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Tesi sul tema "Aesthetic movement (Art)"
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1
Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.
Testo completoAbstract (sommario):
This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?
2
Anderson, Anne. "The High Art Maiden: Edward Burne-Jones and the girls on the Golden Stairs : women and British aestheticism c.1860-1900". Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367380.
Testo completo
3
Ferone, Jennifer. "Women and China Painting at the Turn of the Twentieth Century: An Analysis of the Influence of The Art Amateur and The Art Interchange". Akron, OH : University of Akron, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1163640056.
Testo completoAbstract (sommario):
Thesis (M.A.)--University of Akron, School of Family and Consumer Science: Clothing, Textiles, and Interiors, 2006."December, 2006." Title from electronic thesis title page (viewed 08/20/2007) Advisor, Virginia Gunn; Faculty readers, Sandra Buckland, Teena Jennings-Rentenaar; Director, School of Family and Consumer Science, Richard Glotzer; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Merrill, Linda. "The diffusion of aesthetic taste Whistler and the popularization of aestheticism, 1875-1885 /". Boston Spa, U.K. : British Library Document Supply Centre, 1985. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.338119.
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5
St, George Paul Angelo. "An Investigation into the aesthetic codes and strategies used within visual art to represent and construct space, time and movement". Thesis, London Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536737.
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Laforge, Frédéric. "De la question éthique à l'esthétique /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
Testo completo
7
Monroy, Agamez Ernesto Eduardo. "The role of motion smoothness, synchrony, and culture in aesthetic perception of human movement : from the method of production to the method of choice". Thesis, Brunel University, 2018. http://bura.brunel.ac.uk/handle/2438/16426.
Testo completoAbstract (sommario):
Research on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.
8
Kirkham, Nicola. "J18 : movements towards an ethico-aesthetic paradigm". Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5790/.
Testo completoAbstract (sommario):
This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and methods chapter surveys historic shifts in thinking about political action, through an attendant Marxist epistemology, through three key events: the Paris Commune, the Russian Revolution and May 1968. The search for a materialist understanding of political action feeds the act of drawing together empirical material from J18 by way of the data gathering process and the reciprocal development of a critical framework used as a method of interpretation. In Part Two a multi-centred account of the event is narrated by way of micro-examples that are each affectively attuned to, and constitutive of the events happening.
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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /". online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.
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10
Gao, Minglu. "The '85 Movement Avant-garde art in the post-Mao era /". online access from Digital dissertation consortium, 1999. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9960497.
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11
Delhorme, Carole. ""Pen, Pencil and Poison" : les relations entre les arts à la lumière des théories esthétiques d'Oscar Wilde". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3039.
Testo completoAbstract (sommario):
