sex role orientation.
The 370 students were shown five slides of an artist's works and were given six versions of an artist's biography. It contained embedded sexual labeling (woman, girl, person/ she, man, guy, person/he). The Artist Evaluation Questionnaire was administered to the female and male community college and university students that required the students to evaluate the female and male artists on several aspects of affective and cognitive measures. The questionnaire consisted of 9 items that had to be rated by the participants. In addition, the students filled out the Demographic Questionnaire and the BEM Sex Role Inventory, titled the Attitude Questionnaire. The Analysis of Variance testing procedures were administered to analyze the responses.
The results disclosed gender differences in students' ratings. The female artist's work, when the artist was referred to by the neutral sexual label, "person", received significantly higher ratings from the female students. The male students gave the female artist her highest ratings when she was referred to by the low status sexual label, "girl". Both sexes did not express statistically significant preferences for any of the male sexual labels.
Gender difference became apparent when it was found that female students rated both sexes equally, and their ratings were lower than those of the male students. The male students rated the female artist's work higher than the work of the male artist.
The analysis of the sex role inventory questionnaire revealed the absence of the feminine (expressive) and masculine (instrumental) personalities among the students. The personalities of almost all the students were androgynous, with a few within the range of the near feminine, and a few within the range of the near masculine.
The study reveals that there are differences in perception of sexual labels among the community college and university students.
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Bassi, Merfat Mohammed. "A Somatic Mindfulness Project Exploring the Effects of Meditation on Art Appreciation in the Gallery Setting". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609113/.
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This dissertation describes the effects of a somatic mindfulness project on the way participants interact with and respond to works of art in a gallery setting. The study begins with a critique of Descartes' philosophy, Cartesianism, which emphasizes the role of the mind over that of the body and senses and argues that this thought continues to affect education even today. By contrast, phenomenology and mindfulness practices attempt to overcome Descartes' legacy by focusing on the importance of the body in lived experience. In particular, this study uses a phenomenological framework to conduct mindfulness on the relationship between the body and the perception of art. To do so, I utilized several phenomenological techniques for gathering data, including observations, video, and interviews, and I also created a unique method to analyze the data using a phenomenological verbal (written) description and visual (through photographic paintings) description. These techniques worked together to express the moment of reversibility between the meditative body and the artworks in the gallery setting. In sum, the findings of this study show that meditation changes the perceptual experience for different people in different ways. Another finding is that different forms of meditation may work better for some people than others. The findings of this study suggest that if art teachers are interested in using meditation, they need to be familiar with multiple forms of meditation. Also, they need to consider the role of the environment, as well as that of the artworks, in creating a wholistic meditative mood.
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Burger, Pieter Willem. "Die interaktiewe naspeuring van implisiete betekenis in die visuele kunswerk : 'n hermeneutiese soeke na waarheid = The interactive interpretation of implied meaning in the visual artwork : a hermeneutical search for truth". Thesis, Bloemfontein : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/153.
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Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.
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Johnston, Jennene, of Western Sydney Hawkesbury University y Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice". THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.
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This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works.Master of Arts (Hons)
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Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences". Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.
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La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de discussió els joves comentaven que les cartel·les i les converses eren un punt de partida per entendre i apreciar l'art, per la gent gran no van ser tan útils. L'estudi 3 va mostrar que no només hi havia diferències entre la sala d’art contemporani i tradicional -la comprensió de l'art contemporani va ser major en la galeria d'art contemporani-, sinó també entre els grups d'edat -els joves van declarar que els agradava més l'art contemporani i la gent gran van gaudir més de l’experiència de visitar el museu-. Vam arribar a la conclusió que no només les diferències d'edat, sinó també les diferències relacionades amb l'educació i la freqüentació de les visites als museus contribueixen a l'apreciació de l'art. Aquesta investigació és important per demostrar com la gent aprecia i entén l'art contemporani. Per tant, aquests resultats tenen implicacions rellevants per dissenyar programes d’activitats en els museus que involucrin diferents grups de visitants.La Psicología del Arte estudia las experiencias estéticas y las preferencias de los individuos mientras miran el arte. El objetivo de esta investigación es analizar la apreciación del arte contemporáneo de jóvenes y gente mayor en el MFA de Boston. Se llevaron a cabo análisis cuantitativos y cualitativos. El estudio 1 mostró que los jóvenes, más que la gente mayor, encontraron que las cartelas y conversaciones contribuyeron a apreciar el arte contemporáneo, y más en el contexto del museo que en el del laboratorio. El estudio 2 mostró que el contexto del museo contribuyó a la apreciación del arte. También, las discusiones en el grupo de jóvenes confirmaron que las cartelas y las conversaciones forman un punto de partida para entender y apreciar el arte, para la gente mayor no eran tan útiles. El estudio 3 mostró que no sólo existían diferencias entre la sala de arte contemporáneo y tradicional -la comprensión del arte contemporáneo fue mayor en la sala de arte contemporáneo-, sino también entre los grupos de edad -los jóvenes declararon que les gustaba más el arte contemporáneo y la gente mayor disfrutó más de la experiencia en el museo-. Llegamos a la conclusión de que no sólo las diferencias de edad, sino también las diferencias relacionadas con la educación y la frecuentación de visitas contribuyeron a la apreciación del arte. Esta investigación es importante para demostrar cómo la gente aprecia y entiende el arte contemporáneo. Por lo tanto, estos resultados tienen implicaciones relevantes para diseñar programas en los museos que involucren diferentes grupos.
