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McLaughlin, Pamela Ann. „Mapping an identity how women artists develop an artistic identity /“. Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.
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Calvert, Robyne Erica. „Fashioning the artist : artistic dress in Victorian Britain 1848-1900“. Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3279/.
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My research comprises a study focused on Artistic Dress circa 1848-1900, presenting a roughly chronological survey that seeks to further our knowledge on its development, varied manifestations, and influence, both during its time and on subsequent fashion trends. While Artistic Dress is a category that is acknowledged in the current literature on fashion history, it has had limited and at times conflicting treatment. It is most often employed to describe sartorial codes in which significant arts practitioners and patrons—particularly those associated with Pre-Raphaelitism, the Arts and Crafts Movement, Aestheticism, and Art Nouveau—wore (and at times designed and promoted) clothes that were frequently labelled in contemporary literature as ‘artistic’ or ‘aesthetic’. These descriptors designated such clothing to be of a unique and creative calibre, but also outside the norm. As such, it has been a subject of interest for art and fashion historians, but usually only approached marginally within the scope of larger studies on related artistic movements, or within studies of larger fashion histories on nineteenth century dress and/or Dress Reform. This thesis offers a closer examination of Artistic Dress than has previously been undertaken. The methodology for this research was to compile a history of the phenomenon of Artistic Dress derived from relevant primary source material, including (where possible) actual clothing, images (photographs and paintings), and text (correspondence, memoirs, and periodicals) related to selected ‘artistic dressers.’ Through this, I hope to identify whether there are in fact differences in the aforementioned related terms, and whether we might be able to position Artistic Dress as an umbrella term that is the most appropriate classification for the alternative sartorial trends found in artistic circles in Victorian Britain, offering a solution to this terminological quandary in dress history. It is hoped that in clarifying this term, other styles such as Aesthetic Dress and Reform Dress—and their relation to artistic practice—may be better understood. In this way, it is intended that this research will enrich the body of knowledge in the areas of both the History of Fashion, and of British Visual Culture.
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PIRES, VILAS BOAS VIOLETA. „Artistic actions in public spaces : towards an artistic urban practice“. Doctoral thesis, Università IUAV di Venezia, 2018. http://hdl.handle.net/11578/282362.
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Santarone, Ninnette. „My Artistic Journey“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2583.
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My artwork is focused on mixed media and printmaking. Through these media I address current world events, such as global warming and recycling. I also make works that deal with personal emotions. In making my work I use charcoal pencil, paint, newspaper, found stamping materials, and old books. I overlap these materials and blend them together to create an overall cohesive appearance. I present generalized objects that may not appear to be completely finished. This appearance serves as an analogy of the instability of our world’s environment and my personal life.
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Watkins, James M. „God, artist and material : toward an ethical paradigm for artistic creativity“. Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3665.
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The central argument running through this project is that, if re-imagined in light of a Christian theology of creation, comparisons between divine and human creativity provide a valuable ethical paradigm because of the structure they provide for thinking about and engaging in creative practices. Because there is not enough space to do justice to the full gamut of the human experience of creativity, I have chosen to narrowly focus on comparisons between divine and artistic creativity. Very specifically, this project is concerned to show that comparing the artist's relation to her materials to God's relation to the cosmos as a whole can envision the artist as respectfully transforming her materials. In part one, I present negative and positive arguments for the use of comparisons between divine and artistic creativity as ethical paradigms in a theology of art. I then suggest that the theological term ‘kenosis' might serve as the focus of such an ethical paradigm, and that those who describe divine creativity as kenotic are helpful dialogue partners for the development of a comparison between divine and artistic creativity. The heart of this project is part two, in which I consider three different types of comparisons. By ‘type of comparison,' I refer to the comparisons' central content. The three types considered are: the modern concept of genius, the incarnation as revelation and the incarnation as redemption. I argue that the latter type provides the best ethical paradigm for encouraging artists to respectfully transform their materials. In Part three, I assess the comparison between artistic creativity and the incarnation as redemption according to its anthropological and theological costs. Turning to recent formulations of divine kenotic creativity, I develop a comparison between divine and human creativity that includes vulnerability and risk.
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Bjurman, Johanna. „Communicating your artistic vision“. Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64809.
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Piazza, Lisa M. „Exploring the Artistic Identity/Identities of Art Majors Engaged in Artistic Undergraduate Research“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6928.
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In western societies, the persona of the artist has largely been associated with prevailing myths of the creative individual including the artist as genius and outsider. In my inquiry I endeavored to understand what it means to be an artist from the perspective of budding “creatives”. In this study I explored the process of becoming an artist that is how college students construct and navigate an artistic self (selves), and the factors that influenced this process. My purpose in this multiple text narrative inquiry was to discover how undergraduate art majors construct and navigate their artistic identity/identities, particularly while engaged in an artistic undergraduate research (UR) experience. I selected to explore students engaged in an undergraduate research project as a way to understand the process of artistic becoming within a unique educational practice, and to determine the role of creativity within this process.
My study involved students who participated in an undergraduate research scholarship program developed by the Office for Undergraduate Research at a large research university in the southeast of the United States. Ten undergraduate art majors participated in this study. Data included in-depth interviews, and participant writings in the form of “artist” reflective journal entries (which included both written and visual text), and a final self-reflection essay. I analyzed the interview data through a holistic- content approach (Lieblich et al., 1998). I identified specific themes in order to understand the complex, “whole” individual, which assisted me in understanding participant “artistic selves”, and how creativity played a role in this process. I analyzed participant art products using methods adapted from Riessman (2008) and Keats (2009). Three key findings emerged from my inquiry. First, for the majority of participants, the construction of artistic identity/identities involved a significant evolution in their meaning making structures. Second, the notion of “doing” for oneself through research was profound for most individuals, which resulted in a stronger sense of artistic identity/identities. The third major finding was how participants weaved their artistic identity/identities through creativity. Implications of my research underscore the need for more robust institutional support and resources to assist emerging artists with developing career skills, creating supportive environments for art majors from a variety of backgrounds to help them succeed and thrive in college, the design and implementation of additional educational practices in the arts that promote self-authorship, and the expansion of UR activities within the arts.
