Дисертації з теми "Public artworks"

Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres.   The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today’s media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts.   The study uses three contemporary Scandinavian interactive art installations, ‘Colour by Numbers’, ‘Emotional Cities’ and ‘Climate on the Wall’, to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans’ sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans’ perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.

Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

En relation avec la pratique artistique de l'auteur, cette recherche se développe autour de la questiondes comportements du spectateur de l'art contemporain dans l'espace de l'œuvre, en France.L'art intègre depuis les années 1960 le spectateur, appelant sa participation ou le tenant volontairement à distance. Les oeuvres ne nécessitent plus une attitude contemplative, espèrent le visiteur actif voire acteur du déroulement de la création. Mais l'observation de ses comportements révèle également un rapport inédit à l'espace de l'art : certains publics y voient une continuité de la rue, et leur réception s'en ressent. L'étude de cette nouvelle figure du spectateur mène à interroger les outils que lui proposent les structures, afin que sa rencontre avec l'œuvre ne soit pas vaine : la médiation est développée, accompagnement nécessaire mais potentiel obstacle à une interprétation personnelle. Elle est aussi une vitrine de la démocratisation culturelle ; comme d'autres missions des lieux d'art, elle a pour fonction d'attirer et de fidéliser des publics peu sensibles à l'art actuel. Les espaces de consommation, de repos peuvent les inciter à dépasser le seuil des lieux d'exposition, qui doivent s'adapter aux diverses attentes - souvent contradictoires - des artistes et du public, et aux exigences politiques.L'auteur donne forme plastique à ces préoccupations dans une installation traduisant, par une pratique du bricolage qui lui est propre, l'enfouissement de l'œuvre sous les discours de médiation et les diverses préoccupations concernant l'accueil des spectateurs. Que devient l'œuvre lorsque le contexte de l'art occupe plus de place dans les discours que l'art lui-même ?

Cette recherche-création s’est déployée autour d’une réflexion sur la réception en danse et sur les modes de partage de celle-ci. Prenant à rebrousse-poil une histoire de la critique de danse qui juge et évalue, j’ai tenté de privilégier des démarches qui viennent perturber, troubler et brouiller les frontières entre création et réception. La première partie de ce travail consiste à trois analyses d’œuvres chorégraphiques : Une hypothèse de réinterprétation de Rita Quaglia (2009), histoire(s) d’Olga de Soto (2004) et enfin Admiring la Argentina de Kazuo Ôno (1977). Ces trois pièces révèlent trois manières de regarder des œuvres, trois manières de parler des/aux œuvres, trois manières de répondre à une danse en dansant. Les trois œuvres analysées en première partie se distinguent par l’importance qu’elles accordent à la subjectivité comme vectrice de savoirs (perceptifs et cognitifs). Ainsi, à la « réception performée » s’ajoute le terme de « critique affectée » pour compléter ma réflexion. Celle-ci désigne autant le caractère subjectif au sein des objets étudiés, que ma manière d’être à mon tour touchée et prise par les objets et personnes que j’ai observé·e·s ces dernières années. La critique affectée concerne également les parcours de deux critiques de danse — Laurence Louppe (1938-2012) et Jill Johnston (1929-2010) — qui constituent le centre d’attention de ma deuxième partie. À travers leurs pratiques critiques distinctes, il m’importe de questionner un héritage dont je souhaite me défaire ou au contraire que je désire faire mien. Cette recherche a été une progressive mise en abyme de mon regard de spectatrice et de différents modes de travail en tant qu’artiste-chercheure. Elle rend compte d’une multiplicité de formats — journal de bord, fragments critiques, analyses d’œuvres et analyses de pratiques, matériaux de performance — comme autant de points de vue sur une œuvre. À ce travail écrit, s’ajoute un temps performatif lors de la soutenance
This practice-based research developed from questioning reception of dance and manners of sharing this experience. In venturing countercurrent to a history of dance criticism which bears judgment and makes assessments, I attempted to favor initiatives which disrupt, disturb and blur the borderlines that settle between creativity and reception. The first chapter of this research focuses on the analysis of three choreographic works: Une hypothèse de réinterprétation by Rita Quaglia (2009), histoire(s) by Olga de Soto (2004) and Admiring La Argentina by Kazuo Ohno (1977). Each of these pieces offer three different perceptions of artworks, three ways of speaking about/with artworks, three ways of answering to dance by dancing. The three works analyzed in the first chapter are characterized by the importance they grant to subjectivity as a vector of (perceptive and cognitive) knowledge. Thus, introducing the term “affected critique” to the term “performed reception” implemented the scope of my analysis. This term elects both the subjective dimension within these objects and my personal relationship to the works and people which have moved and “possessed” me over the course of my observations these past years. “Affected criticism” also arises from research on the careers of two dance critics – Laurence Louppe (1938-2012) and Jill Johnston (1929-2010) – which form the core of my second chapter. Through the particularities of their critical practices, I cared to question a heritage from which I wished either to differentiate myself or on the contrary to adopt and develop as my own. This research consequently developed as a progressive mise en abyme of my personal gaze as spectator and of the different ways of working as an artist and researcher. This dissertation therefore tries to embrace and account for the multiple shapes – journal entries, fragments of critical writing, analysis of artworks and artistic practices, performance material – that form as many standpoints from which to observe a body of work. A performative moment will prolong the written work of this research during the submission