Psychology of Art studies aesthetic experiences and individuals’ preferences while looking at art. The aim of this research is to analyze contemporary art appreciation in younger and older adults at the Museum of Fine Arts, Boston. Quantitative and qualitative analyses were conducted. Study 1 showed that younger more than older adults found that labels and conversations contributed to liking contemporary art, more in a museum setting rather than in a lab setting. Study 2 showed that the museum context contributed to appreciating the art. Also, group discussion of younger adults confirmed labels and conversations in the museum to be a starting point to understand and appreciate art; for older adults, these were not so helpful. Study 3 showed that not only were there differences between a contemporary and a traditional art gallery -participants understanding of contemporary art was greater in the contemporary art gallery-, but also between age groups -younger adults stated that they liked contemporary art more and older adults enjoyed their museum experience more. We conclude that not only age differences, but also differences related to education and museum visitation frequency contributed to art appreciation. This research is important to demonstrate how people appreciate contemporary art and how they understand it. Therefore, these findings have relevant implications for the design of museum programs about contemporary art to engage different groups of visitors.
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Politowicz, Zak. "ANALYSIS AND METAPHOR SEARCH STRATEGY CONCERNING VISUAL WORKS OF ART (LANGUAGE, EDUCATION)". Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275390.
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Carpentier, René. "Concepts of empathy and the nature of aesthetic response applied to visual art appreciation /". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148733076121981.
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Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art". Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.
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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty y School of Design. "Paint, painters and primary perception". THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.
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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artistsMaster of Arts (Hons)
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Geary, James Bernard. "A defence of the study of visual perception in art". Thesis, University of Kent, 2017. https://kar.kent.ac.uk/63885/.
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This thesis examines the use of the science of visual perception in the study of art. I argue that this application of perceptual psychology and physiology has been neglected in recent years, but contend that it is being revived by writers such as John Onians. I apply recent scientific research to demonstrate what can be learned about depiction from the science of perception. The thesis uses the science of perception to argue that there are four main interlinked components in depiction. It argues that each of these components can be better understood by using the science of vision. Chapter 1 examines one component, namely resemblance. It uses studies of the retina, centre-surround cells, and attentional processes to examine how a picture can vary in appearance from its subject matter, yet still represent it. Chapter 2 examines a second component, namely informativeness. It applies Biederman's psychological theory of recognition-by-components to argue that the depiction of volumetric forms depends on the depiction of the vertices of such objects, as well as that of linear perspective. From this the chapter argues that the notion of informativeness, as developed by Lopes, should be combined with a notion of resemblance to create a more complete theory. Chapter 3 examines a third component of depiction, namely that pictures can include, omit, and distort the features of their subjects. The psychological theory of scales, as developed by Oliva and Schyns, is used to explain certain kinds of depictions of fabrics, and the perception of Pointillist paintings. The chapter also examines the issue of to what extent perception and depiction are dependent on culture rather than genetics, and shows how a combination of scientific methodology, in the form of cross-cultural psychology, and historiography, in the form of Baxandall's 'period eye' approach, can be used to investigate this issue. Chapter 4 examines a fourth component of depiction, namely the organisation of pictures. It uses studies by Westphal-Fitch et al., and Võ and Wolfe to analyse the patterns of Waldalgesheim art, and the images in the Book of Kells. By using the science of visual perception, I arrive at the conclusion that a combination of theories of recognition, informativeness, and order, developed in Chapters 1, 2, and 4, together with theories of visual decomposition, processing, and recomposition, developed in Chapter 3, form a basis for understanding depiction.
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Hodgkinson, Virginia y virginia hodgkinson@deakin edu au. "Conventions of pictorialism (iconic imagery, perceived space and the picture plane) deconstructed and reconstructed as alternative models of perception, embodied in paintings and drawings". Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071127.083604.
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This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.
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Wages, Mark A. "Pattern in composition of the visual arts". Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.
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This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.Department of Art
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Brandse, Simone. "Preconscious perception and persuasion: the physiology of visual art and advertising". Thesis, Boston University, 2002. https://hdl.handle.net/2144/27604.
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Zhao, Yue Qu. "Emptiness as a visual strategy an exploration of visual absence in contemporary art practice : Master of Arts in Art & Design, AUT University, 2008 /". Click here to access this resource online, 2008. http://hdl.handle.net/10292/483.
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Young, Jeffry R. (Jeffry Ray). "An Investigation of Young Children's Awareness of Line and Line Quality in Art and Graphic Reproductions". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278901/.
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The purpose of this study was to determine whether kindergarten children possess the ability to recognize, match, and discuss lines and line qualities. Using graphics and art reproductions, three matching tasks were constructed which examined young children's awareness of the line qualities of length, width, straightness, direction, movement, and uniformity. Graphics and art reproductions were also used to construct two tracing tasks employed to examine young children's awareness of actual and implied lines. The tasks were administered to 69 kindergarten students from four elementary schools in a public school district in the north central Texas area.
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Bryant, Ursula Moore. "Tolerance: Challenge, Perception, and Social Stigmas Defined through Visual Communications". Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2095.
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My explorations and journey through life have led me to discover a connection in my work and responsibility as a visual communicator. My objective of communicating challenge, perception, and social stigmas through informed stories of individual lives is to provoke questions and spark moments of awareness in viewers. With this supporting manuscript, I hope to inform about my motivations through time including my personal, artistic, and historical influences. I will define graphic design as a fine art through the evaluation of artistic movements. I also intend to discuss design as a language and build a case for social awareness. Evaluating the process of my work will enlighten the technical aspects of my unique aesthetic and prove the success of my intention.
