Dissertationen: „Visual Arts and Crafts Studies“

1

Hunkin, Mathew. „Drawing from experience : visual modality in historic narrative illustration : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, Institute of Communication Design, College of Creative Arts, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1342.

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This research investigates critical methods for approaching aesthetic design decisions in illustration. As a method of communication illustration qualifies its subjects through aesthetic choices, or modalities. The qualifying nature of these modalities can affect communication in an image and this research seeks an explicit understanding of how this communication occurs. This practice-based research project employs two aesthetic extremes, line and tone, in the creation of four historic visual narratives designed to fill visual gaps in the history of 1 Commando Fiji Guerillas. Line and tone are tendered as a means of visually negotiating the informing records of the Fiji Commando experience, records characterised by both conflict and absence. Can these disparate, conflicting, yet necessary records of experience be visually acknowledged in an illustrated expansion of the Fiji Commando's visual history? This position serves as the point of departure for research. An understanding of the communicative properties of line and tone is followed by investigation into their relationship to the propositions they represent, with initial research suggesting that modalities reflect the social contexts from which they encode. This relationship implied a means to negotiate the historic records necessary in a contemporary visual articulation of the Fiji Commando experience through the strategic use of aesthetic modalities to acknowledge the nature of informing source material. This practice-based approach to research allowed the consolidation of both the possible and the probable in the creation of a new visual, historic text, while revealing analytical approaches to aesthetic choice.

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2

Hansen, Lans. „Desirable impact : an exploration of how design for desirability can enhance a forecast snowboarding safety product“. Massey University, 2010. http://hdl.handle.net/10179/1328.

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With origins in skateboard and surfing culture, snowboarding has grown to become a mainstream recreational and professional sport, officially recognized in the Olympic Games. This popularity can be attributed to several factors, including the sub-culture of rebellion and self-expression it embodies and the daring, dynamic aerial maneuvers and stunts often portrayed in the media. However, the sport also exposes participants to a well-documented injury pattern, with injuries rates typically twice as frequent as those seen in skiing. While a number of studies have shown existing snowboarding safety products reduce the risk of injury, these readily available products are not widely used among participants who view them as “uncool” and “unnecessary”. Exploring how affective features and attributes can improve the desirability of a forecast snowboarding personal protective equipment (PPE) product, this thesis proposes that a primary requirement for these products must be desirability - to make attractive, to create a positive impression, to strengthen ones identity and engender appreciation. Responding to these emotional needs, this thesis presents a proposal for a product designed to enhance user-experience, challenging the current philosophy of safety products and their ‘uncool’ perceptions.

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3

Day, Catherine. „Being storied; a lived experience in time : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/957.

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Being storied; a lived experience of time discusses selected aspects of the research and studio practice undertaken in the course of the year 2008. Central to the process has been attending to the mundane acts of everyday life in the rural environment in which I live. It discusses actions such as walking, listening, collecting and documenting as well as experiments with a waste material, used baling plastic that is installed in various ways into the landscape. Parallel to this are investigations with sound and text, which have drawn on my varied musical background. There is an exploration of time - the idea of durée, human experience of time, quality of attention through intense focus, and memory as it accumulates over time. Art of the everyday has also been a key area of research. Life changing events have occurred during the course of the year. The death of parents has substantially influenced the work. The practice described is multi-faceted, involving the use of text, sound, photography and film.

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4

Jahnke, Robert Hans George. „He tataitanga ahua toi : the house that Riwai built, a continuum of Māori art“. Massey University, 2006. http://hdl.handle.net/10179/984.

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Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.

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Woods-Jack, Virginia. „The empty portrait : encounters with a photographer : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts, Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/963.

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The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.

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6

Caudwell, Catherine Barbara. „Failure for dummies : intersections in emotive objects, busy women and meaningful pursuits : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1268.

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This extended essay explores a historical investigation into the connections between women and machines, particularly focusing on the traditionally gendered processes of sewing, weaving and other processes deemed ‘handicrafts’ and how they parallel techniques in the evolution of the technologies we recognise today. Within this relationship, the nature of these acts to provide comfort is investigated and related to the practice of art making. This historical lineage is examined in the present day where digital and electronic technologies impact everyday life and cause new a brand of anxieties that require a fresh approach to healing and soothing. Through the analysis of this research my practical input and output are informed and result in the development of an installation of objects that examine the electronic object and how it can be imbued with or reflect these realities.