This essay reflects a particular method and way of working that I employ when undertaking artistic research. My artworks are rooted and develop from the situation I find myself in as an artist, the very context I exhibit the work within. I do this by trying to understand this position, both on the micro and macro scale. As an artist currently studying at—and subsequently exhibiting in relation to— Konstfack, I base my research with the physical manifestation of the school. An imposing building that was part of a huge headquarters and factory site for the telecommunication company, Ericsson, in south Stockholm. The title of my essay is from the translation of a unique German cipher machine, the Geheimschreiber, made known to me through enquiry into this site. Throughout the Second World War the German army used this machine to send highly encrypted military messages across Swedish telephone cables. Following one of the greatest accomplishments in the history of cryptography, a Swedish mathematician broke this German code and subsequently assisted in designing a deciphering machine on behalf of the Swedish Intelligence branch. This device, known as the App, was secretly developed and manufactured by Ericsson, possibly where I now study. In exploring the theme of secrets, this essay originates from an underpinning desire and subject of my work to reveal what is concealed or overlooked. Through researching and writing this essay I attempt to have a better understanding on the notion of secrets, in both the private and public realms. Introducing the artistic process and situation I am working from, I explore the central role that secrets play within society. In order to understand secrecy today I introduce the intertwined and associated contemporary debates of privacy, (both private and public) and transparency through such subjects as Google’s new privacy policy, mobile phone hacking, WikiLeaks and offshore banking.

碩士
國立臺灣師範大學
美術學系
103
Following the Culture and Arts Reward Act established in 1992, and the Regulations Governing the Installation of Public Artwork implemented in 1998, public art started thriving in Taiwan under the supervision and promotion of The Ministry of Culture (formerly the Council for Cultural Affairs). According to the statistics of the ministry in 2011, the quantity of public artwork reached 2171 pieces nationwide, and the number is still increasing. Through the years, due to the enhancement of aesthetic concepts and environmental public awareness, some works faced numerous challenges. Some of the challenges were management problems, including functional alteration of public space, conflicts with commercial endeavors, maintenance difficulties, and significant adverse public reactions related to aesthetic, safety and folk custom issues. The study reviews the literature concerning foreign and domestic public art policies implemented, which contain the laws and regulations for management, efficiency evaluation, reward, relocation and dismantling of public artwork plus actual cases involving artwork removal. For the purpose of observing the acknowledge level of the public on public artwork evaluation, a survey questionnaire on the public’s recognition on public art awards and public artwork relocation was conducted and data analyzed using SPSS statistics. The research also synchronized in-depth interviews with artists, professionals, and experts to obtain their opinions on selected cases in the survey questionnaire, public art policy, and the system of statutes. The purpose of this study is to explore the consensus on efficiency evaluation and relocation evaluation of public artwork between the general public, artists, professionals, and experts. Based on the analysis, public evaluation on the safety and aesthetic is not significantly correlated to the decision made by the select committee and competent authority for awarded art and relocation. The research summarizes the result of the survey questionnaire and opinions of professionals and experts in the field, and the study comes to the conclusion: civil participation shall be reinforced by developing a voting mechanism for public artwork, and the government should establish the relocation evaluation mechanism to supplement the current policy. Furthermore, management problems may be resolved by adjusting the scope of public art funding operations and set up an exclusive public artwork relocation park, all of the above methods could help keeping the momentum of public art and improve the public artwork policy and the system.