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Glazek, Kuba. "VISUAL WORKING MEMORY AND MOTOR PROCESSING CHANGES ASSOCIATED WITH EXPERTISE IN VISUAL ART". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/204607.
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PsychologyPh.D.
The concept of novelty has important implications for theories of cognition, as familiar objects are categorically distinct from novel ones; accessing a stored representation of a known stimulus influences perception in a way that is precluded for a novel stimulus. The experiments that constitute this dissertation shed light on the perception-action cycle, as it is a persistent feature of human life; we see things and we act upon them. When those things are novel, how does cognitive processing change? Specifically, how do people who deliberately practice seeing things act upon them, and are there observable differences between trained and "casual" perceivers' perceptual processing? Some argue that any processing advantages possessed by experts are limited to objects or relations among objects within an expert's particular domain of expertise. However, a central point of contention revolves around what exactly constitutes a domain in the first place. Expertise may boil down to a long-term memory advantage for deliberately-practiced categories of stimuli, or to a heuristic that is only applicable to one trained goal or category of goals, or to a heuristic independent of task that can be applied to any novel situation. The present set of experiments examined visual cognition with the perceptual goal of fine-motor output (i.e., accurate sketching) as a candidate for a domain of expertise that confers advantages in visual perception in general. The extent to which visual processing is altered in expert visual artists was examined; whether they are more efficient only at sketching images of familiar stimuli, or whether their advantage extends to other visual cognition tasks. Familiarity and complexity of stimuli were manipulated, as were the goals of perception, including sketching and recognition. Finally, retention durations were manipulated before responses or sketches were made in order to examine the limits on experts' advantage on tasks that are known to tax the perceptual system. Results suggest that expertise in visual art confers a robust visual cognition advantage that generalizes beyond a narrowly-defined domain of expertise.
Temple University--Theses
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Sanzay-Langlais, Julie. "Art et mal-voyance à l'épreuve : un paradoxe fertile". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30014/document.
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Cette thèse met en valeur une correspondance entre le système visuel humain d’un point de vue strictement scientifique et une expression plastique personnelle associant installations et photographies questionnant la mal-voyance. Comment rendre l'art accessible à tous ? Pour répondre à cette question nous avons interrogé les relations entre art et science et montré qu’ils sont tous deux concernés par la perception : l’art, car il développe une approche sensible, la science, car elle s’appuie sur une connaissance approfondie de l’œil et peut en pallier les défaillances. Nous avons étudié la perception d’un point vue théorique en nous attardant sur la théorie de la Gestalt, ainsi que les phénomènes que constituent les illusions et la synesthésie qui met en avant l’association des sens. Nous avons ensuite abordé la cécité à partir des points de vue terminologique et statistique, puis du vécu psychique et pratique du mal-voyant. Forts de cela, notre propos repère comment s’impose la figure de l’aveugle dans la culture occidentale à travers la littérature et les arts. De sa considération au cours de la Grèce antique à l’ouvrage, Les Aveugles, de Sophie Calle en passant par le Picasso mélancolique de la période bleue, nous avons pu apprécier l’évolution de son image. Il est alors temps de se pencher sur les rapports que le mal-voyant entretient avec l’art et, dans ce cadre l’intérêt que peut revêtir le braille qui infiltre la peinture, la sculpture, la photographie, la performance, etc. Comment appréhender l’art sans passer par le visuel en développant tous les autres sens ou en misant sur l’économie du visible ? L’architecture quant-à elle s’adapte aux normes juridiques tout en développant une créativité qui enrichit le vivre ensemble. Les innovations de la science en arrivent à proposer des outils révolutionnaires comme les dispositifs de substitution sensorielle, l’œil artificiel, ou encore un appareil photographie pour les mal-voyants. La perception étant la clé d’une communication entre voyant et mal-voyantThis dissertation focuses on the link between the human visual system – examined from a scientific point of view – and the personal plastic expression relating facilities and photographs which deal with visual impairment. How can art be made accessible to everybody? To answer this question I explored the links between art and science and I demonstrated that both deal with perception: art develops our sensitive approach whereas science relies on a deep knowledge of the eye and can alleviate its failures. I examined perception from a theoretical point of view, dwelling on the Gestalt theory as well as on the phenomena deriving from illusions and the synesthesia which emphasizes senses association. I then dealt with blindness, first with its terminology and statistics and then with the psychological and practical life experience of the visually impaired. Against this backdrop, my research led me to investigate the image of the visually impaired through literature and art in western culture. I assessed its evolution first from an analysis of its image in ancient Greece, then through a book entitled Les Aveugles by Sophie Calle and also through the Blue Period of melancholy Picasso. This led me to examine how the visually impaired connect with art in order to gauge how fundamental Braille is in painting, sculpture, photography performance etc. How can we perceive art without resorting to visual perception? By developing all other senses or by relying on visual perception economy? Architecture adapts to legal standards while developing a kind of inventiveness which enriches the “living together”. Regarding scientific innovations, revolutionary tools are being proposed such as sensory replacement devices, the artificial eye or a camera for the visually impaired. The perception being the key of a communication between clairvoyant and visually impaired
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Kramer-Kuszyk, Cheryl A. "The effect of parental influence and support upon the artistic and response behaviors of the young child to the visual arts". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Servedio, Danielle Lauren. "Cancer Patients' Perception of Body Image: A Visual Exploration". Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/111.