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Jacobson, Shelley. „Temporal landscapes : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/907.

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Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.

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Ivory, Andrew John. „Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1309.

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The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.

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9

McGrath, Shane Michael. „Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1311.

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At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.

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10

Trevelyan, Peter Ross. „Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2008. http://hdl.handle.net/10179/867.

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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

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11

Korver, Ruth M. „In memory of cats : the camera and the ordinary moment : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/956.

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In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

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12

Hudson, Sarah Peti Sian. „Other identities : portrayals from the past and what remains in the present : an extended essay presented in partial fulfilment of the requirements for the post-graduate degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1310.

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How can the reintroduction of colonial depictions of Maori women in early twentieth century postcards engage a modern audience in a dialogue concerning the aestheticisation of Maori women, both past and present? Drawing on questions incited by the visual representation of my own family, the constructs of photographic depictions of Maori women in early 1900’s postcards will be examined. The correlation between the past and present will be the focus of this essay as the research considers whether the romantic, ancient ideals imposed onto Maori women by male colonialist photographers are still apparent in the present.

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13

McBride, Emily. „so much apparent nothing“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4238.

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This document contains reflections on motivations behind selected works leading up to and including my thesis exhibition so much apparent nothing. Through journal excerpts and analysis of my own psychology, I attempt to put into words my thoughts concurrent to my making, indirect as they may be. The following text shares my personal conflicts and ideologies surrounding art-making, the permanence of objects, and the acceptance of an identity in flux.

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14

Hitchmough, Ruth Wendy. „Studies in the symbolism and spirituality of the arts and crafts movement“. Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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15

周韻琼 und Wan-king Janice Chow. „Urban villa for Chinese folk arts and crafts“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986390.

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16

Leaman, Bethany Marie. „Visual purple: A context for cultural understanding through the visual arts“. Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.

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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, she contends that this understanding manifests as a set of aesthetic principles, the knowledge of core cultural symbols, and shared interpersonal behaviors based on cooperation, watching, and learning. The data suggests that the rich symbolism of Yaqui culture aesthetically socializes the children giving them an eye for detail and the ability to pick up and readily relay visual concepts.

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Tillyard, S. K. „Early English Modernism and the Arts and Crafts Movement 1910-1914 : A study of the reception of early English Modernism in the visual arts“. Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371753.

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18

Krissberg, Alex. „Crafted Architecture, An Investigation into Handcrafted Glass Techniques“. Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6362.

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This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture.

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19

NG, Ni Na Camellia. „馬家寶之藝術“. Digital Commons @ Lingnan University, 2010. https://commons.ln.edu.hk/vs_etd/3.

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馬家寶（1925-1985）是1949 年後香港第一代油畫家，他活躍於五十年代中至八十年代中的香港畫壇，以寫實風格的油畫著稱。傳統藝術史一直關注代表不同地區及時代的主流藝術風格，而六十至七十年代的港英政府和社會大眾均較為注重現代主義藝術的發展，馬氏寫實風格的藝術創作與之相比有點守舊，所以他的藝術一直未能得到研究香港史的學者和藝術家們足夠的關注和深入的研究。雖然從傳統藝術史的角度來看，馬家寶的藝術只是六十至七十年代少數、不具代表性的藝術創作，但是從藝術社會學和意識形態學看來，驅使馬家寶畢生採用寫實的形式來創作藝術，和社會環境對他的藝術創作所造成的影響，卻是個值得探索的問題。因此，此次研究會將馬氏之藝術按時序分為三個階段，結合歷史、文化和社會背景並進行對比，從而探索他堅持以寫實風格為終生藝術創作形式的原因、藝術的觀點和藝術的追求。籍著對馬家寶藝術的個案研究，希望本論文能為關注香港本地藝術發展史的學者和藝術家，提供一份參考，從一個新的角度回顧及審視香港藝術史。

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Faria, Miguel Figueira de 1957. „José Joaquim Freire (1760-1847), desenhador militar e de história natural-arte, ciência e razão de Estado no final do Antigo Regime“. Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1996. http://dited.bn.pt:80/29830.

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21

Rosenthal, Ashley A. „The British Arts and Crafts movement manifested in an American case study of Gustav Stickley's Craftsman architecture“. Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1338880.

