Dissertations / Theses on the topic '190103 Art Theory'
To see the other types of publications on this topic, follow the link: 190103 Art Theory.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 19 dissertations / theses for your research on the topic '190103 Art Theory.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.
Find full textAbstract:
This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. It also aims to understand the design issues surrounding the creation of these systems.
The approach used is Practice-based, integrating practice, evaluation and theoretical research.
Practice used methods from Reflection-in-action and Iterative design to create two interactive art systems: Glass Pond and +-now. Creation of +-now resulted in a novel method for instantiating emergent shapes. Both art works were also evaluated in exploratory studies. In addition, a main study with 30 participants was conducted on participant interaction with +-now. These sessions were video recorded and participants were interviewed about their experience. Recordings were transcribed and analysed using Grounded theory methods. Emergent participant experiences were identified and classified using a taxonomy of emergence in interactive art. This taxonomy draws on theoretical research.
The outcomes of this Practice-based research are summarised as follows. Two interactive art systems, where the second work clearly facilitates emergent interaction, were created. Their creation involved the development of a novel method for instantiating emergent shapes and it informed aesthetic and design issues surrounding interactive art systems for emergence. A taxonomy of emergence in interactive art was also created. Other outcomes are the evaluation findings about participant experiences, including different types of emergence experienced and the coding schemes produced during data analysis.
2
Gaffney, Kiley. "Cosmopolitan tendencies in recent intersubjective art." Thesis, University of Queensland, 2015. https://eprints.qut.edu.au/89196/1/Kiley%20Gaffney%20PhD%20Thesis%20for%20QUT.pdf.
Full textAbstract:
This thesis uses cultural studies approaches to ask in what ways can intersubjective art act on the disparities brought about by late capitalism through the auspices of cosmopolitanism? How do the same processes that oppress others allow the artist to be mobile and self-reflexive while accruing and deploying a broad range of knowledges and competencies? The answer is paradoxical: those oppressed by the processes of late capitalism become the focus, theme, and content of the intersubjective artwork while the artists benefit from a system they seek to problematise and critique. Three case study chapters highlight these complex and disconcerting politics.
3
Upchurch, Diane M. (Diane Marie). "Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500448/.
Full textAbstract:
The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
4
Leandro, Sandra 1970. "Teoria e crítica de arte em Portugal-(1871-1900)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1999. http://dited.bn.pt:80/29429.
Full text
5
Roset, i. Juan Isidre. "La concepció antimoderna i la deshumanització de l’art; fortuna crítica de l’obra d’Alfred Sisquella i Oriol (Barcelona, 1900 – Sitges, 1964)." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666293.
Full textAbstract:
La tesi es composa de dos volums: el primer dedicat a l’estudi sobre la concepció antimoderna i la deshumanització de l’art, aplicats a la fortuna crítica d’Alfred Sisquella i Oriol (1900-1964); el segon volum correspon al repertori d’imatges de l’obra del pintor.
La trajectòria estilística d’Alfred Sisquella fou canviant; parteix de l’avantguarda i el primitivisme, tendències que abandonà per evolucionar vers plantejaments realistes i naturalistes amb incursions en el vibracionisme, la nova objectivitat i el surrealisme. El conjunt de la seva producció ha estat encasellat en la figuració dels retrats de la seva esposa Antònia Rambla, model seré de la dona catalana del segle XX i l’obra titllada d’antimoderna.
En aquesta investigació descobrim aspectes poc coneguts de la seva obra i del context artístic dels anys deu, vint i trenta del segle XX, en particular els orígens de l’agrupació Saló dels Evolucionistes de la qual Alfred Sisquella en fou membre fundador i part constituent. També revisem la constel·lació d’artistes formada a l’entorn de la Sala Parés de Barcelona a partir de 1925 i en el període de la postguerra i el franquisme.
La revisió de l’Homenots: Alfred Sisquella (1959), assaig biogràfic de Josep Pla contrastat amb la documentació hemerogràfica ofereix nous perfils en l’apreciació de l’obra d’aquest artista pintor i teòric de l’art injustament oblidat. La tesi és una petita aportació per al rescabalament històric dels artistes i dels intel·lectuals de la Generació de 1917.The thesis is composed of two volumes: the first one devoted to the study of the antimodern conception and the dehumanization of art, applied to the critical fortune of Alfred Sisquella i Oriol (1900-1964); the second volume corresponds to the repertoire of images of the painter's work. Alfred Sisquella's stylistic career was changing; part from the avant-garde and primitivism, tendencies that he abandoned to evolve towards realistic and naturalistic approaches with incursions into vibrationism, new objectivity and surrealism.The whole of his production has been shaped by the portraitures of his wife Antònia Rambla, a model of serenity that will be the Catalan woman of the twentieth century, and his paintings were titled antimodern. In this research we discover little-known aspects of the work and the artistic context of the years ten, twenty and thirty of the twentieth century, in particular the origins of the group Hall of the Evolutionists of which Alfred Sisquella was a founding member and constituent. We also review the constellation of artists formed in the Sala Parés (Barcelona) from 1925 and in the period of the postwar period and the Franco regime. The review of Homenots: Alfred Sisquella (1959), biographic essay by Josep Pla, contrasted with the heterogeneous documentation offers new profiles in appreciation of the work of this painter and theoretical artist of the art unjustly forgotten. The work is a small contribution to the historical recuperation of the artists and intellectuals of the Generation of 1917.