Cette étude prend son point de départ dans la doctrine de l’art pour l’art telle qu’elle est défendue par Oscar Wilde. Redéfinissant le rapport de l’art au réel, l’autonomie de l’esthétique consacre le culte de la beauté et sape la notion de représentation en tant que principe régissant la création occidentale. Cette remise en cause a de profondes implications en ce qui concerne les relations interartistiques ; l’objectif principal de ce travail est d’analyser dans quelle mesure elle en refaçonne les modalités. En tant que théoricien, Wilde s’inscrit dans le cadre d’un débat millénaire portant sur l’analogie entre les arts. Prenant à rebours la tradition classique de l’ut pictura poesis, il renouvelle les rivalités entre les disciplines en proposant de nouveaux modèles et de nouvelles correspondances. En outre, il propose une théorie de la critique d’art qui élève le critique au rang d’artiste, remodelant ainsi les relations qu’entretiennent le texte et l’image. Ses comptes-rendus des expositions de la Grosvenor Gallery recèlent les prémisses d’une écriture dans laquelle l’œuvre d’art n’est plus objet d’étude, mais source d’inspiration. En dernière instance, c’est un idéal de création que vient fonder la critique, idéal qui repose sur la circulation entre les œuvres par-delà les disciplines. Enfin, la théorie de Wilde s’inscrit dans le prolongement de querelles contemporaines et fait écho aux pratiques du mouvement esthétique, qui multiplie les exemples de rencontres entre la littérature, la musique, les beaux-arts et les arts décoratifs. À l'approche comparative de ces dialogues et transpositions génériques s'ajoute un autre enjeu : il s'agit de voir comment l’idéal de l'inspiration interartistique vient parachever l’autosuffisance et l’autoréflexivité du monde de l’artThe starting point of this study is the doctrine of art for art’s sake as it is defended by Oscar Wilde. The autonomy of aesthetics redefines the relationship between art and life, as it celebrates the cult of beauty and as it undermines the notion of representation understood as the main principle governing artistic creation in the Western tradition. This study sets out to analyze to what extent the doctrine refashions the relations between the arts. Wilde indeed reignites a century-old debate on the analogy between the arts. He challenges the classical tradition of ut pictura poesis and rekindles the rivalries between artistic disciplines by devising new models and correspondences. Furthermore, he formulates a theory about art criticism in which the critic is elevated to the rank of artist, thus remodeling the relations between text and image. His reviews of the exhibitions of the Grosvenor Gallery are preludes to a type of writing in which the work of art is not an object of study, but is taken as a source of inspiration. Wilde’s idea of criticism ultimately serves as the basis for a theory of creation which relies on circulation between works of art and across disciplines. Finally, Wilde’s theory engages in contemporary arguments and echoes the practices of the Aesthetic Movement, which features numerous instances of cross-fertilization between literature, music, the fine arts and the decorative arts. In addition to adopting a comparative approach to those generic transpositions and dialogues, this dissertation shall examine how Wilde’s ideal of interartistic inspiration firmly entrenches the self-sufficiency of the artistic realm
12
Pflumm, Bernd A. "Kine ti um : an architectonic artefact". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033634.
Testo completoAbstract (sommario):
The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception.Department of Architecture
13
Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.
Testo completoAbstract (sommario):
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "November 2004" Bibliography: leaves 118-128.
14
McClure, Melissa Ann. "Moving pictures". PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4420.
Testo completoAbstract (sommario):
My thesis work includes 10 large drawings that explore the narrative qualities of line movement. I use line in these drawings as a recording device to document both the physical activity of the process and the personal experience that the lines represent. Through this work I attempt to develop a language of visual imagery that is autobiographical in nature. A system of personal symbols and recurring forms make up the structure of this visual vocabulary. Line movement and rhythm provides a sense of the dialog.
15
Wu, Chia-Ying (Charles). "The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10975/.
Testo completoAbstract (sommario):
Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.
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Ganoe, Kristy L. "Mindful Movement as a Cure for Colonialism". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367936488.
Testo completo
17
Leroy, Monique. "L’expression artistique comme émancipation et représentation de la classe ouvrière par elle-même". Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20136.