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This study explored the impact and trauma that a cancer diagnosis and cancer treatment can have on a women’s image and experience of her body. Focus group methodology was part of the qualitative art-based research approach. Since the research was focused on body image, the participants were asked to create art based on their experience of their body before and after cancer treatment. Content analysis was applied to the transcripts of the focus group sessio n to consider themes. The clusters were then correlated with the imagery in the participants’ artwork. The study results suggest that women who have undergone medical treatment for cancer have an altered view of their body image including fragmentation of the body, scarring and disfigurement, censoring of the body and feeling less feminine. The study asserts that the art process and discussion, in a therapeutic setting, provided a supportive environment for cancer patients to discuss sensitive information about their perspectives of their body, diagnosis and treatment.
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Joslin, Kelly L. "Art Appreciation in Face-to-Face and Online Settings: An Analysis of Course Effectiveness". University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1478709584805326.
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Nolan, Lucille Marie. "Vision science and the visual arts : an enquiry into the science of perception and the art of immersion". Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/312/.
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This research addresses questions surrounding two currently prominent visual art topics. The first revolves around the concept of immersion and perceptions of immersive art, the second concerns current interests in art and science and the practice of art and science collaboration. Current debates and theories of immersion revolve around technologically informed virtual models and interactive virtual art environments, however, the history of immersion as a creative medium has been traced to pre-technological, even pre-historical beginnings. In this study, a pre- technological concept of immersion per se is explored, and a new perceptual model of immersion is developed based on the scientific laws and principles of vision. This model is shown to encompass and a long history of immersive traditions and a type of contemporary art practice that until now was not recognised as an immersive art genre. Working at the interstices of visual immersive art and visual science disciplines, collaborative experimental environments are developed that embody both the concepts and definitions proposed in the thesis, and the scientific laws and principles on which they are founded. Pre-technological/visual and contemporary/virtual concepts are further distinguished by their respective scientific and technological alignments and by the types of perceptual phenomena they engender. It is shown that as a creative medium, immersion comprises scientifically informed visual and technologically informed virtual immersive sub-genres, which together provide a broader and more comprehensive account of historical and contemporary immersive art practice.
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Heath, Derrall L. "Using Perceptually Grounded Semantic Models to Autonomously Convey Meaning Through Visual Art". BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6095.
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Developing advanced semantic models is important in building computational systems that can not only understand language but also convey ideas and concepts to others. Semantic models can allow a creative image-producing-agent to autonomously produce artifacts that communicate an intended meaning. This notion of communicating meaning through art is often considered a necessary part of eliciting an aesthetic experience in the viewer and can thus enhance the (perceived) creativity of the agent. Computational creativity, a subfield of artificial intelligence, deals with designing computational systems and algorithms that either automatically create original and functional products, or that augment the ability of humans to do so. We present work on DARCI (Digital ARtist Communicating Intention), a system designed to autonomously produce original images that convey meaning. In order for DARCI to automatically express meaning through the art it creates, it must have its own semantic model that is perceptually grounded with visual capabilities.The work presented here focuses on designing, building, and incorporating advanced semantic and perceptual models into the DARCI system. These semantic models give DARCI a better understanding of the world and enable it to be more autonomous, to better evaluate its own artifacts, and to create artifacts with intention. Through designing, implementing, and studying DARCI, we have developed evaluation methods, models, frameworks, and theories related to the creative process that can be generalized to other domains outside of visual art. Our work on DARCI has even influenced the visual art community through several collaborative efforts, art galleries, and exhibits. We show that the DARCI system is successful at autonomously producing original art that is meaningful to human viewers. We also discuss insights that our efforts have contributed to the field of computational creativity.
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Caldwell, Andrew E. "Daylighting and exhibition at the High Museum of Art". Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.
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Osbourn, R. J. "The aesthetic response : An application of personal construct theory to the perception and appraisal of visual art". Thesis, University of Exeter, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384493.
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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.
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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.
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Brow, Jo-Ann. "Developing an art curriculum for elementary education". CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1506.
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Yerdon, Jennifer G. "Schemas". Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=3865.
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Thesis (M.F.A.)--West Virginia University, 2005Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 24).
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Finnegan, Jacqueline. "Flattened architecture /". South Hadley, Mass. : [s.n.],, 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/290.pdf.
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Broadus, Cassandra Ann. "Visual works of art as a stimulus for linguistic references and historical time conceptions in third grade students". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc798389/.
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This study investigated the relationship between visual cues in art reproductions, simple linguistic time vocabulary and children's temporal understandings. During interview sessions, 33 third-grade students attending two suburban schools were asked to place three art postcard reproductions sets in chronological order. Interviews were recorded, transcribed, and coded for analysis. Linguistic references used to represent historical time and visual cues within the art postcards which caused students to place art works in a particular time sequence were documented.
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Jolley, Richard Paul. "Children's production and perception of visual metaphors for mood and emotion in line drawings and art". Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405725.
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Jacobs, Ilene. "Performing the self : autobiography, narrative, image and text in self-representations". Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1552.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2007.Thesis received without illustrations at the time of submission to this repository.
