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Thèses sur le sujet « Thai Painting »
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1
Suwannakudt, Phaptawan. « The Elephant and the Journey : A Mural in Progress ». Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Texte intégralRésumé :
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
2
Suwannakudt, Phaptawan. « The Elephant and the Journey : A Mural in Progress ». University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Texte intégralRésumé :
Master of Visual ArtsThe Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
3
Defibaugh, Elaine R. « Did you see that chair / ». Online version of thesis, 1989. http://hdl.handle.net/1850/11323.
Texte intégral
4
Rietenbach, Tim. « Painting on a surface that has taken control of itself ». The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303490239.
Texte intégral
5
Black, Steven Michael. « The smear that discloses world : Material and perception in painting ». Thesis, Curtin University, 2021. http://hdl.handle.net/20.500.11937/89773.
Texte intégralRésumé :
The thesis reads Gilles Deleuze’s lectures on painting from 1981 to develop a theory of painting as a mereological activity, concerned with the relations of parts to one another and to wholes. Painting from observation is taken as a case by which painting performs the broader aesthetic function of exemplifying efficacy.
6
Kasick, Andrew George. « Gas Chromatography-Mass Spectrometry Study of a Painting That May Contain Asphaltum Pigment ». Marietta College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1366965064.
Texte intégral
7
Haggett, Matthew. « Songs and Stories that Only You Know : Multiplicity, Meaning, & ; the Metaphorical Bridge ». PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5191.
Texte intégralRésumé :
The thesis report will serve as a companion for the body of work that is the bulk of the thesis project. The theme of the thesis project is "the bridge". "The bridge" is a metaphor for meaning occurring through context. It is present on many levels. It will implicit in much of the discussion. I will include themes such as the play of differing scales, the ambiguous line between part and whole, and the reasons for the book format . Specific imagery that occurs repeatedly in the work, like architecture and knots, will be explained in terms of its sources, personal meaning, and formal and conceptual roles. My interests in poetry is also a necessary topic as poetry is both present in the thesis work and implicit in my ideas about art as language. The thesis report will be secondary to the thesis work. It is of primary importance that the work can stand on its own. The ideas discussed in the thesis report must be accessible through the work itself (to a greater or lesser degree). To this effect, the thesis report will not be an attempt to convince, coerce, or cajole the unswayed viewer.
8
Houzenga, Brent. « The Process That Eats Itself ». ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2331.
Texte intégralRésumé :
Chance and the found object set the stage for artworks that illustrate the clash between the everyman, popular culture and high art. The investigation of my process, surroundings and interests leads to an infinite amount of possibilities in a process that is beginning to eat itself.
9
Little, Alicia E. « Fragments are formless, as they do not hold together(things that are not touching) ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523452860384935.
Texte intégral
10
Brooks, Queen E. « The ties that bind : art of an African American artist ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.
Texte intégral
11
Kruger, Maria. « Growing Things : An Investigation in the ways that plant-growth may inform the process of painting ». Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30513.
Texte intégralRésumé :
My project interrogates traditional Western landscape painting in light of the contemporary understanding that ‘nature’ has been rearticulated, even plasticised and hence rendered malleable, through human action. The idea of a plasticised natural environment is concomitant with the age of the Anthropocene which has brought with it a tremendous rise in the use of plastic since the 1950s, and the consequent polluting effect it has had on the ‘natural’ environment. In recent years evidence indicates that traces of plastic are now in the earth, which suggests a need to rethink what exactly the ‘natural’ environment is comprised of. With reference to traditional Western landscape painting, my work explores the idea of a socially and materially constructed landscape. Utilising the medium of acrylic paint, I reimagine the landscape by using a material that embodies plastic. Removing the dried and solidified acrylic paint from its ground, the landscape painting is liberated from its supporting canvas and frame in an attempt to deconstruct traditional Western landscape painting. My project aims to rearticulate the language and meaning that is associated with landscapes and the natural environment.
12
Cleland, Elizabeth Adriana Helena. « More than woven paintings : the reappearance of Rogier van der Weyden's designs in tapestry ». Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397172.