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Green, Charles. „Thief in the attic : artistic collaborations and modified identities in international art after 1968 /“. Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.
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Chevillard, Brice. „OpenVG: Benchmarking and artistic opportunities“. Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-15684.
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OpenVG is a new open standard for 2 dimensions vector graphics for handheld devices. This project, which is a master thesis and an internship, aims to study the standard itself deeply before to study the role it can play in the future of artistic content creation.We will see that under some few conditions, OpenVG has everything to fulfil its role in the market and to attract digital artists who would like to enlarge their creation field. But the major aim of the project is to develop a benchmark for both hardware and software implementations. And to achieve this goal, a study of the theory of performance evaluation is necessary. And after developing the benchmark, it is interesting to run some few tests to illustrate some principles enounced while studying performance evaluation.
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Roberts, Spencer. „Deleuze, judgment and artistic research“. Thesis, University of Hertfordshire, 2016. http://hdl.handle.net/2299/17224.
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The debate concerning the legitimacy of artistic research that has taken place over the last two decades is notable for the way in which it has drawn attention to rival 'representational' and 'performative' conceptions of thought. In the early stages of the debate, critics such as Durling, Friedman, Elkins and Biggs employed broadly representational arguments in a quasi-legal context of judgment to suggest that processes of artistic research were in some sense unrecognisable when attempts were made to see them through the conceptual lens of 'research'. In contrast to this, advocates of artistic research, such as Haseman, Bolt, Sullivan and Slager proposed that research arising out of artistic practice possessed distinctive qualities - conjoining interests in the experimental, the experiential, and the non-representational, with a set of predominantly transformative aims. Haseman et al have likewise suggested that the concerns of the practitioner-researcher, at least in the context of the arts, are mainly ontological as opposed to epistemological in character - seeking to explore, reframe, or contest existing states of affairs in a broadly performative fashion. Whilst supporters of artistic research often stress the requirement for new ways of thinking to accommodate the specificities of practice-led research, many of the concepts that are employed in an attempt to understand the aims and concerns of artistic research have a long 'process-philosophical' lineage. Process philosophy has been present as a minor current in Western philosophy since as early as 540 BC and through the influence of luminaries such as Dewey and Langer, it has long been associated with education in the arts. Process philosophers typically emphasise both the ontological priority of change and the relational constitution of entities. From the perspective of process philosophy, the world of stable and enduring things arises out of a differential play of interacting forces that admit of multiple and contingent patterns of relation. With this in mind, the contemporary anti-essentialist arguments that are often utilised in the defense of artistic research are positioned in this thesis as examples of process-philosophical thinking, paving the way for an application of the post-structuralist, process-philosophical thought of Gilles Deleuze to the debate concerning the legitimacy of practice-led research. An interesting and long running feature of the legitimacy debate has been the failing of participants on both sides of the discussion to critically engage with their opposition - preferring instead to construct rather idealised, ghostly positions, which ultimately sidestep the specificities of the situation. In an attempt to address the lack of sustained critical confrontation between oppositional voices in the discussion, this thesis attempts a close qualitative engagement with a prominent skeptical position. To this end, the work of Michael Biggs and Daniela Büchler is interrogated from a conceptual, aesthetic and relational perspective, revealing its Wittgensteinian and Kantian roots, and subjecting them to critical scrutiny from the perspective of Deleuzian thought. Biggs and Büchler, have developed a markedly critical voice in the legitimacy debate, importing the early hostility towards practice-led research that arose out of a predominantly North American design community into the context of UK, Dutch and Australian discussion. Biggs and Büchler are much cited within the literature on artistic and practice-led modes of research and they have been influential in the framing of policy. The critique of Biggs and Büchler that is developed in this thesis begins from the observation that their work embodies a broadly conservative emphasis upon representation and recognition, and that it is expressive of what Deleuze describes as the 'dogmatic image of thought'. It is argued here that Biggs and Büchler's resistance to the affective and the performative is pervasive, serving to colour their approach to philosophy, art and aesthetics and to place them at odds with the largely material-experiential, and transdisciplinary interests of many artistic researchers. With this in mind, a series of aesthetico-conceptual strategies are employed in order to problematise Biggs and Büchler's position and to stage an encounter between a process-pragmatism of the left (as typified by the philosophy of Deleuze), and a linguistic-pragmatism of the right (as typified by the philosophy of Wittgenstein). This thesis makes a number of claims to knowledge. Primarily it aims to demonstrate that the justification of artistic research need not be separatist or isolationist in character, but that in demonstrating the overlap between traditional and non-traditional forms of research we need not dispense with artistry or neglect the artefact's performative work. In this sense it aims to show how characteristics sometimes considered specific to practice-led research have a more generalised, if somewhat understated presence in the context of more traditional modes of enquiry. In a similar vein, it aims to demonstrate how a broadly traditional, written thesis might be explored in the spirit of practice-led enquiry - drawing attention to a range of textual, imaginative, conceptual and speculative devices that might enable us to explore the intensities of a problem space, and to investigate the ways in which aesthetic devices might also perform active work in the context of an argument. Ultimately this results in a questioning of the separation of artefact and argument that is characteristic of much discussion of practice-led research. Methodologically the thesis is distinctive in its sustained critical engagement with a single oppositional voice, which is also intended, through a process of extrapolation, to problematise a more generalised positivistic current of thought emanating primarily from the discipline of design. Lastly, the philosophical critique of the Wittgensteinian underpinnings of Biggs and Büchler's position also facilitates a contribution to Deleuze studies - addressing the breadth of Deleuze's concept of relation and critically interrogating the thought of Ludwig Wittgenstein - the philosopher for whom Deleuze seemed to harbour the strongest antipathy, but of whom he was also the most reticent to speak. Whilst it is clear that there has been much interest in the potential application of Deleuze since the inception of the legitimacy debate, and whilst it is clear that the employment of Deleuze as primary theorist in practice-based-research projects is in the ascent, to date there has been little work that is explicitly focused upon the resonance of Deleuzian thought with respect to the productive context, or the legitimacy of the practice-based PhD.