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This thesis describes how components of the British Arts and Crafts Movement crossed the Atlantic and inspired the American Gustav Stickley's Craftsman residential architecture. As part of the Movement's reaction against the Industrial Revolution, Stickley's Craftsman residences emphasized honest and simple design and the use of natural materials. My thesis identifies the expressions of Stickley's ideals in the case study of a surviving Craftsman home located in the suburb of Irvington in Indianapolis, Indiana. The case study examines the house's configuration, construction methods, original materials and ornamental motifs. This study is particularly significant because original plans and documentation are available for research. The residence has had few owners and has therefore retained most of its original features and materials. These factors make the residence an exceptional example of Craftsman architecture.
Department of Architecture

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Mendonça, Emília Isabel Mayer Godinho. „António José Landi, 1713-1791-um artista entre dois continentes“. Phd thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras -- -Departamento de Ciências e Técnicas do Património, 1999. http://dited.bn.pt:80/29133.

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23

Blackwood, Andria Lynn. „Curating Inequality: The Link Between Cultural Reproduction and Race in the Visual Arts“. Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1321704421.

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24

Pourmoghani, Mehdi. „Effects of gloves and visual acuity on dexterity“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000291.

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Thesis (Ph. D.)--University of South Florida, 2004.
Includes vita. Abstract has title: Effects of visual acuity and gloves on dexterity. Title from PDF of title page. Document formatted into pages; contains 53 pages. Includes bibliographical references.

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Paiva, Anabela Rocha. „Abel Salazar-onde nasce o erro?“ Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 2001. http://dited.bn.pt:80/29583.

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Miller, Helena. „Bezalel's legacy : investigating a place for visual arts within Jewish studies teaching in Jewish primary schools“. Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/10020321/.

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Rowland, Gerald B. Jr. „Enantioselective, Bronsted Acid-Catalyzed Additions of Nitrogen and Carbon Nucleophiles to Imines“. Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/483.

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The development of enantioselective reaction methodology has been at the forefront of research in both academic and industrial research laboratories due to the importance of chiral molecules in biological systems. An emerging area of research in the development of enantioselective reaction methodology has been the development of organocatalytic reactions. Organocatalysis, the use of small, chiral organic molecules as catalysts, has the advantage over traditional Lewis acid catalysis in that the reactions in general produce less toxic by-products. One recent breakthrough in the development of enantioselective methodology has been the development of chiral phosphoric acids as organocatalysts. Chiral phosphoric acids have been shown to be excellent catalysts for a wide variety of reactions. In this thesis chiral phosphoric acid-catalyzed enantioselective reaction methodologies have been developed for the addition of sulfonamides and indoles to imines. The development of Bronsted acid-catalyzed amidation of imines allows for an expedient route for the synthesis of N,N-aminals, which have been incorporated into a wide variety of biologically active compounds. Initial studies were undertaken to determine the practicality of a Bronsted acid-catalyzed method for the addition of amides to N-Boc protected imines. Over 20 achiral Bronsted acids were screened, and it was found that phenylphosphinic acid and trifluoromethanesulfinimide were both excellent catalysts for the addition of amides to a variety of imines giving the respective products in excellent yield. The methodology was extended to the development of an enantioselective method for the addition of sulfonamides to imines. It was found that a chiral phosphoric acid derived from the VAPOL ligand was suitable for this purpose. The developed methodology is capable of tolerating a wide variety of functional groups allowing for the preparation of the N, N-aminal products in excellent yield and enantioselectivities. An enantioselective phosphoric acid-catalyzed aza-Friedel-Crafts reaction between N-benzylindoles derivatives and N-benzoyl protected imines has been developed. A catalyst derived from the BINOL backbone was found to be the optimum catalyst for the enantioselective transformation. The developed methodology was capable of tolerating a wide variety of functional groups and provides an expedient route for the synthesis of chiral 3-indolylmethanamines.

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de, Beer Mostyn. „Out of Place : Resistance, Creativity and Play in Visual Studies Lessons“. Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6144.