Texte intégral
13
von, Essen Sabina. « Trust the Artist and the Painting : Factors that can enhance the Experience of Viewing Art in 3D Environments ». Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279490.
Texte intégralRésumé :
Buying and viewing art has gone from being a traditionally physical experience to becoming digital. Due to limitations in today's two-dimensional e-commerce websites, 3D technology can be used to simulate the physical experience as much as possible. This thesis studies which factors can potentially play an important role in online art purchases, of which trust on the artist, familiarity to the artist and understanding more in depth the painting techniques were found to be the most influential on enhancing the viewers experience and engagement with a painting viewed online. These factors were later implemented in a 3D exhibition. Interaction, video, light, spatial perception and interior design contributed to a more holistic experience of art in a 3D environment. A conceptual model is then proposed to offer users as realistic and applied experience as possible that can also contribute to a greater willingness to buy art online.Att köpa och uppleva på konst har gått från att vara en traditionellt fysisk upplevelse till att bli en digital. På grund av begränsningar i dagens tvådimensionella e-handelswebbplatser kan 3D-teknik användas för att simulera den fysiska upplevelsen så mycket som möjligt. Den här avhandlingen studerar vilka faktorer som potentiellt kan spela en viktig roll i onlineköp av konst, varav tillit till konstnären, kännedom om konstnären och en djupare förståelse av målartekniken visade sig vara de mest inflytelserika för att förbättra deltagarnas upplevelse och engagemang av konst som visas online. Dessa faktorer implementerades senare i en 3D-utställning. Resultaten visade att interaktion, video, ljus, rumslig uppfattning och interiördesign bidrog till en helhetsupplevelse av konst i en 3D-miljö. En konceptuell modell föreslås sedan för att erbjuda användare en så realistisk och tillämpad upplevelse som möjligt som också kan bidra till en större vilja att köpa konst online
14
Bunyasakseri, Thirawut. « Timeless Stories : Investigating Contemporary Approaches to Hindu and Buddhist Art ». Thesis, Griffith University, 2020. http://hdl.handle.net/10072/392408.
Texte intégralRésumé :
Art has been a form of communication used to convey religious lessons in Thailand (formerly the Kingdom of Siam) since ancient times. While present-day Thais are still intensely committed to religious practices, many understand less and less of the precise information embedded in this art form. Moreover, religious artworks in Thailand do not reflect current society and do not have much in common with contemporary art. Therefore, this research investigates the potential causes that have disconnected religious art from Thai society and explores possible ways to utilise elements from the Thai religious art style in a contemporary painting practice.
This research is primarily a studio-based investigation, but is supported by traditional discursive research practices, including a historical and contemporary analysis of the original functions and the evolution of painting styles of religious art, specifically Ramayana-inspired paintings across periods of times and regions. Relevant theories regarding iconology and visual representation are employed to guide the understanding and interpretation of these religious paintings. This research also investigates the interrelation between art and nationalist ideology after the political regime change in Thailand during the 19th century. The new state system intensely sought to promote national identity and imbued religious art with a new meaning that supported this nation building. What is now known as Thai “traditional” art has strict rules in place in terms of preservation, reproduction, and standardisation. Also, part of the pre-studio research was a visual survey I undertook of relevant artworks, including a range of contemporary paintings which utilise elements from traditional art to create works that reflect contemporary society.
In the studio section of this creative research, I have created four series of paintings that experiment with the artistic value inherent in traditional art and attempt to modernise Thai traditional painting, making it meaningful to contemporary audiences. This may not only offer another way of creating religious painting but could also possibly be another method of preservation, ensuring the longevity of Thai traditional art.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
15
Adams, Christopher David. « More alive than ever ? : futurism in the 1940s ». Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19110/.