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Lehrman, Rachel. „Communicative dynamics of artistic collaboration“. Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/communicative-dynamics-of-artistic-collaboration(d3ffcdc7-0e3c-416d-9cb4-4ced63b3bbd4).html.
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In his 2001 writings on artistic collaboration, art theorist Charles Green describes how some artistic duos and teams developed a ‘phantom’ element— a ‘third hand’ or collaborative identity independent from and yet related to the individual identities and voices of the artistic collaborators involved. This thesis examines communicative interaction characteristic of these types of collaborations in order to explore this phantom element: what it means, what it is, how it develops and its relationship to the artistic collaborators. Ultimately, it investigates how artists can develop a collaborative author through persistent dialogue and communicative interaction. Focusing on the communicative dynamics of collaborative art practices, the first part of this study illustrates how collaboration reworks conventional notions of authorship. Integrating communication theory and group studies, it then analyses different applications of the term collaboration in contemporary art theory, challenging writings that indiscriminately categorise a variety of participatory activities and roles as collaborative. In doing so, this research examines different types of collaborative relationships; it investigates the conditions necessary for collaborative communication to produce collaborative authorship, outlining various defining characteristics of collaboration. The final portion of this study focuses on collaborative situations in which all of these defining characteristics are met. Using semiotic and hermeneutic phenomenological frameworks, it traces the development of a collective consciousness, collective identity and collective voice. Incorporating research obtained through naturalistic enquiry and questionnaires, it examines how prolonged communication, shared ownership and shared decision-making contribute to the development of these collective entities, leading up to the establishment of a collaborative author. An accompanying DVD and booklet documents the practice-based portion of this investigation— Nomadics, a nine-month multi-media artistic collaboration. The DVD not only evidences the physical art installation that resulted from the collaboration, but also the collaborative practice, providing specific examples to help support claims made within the body of the thesis.
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Zvolanek, Larry G. „Formalistic consideration of artistic elements“. Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9894.
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Sher, Gavin. „The artistic path to virtue“. Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004370.
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Most people share a strong intuition that there is much to be learned from great literature and other forms of narrative art. This intuition is, however, philosophically contentious. Plato was the first to argue against the possibility of learning anything from narrative art, but he founded a tradition that persists to the present day. I will engage in this debate in order to examine the role narratives might be able to play in acquiring virtue on Aristotle's ethical account, as it is presented in Nicomachean Ethics. I will claim that narratives have so long seemed a problematic source of learning because philosophers have traditionally approached the issue in the wrong way. They have typically tried to show how we might acquire propositional knowledge through our engagement with art, but this approach has failed because of insoluble problems involved in satisfying the justification criterion. Fictions may be rescued from their problematic status by realising that what we truly get from them is, instead, a type of knowledge-how. I will argue that Aristotelian virtue is itself a kind of knowledge-how and so the type of learning that takes place in engaging with narratives has a role to play in its acquisition and exercise. Virtue depends on types of reasoning that are themselves kinds of knowledge-how and which are employed and improved in engaging with narrative art. These types of reasoning will be described as conceptual, emotional and imaginative understanding. I will show how each is important in relation to virtue and how each is a kind of knowledge-how that may be improved through exposure to narrative art.
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Nunn, Bradley Bernard. „Artistic Exploration of Bodily Prosthetics“. Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365674.
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The advent of the computer has encouraged a surge in investigations into prosthetics by artists and others inquiring into the potential of bio-technoscientific invention to overcome the limitations of the so-called ‘normal’ human body (brain included) through technological augmentation and genetic manipulation. However this trend has tended to obscure a lesserknown trajectory of inquiry-driven practice undertaken by artists whose bodies have become both physically and neurologically impaired through accident or illness. From the perspective of artist living with such impairment, a critical artistic inquiry is conducted that intersects two prevailing notions of the prosthesis as they are imagined and enacted by artists: compensatory prosthetic augmentation of the so-called ‘disabled’ body, and bio-tech prosthetic ‘enhancement’ of so-called ‘normal’ (or ‘able’) bodies for a high-tech future. This exegesis reflects critically on a series of sculptural works arising from this investigation that were created for both contemporary gallery context and public places. It elaborates the transformations that occurred – technological, methodological, psychological, and conceptual - when 'disability' became the locus of artistic engagement with cyborg figurations in contemporary cultural discourses.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Flaherty, Drew. „Artistic approaches to machine learning“. Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200191/1/Drew_Flaherty_Thesis.pdf.
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This research is about how Artificial Intelligence and Machine Learning may impact creative practice. The thesis looks at various implementations and models related to the subject from different cultural and technical viewpoints. The project also provides experimental creative outcomes from my personal practice along with a qualitative study into attitudes and perspectives from other creative practitioners.
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Curtin, Tansy. „Contemporary German photography and American realism : is colour the only link? /“. Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmc9782.pdf.
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Janicke, Susan Beth. „Visual Arts and Chronic Pain: Thematic Analysis to the Artistic Statements of Visual Artists“. ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1689.
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The relief of pain is an essential element of nursing practice. Nursing has begun to successfully use art to assess and reduce pain among hospitalized children, surgical patients, and oncology patients. Structured art projects have been used to provide distraction from pain and patient drawings have allowed nurses to assess pain. This project employed grounded theory and thematic analysis to uncover significant concepts in the artists' statements. The Roy adaptation model and Saunders' total pain theory provided the project theoretical framework. The artistic statements and the art of chronic pain patients were examined using thematic analysis to identify recurrent themes. This project explored the insights to chronic pain in the adult patient as evidenced in the posted work. The project also considered how the content of the posted artistic statements informed individual nursing practice and facilitated the reduction of pain in the adult patient suffering from chronic pain. Emergent concepts were used to develop artistic nursing interventions. Suggested modification of nursing practice included drawing as a tool in pain assessment, exploring the meaning of color choices, encouraging mask making, providing distraction, and using art to identify spiritual distress. The proposed nursing actions will allow more effective communication of pain, provide meaningful distraction, intervene in spiritual distress, and encourage creation of an artistic product. Expected outcomes include more effective pain control, greater patient autonomy, and reduced healthcare costs. The application of this new knowledge and skill will make a difference in the lives of chronic pain patients and will therefore promote positive social change.