This research follows the assumption that the notion of performativity can be applied to the visual construction of identity within art-making discourse in order to explore the contingent and mutable nature of identity in representation. My interest in performativity, defined as the active, repetitive and ritualistic processes responsible for the construction of subjectivities, lies within the process of production. I indicate how this notion, within the context of self-representation, can provide the possibility for performing identity as a process. I investigate the extent to which gender, the gaze, memory and narrative contribute to the performative construction of self-representations and reveal, through the exploration of my practical research, that these concepts are themselves performative. Although agency to construct the self can be regarded as problematic, considering the role of language and discourse in determining subjectivities, this research suggests that it is possible to perform interventions from within language. I suggest that the notion of inscription provides a means through which identity constructions can be performed differently; and that my art-making process of repetitive inscription, erasure and re-inscription of image and text and the layering of paint not only reflect the notion of performativity, but also enable me to expose the multiple and fragmented nature of identities.
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Marnewick, Benjamin Meiring. "Drawing on/from a mirror : a self-reflexive study of the representation and perception of violence in contemporary film". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6582.
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Thesis (MA)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: The cinematic communication process starts with the creative enunciation by the filmmaker and ends with the viewer's subjective perception of the film. This thesis represents a theoretical and experiential investigation of this process and entails critical and self-reflexive discussions of stylistic approaches to filmic representation. The focus of this representation falls on on-screen violence. This study is a practice-led process, and therefore the fields of research are applied to my own work, namely the filmmaking process of a feature film entitled Preek. The research was prompted by my need to take an academic stance on the filmmaking process, instead of a mere practical one, and to form an intellectual awareness of the filmmaker and viewer dynamic. As a practicing filmmaker interested in the mimetic quality of film representations, it was necessary for me to form a conscious apprehension of how a film may be understood as a reflection on reality on the one hand, and an expression formulated through the filmmakers creative decisions on the other. The representation of violence in film was investigated by the way of critical readings of selected films, framed by both contemporary and classical film theory. Through contemporary film theory, I investigated the viewer's perception and identification with the film's diegesis, and particularly with its characters. The „classic‟ film theories of the realists and formalists allowed me to discern two stylistic approaches to the representation of violence in film, and to explore the emotional affect and cathartic release these approaches may elicit from viewers. These discussions were then applied to my own film Preek, in order to critically understand the relationship between filmmaker and viewer. The research and the application thereof, indicated that the stylistic approach to the representation of violence and its intensity in a film, unveils the filmmaker's motivation for communicating through the film medium. The arguments showed that I represented the violence in Preek in such a way that it may result in a traumatic affect on the viewer rather than an appreciation of its aesthetic value, and that this affect is the result of an engagement with the film's diegesis, due to the viewer's own identificatory participation. The research concluded that the viewer's subjective identification with the film forms a triangular relationship and communication between filmmaker, film and viewer.
AFRIKAANSE OPSOMMING: Die kinematiese kommunikasieproses begin met die kreatiewe uitdrukking van die filmmaker, en eindig met die kyker se subjektiewe waarneming van die film. Hierdie tesis verteenwoordig 'n teoretiese en ervaringsgerigte ondersoek van die kinematiese kommunikasieproses, en behels kritiese en self-reflektiewe argumente van stilistiese benaderings tot filmiese uitbeelding. Die fokus van hierdie uitbeelding is op geweld gerig. Die navorsing is 'n prakties-georiënteerde studie en daarom word die navorsing op my eie werk toegepas, naamlik die filmmaak-proses van die vollengte film, Preek. Die navorsing was aangespoor deur my behoefte daaraan om die filmmaak-proses vanuit 'n akademiese oogpunt te benader, in pleks daarvan om 'n suiwer praktiese posisie teenoor die filmmaak-proses in te neem. Vervolgens is die navorsing aangespoor deur my behoefte daaraan om intellektuele bewustheid oor die dinamika tussen die filmmaker en kyker te skep. As 'n praktiserende filmmaker wat geïnteresseerd is in die mimetiese eienskap van film-uitbeeldings, was dit vir my belangrik om 'n duidelike begrip te ontwikkel van die manier waarop film verstaan kan word, eertstens as 'n weerspieëling van realiteit, en tweedens as ‟n uitdrukking wat deur die kreatiewe besluite van die filmmaker gevorm is. Die verteenwoordiging van geweld in films is ondersoek deur middel van die kritiese beskouing van uitgesoekte films wat deur beide kontemporêre en klassieke film-teorie gevorm is. Ek het deur kontemporêre film teorie die kyker se waarneming en vereenselwiging met die film se diegesis en veral die film se karakters, ondersoek. Die klasieke film teorieë van die realiste en formaliste het my in staat gestel om tussen twee stilistiese benaderings tot die uitbeelding van geweld in film te onderskei, en om die emosionele effek en katartiese vrystelling wat hierdie benaderings by die kyker kan ontlok, te verken. Hierdie besprekings is gevolglik toegepas op my film, Preek, ten einde 'n kritiese begrip van die verhouding tussen filmmaker en kyker te vorm. Die navorsing en die toepassing daarvan het getoon dat die stilistiese benadering tot die uitbeelding van geweld, asook die intensiteit daarvan in film, die filmmaker se motivering tot kommunikasie deur die film-medium ontbloot. Die argumente het getoon dat ek die geweld in Preek op so 'n manier uitgebeeld het dat dit 'n traumatise affect op die kyker kan hê, in pleks van 'n waardering vir estetiese. Die argumente het verder aangedui dat hierdie effek die resultaat is van ‟n betrokkenheid by die film se diegesis, en dat dit te danke is aan die kyker se deelname aan vereenselwiging. Die navorsing het die slotsom gekom dat die kyker se subjektiewe identifikasie met die film 'n drieledige verhouding tussen filmmaker, film en die kyker vorm.
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Stuart-Clark, Lucy Bena. "Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008)". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71622.