Texte intégralRésumé :
The 1940s are undoubtedly the years most neglected by scholars of Italian Futurism. The movement had long supported Fascism, but its vocal endorsement of Mussolini’s regime and its military adventures at this time is widely considered to represent Futurism’s ultimate betrayal of those ‘progressive’, counter-cultural values popularly associated with the avant-garde. For many, the movement’s apparent engagement with the forces of reaction and conservatism is reflected in the work produced by its artists throughout the war years, which is invariably presented in terms of propaganda imagery, characterised by an unchallenging and retrogressive figurative vocabulary. However, this thesis argues that the 1940s cannot be said to reveal a rupture in either the ideological or aesthetic foundations of the movement, and that common assumptions regarding the crude, rhetorical and one-dimensional nature of Futurist painting (and poetry) during this period are not necessarily borne out by the works themselves. The text also examines the movement’s status within the cultural establishment at this time. It challenges the notion that the reverberations within Italy of Nazism’s campaign against modern art during the late 1930s were irrevocably to prejudice the Fascist regime and its institutions against Futurism. Indeed, it is argued that one can no more consider the 1940s a period of decline from the point of view of the movement’s political fortunes than one can from an artistic perspective. Of course, Futurism did not survive the war. However, it is suggested that whilst the cataclysmic events of 1943-44 were to seal its fate, they also served to liberate the imaginations of Marinetti and his followers, reawakening the movement’s original, visionary spirit, and inspiring a final burst of creativity that anticipated ‘the future of Futurism’.
16
Battersby, Jamie Thomas William. « The Door To Before Closes, and You Grieve That Too ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555517321452505.
Texte intégral
17
Spicer, Frank G. III. « "Just What Was It That Made U.S. Art So Different, So Appealing?" : Case Studies of the Critical Reception of American Avant-Garde Painting in London, 1950-1964 ». Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1231265965.
Texte intégralRésumé :
Thesis (Ph.D.)--Case Western Reserve University, 2009Includes abstract Department of Art History and Art Title from PDF (viewed on 21 July 2009) Includes bibliographical references [and appendices] Available online via the OhioLINK ETD Center
18
Bell, Pamela. « Art that never was : representations of the artist in twentieth-century Australian fiction ». Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
Texte intégralRésumé :
This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
19
Weaver, Suzanne M. (Suzanne Markette). « Hans Haacke : an investigation of four site-specific works that incorporate painting as a means of revealing interrelated cultural, economic, and political systems in society, 1982-1984 ». Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc798463/.
Texte intégralRésumé :
Four site-specific works produced between 1982 and 1984 in which Hans Haacke utilized the traditional medium of oil on canvas were examined in conjunction with an overview of the underlying and interrelated principles and concepts that have guided his approach to art from 1958-1988.
20
Chapman, Gaye. « Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings ». Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.
Texte intégralRésumé :
“In the decomposition of organic/botanic materiality, decayed and decaying exotic weeds are printed and imprinted on the host vessel:
The surviving trace becomes a code - a sign - a semiotic map =
disjecta membra:
being there ... then destroyed... but still remaining.”
THE BODY OF VISUAL AND WRITTEN RESEARCH, 'DECOMPOSE',
is a cross-disciplinary interrogation, interpreting overlapping meanings in the
Botanical Biodegradation of Weeds through Visual Art/Science practices and processes expressed as Text +Paintings.
DECOMPOSE validates the Act of Art, Botanical Biodegradation of Weeds, as both:
I. An expression of the Subjective, Expansive and Ephemeral nature of
Art, Artist and Materials and
II. An incarnation of the nature of Time and Sublime Beauty, that articulates,
and expands perceptions of Art, Artist and Materials as Text + Paintings.
The 'equation':
DECAY + WEEDS = BEAUTY
expands to encompass key elements in the DECOMPOSE body of research:
BOTANICAL BIODEGRADATION +
AUSTRALIAN EXOTIC, FERAL and NOXIOUS WEED SPECIES +
ARTIST + MATERIALS +
ART + SCIENCE + TIME =
DECAY-PAINTINGS = RESEARCH =
SUBLIME BEAUTY
Argued by quantitative and qualitative example, DECOMPOSE is at once:
I. Subjective:
a conceptual and translative process expressed through the personal vision of the artist.