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Both the Visual Studies classroom, and the subject of Visual Studies itself, may open possibilities for solving problems in creative, challenging ways, that in other contexts might be regarded as disruptive. My study deals with transgressive behaviour in Visual Studies lessons, and how such behaviour is understood and received by teachers. It grows out of my own experience of incomprehension and unease around surprising work produced by students in my own Visual Studies workshops, and my hypothesis that behaviour like this is a form of resistance to control. I carry out a focus group interview with children that I know from workshops that I have been holding every Saturday for two years, using visual elicitation to encourage them to talk about Visual Studies lessons in general. My intention with the interview is to develop insights into why children do things that are different from their teacher’s expectations, with the aim of increasing my understanding of the work that children do in Visual Studies lessons, benefitting my own teaching practice, and being useful to colleagues. Ideas from other studies that have to do with imaginative play and creativity help me to conceive of children’s unexpected behaviour less as of a reaction against rules and authority, and more as a response to the possibilities of a Visual Studies workshop. The visual component of my study, where I install a ping-pong table in Konstfack’s Vita Havet gallery, can be regarded as a correlative to the written part. Through placing signs on the table, and changing how it is arranged, I draw attention to the way that it seems to be regarded differently from other objects placed in public spaces around Konstfack. The work is implicitly concerned with decisions about which objects, behaviours and people are regarded as acceptable in which spaces. As in the written study, through focussing on elements that don’t seem to fit in, my intention is to better understand the system as a whole.

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Davies, Peter. „Visual arts development : approaches, strategies and case studies centred on the northern region of England 1974-2010“. Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/6500/.

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The nature and form of public funding for the visual arts is investigated, specifically as it relates to the artist and exhibition. From a regional perspective in the field the study evaluates development seeking to find the most effective ways to support the artist, facilitate new work and enable public engagements. The study is as much about my contribution to the visual arts in the north - as it is a distinctive narrative history. Focus is given to projects, applied ideas and issues to which I contributed. My earlier experiences of lecturing in Chicago and being an artist in Wales influenced my thinking and work at Northern Arts (1974-1992). An innovative artists’ support model was created, with a network of schemes, programmes and organisations. Artists’ rights, the crafts and market place initiatives were developed. Gallery, production facilities and services were improved. Direct exhibition provision was ended; independent trusts were supported. Exhibition outside the gallery was explored through residencies, sited commissions and different forms of public art, which underpinned the region’s award of ‘UK Year of Visual Arts’ 1996. ‘Win–Win–Win’ situations and creative learning environments were sought where the artist, the host and the public benefit. Changing contexts and work-based roles, as an art consultant (1993-2003) and academic (2000-2010) enabled new ideas, opportunities and insights. Alongside the core funded national and local art galleries and organisations, or the private/commercially driven galleries and concerns the ‘third way’ of visual arts development through a higher education platform is assessed. At the University of Sunderland this enterprise was addressed through research, glass education, knowledge transfer and the National Glass Centre. Working approaches and strategies used to develop support are offered as transferable development practices. Evolution and my contribution are evidenced over four decades to extending art practice, widening exhibition and artists’ support.

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Martin, David Nicholas. „Photography, Visual Culture, and the (Re)Definition/Queering of the Male Gaze“. UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/17.

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The traditional notion of the Male Gaze, first conceptualized by feminist film critic Laura Mulvey in 1975, focused on the objectification of women through depictions structured to gratify a male heterosexual perspective. In this chapter we will revisit this concept and investigate how that gaze may have shifted away from a primarily heterosexual perspective to a socially dominant male perspective (maleness here referring to dominance rather than specific gender, just as “whiteness” might refer to privilege rather than race). With gender roles in an increasingly global and mobile society becoming more fluid and complex, opening up visibility to LGBTQ communities, along with a substantial post-feminist backlash, we will consider how the male gaze is shifting and how subsets of objectifying “gazes” might overlap. I will explore whether the traditional heterosexual male gaze has shifted due to power backlashes and other developments. New gaze developments may take the form of the “bromance” as well as athletics and advertising. Included in an investigation of this “dominant gaze” will be an exploration into the possibility of a lesbian and transgender gaze – does each subculture have the propensity to fall into this pattern of objectified looking and if so, where is the evidence and what are the implications? That evidence will be explored through photography, film, dance, and other visual media as this subject is expanded through the emergence of variant sexualities and gender identities.

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Osmon, Amy L. „The organization of the visual system in the bonnethead shark (Sphyrna tiburo)“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000381.