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Kehoe, Peggy. „Self discovery and personal creation /“. Online version of thesis, 1991. http://hdl.handle.net/1850/11073.
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Grinols, Susan. „Mind states /“. Online version of thesis, 1990. http://hdl.handle.net/1850/11308.
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Barabas, Diana. „Artists experiencing immigration : how we view our artistic expression in the context of dramatic change“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ47862.pdf.
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Duester, Emma. „Homes on the move for artists from the Baltic States : artistic practices, mobilities, and homes“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/21999/.
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The British news media often describes Eastern European nationals coming to work in the UK as unskilled economic migrants, framed as ‘unwanted’ and as jeopardising British culture and economy. Often overlooked in news media and scholarship are alternative examples of human geographic mobilities out of and into Eastern Europe, such as individuals who are working in the cultural sector, namely, visual artists. Many artists from the Baltic States must go abroad in order to get onto the global art market; although, they stay connected or return to their homelands, shaping these art scenes through their cultural remittances and transnational networks. It is important to investigate the Baltic States, as it has been 26 years since their independence from the Soviet Union and 12 years since their accession into the EU. The Baltic States are now established members of the EU, after becoming members of the Eurozone and part of the Schengen Area. Visual artists from Latvia, Lithuania and Estonia are crisscrossing the EU, taking part in multi-directional routes and multi-cross-cultural connections for work. Often having multiple bases either at once or throughout their career, a lot of respondents’ feeling of home is spatial and mobile. The feelings of home are a mosaic, constutited by these factors of cross-border communications, regular travel, and having several bases for work. The meaning of home, then, is associated with their artistic practice and about relations to people rather than associated with a fixed, physical place. They are not an ethnic diaspora, as what holds them together is their art - it is about what they all ‘do’ in common. This provides a different understanding of the meaning of diaspora, as not defined only by ethnicity. Together, this study explores individuals who move regularly, working and communicating across territorial borders and across ethnic ‘borders’. In a multi-sited study across Tallinn, Riga and Vilnius and other EU cities, this research uses an ethnographic methodology in order to devise a multi-sited and multi-temporal approach for studying travelling individuals. This research uses in-depth interviews with artists and semi-structured interviews with arts professionals; participant observation with an artist in Vienna, at an art institution in Vilnius, and through communication with three artists online over three months; and a visual analysis of artworks.
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Kirves, Joanne Mary. „Administrators as artists : the affect of an artistic background on the roles of arts administrators“. Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209737931.
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Samdanis, Marios. „Institutional logics of artistic innovation in contemporary art : the symbolic construction of young British artists“. Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50466/.
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The principal objective of this research is to investigate the institutional logics of artistic innovation in the context of contemporary visual arts. Contemporary art is a challenging field because there are no universal rules that determine artistic innovation, which inevitably relies on subjective justifications. Contemporary art institutions increasingly compete to display artistic innovation through their curatorial work, which derives from and shapes their institutional logics. The analysis in this study seeks to demystify the production of artistic innovation within contemporary art institutions, shedding light on the complex institutional dynamics that stem from interactions between artists, curators, patrons and art institutions. This thesis contributes to the existing theory a framework, based on the sociological thought of Becker and Bourdieu, which shows artistic innovation to be an organisational phenomenon. This conceptual framework is used to investigate the institutionalisation of art, in which artistic innovation is discursively constructed as a claim for authenticity. Such a claim expands knowledge structures concerning contemporary art and creates new identities for artists, creative agents and art institutions. The thesis makes a further contribution in that it seeks to advance organisational theory, and to provide insights into a field in which logics shift as a result of constantly changing power dynamics in order to fuel artistic innovations. The empirical focus of this study is the Young British Artists (YBAs), an art movement that emerged from London in the early 1990s, receiving support from powerful patrons, such as Charles Saatchi and art institutions including the Tate. This analysis contributes insights into the symbolic construction of artistic innovation, as the discourse of the YBAs facilitated their establishment as an art movement within the artistic field, and reinforced the position of the agents that appropriated this discourse. The case of the YBAs also demonstrates the importance of context for contemporary art production, as London provided the appropriate conditions for artistic innovation to flourish. Through its presentation of the social organisation of artistic innovation, this thesis demystifies contemporary art as the product of power relations and a stimulus of shifting logics in art institutions. Methodologically, this thesis contributes to the practice of critical discourse analysis, inserting a chronological dimension into Fairclough’s (2010) multilevel framework, in order to show how artistic discourses evolve while transforming the institution of art.
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Malmström, Marcus. „Development of Artistic Concepts for Vjing“. Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12250.
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The aim of this research is describe the development of artistic concepts for visual artists and to evaluate aspects which augments the art experience for audiences. Competition and increased attention for the art form demands greater art to be produced, studying psychological aspects increases the probability of the art being perceived in line with the visions of artists. This research project uses a review of literature for its theoretical research, which is then used to underline decisions within practical experiments in order to give examples of the development of concepts. Findings include a description of the artistic process as well as aspects to augment experiences for audiences. The main conclusion from this work is the importance of combing innovative expressions with theoretical knowledge, in order to create spectacular art which audiences perceives in line with the vision of the artist.
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Barbour, Kim Jaime. „Constructing Artistic Integrity: An Exploratory Study“. The University of Waikato, 2006. http://hdl.handle.net/10289/2474.
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This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.
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McCluskey, Karen E. „Artistic conservatism in the Sienese quattrocento“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20668.pdf.
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Cross, Jennifer Lynn. „Artistic interpretation in the fairytale picturebook“. Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1193078814.