II. Expansive:
an interrogation of a single process, at once finite and infinite in meanings and extractions.
III. Ephemeral:
investigations and results signifying the specific and universal decay of all things.
21
Chapman, Gaye. « Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings / ». View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.
Texte intégralRésumé :
Thesis (Ph.D.)--University of Western Sydney, 2004.A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.
22
Jahnke, Robert Hans George. « He tataitanga ahua toi : the house that Riwai built, a continuum of Māori art ». Massey University, 2006. http://hdl.handle.net/10179/984.
Texte intégralRésumé :
Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.
23
Zanardelli, Theodore. « Garden : Smear the Black Circle ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342563284.
Texte intégral
24
Asavaplungkul, Saisingha Monruedee. « Le Râmâyana dans les peintures du temple du Buddha d'Émeraude (Wat Phra Kèo) à Bangkok : sources, contexte, prolongements ». Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040049.
Texte intégralRésumé :
Le Râmakîen est une des œuvres littéraires les plus importantes du royaume thaïlandais. Reprenant l’épopée indienne de Vâlmîki, le Râmâyana, il revêt une grande importance à la cour royale et sa popularité est considérable dans toute l’Asie du Sud-Est. Au Wat Phra Kèo, ses épisodes ont été intégralement illustrés sur le mur de la galerie. La thèse ne prend en compte que les parties figurant les dix incarnations de Viṣṇu et la naissance des dieux hindous et des personnages de l’épopée. Ces épisodes nous amènent au prélude du Râmakîen et l’étude s’arrête au moment du retour du roi Jânaka à Mithilâ. Il nous a fallu opérer des rapprochements entre ces peintures et le Tamrâ Thewarûp, les albums d’iconographie brahmanique, ainsi que le Tamrâ Thewapâng, recueil de légendes sur la naissance des dieux et les incarnations de Viṣṇu. Ces rapprochements étaient nécessaires car tous les épisodes représentés à Wat Phra Kèo ne sont pas racontés dans le Râmakîen tel que le relate la version du roi Râma I. L’omniprésence des scènes empruntées à l’épopée, en particulier celles des dix incarnations de Viṣṇu et des dieux hindous dans les temples importants de Bangkok fondés par les rois ou par leurs proches au début de la période de Ratanakosin, s’explique par la grande importance accordée par ces souverains à l’incarnation de Viṣṇu en Râma. Le royaume thaïlandais adopta par ailleurs les rites brahmaniques pratiqués à la cour khmère. Une récapitulation des témoignages iconographiques sur l’épopée au Cambodge, au Laos et au Myanmar complète notre étudeThe Râmakîen is one of the most important literary works in Thailand. Derived from the Indian epic of Vâlmîki, it became very important at the royal Thai court, and is one of the most popular texts in South-East Asia. At Wat Phra Kèo its episodes are represented on the four sides of the gallery. This thesis aims to study the parts illustrating the ten incarnations of Viṣṇu, the birth of the Hindu Gods and the main characters of the Indian epic. These episodes lead us through the Râmakîen’s prelude and our study stops at the moment of King Jânaka’s return to Mithilâ, his kingdom. The comparison between the paintings, the Tamrâ Thewarûp, the iconographic albums of Hindu Gods and the Tamrâ Thewapâng (the book of legends containing the god’s creation and the ten incarnations of Viṣṇu) proved necessary to understand some of the painted scenes which do not relate to the Râmakîen, as told in the version composed by King Râma I. The omnipresence of a number of scenes borrowed from the epic (particularly the ten incarnation scenes of Viṣṇu and the Hindu God images) in the temples founded by the kings or their families around Bangkok’s Grand Palace can be explained by the great importance attributed by the sovereigns to the Râma avatâra of Viṣṇu. Besides, the Thai Kingdom borrowed from the Khmer court their Hindu rituals. A review of the Râmâyana images in Cambodia, Laos and Myanmar completes our study
25
Coppalle, Renaud. « Mise en lumière des capacités préservées d'apprentissage des personnes malades d'Alzheimer à un stade modéré à sévère à l'aide de l'art : un autre regard pour un autre accompagnement New long-term encoding in severely amnesic Alzheimer’s disease patients revealed through repeated exposureto artistic items Does multiple format presentation of songs increase encoding in patients with Alzheimer’s disease at a moderate to late stage ? Preserved familiarity-based recognition for music and paintings in patients with Alzheimer’s disease at a moderate to late stage with extensive damages to the medial temporal lobe L’accompagnement des aidants depersonnes atteintes de maladies d’Alzheimerou apparentées : renouveler les approchesthéoriques de l’accompagnement en France Suivi de la situation et des ressentis des proches aidants de personnes avec maladie d’Alzheimer et troubles apparentés : Le cas particulier du confinement lié au Covid 19 Apports respectifs de la clinique et de la rechercheà la neuropsychologie Preservation of musical memory throughout the progression of Alzheimer’s disease ? Toward a reconciliation of theoretical, clinical, and neuroimaging evidence Do musicians have better mnemonicand executive performance than actors ? Influence of regular musical or theater practice in adults and in the elderly ». Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC018.