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32

Mahony, Jacqueline Eleanor. „'Reunion of broken parts' (Arabic al-jabr) : a therapist's personal art practice and its relationship to an NHS outpatient art psychotherapy group : an exploration through visual arts and crafts practice“. Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520790.

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33

Oliver, Jason A. „Visual Search for Smoking Stimuli: Detection and Distraction“. Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3268.

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Extensive research has shown that the attentional systems of addicted individuals are biased towards drug-related stimuli, but despite several decades of effort these results have frequently been inconsistent. Though commonly believed to result from addiction and dependence, cognitive research would suggest that frequent exposure to drug-related stimuli could affect the attentional processing of drug-related cues even if no actual drug use occurs. The present investigation examined attentional bias for smoking cues using a novel visual search paradigm amongst smokers currently in nicotine withdrawal and fully satiated smokers, as well as a non-smoker control group. Variables related to smoking behavior, as well as exposure to smoking stimuli independent of drug use were examined as predictors of task performance. Results revealed that participants were faster to detect smoking cues amongst a grid of distracting images relative to neutral cues, but that this effect was not specific to smokers. No consistent pattern emerged when smoking cues were used as distractors, indicating that attentional bias mainly operated to facilitate initial orienting to smoking cues on this task. Smoking-behavior variables were not associated with task performance. However, the amount of environmental exposure to smoking stimuli was strongly associated with performance, independent of smoking status. As environmental exposure has not been directly assessed in prior research on attentional bias, this raises questions about the interpretation of previous findings including the notion that it accurately taps constructs directly related to drug dependence. Future research should determine if exposure serves as an equally powerful predictor across traditional measures of attentional bias. If so, theoretical work should be reformulated to account for the notion that attentional bias may not develop as a result of addiction, though may still play a role in maintaining addictive behavior.

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Cipywnyk, Raissa Sonia. „The effect of a cultural program in the visual arts on students' ethnic attitudes“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28595.

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The purpose, of this research study was to attempt to discover if a unit of study on aspects of the visual arts of the people of India and Indo-Canadians could result in positive attitude change toward this target group. The basic premise upon which the program was developed was that improved ethnic attitudes could be generated by focussing on similarities in beliefs and practices among the cultures of India, Indo-Canadians, and mainstream Canadians as reflected in their aesthetic products. The research design used was a nonequivalent control group design. Three intact sixth grade classes in a large suburban school district comprised the sample. Two classes participated in the program while the third class was used as a control group. All three groups were pre- and posttested on measures indicating their attitudes towards Indo-Canadians. A Semantic Differential Measure and a Bogardus Social Distance Scale were the major instruments. This experimental design was complemented by the observation of the two treatment groups throughout the implementation period. The results of the posttest indicate that a significant positive change in students' attitudes took place as a result of the treatment. The exploration of cultures and cross-cultural similarities in beliefs and practices through the visual arts would therefore appear to be a promising means of improving attitudes towards ethnic groups.
Education, Faculty of
Graduate

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Patton, Tadd B. „An Anatomical Investigation Of Higher Visual Structures In The Pigeon (Columba livia)“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1735.

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Early visual processing in the avian brain has been studied extensively, the retina and midbrain in particular. However, a clear understanding of the higher visual centers in the forebrain (the telencephalon and thalamus) remains poor. Two structures located within the avian visual telencephalon, the entopallium (E) and the lateral portion of the intermediate nidopallium (NIL), merit extensive investigation based on their critical role in visual processing. The goal of the current study was to further clarify the anatomical characteristics of E and NIL. Visual information that reaches these telencephalic structures is mostly from the contralateral retina. Thus, blocking visual input on one side affects the opposite hemisphere, but leaves the hemisphere on the same side largely unaffected. This unique property of the avian visual system was used in order to emphasize neurochemical expression in the higher visual structures. After blocking visual input to one hemisphere either by monocular occlusion or unilateral lesion of the nucleus rotundus we examined the expression of specific neuroanatomical markers; namely cytochrome oxidase (CO) and the calcium binding protein, parvalbumin (PV) in E and ZENK protein expression in NIL. . Our results showed there were significantly more PV-ir cell bodies in the inner region of E compared to the outer region. In terms of PV-ir neuropil, regional differences within E were significant. In particular, the ventrolateral E tended to have a higher density of PV-ir neuropil than other regions except the most ventromedial area which was also high in PV-ir. Differential CO staining patterns were observed as well. However, unlike PV-ir neuropil the ventro-intermedial area showed a low level of CO staining compared to the other areas. Finally, there was a significant reduction of ZENK-ir cell bodies on NIL in the experimental hemisphere compared to control side. Based on this differential expression of ZENK, it was possible for the first time to visualize the location of NIL. The findings presented here are discussed in terms of their relevance to the identification of the size and extent of NIL and the heterogeneous nature of E.