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Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work.
AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die konstruksie van kennis, van die ruimte tussen ‘om te sien’ en ‘om te weet’, herinneringe en die werklikheid, is ‘n sentrale motief in sy kuns. Dit word beskou as 'n persoonlike poging tot versoening tussen sy hede en die verlede, Suid-Afrika se koloniale geskiedenis en die Westerse geskiedenis, en modernisme en post-modernisme. My verhandeling is gebaseer op die teorieë van alter-moderniteit, neo-moderne-antropologie, en die verhouding tussen die waarnemer en ‘die staar na’ in kontemporêre debat. Ek neem dus ook standpunt in dat Kentridge se ontleding van die gefragmenteerde aard van die menslike subjektiwiteit beskou kan word as etnografies en Goties van aard. Sy multi-kanaal video-installasie, I am not me, the horse is not mine (2008), sal die sleutel visuele teks in my beredenering wees, aangesien dit is in hierdie kunswerk is dat die onlosmaaklikheid van hierdie verskynsels die beste beliggaam word, en veral ook in sy eksperimentering met fragmentering, die Russiese avant-garde en skaduwees. Ek sluit die navorsing af met ‘n bespreking van my eie kreatiewe werk, wat ‘n herinterpretasie en kritiese ondersoek van my grootvader aan moederskant se argief van die laat agtiende-eeu se familie silhoeët portrette. As sodanig, sal ek, in die konteks van die breë knelpunte wat in Kentridge se werk voorkom, die begrippe van subjektiwiteit, menslike waarneming en ‘n ‘alter-moderne’ antropologiese strewe deur ‘n persoonlike lens ontleed.
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Mariano, Fabíola de Almeida Salles. "Corpo cor: entre o visual e o tátil". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-03032015-124408/.
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A presente dissertação trata de três ciclos de trabalhos poéticos realizados entre 2009-2012 (vermelho, verde e cinza-cor-de-pele). A vivência do corpo com a cor nos três ciclos fez emergir, a partir de tonalidades e de balizas estipuladas a priori, processos de sensibilização do corpo no cotidiano, que foram entendidos em si como poética, bem como geraram desdobramentos: pinturas, objetos, ações... Nos ciclos, importaram as transformações que aconteceram no corpo, nas obras e num certo entre. Onde o dentro e o fora se encontram? O que separa um corpo do outro? No embate direto com a matéria, com o pigmento, a percepção tátil-visual foi ativada e, neste texto, entendida como chave conceitual para uma abordagem do corpo do artista nas artes visuais. Tal estudo deu-se principalmente a partir da Fenomenologia da Percepção de Maurice Merleau-Ponty, da Doutrina das Cores de Joahnn Wolfgang Goethe, do infra-mince descoberto por Marcel Duchamp e do Corpo do Artesão descrito por Pamela H. Smith. Além do estudo teórico, foram analisadas obras e manifestações culturais como auxílio reflexivo para toda a pesquisa: a pintura corporal do rito de passagem dos meninos da nação Kadiwéu, as Antropometrias da Fase Azul de Yves Klein e a performance e instalação Roda dos Prazeres de Lygia Pape. Ainda, fazem parte desta dissertação duas entrevistas com artistas que têm a cor e a atitude corporal diante do fazer artístico como foco de seus trabalhos.This essay analyzes three cycles of poetic works made between 2009-2012 (red, green and skin-gray color). The interaction of color and body in the three cycles emerged from hues and goals stipulated a priori, affecting the behavior of the body, what was perceived as poetry, in that they stimulated paintings, actions, objects... The main focuses of attention in each cycle were the transformations that took place in the body, in the pieces and somewhere inbetween. Where the inside and the outside toutch each other? What separates one body from the other? In direct confrontation with materials, with pigments, the visual-tactile perception was activated and, in this text, understood as a conceptual key of the artist\'s body in the visual-art\'s field. The conceptual approach was mainly driven by the Phenomenology of Perception by Maurice Merleau-Ponty, the Theo-ry of Colors by Joahnn Wolfgang Goethe, the infra-mince discovered by Marcel Duchamp and the Body of the Artisan described by Pamela H. Smith. Besides the theoretical study, were analyzed some works and cultural manifestations: body painting of the rite of passage for boys in the nation Kadiwéu, the Antropometries of the Blue Períod by Yves Klein and the performance and installation Roda dos Prazeres of Lygia Pape. Still part of this dissertation, two interviews with artists that have the color and human attitude as artistic focus.
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Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
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Muth, Claudia [Verfasser], Claus-Christian [Akademischer Betreuer] Carbon y Jascha [Akademischer Betreuer] Rüsseler. "Insights into the instable. Dynamics in perception and appreciation of ambiguous and indeterminate art / Claudia Muth. Betreuer: Claus-Christian Carbon ; Jascha Rüsseler". Bamberg : Otto-Friedrich-Universität Bamberg, 2015. http://d-nb.info/1079840311/34.
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Brewer, Rhett. "Paint, painters and primary perception". View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.175546/index.html.
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Kidd, Ferdinand. "Introverted explorations". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20256.