Community participation is high on the agenda of all levels of government, but in ‘permanent public art’ commissioning, the community are rarely involved. This research explores the meaning of permanent public artworks which have been made by community members. The research is important because socially engaged art is increasingly being used in ephemeral public art practice and theorised in terms of democratic and civic engagement. Although many permanent public artworks are made by community members, this practice is rarely included in public art policy, literature and discourse. The project uses the methodology of Portraiture, as developed by Sara Lawrence-Lightfoot, to study two permanent public artworks made by community members and a self-portrait of the researcher’s own practice of working in the field. The research reveals a strong emotional context in the artworks, present in the reasons for initiating the artwork and in the process of forming a community and working together to make it. The permanently installed art object is the symbol of that process of coming together towards a common end as well as being the protagonist of the process. Permanent public artwork also draws attention to our rights to contribute to public space. The thesis is a reflection not only of the inclusive practices of permanent public art made by community members, but also of inclusive research processes and outcomes. To practice reciprocity and ethical community engagement, the thesis writing style is unconventional, weaving in traditional and contemporary writing approaches, drawing, displays and websites to enable greater ‘public’ access to the research outcomes.

碩士
台南應用科技大學
視覺傳達設計系碩士班
106
How does public art convey the cultural background of each region such as city, natural environment, etc. which could present through various different forms and methods. In order to integrate public art into the environment, it plays a decisive role to bring public art concepts closer to local community settlements and choose a location for public art setting, etc. Under the development and changes of the times, public art is no longer just a static sculpture, but a contact with the crowd in the public field, which requires interaction, beauty, and closeness to the crowd, etc. In the special field of school, public art has different goals and presentation methods while the interaction with the students must have a learning effect. This study took Tainan University of Technology as an example, it analyzed the architectures in the campus and regional culture and analyzed five places in the campus to find out which one is suitable for setting up public art on the campus and then chose one of the five places for the entity creation. This creation matches the components of original building which makes the campus public art could integrate into campus environment, gives more learning reflection on the campus public art, expands learning field into all corners in the campus, enhances style and features of original campus buildings and lets campus features and historical stories could be presented by new technology campus public art.

碩士
東方設計大學
流行商品設計系
106
Since the government issued the Culture and Arts Reward Act and Regulations Governing the Installation of Public Artwork in 1992, the public architecture has been required to install the project of urban landscape program and public art. The phenomenon of urban image and culture is the key element of representing the historical memory and urban style. The installation of urban public art and execution of relative plans has become the essential and remarkable planning policies to promote the urban cultural tourism nowadays. This study is based on the case studies and analyzing literary reviews. Furthermore, it applies focusing group interviews and Delphi method to analyze and present four developing technical strategies and plans. It intends to promote local cultural tourism and activate the tourism image by public artwork. 1. It is to combine community culture and tourism planning public artwork to promote tourism development. It makes tourists have the positive recognition on the community and becomes the aesthetic platform to connect urban image. Furthermore, it encourages more tourists to come and makes community aesthetics promote tourism. 2. It is to garner community consensus and develop the life arts platform for local communities. 3. Through the public artwork plans, it is to model the local cultural image and cultivate the cultural consensus of the community. 4. Through the public artwork plans, it is to promote local economics and living quality to achieve the idea of sustainable tourism development.