Texte intégralRésumé :
La maladie d’Alzheimer (MA) est considérée depuis plus de 30 ans comme une pathologie de la mémoire empêchant l’apprentissage d’informations nouvelles en mémoire déclarative. Cependant, l’Histoire de la neuropsychologie rapporte des cas de patients présentant des capacités d’encodage résiduelles malgré une amnésie non-dégénérative avec des lésions pourtant proches de celles de la MA. Si les tâches de laboratoire échouent à montrer ces capacités dans la MA dès les stades légers en utilisant des stimuli verbaux et picturaux neutres, nous avons étudié dans quelle mesure la musique et d’autres types de stimuli artistiques peuvent permettre de les révéler dans des conditions plus écologiques, notamment par l’exposition passive répétée. En utilisant une échelle d’apprentissage construite pour étudier l’évolution du sentiment de familiarité dans la MA, nous avons pu révéler et décrire des apprentissages nouveaux chez ces patients à des stades modérés à sévères, ainsi qu’en inférer la nature au regard des modèles de mémoire classiques et contemporains. Pour finir, nous proposons de discuter en quoi la prise en compte de ces capacités pourrait changer les représentations associées à la MA, et améliorer l’accompagnement proposé aux patients et à leurs aidants familiaux et professionnelsFor the past 30 years, Alzheimer’s disease (AD) has been considered as a crippling memory disorder impairing any possibility of new learnings in declarative memory. However, in the history of neuropsychology, cases of residual encoding have been reported with amnestic patients presenting different etiologies despite showing lesions very similar to AD. Although using neutral verbal and pictural items in laboratory settings failed to report preserved learning capacities from the mild stages, we investigated how using music and other artistic items in ecological settings may reveal these capacities in AD patients at a moderate to late stage, notably by passive repeated exposition. By relying on a behavioral scale designed to study the evolution of the sense of familiarity in these patients, we were able to show and describe new learnings in this population, and inferring their nature in view of both classical and contemporary memory models. Finally, we offer suggestions to discuss how acknowledging these capacities could change the way AD is perceived, and how it could help caring for people affected by it and their familial and professional caregivers
26
Jamuni, Pairoj. « Modern Thai painting a study of twelve Thai painters in the context of Thai tradition and changing art education / ». 1988. http://books.google.com/books?id=tffVAAAAMAAJ.
Texte intégral
27
Young, AH. « Painting a visual language that interprets my personal world ». Thesis, 2005. https://eprints.utas.edu.au/22155/1/whole_YoungAlanHenry2005_thesis.pdf.
Texte intégralRésumé :
This research project is based on the pursuit of a new personal visual language that
interprets my immediate world. My paintings and drawings are grounded in my
immediate environment and evolve directly out of personal experience. Central to my
investigation is the development of a new set of symbols and an examination of how they
have evolved. Recording these experiences in an autobiographical and diaristic way is a
fundamental part of my process. Journal sketching and independent drawing is critical to
the evolution of the paintings, particularly their combination of pictograms and text.