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Thesis (MA (VA))--Stellenbosch University, 2012ENGLISH ABSTRACT: This thesis investigates a variety of different texts I find interesting, and reveals how these texts provide insight into my artistic practise. This thesis investigates what the combination of a collection of texts that interest me can reveal about my concerns and artistic practice. Most of the primary research takes the form of utilising seemingly randomly selected texts, although the selection process is far from arbitrary. The motivation for the initial selection of the specific texts derives from one common source: my personal and artistic interest. These texts all interest me in very specific ways. This implies that there must be something that they all have in common. The central factor that brought these texts together is my own preoccupations. The themes that arise from the comparison and juxtaposition of these texts will thus be themes of my own creation. If these themes are generated by me, then they will inevitably be self-reflexive and reveal as much about me as about their own subject matter. Because my personal interest is the driving factor behind the research process, the thesis takes the shape of an individuated response to the specific texts, and as such the results are unexpected and dynamic. The nature of the research is closely related to that of my practical work. This is why I use my artistic practice as a central vehicle to bring all the threads and ideas together in the second half of the thesis. The themes that arise from the writing process, when viewed in conjunction with my artistic practice, not only place this practice within a theoretical context, but also clarify (for myself as much as for viewers) Ferdinand Kidd. Introverted Explorations. Stellenbosch University. 2011 many obscurities. In the end this process helps me to better understand and answer the question that has been with me since I started making art: When I can do anything, why do I do what I do?
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die kombinasie van 'n versameling tekste wat my interesseer. Die fokus is op wat hierdie versameling tekste oor my eie spesifieke belangstellings en kunspraktyke uitwys. Alhoewel die grootste gedeelte van die aanvanklike navorsing blyk na 'n onwillekeurige seleksie van tekste, is hierdie seleksie-proses geensins arbitrêr nie. Die oorspronklike seleksie van tekste vir die tesis het een aspek in gemeen: my belangstelling. Die tekste is vir my op 'n sekere en spesieke manier interessant. Hieruit volg die afleiding dat die tekste 'n kenmerk in gemeen het en as die sentrale faktor wat hierdie tekste byeengebring het, myself is, is die temas wat ontwikkel uit die vergelyking en jukstaponering van die tekste dus temas wat ek geskep het. As ek dus die temas geskep het, is dit noodwendig self-reflektiewe temas wat net soveel oor myself as hul eie onderwerpe onthul. Aangesien my eie belangstelling die dryfveer agter die navorsingsproses is, is die tesis in wese 'n geïndividualiseerde respons op spesifieke tekste met die gevolg dat die resultate onverwags en dinamies is. Hierdie aard van die navorsing stem ooreen met die aard van my praktiese werk. Gevolglik gebruik ek my eie kunspraktyk as 'n sentrale tema om die verskeidenheid idees en gedagtes byeen te bring in die tweede helfte van die tesis. Met behulp van die temas wat uit die navorsing- en skryfproses ontstaan en dan binne verband met my eie kreatiewe praktyk geplaas word, word my kreatiewe praktyk binne 'n teoretiese konteks geplaas, en terselfdetyd word obskure konsepte sinvol toegelig. Uiteindelik bewerkstellig hierdie proses 'n antwoord en beter begrip vir die vraag wat sedert die aanvang van my kunspraktyk ontstaan het: Wanneer ek enigiets kan doen, hoekom doen ek wat ek doen?
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Jucker, Jean-Luc. "Ambiguous artefacts : towards a cognitive anthropology of art". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0c90f23e-7f20-45b7-b9fd-f66dbdfaa3ab.
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This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.
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Bas, Judith Hall. "Post-Impressionist Woolf". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2840. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 104-106).
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Hoffman, Jeanne. "Drawing near : inscribing urban spaces". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/4078.
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Ceron, Irene Sofia. "The culturalexperiencein a museum from inside out - How side openings and view interferewith users’ perception and preferencesin art galleries". Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280065.
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This thesis discusses the role of side openings in museums, in relation to users’ visiting experience.The research particularly focuses on the feature of view, analysing if the connection with the outsideenvironment provided through windows, results in an enriched museum’s experience and enhancedcultural identity. The analysis is based on the case study of the Nationalmuseum in Stockholm, wherethree rooms with stronger, moderate and weaker connection with the outside environment have beenevaluated through visitors’ surveys. Results show that the public revealed considerable awarenessabout windows and their landscape and yet the view was rarely considered a distracting feature. Theavailable literature on daylight in museums hardly includes view among the acknowledged daylightbenefits, and, also due to the difficulty in controlling the daylight intake, side openings have gained abad reputation in the museum field. However, as in the analysed case study, the view was consideredby many as an enriching part of the visiting experience, this thesis calls for further research on therole of view in exhibition rooms and on how to include it properly in museums’ design.
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Spikbacka, Eva. "Who's there? : monologues on painting, indexicality and perception. A thinking process". Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7745.
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What we encounter in painting is not so much the authentically revealed self of the painter, but rather signs that insinuate that this absent self is somewhat present in it. /Isabelle Graw/ So, then what is a painting? Perhaps it is all about time, a certain amount of time in the constant murmuring stream of consciousness and the unconscious. A shape cut out of the amorphous. A recording of time spent in uncertainty, not knowing what is going to present itself. To bear the contradiction of in one hand allowing the permission of having an aim versus the absolute requirement of at some point let go of the model, the aim. And thus, submit to painting. In the glitch between distance and sensibility, an utterance, a pronouncement takes place. This text reflects a thinking process that revolves around painting as will and resistance, concepts regarding aesthetics, subjectivity and perception.
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Langesfeld, Ivan. "Fragile Oceans, Synthetic Flotsam and Microbial Collaboration – Explorations in the Visual Communication of the Plastic Crisis". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/pomona_theses/210.