碩士
國立臺灣師範大學
美術學系在職進修碩士班
99
The purpose of the “Regulations Governing Installation of Public Artwork” is to improve the landscape of environment, enhance public appreciation in aesthetics, and to support domestic artists. By abstracting one percent of budget from public construction projects, the amount is sufficient to meet above goals. However, since its enactment 13 years ago, the “Regulations” have shown severe flaws, such as an over-complicated review system, low efficiency, and concentration of decision-making power in the hands of certain groups. The system’s fairness has been greatly criticized or even challenged. One of the challenges came from the growing awareness of the society in aesthetic appreciation, which prefers a comprehensive design of public artworks along with construction projects. Yet the current Regulations require the government to complete construction first then install public artworks later. The consequence is that many public artworks were forcefully installed in areas without considering whether such artworks do match the surrounding environment. Recently in certain new projects the designers tried to integrate the ideas about public artworks into the project and achieved huge success. The re-modeled Taiwan Railway Station in Zuoying is one example. Taiwan High Speed Rail Company went further by making its station design as an artwork. The Hsintsu Station even won the first place of Taiwan Architecture Award in 2006 and represented the country to attend the world-famous Venice Architecture Exhibition. As architecture aesthetics is becoming part of a country’s competitiveness capabilities, meanwhile, the public has called for revision of the Regulations in the 21st century, a good “image” of a city is now considered by many as the best way to enhance a country’s visibility. Prominent examples include theBurj Al Arab Hotel in Dubai and Guggenheim Museum in New York. This research attempts to apply the ideas of “Public Space Deduction Method” and “Architecture as An Artwork” to examine the situation of current public artworks in Taiwan so as to find a solution for revising the outdated Regulations.

碩士
國立臺灣大學
商學研究所
93
This research started to be a study of artworks collection and trade, and led to the discussion of how museum, the principle agent in the art market, and its main contributor, government’s public power influence the art market. In reviewing the development of regulations and tax system concerning culture and arts in the last 20 years, I wish to expose the relationship between their developments, their origins including the social environment, in order to clarify their evolution. The main point of this research centers on the nature and the influence of cultural services and aesthetic marketing, which also reflects National Taiwan Museum of Fine Arts’ mission for its renovation. Concerning antiques’ classification and its administrative management operation, I took National Palace Museum as an example. From this museum’s specific development and nature, the current social education and international exchanges were the background explaining the relationship between artworks, museums and national policies. During my research, I realized that the method of artworks’ collection, preservation and application, trade and possession of works of art have been considered as common operational mechanism in the industry. However, the importance of art trade is not about making a profit, but rather to present a current potential market, as well as to establish and to promote network marketing for cultural business information and aesthetics experiences. This research has been conducted from the 1st September 2001 to the 31st December 2004, with the concern of “beauty” as the link between various elements, the common memory of people, even the harmony between natural and human environment. During this period of time, I experienced that “artwork” expanded their traditional role as “objects” into cultural “events”; as well as “museum” evolved from centering “objects” to “people”. Being working in the cultural field, I stressed on these two topics: Taiwan cultural identification in global community and the trend of museums shifting their roles from focusing on their own collections to satisfying the visitors’ demand. Then, I obtained the following recommendations: 1. Catalog Taiwan regional artists’ works as “National Treasures”. 2. Hold a healthy mentality towards the works of art as “Intellectual Property”. 3. Extend the demand for showing works of art in public places, which in turns will bring prosperity to the artwork trading market. 4. Establish a real status for an “Asia-Pacific trading center for art”, leading to the profound construction of cultural and artistic assets. 5. Reinforce the legal basis for a “Culture basic law”, clarifying the orientation of cultural and artistic development. Lately, the Council for Cultural Affaires had a draft for elevating to “Ministry of Culture and Tourism”, it should start to collect cultural business information, enlarge the attention spectrum of public power, and establish a long term marketing mechanism with prospective contents. Today, the society is evolving fast, people are more and more conscious of leisure activities and cultural and artistic activities are progressing. I sincerely hope the conclusion and suggestions of this research would be useful for the establishment of related policies or academic research in the future.