Testo completoAbstract (sommario):
Le désir de changer la vie, de s'accomplir et de s’émanciper dans les années 1830 trouve, pour se concrétiser, une expression artistique qui se poursuit aujourd’hui sous d'autres formes. Les prolétaires du XIXe siècle décident de ne plus vivre l’insupportable. Ils prennent des heures sur leur temps de repos, pour se cultiver, se former. Ils fondent des journaux, composent des chansons, des poèmes, des pamphlets, lisent les textes des penseurs Saint-simoniens et Fouriéristes. Leur lutte emprunte les voies du régime esthétique. Cette expérience d’émancipation fait le lien, à travers le temps, avec les multiples tentatives qui se sont poursuivies pour transformer la société, avec des temps forts en 1936, 1968, 1995. Lors du mouvement social de 1995, les grévistes ont choisi l’expression cinématographique pour relater leur lutte. Un flot d’images a accompagné les grèves, tout au long des manifestations et des Assemblées Générales. Ces films aboutissent à donner une autre vision des grèves et à construire une mémoire ouvrière par les travailleurs eux-mêmes. Ils sont un contrepoint aux images et commentaires proposés par la majorité des médias. Ce sont aussi des expériences esthétiques. Cette prise de caméra par les travailleurs n’est pas nouvelle. Elle s’inscrit dans l’histoire du cinéma militant pour créer une représentation sociale du monde du travail. Il est nécessaire, pour comprendre ces différentes périodes d’émancipation, de construire et analyser les figures de cette Histoire de l’irruption de l’esthétique dans le champ de l’Histoire ouvrière. Il faut aussi s’interroger sur les significations politiques et anthropologiques de ces temps de rupture où le désir d'émancipation et d'accomplissement s'inscrit dans une dimension esthétique Au moment où la classe ouvrière est en pleine refonte de son identité, où l’on évoque la disparition de ses valeurs, il est indispensable de montrer sa combativité et les luttes qui continuent de jalonner son histoireThe desire to change life, to be accomplished and emancipated in the 1830s was found through artistic expression. This continues today in other forms. The proletariat of the nineteenth century decided to no longer live the unbearable. They took hours on their free time, to educate and cultivate themselves. They founded newspapers, composed songs, poems, pamphlets, read the texts of thinkers like Saint-Simonian and Fourierists. Their struggle followed the routes of the aesthetic regime. This experience of emancipation is the link, through time, with other multiple attempts that continue to transform society, with highlights in 1936, 1968, 1995. During the social movements in 1995, the strikers chose cinematic expression to recount their struggle. A flood of images followed the strikers throughout demonstrations and General meetings. These films led to creating a different vision of strikes and to building a working memory by the workers themselves. They are a counterpoint to the images and comments offered by most of the media. They are also aesthetic experiences. This very use of the camera by workers is not new. It is part of the history of militant cinema that creates a social representation of the working world. It is necessary to understand these different periods of emancipation, to build and to analyze the figures in this history of the emergence of aesthetics in the field of working history. We must also question the political and anthropological significance of these breaking points where the desire for emancipation and fulfillment is part of an aesthetic dimension When the working class is being overhauled its identity, when the disappearance of its values is evoked, it is essential to show its fight and struggles that continue to stake its history
18
Reed, Hillary Nicole. "Failing, Falling, Flying, and the Knowledge “Gap”". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492005385494479.
Testo completo
19
Sorenson, Peter David, e peter sorenson@rmit edu au. "Signs of mid-life: images from the contemporary Australian mid-life male psyche". RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.
Testo completoAbstract (sommario):
This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.
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GROSSI, GIANCARLO MARIA. "PSICOLOGIA DELLA PERCEZIONE ED ESTETICA DEL MOVIMENTO IN FRANCIA (1875-1905). UN'ARCHEOLOGIA DELL'ESPERIENZA CINEMATOGRAFICA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10486.
Testo completoAbstract (sommario):