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Washell, Cathryn F. „The Handweavers of Modern-Day Southern Appalachia: An Ethnographic Case Study“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3174.

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One of the most prominent traditions associated with the Southern Appalachians is the art of weaving. Extensive research has focused on the history of Appalachian weaving, but there is little on the current weaving community. Today, the region still serves as an axis for weaving, and many practicing weavers, weaving instructors, and learning institutions can be found in Southern Appalachia. The core of this study is the interviews with ten weavers that reside and practice their work in Appalachia. Using concept coding, the transcripts of the interviews led to the development of four major themes that highlight the weavers’ discovery of their weaving passion, what continues to be a source of motivation for weaving, how today’s weavers use weaving as a source of income, and how weaving continues to be deeply connected to Southern Appalachia’s art and craft making traditions.

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Himes, Susan. „Fat commentary and fat humor presented in visual media : a content analysis“. [Tampa, Fla] : University of South Florida, 2005. http://purl.fcla.edu/usf/dc/et/SFE0001407.

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38

Bryant, Susan C. „The Beautiful Corpse: Violence against Women in Fashion Photography“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/158.

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My senior thesis deals with contemporary depictions of sexualized violence against women in fashion photography. Images of bloodied, bruised, and dead-looking models have proliferated in fashion magazine editorials and advertisements since the 1970s and I want to explore why sexualized violence is seen as sexy and compelling advertising, in light of the fact that domestic violence is the greatest cause of injury to women in America. I produced my own fashion photographs in locations of actual female homicides in Los Angeles County, particularly those nearest to Claremont, with the use of The Los Angeles Times online homicide database, which pinpoints every homicide reported in L.A. County since 2007. We live in a world plagued by violence and by creating my own violent, fashion photographs in actual homicide locations, I hoped to jar the viewer out of neutrality and expose violent advertisements and editorials for what they are: objectifying, exploitative, and perverse expressions of hostility against women. The images abuse and demean commercial speech privileges and glamorize and trivialize horrific, actual experiences of violence suffered by countless women.

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Ruth, Daniel. „Adolf Hitler – America’s First Black President and Other Oval Office Demons: The Right-Wing Rhetorical Assault On Barack Obama’s Health Care Plan“. Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3598.

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This thesis endeavors to examine the imagery and rhetoric surrounding the portrayal of President Barack Obama during the national debate over health care reform from the summer of 2009 into the spring of 2010. It is argued that the critics of the health care reform legislation used images to portray the president as Adolf Hitler, Che Guevara, The Joker, as well as other images such as the swastika and the Wehrmacht symbol as stand-in euphemisms for race to discredit Barack Obama. A number of exemplar images have been selected from various websites and publications specifically addressing the portrayal of Barack Obama not only in starkly menacing tones, but also in images suggesting the president is a villainous black man attempting to pass for white in order to accomplish his tyrannical goals. The images used in this thesis speak to the power of fantasy themes and the use of fear in rhetorical imagery inasmuch as they attempt to stoke a narrative seizing upon the anxieties of an American public caught in the grip of difficult financial times, finding themselves being led by the nation’s first African-American president. This thesis complements earlier research exploring the role of race in politics and public policy debates. And it is hoped this work will contribute to a better understanding of the growing influence of talk radio, as well as perhaps the need for greater civics literacy.

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Ambiee, Jess Paul. „Examining Physicians’ Motivations to Volunteer: An Applied Visual Anthropological Approach“. [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002187.

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41

Minor, Sarah M. „Beasts of the Interior: Visual Essays“. Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1554390195795843.

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42

Font, Marotte Natalia. „Visual elective affinities : an elliptical study of the works of Angela Carter and Marosa di Giorgio“. Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14045.