The work charts my navigation through space and also describes the characters that I
come in contact with, communicate with or just "bump up against". The characters I
describe fall into three categories; people I know well, people I hardly know and people I
imagine and would like to meet. I have an unusual neurological condition, which
involves problems with balance, weakness and tremor. These influence how I look and
behave in a way that makes me appear "different" and makes my view of the world and
my place in it unique. This element of being different results in me being involved in
some situations which make me feel uncomfortable, uneasy, vulnerable, and at times
frustrated. My physical limitations also determine my painting style.
This project is positioned within the field of artists who came to prominence in the 1980s,
representing a move away from Modernism's international language and a return to the
developing of a personal language. Such artists include the Americans Jean-Michel
Basquiat and Philip Guston as well as Australian artists Gareth Sansom and Gordon
Bennett. These artists all sought and articulated a personal vocabulary of signs and
symbols relating to contemporary popular urban culture, and informed my own pursuit of
a visual language with particular iconographies and modes of expression.
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McCauley, Brendan M. « Summoning The Body That Acts ». 2016. https://scholarworks.umass.edu/masters_theses_2/402.
Texte intégralRésumé :
Seven series of artworks; painted, drawn and performed. These works are presented as affective incorporation exercises, that test modes of aesthetic communication in response to varying political contingencies. The constitutive processes used to develop the work also function as a methodology for my own political radicalization. As an artist I am wagering how to talk, as an activist I am preparing to act. The artworks discussed occur at the crossroads of these desires as enactions of futurity within the subjunctive mood.
29
Zhang, Yujie, et 張裕劼. « Paintings By Science Fiction Art-That Is True In Fiction ». Thesis, 2012. http://ndltd.ncl.edu.tw/handle/06961679487950967987.
Texte intégralRésumé :
碩士嶺東科技大學
視覺傳達設計研究所
100
The science fiction creation meant the creation combined with science potentials and chimera, so that it is a kind of arts through many different fields, including literature, philosophy, film, drawing, music. Although it was developed over two centuries and it had amalgamated in our life, even most of people have the basic images, the identity is not correct. The study focused on the creation of science fiction, and it is divided into three steps: 1. to find the classification of science fiction, and to explore the philosophy elements, 2. to collect the different performance techniques, and to do case studies for the form of science fiction, 3. to create the creation by using the forward two results finding, and to compare with the relationship between the creation and study results. The main finding showed the form of science fiction including ten brands, future society, time transferring, extra-Terrestrial, the war among worlds, the organism of genetic mutation, super natural power, nature diseases, cryptic adventure, dreaming. The different brands had different souls and thoughts. However, whatever all of them, the human being is the core of the issues of science fiction, so the creation tried to use “fear”, “free will”, and “personhood”. Moreover, the forms own the biological, machine, and bionic factors within the process of performance technique development. Through the combine all of them, it tried to have the creations for the design perspective.
30
Wang, Ming-Ren, et 王明仁. « That-Has-Been Series –To Explore the Application of Image in Chinese Ink Paintings ». Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6hz6g9.
Texte intégralRésumé :
博士國立臺灣師範大學
美術學系
104
Art is the crystallization of the unique feelings of the artists, who, on one hand, experience the rich and diverse reality with a sensitive mind and a unique taste and, on the other hand, seek philosophical meaning for their subject matters through theory and aesthetics. From shaping the theme to planning for its content to finishing the creation, art is a practice after the artists look into themselves and interact with their surroundings. This creative study of the things “That Has Been” starts from the antique photograph collection of the author’s father. The author aims to illustrate how time affects images and visual memories and gives them new meaning from the perspective of ink wash painting, while also seeking to inspire his own creative energy through a strictly constructed experiment. The author attempts to probe into the roots of his concepts to produce a comprehensive discourse over the creative process and the results. This study is divided in to eight chapters. Chapter 1 introduces the background, purpose and scope of the study. Chapter 2 starts the dissertation from the narrative and memorial functions of images and visual memories. Chapter 3 defines the core concept of the “That-Has-Been” series as mnemonic reconstruction of images and visual evocation of history, which involve images being interpreted, misinterpreted, appropriated and imitated. Chapter 4 describes the introduction of western concepts into eastern painting and how the author responds to them with his own view of art. Chapter 5 analyzes the series as a practice of photorealistic painting ranging from portraits to simulacra of imagery. Chapter 6 explains the subjects of the series as well as the methods adopted in its creation, especially the application of ink stain to create photographic simulations. Chapter 7 provides an overall analysis, including the idea for the series as a whole and its practice of interpretation. Chapter 8 concludes the study and discusses its potential impact on future creations.