In Francia, tra la fine del XIX e l’inizio del XX secolo, sorge una nuova forma esperienziale, quella del cinema. Nello stesso contesto, il movimento corporeo diventa oggetto di studio da parte di una serie di discipline, in particolar modo l’estetica e la psicofisiologia, che si ridefiniscono reciprocamente in un costante dialogo con le nuove tecnologie visive. Esiste una relazione tra questi due eventi? Il presente lavoro mira a costruire un’archeologia dell’esperienza cinematografica attraverso l’analisi dei testi di estetica sperimentale, psicologia della percezione e neurologia che emergono nell’orizzonte culturale francese tra il 1875 e il 1905. Il primo capitolo si concentra sulle teorie estetiche di Guyau, Séailles e Souriau, in cui la bellezza del movimento è concettualizzata seguendo un processo di progressiva meccanizzazione del corpo. Nel secondo capitolo viene analizzato il dibattito psicologico interno alla «Revue Philosophique» (1876), dove il corpo diviene medium capace di rendere visibile e registrabile il mondo soggettivo. Infine, nel terzo capitolo vengono studiate le ricerche estetiche e iconografiche che hanno luogo presso la clinica della Salpêtrière diretta da Charcot, pubblicate nella «Nouvelle Iconographie» (1888). Da queste, nasce una nuova morfologia del corpo in movimento, sostenuta dal progresso dei metodi grafici fino all’avvento del cinema.In France, between the late nineteenth and the early twentieth century, a new experience rises, that of cinema. In the same context, the bodily movement becomes the object of study of a huge range of disciplines, especially aesthetics and psychophysiology, which redefine each other in a constant dialogue with new visual technologies. Is there a relationship between these two events? This work aims to build an archaeology of the cinematic experience through the analysis of texts of experimental aesthetics, psychology of perception and neurology that emerge in the French cultural context between 1875 and 1905. The first chapter focuses on the aesthetic theories of Guyau, Séailles and Souriau, where the beauty of movement is conceptualized following a process of gradual mechanization of the body. The second chapter analyzes the psychological debate inside the «Revue Philosophique» (1876), where the body becomes a medium capable of making the subjective world visible and adjustable. Finally, in the third chapter we investigate the aesthetic and iconographic researches that took place in Charcot’s clinic at the Salpêtrière, published in the «Nouvelle Iconographie» (1888). From these arises a new morphology of the body in motion, supported by the progress of graphical methods until the advent of cinema.
21
GROSSI, GIANCARLO MARIA. "PSICOLOGIA DELLA PERCEZIONE ED ESTETICA DEL MOVIMENTO IN FRANCIA (1875-1905). UN'ARCHEOLOGIA DELL'ESPERIENZA CINEMATOGRAFICA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10486.
Testo completoAbstract (sommario):
In Francia, tra la fine del XIX e l’inizio del XX secolo, sorge una nuova forma esperienziale, quella del cinema. Nello stesso contesto, il movimento corporeo diventa oggetto di studio da parte di una serie di discipline, in particolar modo l’estetica e la psicofisiologia, che si ridefiniscono reciprocamente in un costante dialogo con le nuove tecnologie visive. Esiste una relazione tra questi due eventi? Il presente lavoro mira a costruire un’archeologia dell’esperienza cinematografica attraverso l’analisi dei testi di estetica sperimentale, psicologia della percezione e neurologia che emergono nell’orizzonte culturale francese tra il 1875 e il 1905. Il primo capitolo si concentra sulle teorie estetiche di Guyau, Séailles e Souriau, in cui la bellezza del movimento è concettualizzata seguendo un processo di progressiva meccanizzazione del corpo. Nel secondo capitolo viene analizzato il dibattito psicologico interno alla «Revue Philosophique» (1876), dove il corpo diviene medium capace di rendere visibile e registrabile il mondo soggettivo. Infine, nel terzo capitolo vengono studiate le ricerche estetiche e iconografiche che hanno luogo presso la clinica della Salpêtrière diretta da Charcot, pubblicate nella «Nouvelle Iconographie» (1888). Da queste, nasce una nuova morfologia del corpo in movimento, sostenuta dal progresso dei metodi grafici fino all’avvento del cinema.In France, between the late nineteenth and the early twentieth century, a new experience rises, that of cinema. In the same context, the bodily movement becomes the object of study of a huge range of disciplines, especially aesthetics and psychophysiology, which redefine each other in a constant dialogue with new visual technologies. Is there a relationship between these two events? This work aims to build an archaeology of the cinematic experience through the analysis of texts of experimental aesthetics, psychology of perception and neurology that emerge in the French cultural context between 1875 and 1905. The first chapter focuses on the aesthetic theories of Guyau, Séailles and Souriau, where the beauty of movement is conceptualized following a process of gradual mechanization of the body. The second chapter analyzes the psychological debate inside the «Revue Philosophique» (1876), where the body becomes a medium capable of making the subjective world visible and adjustable. Finally, in the third chapter we investigate the aesthetic and iconographic researches that took place in Charcot’s clinic at the Salpêtrière, published in the «Nouvelle Iconographie» (1888). From these arises a new morphology of the body in motion, supported by the progress of graphical methods until the advent of cinema.