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'Visual Elective Affinities: An Elliptical Study of the Works of Angela Carter and Marosa di Giorgio' examines the extent to which these two authors engage with visual representations, as well as how visuality affects and modulates the nature of their writing. In this respect, I am committed to re-thinking the notions of verbal and visual media and I draw on W.J.T. Mitchell’s theory of the imagetext as a conceptual tool from which to investigate the heterogeneity of representation. On the one hand, I trace similarities and contrasts between Carter’s and di Giorgio’s perspectives, offering new critical approaches to each other’s œuvres. For example, I suggest new routes of interpretation into Carter’s and di Giorgio’s texts, by opening the exploration of their work to the interplay not only with visuality but also with each other’s geo-cultural domains. On the other hand, this thesis draws on theories and discourses of comparative literature and, hence, it also problematises standards and consequences of comparisons between the arts and between cultures. There are three major visual elective affinities with which I develop an intertwined analysis of the authors’ texts. Firstly, Giuseppe Arcimboldo’s pictures are a shared reference in Carter’s and di Giorgio’s writings, and I analyse Arcimboldo’s “effect” on their works. A second visual affinity is created around visions and images of women. Carter’s “The Bloody Chamber” is put under consideration along with images by Félicien Rops, Jacques Louis David and Corinna Sargood, amongst others, whilst di Giorgio’s Camino de las pedrerías is examined in relation to surrealist works of art including: Max Ernst’s, Leonora Carrington’s and Leonor Fini’s. Finally, this thesis analyses the films The Company of Wolves (dir. Neil Jordan, 1984) and Lobo (dir. Eduardo Casanova, 1990) in relation to Carter’s and di Giorgio’s works. In doing so, I introduce alternative perspectives on these writers, examining the links between cinematography and fairy tales, and exploring the conflictive and hybrid nature of filmic representation.

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Osmon, Amy L. „Investigation of visual fields and visually-mediated behavior in the bonnethead shark (Sphyrna tiburo)“. [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002795.

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Luquette, Allana Duncan. „The effects of graphic display and training in visual inspection on teachers' detection of behavior change“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000584.

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45

Muellenberg, Martha. „The effectiveness of parental involvement on achievement and multicultural awareness at the middle school level in a visual arts program“. Thesis, University of South Dakota, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3629803.

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In the past few decades, parental involvement has increasingly become more noted in a child's educational journey. More administrators and teachers are recognizing the value of parental involvement. Parental involvement benefits include increased student achievement and stronger school-family partnerships. Implementing parental involvement practices is often required for schools to receive federal support such as Title I funds. Although there is supporting research that shows the positive effects of parental involvement in elementary school settings, there is limited research as to how it can affect students at the middle school level. In addition, other effects of parental involvement that stretch beyond student learning, such as multicultural awareness, have received much less attention.

The purpose of this study was to determine whether or not parental involvement at the middle school level has an impact on students' multicultural awareness and learning. Quantitative and qualitative analyses were performed to identify statistical significance and emerging themes to be used to enhance classroom practices at the middle school level. An instrument adapted from the Civil Rights Project (CRP) was used to collect data from middle school students to measure multicultural awareness. Four and five-point Likert scales were used to measure respondents' levels of awareness. A researcher-created summative assessment was used as an instrument to evaluate student learning. Additionally, qualitative questions were used to elicit students' perceptions regarding culture and family involvement.

Quantitative findings from this study did not reveal statistical significance between the control and parental involvement groups regarding student learning and multicultural awareness. Practical significance was shown in two of the survey questions, which indicated small to medium effects between group and time and small to medium effects of interactions. Practical significance was also evident in the interactions between groups based on grade level in three of the survey questions. Qualitatively, the majority of middle school students felt they were open to learning about cultures different from their own. Most students believed their parents would enjoy hearing about what they learn in visual arts classes. Other themes emerged including the misconception that culture is exclusively related to peoples of the past and the notion that cultural topics are only discussed in terms of the oppression of others. The majority of fifth and sixth grade respondents believed that art class was a venue for learning about different cultures and could recognize the benefits of learning about people from different parts of the world.

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Mason, Eric D. „Moving Thumos : emotion, image, and the enthymeme“. [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001921.

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47

Luo, Ping. „Evaluation of the Flicker Effect as a Generative Strategy in Enhancing ComputerBased Instruction (CBI) of Visual Recognition and Classification“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1702.