31
LeBlanc, Natalie. « An investigation of the space between the painting and the photograph : deconstructing the process and reflecting on the two media that constitute my art practice ». Thesis, 2008. http://spectrum.library.concordia.ca/975710/1/MR40960.pdf.
Texte intégralRésumé :
Painting from a photographic source had become a structure for me and I became intrigued as to how I interpreted it as an experience. By engaging in a hermeneutic-phenomenological study, I distinguished the spaces between the source and the product, and I revealed the meaning that is made from this process. By deconstructing and reevaluating my habitual way of creating a painting, I was able to understand the reasons why I use a photograph as reference in the studio. Since I take the photograph with the intention of painting it, I realized that the photograph not only informs my painting process, but the painting informs my photographic process as well. The two media are dependent on one another: the photograph is created for the painting; the painting is created in relation to it. They are different, yet similar, and there is a dialectical relationship between the two of them. My thesis question was: What is the dialogue between the painting and the photograph and how will exhibiting the two together emphasize the dialectical relationship that is present in my artistic process?
32
jung, cho hyo, et 曹孝政. « The Study of HUA YAN’s Art Work(The effect that Eccentric of Yang-Zhou had on the fine Korean paintings of 17、18 century) ». Thesis, 2000. http://ndltd.ncl.edu.tw/handle/78927481683285838002.
Texte intégralRésumé :
碩士中國文化大學
藝術研究所
88
This thesis is to research the qing dynasties Flower and Bird painters, and Eccentric painters of Yang-Zhou’s Xinluo Shanren Hya Yan. The content and main focus is on his paintings and his success. Also all of the in formation pertaining to his paintings and artwork；furthered explains the effects of paintings. This thesis is broken up in to 8 chapters. Chapter 1:content Chapter 2:The time period and its background. As well as the total background of the Eccentric painters of Yang-Zhou. Chapter 3:The total accomplishments of his life. His life’s accomplishments divided into 4 parts；his friends and their backgrounds. Chapter 4:The main focus was on his paintings, with an in-depth look at his flower and bird, water and mountains, people. And to brake up his work into three parts morning, noon and night to better understand his progress. Chapter 5:The special artistic views and his artwork’s special points. Chapters 6:his place in history；his relationship with the other artist of the Eccentric painters of Yang-Zhou, And how did the other artist, and critics think about his work. And how his work effected the artist after him. Chapters 7:Eccentric painters of Yang-Zhou；the research maternal that was used for this particular chapter was taken from Korean documents. The explanation of this art works in the eyes of the Korean of that period. The effect of that the Eccentric painters of Yang-Zhou had on Korean paintings of the 17 and 18 century. Chapters 8:Summery, this is a brief summery of the art of Hya Yan.
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Chapman, Gaye, University of Western Sydney, of Arts Education and Social Sciences College et School of Contemporary Arts. « Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings ». 2004. http://handle.uws.edu.au:8081/1959.7/29745.