22
La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice". Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
Testo completo
23
Parsberg, Cecilia. "Hur blir du en framgångsrik tiggare i Sverige? : en undersökning av tiggandets och givandets bilder 2011 till 2016". Doctoral thesis, Umeå universitet, Institutionen Konsthögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-126829.
Testo completoAbstract (sommario):
Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar.My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works.
Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.
This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.
Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617
24
Tombs, Elizabeth. "Innocence abandoned: Pre-Raphaelites to Aesthetes, 1850-1900". Phd thesis, 1991. http://hdl.handle.net/1885/133654.
Testo completoAbstract (sommario):
In Victorian England there was a strong sense of the breakup of the old established social and
religious order and a general lack of spiritual certainty. A sense of loss and guilt was pred
ominant in the work of William Morris and Dante Gabriel Rossetti. An awareness of loneliness and
fragmentation both within and between men had been expressed from the 1830s onwards in the work of
Carlyle and Arnold and Ruskin.
The thesis analyses the efforts mad e by Rossetti and Morris as Pre Raphaelites, and by the
aesthetes - Swinburne, Pater, Whistler and Wilde - to break with conventional ways of looking at
the world and the self, in order to find a new human wh oleness. Th e work of these post-R omantics
in poetry, prose, painting and political writing ranges from the late 1840s to 1900. Wh at emerged
h owever instead of illumination was a new set of problems concerned with the nature of identity in
a world perceived to be in flux and offering no objective moral guidelines or 'truths'. Pater
celebrated th e infinit e p ower of th e subje ctive imagination, bu t for other p ost Romantics
the subjective mode of perception gave rise to idiosyncratic fears and preoccupa tions, especially
with the idea of evil as a reaction to lost innocence and idealism.
The aesthetes differed from Morris and Rossetti in th eir stress on art for art's sake and in their
greater willingness to forgo the ideal of spiritual innocence in favour of a more subtle
appreciation of mutability and the absence of absolutes. So concepts of beau ty and of the relation
of substance and form were reappraised. The thesis traces how in the work of the more minor decad
ent novelists and the writers of the Yellow Book and the Savoy of the 1890s, this reappraisal,
combined with an interest in different forms of experience, turned into a fascination with
strangeness as an aspect of beauty and in sin, eroticism and d eath. Fant asy, melancholy, nihilism
and the ultimate solipsism of d espair r eplaced earlier attemp ts t o locate some spiritual
significance behind the chaos of appearances. The thesis concludes with looking at Beardsley's sophisticated juxtaposition of innocence and evil
as a response to despair of knowledge, at Symons's overview of aestheticism, and at Yeats's final
transcendence, in his contributions to the Yellow Book , of the dangers and the delights of
dreaming. He managed to overcome the creative and psych ological insecu rit ies which had opened up
in the gap between surface and unknowable essences as well as within the indefinable self.
25
Amos, Johanna. ""The Burden of the Image:" Jane Morris in Art and Life". Thesis, 2014. http://hdl.handle.net/1974/8675.
Testo completoAbstract (sommario):
"'The Burden of the Image:' Jane Morris in Art and Life" examines the work and life of Pre-Raphaelite model Jane Burden Morris (1839-1914). Burden Morris, an embroiderer and wife of the arts and crafts designer William Morris (1834-96), became famous in her own lifetime as the model for a number of Pre-Raphaelite works, particularly the paintings of Dante Gabriel Rossetti (1828-82). Although she was not considered conventionally beautiful by Victorian standards, artists drew heavily upon Burden Morris’s appearance, particularly her striking features and unusual artistic dress, in order to heighten the exoticism of their works and to suggest moments outside contemporary Victorian time and place. Burden Morris’s features became synonymous with the Pre-Raphaelite ideal in female beauty and several contemporaries reflected upon the surreal experience of meeting the enigmatic woman thought only to exist in paintings.