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Few studies address the question of the technology-based instructional methods of visual patterns, so the overarching purpose of this study was to investigate the effects of three treatments on pattern recognition. Specifically, with a pretest-posttest control group experimental study, the effectiveness of three instructional strategies, a flicker treatment, a no-flicker treatment, and a comparison treatment, (groups respectively analyzing sequential displays of two similar images with and without a blank screen in between and simultaneous displays of two images), was compared based on recognition (memory) and classification (transfer) test scores. The group differences in learning effectiveness and efficiency were also measured by study duration, the number of incorrect responses and the number of trials. Pretest scores were taken as a covariate to equate the groups' prior knowledge. College students (n=228) recruited from the liberal arts, science, and engineering programs in a Southeast university of the United States were randomly assigned to one of the three treatments. Their immediate learning was assessed with validated tests of recognition and classification, and their study time and response accuracy was tracked. All of the three groups learned and gained approximately an 80% accuracy rate in both posttests. An overall statistically significant difference was identified among the groups. In the classification test, both the flicker and comparison groups performed significantly better than the no-flicker group with small effect sizes. However, there were no significant differences among the groups in the recognition test. Moreover, the three groups demonstrated statistically significant differences in duration, number of incorrect responses, and number of trials. The study results are consistent with generative learning and related theories and evidence. Outcome measures inform practitioners of potential effective methods and a validated instructional system while effect sizes indicate relatively small advantages at relatively high cost.

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Ritter, Amy B. „My Body In Visual Culture“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398882692.

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49

Fefilatyev, Sergiy. „Algorithms for Visual Maritime Surveillance with Rapidly Moving Camera“. Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4037.

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Visual surveillance in the maritime domain has been explored for more than a decade. Although it has produced a number of working systems and resulted in a mature technology, surveillance has been restricted to the port facilities or areas close to the coastline assuming a fixed-camera scenario. This dissertation presents several contributions in the domain of maritime surveillance. First, a novel algorithm for open-sea visual maritime surveillance is introduced. We explore a challenging situation with a camera mounted on a buoy or other floating platform. The developed algorithm detects, localizes, and tracks ships in the field of view of the camera. Specifically, our method is uniquely designed to handle a rapidly moving camera. Its performance is robust in the presence of a random relatively-large camera motion. In the context of ship detection, a new horizon detection scheme for a complex maritime domain is also developed. Second, the performance of the ship detection algorithm is evaluated on a dataset of 55,000 images. Accuracy of detection of up to 88% of ships is achieved. Lastly, we consider the topic of detection of the vanishing line of the ocean surface plane as a way to estimate the horizon in difficult situations. This allows extension of the ship-detection algorithm to beyond open-sea scenarios.

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Stapleton, Erin Kathleen Loveday. „The intoxication of destruction : Georges Bataille's economy of expenditure and sovereignty in visual cultures“. Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29881/.

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This thesis traces operations of destruction in visual cultures, describing these operations as they manifest in films and visual art practices. Beginning with Georges Bataille’s general economy of energy, as it appears in The Accursed Share, this thesis deploys the concept of the simulacrum to argue that the operations of destructions in visual cultures produce particular forms of sovereign experience. It argues that while the object of expenditure can only be unique to each site of sovereign experience, appearance of an operation of destruction that produces the possibility of that sovereign experience remains consistent. Bataille’s sovereignty cannot be specified in relation to either the individual or the universal, because, as Bataille demonstrates, sites of sovereign expenditure are temporally, materially and culturally specific, unable to be repeated without differentiation, and unable to be expressed fully after the fact. In order to argue this position, I deploy Bataille’s economics of destruction which operates within the specific realm of visual cultural theory. Orientations derived from Bataille’s work are positioned alongside the work of other theorists, and in particular, Pierre Klossowski and Gilles Deleuze, to produce a unique theoretical basis for the operation of art in culture. The thesis offers a theoretical development in the problem of representation in Bataille’s work in the form of the simulacrum after Gilles Deleuze’s Logic of Sense. Each chapter is paired with another in a conceptual inversion that locates destructions in film, screen media and visual art practices. The thesis engages with operations of destruction in architecture, human extinction, identity and communication (through the performance of the artist and community in film), the physicality of destruction in the body and in sexuality, and finally, the order of destruction in the apparent dematerialisation of the image in digital culture.

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Dissertationen zum Thema „Visual Arts and Crafts Studies“

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