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Wertz, Charles Bradley. „Artistic expression in music and poetry“. Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.
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Forkert, Kirsten. „Artistic lives : a two city study“. Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6455/.
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This project, based on a study of artists in London and Berlin, is an exploration of the social conditions of cultural production. I am exploring cultural production as an activity which does not fit conventional definitions of work, as it is self-directed, frequently unpaid and takes place outside of paid employment. It is precisely its irregular character which makes cultural production vulnerable to barriers to free time, such as the expensive rent and chronic overwork prevalent in London. I explore the social conditions of cultural production as an intersection of several factors: material conditions (particularly housing and the cost of living) which can shape the time and space artists have for their work, and their ability to survive on part-time and freelance employment; the politics of the cultural field, which shape the expectations artists have for their work and lives; cultural and social policies, which also impact on artists' ability to support themselves; and subjective issues such as artists' sense of themselves and their work, their sense of place and their relationship to other artists. This project explores how these factors intersect and inter-relate, in the way that social conditions can affect who can be an artist, who can sustain an artistic career, and the ways in which one can be an artist. In particular, I focus on the relationship between housing and professional identities, and how this functions differently in London and Berlin. In order to explore these intersections, the project brings together policy analysis, interviews, biographical narrative descriptions, photographs and descriptions of my travels through neighbourhoods in both cities. It is an interdisciplinary project which draws on analyses and methodologies from the fields of art, visual culture and sociology.
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Ginsburg, Hope. „SPONGE : an artistic and pedagogical methodology“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39322.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 70-71).
This thesis introduces SPONGE, a project developed at the Massachusetts Institute of Technology between October 2006 and May 2007. SPONGE is a workshop model based on immersion, absorption and making connections. The project is both an artistic practice and a method for teaching and learning. My intent in the writing that follows is to give the reader a complete sense of SPONGE. I will begin with a narrative description of the first SPONGE. Once the concept of SPONGE is clear, I will put the project in an art historical context by providing a synopsis of site-specific art and social practice. The current debate about the role of aesthetics in socially based artwork underlies my discussion of the role of the visual and the sensory in SPONGE. Talking about aesthetics also invites an exploration of the autonomy of artistic praxis. I will argue that by creating a distancing framework, SPONGE avoids the dissolution of art into life, even as it celebrates content that exists outside of a traditional art context. A space is thereby preserved for criticality. With criticality comes the politics of the SPONGE, which will be considered in terms of pedagogy. I will address the role of the participant and the way in which SPONGE encourages independent thought and the assembly of ideas.
(cont.) Once SPONGE has been evaluated through the lens of aesthetics, criticality, and pedagogy, I will put forth some thoughts on the future of SPONGE. I believe the workshop has the potential to be adapted for use in almost any context and I propose that any field of inquiry may find its place in SPONGE. I have included excerpts in this text from an earlier paper entitled "The Artist as Employee." It is from that paper, and my desire to find a formal structure for my artwork, that SPONGE emerged. I will conclude this thesis with what I feel is an appropriate endpoint for a project that will continue to evolve: a section on the origins of SPONGE.
by Hope Ginsburg.
S.M.
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Jilka, Milan. „Artistic Learning in an MFA Community“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538710/.
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The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.
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Shepard, Kathryn Ann. „Engendered: An Artistic Treatise Against Gender“. Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71744.
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As humans, we are enslaved by language. The kind of knowledge we hold is both created and limited by language. Gender is a category socially constructed in language that helps to determine our expression.
Today, however, we are living in a world where the meaning of the words 'man' and 'woman' in our language are far more blurred than they used to be. Gender and sex are no longer considered binary structures by many and this presents interesting philosophical discussions. In fact one might even say there are 1,000's of tiny sexes (or genders) . So with the topic of gender (and sex) becoming a gray area what would a world completely devoid of gender terms look like? Are we constraining individuals by placing them within such a category as gender or are we taking something significant from them if we were to remove this label? Would we provide empowerment to oppressed genders by removing such labels or simply put them at further risk of domination by the oppressors?
In this thesis I would like to argue that the removal of gender terms would create more accurate self-identity by allowing for a broader spectrum of diversity and, as a result, further equity. Due to the strong bond between language and culture, my theory is that by slowly tweaking our language over time, while intermediately allowing for the resulting cultural changes, until gender terms are removed from our everyday lives we could develop a culture that has no ability to discriminate between what we currently consider different genders.Master of Arts
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Baker, Christensen Leslie Michelle. „Artistic Drawing as a Mnemonic Device“. Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1476188042242805.
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Safavi, Safoura. „The Inner Gaze In Artistic Practice“. Thesis, Stockholms konstnärliga högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-934.
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”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?
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Leguy, Jean, und José Àngel Sarmiento. „The Artistic Leader : A philosophical reflection“. Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-64560.
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Philosophy, art and leadership have been considered in previous studies, nevertheless rarely have all three been blended in one. The aim of this thesis resided in the attempt to build an unfixed conceptual net, having the ambition to shed light on the innermost parts of the leader; by collecting insights from philosophical notions, the figure of an artistic leader arises. The personal importance of this work was rooted in the hope of a leadership sourced in an inner reflection. Through qualitative research, we made use of concepts derived from Kant, Foucault, Nietzsche, Heidegger and several other thinkers, targeting the ontological, sensible, and reflecting centers of the figure of the artistic leader; which ultimately was completed by primary data retrieved from experts. At the heart of the thesis, namely the fourth strand, these thoughts are developed in two volumes. The first regards the emergence of the artistic leader, a concise ontology of this figure, the suggestion of the paramount importance played by self-reflection and the ‘care’ as found in a Foucauldian understanding, as well as the mechanisms of the mind of the leader. The eventual practices of the artistic leader are developed in the second volume, seen as expressive channels through which this figure could interact with the environment. The thesis - by its very nature - is open ended, as it is a suggestion of a figure drawing its relevance in the continual constructive thinking this work hopes to generate in the reader.