Borrowing from a material culture approach which views images as both reflective and formative of identity, this work considers the relationship between Jane Burden Morris and her painted representation, and focuses in particular on the works produced through Burden Morris’s long-standing collaboration with Rossetti. Through an examination of Burden Morris’s appearance, activities, and demeanour, this dissertation considers the aspects of Burden Morris’s identity which contributed to her use in numerous Pre-Raphaelite images, and further explores the way in which these paintings may have altered how Burden Morris conceived of her own identity. “The Burden of the Image” examines three dominant modes of representing Burden Morris, including depictions of Burden Morris as medieval damsel, myth, and monster. It also considers Jane Burden Morris’s role within the broader context of aestheticism, and explores her relationship to the artistic dress movement and the aesthetic interior.Thesis (Ph.D, Art History) -- Queen's University, 2014-03-31 13:33:52.106
26
Duran-Garcia, Omar. "Aesthetic Misdiagnoses: Biomedicine, Homosexualities, and Medical Cultures in Mexico, 1953-2006". Thesis, 2021. https://doi.org/10.7916/d8-7ch5-9x51.
Testo completoAbstract (sommario):
This dissertation examines the role of scientific and medical disciplines in the construction of homosexuality in Mexico, and how non-normative gender and sexual subjects engaged in political activism, body modifications, and aesthetic production to challenge the pathologizing discourses reinforced by the increasing authority of the biomedical sciences. Chapter 1 examines the role of photography as a medical instrument in the first documented sex-reassignment treatment in the Western Hemisphere performed by Mexican physician and sexologist Rafael Sandoval Camacho in the early 1950s, and how his patient Marta Olmos, Mexico’s first transsexual woman, embraced photojournalism as a medium to document, archive, and validate her identity as a woman. In chapter 2, I examine the popular phenomenon of publishing photographs of erotized trans sex workers known as Mujercitos during the 1970s in Alarma!, Mexico’s most influential crime tabloid magazine, and how these marginalized subjects appropriated biomedical technologies like “sex hormones” intended to regulate gender and sexual deviance to construct bodily identities that challenged the medical and criminological positions on the essentialist natures of gender expression, sexual desire, and the sexed body. Chapter 3 examines the early gay narrative of Luis Zapata and José Rafael Calva that emerged in conjunction to Mexico’s Homosexual Liberation Movement in the late 1970s.
My analysis demonstrates how Zapata’s El vampiro de la colonia Roma [Adonis García: A Picaresque Novel] (1979), and Calva’s Utopía gay [Gay Utopia] (1983) present sharp critiques shared by Mexico’s homosexual liberation groups on the growing authority of disciplines like psychiatry, psychoanalysis, and biomedicine in pathologizing homosexuality. Chapter 4 examines the changing understandings of homosexuality, homosexual desire, and the homosexual body during the HIV/AIDS crisis through the work of Julio Galán, Nahum B. Zenil, and art collective Taller Documentación Visual. My analysis presents the role of the HIV virus not as an explicit visual reference but rather as an elusive, spectral, and dangerous entity that is identifiable through the aesthetic and formal composition of the artists’ works, best exemplified by the references to condoms as physical and symbolic devices in the mediation of gay sexual contact and desire. This dissertation demonstrates the critical roles of biomedicine, criminology, sexology, and psychiatry in regulating diverse forms of Mexican homosexualities, while simultaneously functioning as liminal disciplines strategically adopted by homosexual subjects to redefine, shape, and validate their desired bodily, sexual, and subjective identities.
27
Weiss, Simins Jill. ""A Little Deviltry": Gilded Age Celebrity and William Merritt Chase's Tenth Street Studio as Advertisement". Thesis, 2021. http://hdl.handle.net/1805/25883.