Texte intégralRésumé :
“In the decomposition of organic/botanic materiality, decayed and decaying exotic weeds are printed and imprinted on the host vessel: The surviving trace becomes a code - a sign - a semiotic map = disjecta membra: being there ... then destroyed... but still remaining.” THE BODY OF VISUAL AND WRITTEN RESEARCH, 'DECOMPOSE', is a cross-disciplinary interrogation, interpreting overlapping meanings in the Botanical Biodegradation of Weeds through Visual Art/Science practices and processes expressed as Text +Paintings. DECOMPOSE validates the Act of Art, Botanical Biodegradation of Weeds, as both: I. An expression of the Subjective, Expansive and Ephemeral nature of Art, Artist and Materials and II. An incarnation of the nature of Time and Sublime Beauty, that articulates, and expands perceptions of Art, Artist and Materials as Text + Paintings. The 'equation': DECAY + WEEDS = BEAUTY expands to encompass key elements in the DECOMPOSE body of research: BOTANICAL BIODEGRADATION + AUSTRALIAN EXOTIC, FERAL and NOXIOUS WEED SPECIES + ARTIST + MATERIALS + ART + SCIENCE + TIME = DECAY-PAINTINGS = RESEARCH = SUBLIME BEAUTY Argued by quantitative and qualitative example, DECOMPOSE is at once: I. Subjective: a conceptual and translative process expressed through the personal vision of the artist. II. Expansive: an interrogation of a single process, at once finite and infinite in meanings and extractions. III. Ephemeral: investigations and results signifying the specific and universal decay of all things.Doctor of Philosophy (PhD)
34
Lima, Clarissa Faccini de. « A entrevista com o artista e a conservação de grandes formatos sobre papel : abordagens multidisciplinares na conservação e restauro da pintura contemporânea ‘Thais’, de Pedro Proença ». Master's thesis, 2021. http://hdl.handle.net/10400.14/37166.
Texte intégralRésumé :
As obras de arte contemporânea oferecem aos profissionais de conservação-restauro desafios que vão desde suas poéticas artísticas até sua materialidade, que envolve técnica, materiais, dimensões, entre outras características. Estes desafios são evidentes neste trabalho, perante a necessidade de realizar uma intervenção de conservação-restauro da pintura contemporânea “Thais”, de Pedro Proença, realizada em 1984. As questões, relacionadas com a grande dimensão, de 199x275cm, e com a falta de documentação, tiveram claro impacto na a identificação dos materiais e intervenções anteriores, intervenções e danos que eram evidentes através de patologias, como rasgões, manchas nas laterais e alterações cromáticas e de brilho que alteravam a leitura da obra. Com o objetivo de devolver à pintura a sua plasticidade original e definir a correta estratégia de intervenção, foi traçado um caminho no cruzamento entre a pesquisa e o processo de documentação de arte contemporânea, a entrevista com o artista, o modelo de tomada de decisões, a identificação dos materiais e a definição e realização dos tratamentos necessários. Os tratamentos realizados consistiram na correção de deformações do suporte, da consolidação de rasgões, grande parte anteriormente intervencionados, e da remoção e correção das reintegrações cromáticas com desajustes de cor e brilho. Tendo em vista que muitos problemas que circundam as obras de arte nos moldes de “Thais” provêm de questões relacionadas com as suas dimensões, propôs-se também, neste trabalho, medidas para a sua conservação e possíveis intervenções futuras.Contemporary works of art offer conservation-restoration professionals challenges that range from artistic poetics to their materiality, which involves technique, materials, dimensions, among other characteristics. These challenges were present in this work, with the carrying out of an intervention of conservation-restoration of the contemporary painting “Thais”, by Pedro Proença, carried out in 1984. The issues that arose related to the large dimension, 199x275cm, and lack of documentation, making it difficult to identify the materials and previous interventions, evident through existing pathologies, such as tears, stains on the sides and chromatic and gloss alterations that altered the reading of the work. With the aim of returning the painting to its original plasticity and defining the correct intervention strategy, a crossing path was traced between research and the process of contemporary art documentation, the interview with the artist, the decision-making model and identification of materials and definition and implementation of the necessary treatments. The treatments performed consisted of correcting support deformations, consolidating tears, most of which had already been intervened, and removing and correcting chromatic reintegrations with color and gloss mismatches. Considering that many problems that surround works of art in the “Thais” molds come from issues related to their dimensions, measures for their conservation and possible future interventions were also proposed in this work.