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Giusti, Giulio. „Artistic imagery in Dario Argento's cinema“. Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/artistic-imagery-in-dario-argentos-cinema(b9f36b01-cc00-4461-9dbd-1da744abbfae).html.
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This thesis focuses on the work of Dario Argento, a filmmaker whose cinematic style and use of technology have helped popularise Italian Horror both domestically and internationally. Specifically, this analysis engages with Argento’s use of an art-historical repertoire within his cinema, namely the appropriation of architectural, pictorial, and sculptural references, and argues for their importance in terms of reading the main films that constitute my primary corpus. Existing research has only sporadically and superficially treated this area and no systematic survey has been undertaken. The purpose of my analysis is twofold. Firstly, I discuss how art-historical references are integrated into Argento’s oeuvre via copying and quotation, and how they function in the film texts in terms of colour, framing, and lighting. Secondly, I explore whether the iconographic and symbolic processes through which this art-historical repertoire is enacted form a strict bond with the film’s narrative texture. In doing so, my research delivers a broad range of analysis, from narrative to stylistic detail, through an intra-artistic methodological approach. My corpus comprises four different films spanning across Argento’s career: Profondo rosso (1975), Suspiria (1977), La sindrome di Stendhal (1996), and Il fantasma dell’Opera (1998). These films have been selected for two specific reasons. On the one hand, they are the ones containing the greatest number of artistic references. On the other hand, they take into consideration a variety of aesthetic qualities and narrative solutions that, combined together, provide an exhaustive overview of the director’s artistic imagination. Other films from Argento’s forty-year-long career are cited in relation to the aesthetic and thematic affinities with the primary corpus. Because of my intra-artistic approach, which takes in both Argento’s attention to aesthetic detail and to the synergy of the aesthetic and the narrative within a film through the art historical repertoire, I highlight a new aspect of the semantic, stylistic, and technical complexity of the director’s cinema in terms of influence, referentiality, and intertextuality.
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Chin, Christina Suzanne. „Social support for adolescents' artistic activities /“. Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Christine, Deborah. „The teaching of children's artistic expression“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276714.
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The development of Discipline-based Art Education (DBAE) has focused attention on curricular structure, especially as it relates to the concept of students' creative expression. Creative self-expression, the focus of many school art programs, is to encourage students' art production. Discipline-based art education in contrast strives to develop students' artistic expression. Achievement of artistic expression requires conceptually focused instruction of art content from four art disciplines, art history, art criticism, studio production, and aesthetics. A discipline-based lesson can be examined for the way artistic expression is fostered as a part of production. Specific examples drawn from one lesson are used to illustrate that artistic expression can be recognizable, sensitive to instruction, and subject to evaluation.
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Sloman, Susan Legouix. „Gainsborough in Bath 1758-1774“. Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324365.
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Barney, Daniel T. „A study of dress through artistic inquiry : provoking understandings of artist, researcher, and teacher identities“. Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/8824.
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What understandings are provoked by concepts of dress when related to artist, researcher, and teacher identities? An artist/researcher/teacher recruited a public secondary school art teacher and her students to join this participatory study. Participants were invited to investigate concepts of dress while inquiring through artistic processes. The written rendering of this dissertation is a mashup inquiry—a nondeterministic bricolage or ludic play—of images, text, and diverse theories, which gives rise to understandings of artist, researcher, and teacher identities.
A key understanding from this study is the redescription of artist, researcher, teacher, and student identities. For example, redescribing a teacher as one who occasions learning rather than solely transmits fixed bodies of knowledge generates new understandings. Teaching and learning co-exist as neither fully separate roles within the identities of teacher and student nor as perfectly balanced and equal; they are processes that are relational, shifting, and shared. Likewise, as inquiry and research are redescribed alongside artist, teacher, and student identities, spaces of the possible or as-yet-unimagined emerge.
The qualitative arts-based research methodology a/r/tography, which is utilized as the primary methodology in this study, is also conceptualized here, as a pedagogical strategy where the teacher becomes teacher-researcher and students become student-researchers. This places inquiry at the center of the curriculum. Participants in this approach to education work as independent and capable a/r/tographers moving toward an emancipatory form of artistic creation and inquiry. This study investigates how a secondary art course centered in inquiry can open perception to new possibilities as opposed to viewing a teaching/learning relationship as simply shaping perception to existing frames. Anti-oppressive forms of pedagogy may surface when the classroom is decentralized and the inquiry is nonlinear and outcomes are not pre-determined.
A graphic version of this dissertation was also created and can be found at http://m1.cust.educ.ubc.ca/Artography/phd.php. The juxtaposition of the standardized format alongside this graphic version highlights how knowledge and communication are managed and maintained. Form and structure, like dress and the format of this dissertation, are explored within this study as both potentially liberating and potentially oppressive.
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Somera, Nicole. „O artista com deficiencia no Brasil : arte, inclusão social e campo artistico“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284706.
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Orientador: Lucia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T15:08:21Z (GMT). No. of bitstreams: 1 Somera_Nicole_M.pdf: 936255 bytes, checksum: 32d2af59ad7f80c1912812ed9b2d2de9 (MD5) Previous issue date: 2008
Resumo: O presente trabalho tem como intenção investigar as interações do artista com deficiência no subcampo das atividades culturais/artísticas de instituições de atendimento à pessoa deficiente ou de sua inclusão através da arte, e, também, com o campo artístico em si. Partimos dos grupos: Associação dos Pintores com a Boca e com os Pés, Artes Táteis, Grupo de dança sobre rodas Corpo em Movimento, Associação de Balé e Artes para Cegos Fernanda Bianchini, Companhia de Arte Intrusa, Companhia Mix Menestréis, Ceguinhas de Campina Grande e Surdodum, para realizar tal tarefa. Levamos em consideração os olhares que o mundo ocidental e o Brasil tiveram sob a pessoa com deficiência, a própria concepção dos integrantes com deficiência dos grupos estudados como pessoas deficientes e artistas, a produção que desenvolvem estes conjuntos. Considerando a relação dos grupos com a mídia e o Estado, discutiu-se a respeito do capital cultural e as relações com a Família e a Escola no âmbito artístico-cultural de seus integrantes com deficiência e líderes, para estabelecermos as posições sociais de cada um e a divisão simbólica destas posições.