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Scientific evidence that the ocean plastic crisis is larger in scale and more sinister than previously thought continues to mount, but the rate of plastic production is only rising. What will it take to decisively turn the tide against plastic? We need scientists, politicians, and industry changemakers to continue producing knowledge and positive change in the industry, but we need to go further still. This thesis explores art as an alternative visual communication strategy with the capacity to encourage curiosity, empathy, and positive engagement with the issue of ocean plastics. The series of work explores bacterial bioluminescence as an artistic medium in juxtaposition with objects of found ocean plastic. The photographs in the series build on the concepts of mutualism, illumination, critical densities, and interspecies communication to reimagine how we might further the discourse around ocean plastic.
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Cooper, Carol. "A study of architecture for art, design and visual media in the West Midlands from the 20th century onwards based on the perceptions of individuals". Thesis, University of Wolverhampton, 2017. http://hdl.handle.net/2436/620488.
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The study investigates how museum and gallery buildings can be designed to give functional longevity and appeal. It considers this in terms of their design and relation to their surroundings and use in the context of changing social, cultural, political and economic factors. Post World War II the typological design and layout of these buildings was challenged; partly as a result of the influence of modernism and also as new modes of art production challenged the spaces and display modes. Financial instability and class perception have always been problematic and increased public expectations add to issues that need addressing. The study investigates how these factors have impacted on these buildings and if this has influenced their design and use. It considers the regional context of the West Midlands and also draws comparisons to other areas in England to investigate ways of addressing contemporary issues to achieve longevity of use. The study considers the historical influence of the typological developments. Examples from the West Midlands and investigation of the area’s historical background are used to identify if regional idiosyncrasies exist and if these influence a building’s longevity. This establishes their contemporary context and objectively reviews the resulting implications of appearance and function in relation to the social, cultural and economic issues that may be dominant within this region. A qualitative interview methodology and analysis is used to examine the views of a multidisciplinary group of museum and gallery users, capturing a snapshot in time of their views on the appearance, understanding and use of these buildings. This information is analysed and discussed in conjunction with the findings of the relevant literature. The comparison of the information researched raises regional and national issues associated to design and use of these buildings. Four key themes related to the longevity of use emerged; architectural design, location, economic viability and inclusivity.
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Sung, Shin-Young. "Espace réel, espace virtuel, espace transcendantal dans l'art contemporain : le cas de Robert Irwin". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040051.
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La notion d’espace prend un sens très fort et comme actif dans le travail artistique de Robert Irwin. Celui-ci instaure un nouveau mode d’être pour l’espace par son installation dite « site-conditioned/determined » tout en la nouant pourtant avec celui du site préexistant, qu’il soit intérieur ou extérieur. Le statut ontologique de son installation est celui d’un « non-objet », d’une extrême simplicité de forme et d’un minimum de matérialité : une bande noire ou une surface de voile semi-transparent, à la fois objet montré et sujet montrant, mettent en jeu lumière et ombre, attirant notre attention non seulement sur lui mais tout autour, intégrant l’espace où il s’intègre. L’installation est mise en œuvre de son environnement architectural ou naturel. L’installation est ainsi installa(tten)tion, c’est-à-dire installation qui installe l’attention. Ce que procure l’artiste au spectateur par son installation est la sensation pure de l’apparaître dynamique et changeant de l’espace du monde réel. Sensible d’abord à la dimension réelle de l’espace physique, nous découvrons peu à peu sa dimension virtuelle, puis transcendantale, au fur et à mesure que ce processus de sensation pure déclenché par l’aspect inhabituel de cet espace pourtant réel se déploie. Grâce au toucher direct et vivant d’un sentir aiguisé, et visuel et kinesthésique, éveillé par l’installation de Robert Irwin, devient quasi palpable notre conscience d’exister. Elle résonne alors à la réalité directe et immédiate du monde mais aussi aux virtualités de son apparaître et à ce qui les rend possibles : sa forme en soi, révélée et actualisée comme la véritable nature de l’espace réelThe notion of space has a strong and active meaning in Robert Irwin’s art work. He establishes a new way of appearance of space through his so-called “Site-conditioned/determined” installation by uniting the installation with the space of the existing site, whether indoors or out. The ontological status of his installation is that of a “none-object”: extremely simple in form and with a minimum of materials. He uses a black tape or a surface of semitransparent scrim. These objects are both “object shown” and “subject showing”. They play with light and shadow, catching our attention not only on themselves but also on their surroundings, including the space into which they fit. So the art piece is not only the installation itself but its circumstance with its whole architectural or natural environment. So the installation is installa(tten)tion, that is to say an installation that installs attention. Through the installation, the artist provides for the viewer a chance to have a pure sensation of the dynamic and changing appearance of space in the real world. At first sensitive to the real dimension of physical space, we discover little by little its virtual and then transcendental dimensions, as this process of pure sensation unfolds, triggered by the unusual aspect of the real space caused by the installation. A direct and living contact through a sharpened feeling, both visual and kinesthetic, with the space, awakened by the installation of Robert Irwin, makes our awareness of existing almost palpable. This awareness of existing resonates with the direct and immediate reality of the world as well as potentialities of the world’s appearance and what makes these potentialities possible: form in itself, revealed and actualized as the true nature of real space
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Roux, Susan Elizabeth. "Van moi tot je : die verband tussen die ontwikkeling van die subjek en die kunsmaakproses". Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/900.
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Larsson, Josefin. "Exquisite corpse : Exploring the methods of surrealism to challenge the hierarchies of body, dress and accessories". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13011.
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Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.