Testo completoAbstract (sommario):
Indiana University-Purdue University Indianapolis (IUPUI)In the late nineteenth century, the American art world was highly competitive as artists vied with each other and more established European artists for a small pool of patrons. A few recognized the power of mass media to create celebrity and financial success. They tread carefully into the arena of self-promotion, striking a delicate balance between advertising and maintaining Gilded Age ideas about the purely artistic motivations of a great painter. In 1878, the largely unknown artist William Merritt Chase arrived in New York with the idea that an elaborately decorated studio could potentially make his name in the art world. The plan worked. His Tenth Street Studio was a harmony of color created through his masterful arrangement of bric-a-brac and art objects. It soon attracted media coverage and public attention. Chase quickly realized, however, that the writers who gushed over his studio were more interested in the space than the artist who created it. While the studio had achieved celebrity, its creator had not. In order to attract patrons, Chase needed to garner press coverage of the studio that would refer back to himself as the artist. His solution was a series of paintings of the studio interior itself. Chase depicted wealthy visitors looking at prints, conferring with the artist, even contemplating a purchase of work right off the walls – messages intended to advertise his availability to these potential patrons. These painted “advertisements,” created in the 1880s, redirected public attention from the studio to its creator and solidified his celebrity. In 1890, Chase painted one of the most famous events to ever occur at the Tenth Street Studio – the performance of the Spanish dancer known as the Carmencita. While encapsulating the bohemian atmosphere of the studio, Chase’s portrait of the dancer displayed no trace of the studio or its contents, only a plain muted background. He no longer needed to advertise himself as artist-for-hire because he had already succeeded in this endeavor. His painted studio advertisements had worked. Chase was a bona fide Gilded Age celebrity and a permanent addition to the canon of great American artists.
28
Williams, Alena. "Movement in Vision: Cinema, Aesthetics, and Modern German Culture, 1918-1933". Thesis, 2014. https://doi.org/10.7916/D8N29V45.
Testo completoAbstract (sommario):
This study addresses the intersection of the avant-garde and mass culture through a close reading of three singular works from the Weimar Republic in Germany. Bauhaus founding director Walter Gropius (1883-1969) designed a "Total Theater" (1927, unbuilt) whose multiple screens encircled an interior structure for the presentation of twelve simultaneous film projections. In 1930, Hungarian-born Bauhaus professor László Moholy-Nagy (1895-1946) completed a rotating, metallic sculpture for the projection of light effects, which has assumed a number of different configurations within theater, film, and the museum since its inception in 1922. In the 1910s and 20s, Swedish-born Viking Eggeling (1880-1925) experimented with the properties of line by transferring static, two-dimensional collages from the animation table to the cinematic screen. In addition to undoing experimental film's logic as a genre, this study addresses the epistemological questions each of these works introduce--namely, the production of artistic and scientific knowledge in the early twentieth century, the evidentiary status of reproducible media, and the institutional framing of works of art. Rather than establish a genealogy between early twentieth-century kinetic and light experiments and the "expanded cinema" practices of the 1960s and 70s, this dissertation approaches these objects as "adjacencies" to the cinematic dispositif, within which their relationship to art and politics, technological determinism, the ontology of the work of art, and the compartmentalization of media are examined.
29
謝雨紓. "Applying the Aesthetic Art Movements to the Fashion Design-The design styles of Cynical Chéri". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/t55457.
Testo completoAbstract (sommario):
碩士實踐大學
服裝設計學系碩士班
105
Clothing brands design unique products by brand storytelling and taking design inspiration from every season, through exclusive brand style and design methods to achieve brand resonance with customers and audiences and create an irreplaceable identification in the fashion industry. Through the practical implementation of this study, the approach of extending the spirit of an existing clothing brand by the fashion designers can be learned. Furthermore, art, music, movies and so on, can be the inspiration of fashion design in in an era of information explosion. How to find a inspiration which is related to brand spirit and design a product series, including clothing style, silhouette, fabric and the choice of printing. Moreover, learning how to create new things from the original products and find the balance between brand style and inspiration in rapidly changing trend, will be the very important issue to fashion designers. By studying Cynical Chéri, a women clothing brand from Praxes, through researching its inspiration transforming and operating in two seasons to analysis and provide the idea of extending the brand style and combining original style with new creation to rising fashion designers.