Abstract: The aim of this study was to investigate the interaction of artists with disabilities in the subfield of social inclusion through art, as well as within the art field itself. The groups that were studied included the Associação dos Pintores com a Boca e com os Pés, Artes Táteis, Grupo de dança sobre rodas Corpo em Movimento, Associação de Balé e Artes para Cegos Fernanda Bianchini, Companhia de Arte Intrusa, Companhia Mix Menestréis, Ceguinhas de Campina Grande and Surdodum. To discuss the functioning of these groups, we considered how people with disability have been viewed in the Western world and in Brazil. We also discussed the conceptions of the participants with disabilities of the groups being studied as persons with disabilities and as artists, as we looked at the various groups' productions. Considering the groups' relations with the media and with the State, we discussed issues of cultural capital and the relations of the participants with disability and the group leaders to Family and School within the artistic-cultural milieu, so as to understand the natures of symbolic division of these social positions.
Mestrado
Mestre em Artes
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Barsh, William Alan. „Home Environment and Creative and Artistic Activity“. Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/5.
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HOME ENVIRONMENT AND CREATIVE AND ARTISTIC ACTIVITY by WILLIAM ALAN BARSH Under the direction of Melody Milbrandt ABSTRACT This study sought to delve into and analyze the home environment and its relation to creative and artistic activity. Three artistically exceptional third grade art students, their parents, and their previous year teacher were interviewed to collect data relating to students and their home environments. Factors related to a student’s home environment such as the origins of their artistic inspirations, environment in which they made art at home, materials available to them, and the cultural values and beliefs transmitted to them in their homes were looked at to see how they influenced a child’s artistic activity. Data was collected through interviews and teacher observations and combined with a review of literature to compile strategies that might be useful for parents to use to influence their children's artistic activity. INDEX WORDS: Home environment, Creativity, Artistic activity, Families, Artistic influence, Parents, Children
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Beausoleil, Emily Jane. „Performing democracy : artistic engagements of identity/difference“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42153.
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With growing acknowledgment within critical democratic theory that formal inclusion is not enough to guarantee real participation in democratic practice, particularly in the context of deep cultural diversity, this dissertation examines the possibilities, challenges, and limitations of various modes of communication when they are used to engage marginalized difference. It takes as its starting point the institutional and individual demand within democracies to not only make space for diverse ways of life, or simply ‘contain enough difference’ – as if this were possible – but to remain attentive to the perpetual remainder and responsive to the changes implied by such differences. This, I argue, defines a democratic ethos: a care for difference and the receptive generosity such care requires.
With democratic engagement defined in these terms, I first analyze and critique the ways declarative modes of communication conventionally used in democratic engagement influence and limit both how identity/difference can be communicated, and the forms of civic engagement that emerge as a result. Second, I investigate alternatives to declarative language, specifically the evocative forms of communication used within the performing arts. Using three case studies from South Africa and Canada in which dance and theatre were used to represent marginalized positions regarding race, gender, homelessness, and mental health, my research isolates key aesthetic resources for fostering greater inclusion of marginalized identity/difference. In the process, this research reveals and analyzes effective and as-yet largely overlooked forms of democratic engagement, and brings new insights into how identity and difference can be communicated and coalitions may be formed beyond the static forms of identity politics present in certain kinds of political thought and practice. Ultimately, this project is an interdisciplinary intervention in a disciplinary discourse regarding what counts as available to our political thinking, to develop the means to broaden political inclusion as well as the tools with which to better represent and engage social difference with the attentiveness a democratic ethos demands. In short, this dissertation asks the question, can the performative arts facilitate engagement across difference in ways that a democratic ethos demands?
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Vella, Raphael. „The unpresentable : artistic biblioclasm and the sublime“. Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/7760/.
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This study investigates the destruction of books carried out by artists during the second half of the twentieth century and the early years of the twenty-first century. It proposes the term 'artistic biblioclasm' as a general category that groups these processes together, and distinguishes this category from works of art that also deal with the theme of the book but make use of other media (rather than real books). In my own practice, various biblioclastic processes are applied, documented and then discussed in the thesis. I analyse the aesthetic, political, religious and other implications of artistic biblioclasm in my work, with particular emphasis on the cultural (and Catholic) context in which the work was shown: the Mediterranean islands of Malta and Gozo. 'Part One' opens with a review of the literature related to the theoretical perspectives that inform the thesis. This is followed by the 'Practice Methodology', which identifies the methods used in my work and offers some preliminary reflections about the theoretical dimensions of these methods. 'Part Two' explores the historical background of artistic erasure in the twentieth century and develops a descriptive and contextual typology of biblioclastic practices, classifying them into four groups: book alterations, biblioclastic book-objects, formless books and dematerialised books. 'Part Three' advances Jean-François Lyotard's work about the sublime in aesthetics as a viable theoretical framework that firmly defines artistic biblioclasm as a postmodern (rather than modem) artistic phenomenon. This connection with Lyotard's work is made possible by comparing the formlessness of the sublime to the loss of the book's 'form' in biblioclastic processes and also by linking some relatively little-known essays by Lyotard that focus on biblioclasm or the book to other, better-known areas such as the sublime and postmodernism. 'Part Four' focuses on the political and religious dimensions of biblioclasm and the problem of representation. It distinguishes between politically repressive or fundamentalist forms of biblioclasm and artistic biblioclasm. Lyotard's notion of the 'unpresentable' - influenced by his reflections on Judaism and the Holocaust - is examined and linked to earlier discussions about the sublime and to the work of some artists described in 'Part Two'. Analogously, in my practice the Catholic idea of the book as an authoritative figure ('Magisterium') is elaborated and 'deconstructed' in the actual processes that make use of doctrinal texts. The research concludes by interpreting artistic biblioclasm as an attack on the closure of the book (with Jewish undertones) and a form of resistance to totalising political or religious forces. In my work, dogmatic interpretations of books and their 'truth' are related to the threatening possibility of violence in contemporary societies, and are ultimately shown to be self-destructive.
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Stansfield, Kirsty. „Practice scores : a toolkit of artistic research“. Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521673.
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Lodder, Matthew C. „Body Art : Body Modification as Artistic Practice“. Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.
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This thesis is an investigation into the legitimacy and limits of the term "body art" in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are "body art", they have not as yet been understood as such by art historians. The arguments made over the course of this work thus amount to a case for the applicability of art-historical and art-theoretical methodologies to body modification practice. The thesis first establishes the existence of a rhetorical yet broadly undefended case for the artistic status of practices which alter the form of the body. This claim is to be found amongst both the contemporary subcultural body modification community and amongst plastic surgeons. With particular reference to theories of art and aesthetics by John Dewey, Richard Shusterman, and Gilles Deleuze and Felix Guattari, the work investigates whether such claims are tenable. In light of these investigations, the thesis then presents a number of problems which immediately arise from such a claim - problems of authorship, ownership, objectivity and value - and attempts to resolve them through detailed analysis of a number of case-studies.
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Hanrahan, Siun. „A combined philosophic and artistic research methodology“. Thesis, University of Ulster, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338318.
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Kats, Anton. „Walking and listening : artistic research as pedagogy“. Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23350/.
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This practice-based PhD explores walking and listening – both literally and conceptually – as modes of what I name “Artistic Research as Pedagogy”. The thesis explores the cultural frame in which practice takes place, asking critical questions about urban and spatial belonging, redevelopment, formal and informal networks and community formation. Based on two major projects that I devised and continue to facilitate in collaboration with local communities, and following their genesis and long-term development through photography, video, audio and publications, I argue that the concrete and conceptual dimensions of the works coexist simultaneously; in each instance, these are therefore introduced as different registers of the same work. As such, the distinctions between theory and practice are rendered productively ambiguous. It is within this affirmative ambivalence that the original contribution to knowledge is located. The research is conducted within the framework of Cultural Studies rather than Art or Art History. Instead of merely documenting the practical work, this thesis positions the projects, their evolution, form and framing within a wider critical domain. By doing so, the thesis challenges the roles and forms of art, the artist and the institutionalization of artistic, and academic research and pedagogy. The research derives from two projects: Radio Sonar (2012–ongoing) invites young people and adults to take part in a series of radio interventions that unfold in the context of schools, art galleries, local neighbourhoods and academia both in the UK and Jamaica. The notion of radio “narrowcasts” as an overarching methodology of listening and collaborating allows for a particular understanding of radio as a social construction of power. Here I foreground the concept of “concrete listening”, which is concerned with solidarity, mutual support and action, and which allows for reflection on the possibilities of structural change that emerge through the actions of the project. For a Walk With ... (2013–ongoing) invites elderly people experiencing dementia to take a walk. Based in two residential care homes in London, the project explores the efficacy and the ambiguity of art and provokes an examination of the politics of redevelopment and the conditions of residential care and care work. Walking is addressed as a non-representative activity that is carried out amidst a diversity of institutional agencies. Relating memory (and its loss) to redevelopment, I argue that the prevailing understanding of redevelopment as urban amnesia is obsolete; instead, I propose that thinking the city through dementia is more useful in practice, since the latter affects increasingly more people and demands novel and collective responses. The thesis derives from personal and practical artistic interventions and draws on transdisciplinary theoretical strands, which are prioritised over a survey of art history, art theory, and comparative contemporary art practices. Accordingly, the figure of the artist is one who addresses the problematics that arise through the development of the works, taking art practice as a legitimate site of critical enquiry.
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Strayer, Jordan L. „Artistic Development in the K-12 Classroom“. University of Toledo / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1544814998449893.
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Ginochio, Castro Lucia. „Debate about asessment practices in artistic disciplines“. Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/117156.
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This essay presents the debate about assessment practices in artistic disciplinesin the context of higher education. It exposes the challenges of assessment in the arts and discusses the necessity to clarify its objectives. It also presents someassessment proposals that try to reconcile the debate. These proposals are analysedin relation to their applicability to improve the assessment processes in highereducation. Finally, departing form this analysis, it offers recommendations to enhance evaluation processes in higher education. Given the recent foundation of the Performing Arts Faculty of PUCP, and considering PUCP’s long tradition in fine arts disciplines, this topic is considered of great interest for the pedagogy of the arts and assessment in general.En este ensayo se presenta el debate sobre la evaluación en carreras artísticas en elcontexto de educación superior. Se exponen los retos y desafíos de la evaluación enlas artes y se argumenta la necesidad de esclarecer sus objetivos. Se discuten algunas propuestas que tratan de conciliar el debate. Dichas propuestas son analizadas en relación a su aplicación a favor de la mejora de los procesos de evaluación para la formación universitaria. Finalmente, desde este análisis, se ofrecen recomendaciones para la mejora de los procesos de evaluación en el nivel superior. Dada la reciente fundación de la Facultad de Artes Escénicas de la Pontificia Universidad Católica del Perú (PUCP), y considerando la larga tradición de formación en artes plásticas en la PUCP, se considera este como un tema de gran interés para la pedagogía de las artes y la evaluación en general.
Neste ensaio se apresenta o debate sobre a avaliação em cursos de artes no contexto do ensino superior. Expõem-se os desafios da avaliação nas artes e se argumenta a necessidade de esclarecer seus objetivos. Discutem-se algumas das propostas que tentam conciliar o debate. Estas propostas são analizadas em relação com sua aplicação em favor da melhora dos procesos de avaliação para a formação universitária. Finalmente, a partir desta análise, oferecem-se recomendações para a melhora dos processos de avaliação no nível superior. Levando em conta a recente fundação do Curso de Artes Cênicas da PUCP, e considerando a longa tradição da formação em artes plásticas na PUCP, considera-se este um quesito de grande interesse para a pedagogia das artes e da avaliação em geral.