6
Bennett, Michael, and n/a. "For a labourer worthy of his hire : Aboriginal economic responses to colonisation in the Shoalhaven and Illawarra, 1770-1900." University of Canberra. School of Resource, Environmental and Heritage Sciences, 2003. http://erl.canberra.edu.au./public/adt-AUC20050331.134721.
Full textAbstract:
This thesis presents a narrative of Aboriginal economic responses in the 19th century to
the colonisation of the Shoalhaven and Illawarra regions of New South Wales. It
explores the competing claims of articulation theory and dependency theory about the
intersection of colonial and indigenous economies. Dependency theory claims that
settlers destroy the indigenous mode of production to permit the expansion of their own
economic system. They exploit indigenous labour which then becomes dependent on
capitalist sources of subsistence. Articulation theory, as modified by Layton (2001) to
recognise the bi-directional nature of contact, posits that the rate of capitalist penetration
into indigenous economies is variable and that the non-capitalist mode of production may
be preserved to create a self-supporting source of labour. The contrasting theories are
assessed in this thesis by determining the contribution different strategies made to
Aboriginal subsistence. Historical evidence is used to assess each strategy. The main
source of information is from Alexander Berry's Shoalhaven estate, where Aboriginal
people lived from settlement in 1822 until they were moved to a reserve in the early
1900s. The analysis suggests that contrary to previous research, Aboriginal people
gained the majority of their subsistence from fishing, hunting and gathering until 1860.
Strategies that depended on the colonial economy such as farm work, trading, living with
settlers and stealing made only minor contributions to Aboriginal subsistence. After
1860, European land use intensified and Aboriginal people were further alienated from
the land. The contribution of hunting and gathering contracted as a result. Dependency
on government assistance increased, particularly after the foundation of the Aborigines
Protection Board in 1882. Fishing remained an important source of food and cash.
Maritime resources were not commercially exploited to a significant extent until the
closing years of the 19th century when Aboriginal people were provided with boats and
nets to assist their efforts. The historical evidence demonstrates that articulation theory
offers a more realistic approach than does dependency theory when analysing the
intersection of colonial and indigenous economies. This is because articulation theory
can predict variable outcomes. The variable outcome suggested by the Shoalhaven and
Illawarra data are that hunting, gathering and fishing economies have the resilience to
withstand the colonial encounter if sufficient resources are made available.
7
DeWitt, Amy L. "Parental Portrayals in Children's Literature: 1900-2000." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4884/.
Full textAbstract:
The portrayals of mothers and fathers in children's literature as companions, disciplinarians, caregivers, nurturers, and providers were documented in this research. The impact of time of publication, sex of author, award-winning status of book, best-selling status of book, race of characters, and sex of characters upon each of the five parental roles was assessed using descriptive statistics, cross-tabulation, and multinomial logistic regression techniques. A survey instrument developed for this study was completed for each of the 300 books randomly selected from the list of easy/picture books in the Children's Catalog (H.W. Wilson Company, 2001). To ensure all time periods were represented, the list was stratified by decades before sampling. It was expected that parental role portrayals would become more egalitarian and less traditional in each successive time period of publication. Male authors were expected to portray more egalitarian parental roles, and the race and sex of the young characters were not expected to influence parental portrayals. Award-winning books were expected to represent more egalitarian parental roles. Books that achieved the Publisher's Weekly all-time best-selling status were expected to portray parents in less egalitarian roles. Secondary analyses explored the prevalence of mothers' occupations, parental incompetence, and dangerous, solo child adventures. While the time of publication affected role portrayals, the evidence was unclear as to whether the changing roles represented greater egalitarianism. The race and the sex of the young characters significantly affected parental role portrayals, but the sex of the author did not influence these portrayals. While award winning and bestselling texts portrayed parents differently than books that did not achieve such honors, most did not provide enough information to adequately assess parenting roles. Half of the mothers who worked in the texts worked in conjunction with their husbands rather than independent of them. Over 10 % of mothers and fathers acted incompetently. The time of publication and the sex of the author was associated with the prevalence of solo, dangerous, child adventures. Subsequent implications and recommendations suggest the inclusion of stronger parental characters in children's books. Many of the parents are portrayed as inactive, incompetent, or neglectful. The concern is that children are exposed to these picture book portrayals during the primary years of identity acquisition.
8
McKinney, Timothy R. (Timothy Richmond). "Harmony in the Songs of Hugo Wolf." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331583/.
Full textAbstract:
The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.
9
McGowan, James (James John). "Harmonic Organization in Aaron Copland's Piano Quartet." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278850/.
Full text
10
Bush, Joan Spooner. "A Comparison of Traditional Norming and Rasch Quick Norming Methods." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277818/.
Full textAbstract:
The simplicity and ease of use of the Rasch procedure is a decided advantage. The test user needs only two numbers: the frequency of persons who answered each item correctly and the Rasch-calibrated item difficulty, usually a part of an existing item bank. Norms can be computed quickly for any specific group of interest. In addition, once the selected items from the calibrated bank are normed, any test, built from the item bank, is automatically norm-referenced. Thus, it was concluded that the Rasch quick norm procedure is a meaningful alternative to traditional classical true score norming for test users who desire normative data.
11
Schaefer, Sergio. "A teoria estética em Adorno." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49667.
Full textAbstract:
O presente trabalho procura acompanhar a proposta modelar de Theodor W. Adorno, formulada de modo ensaístico e paratáxico na Teoria estética. Visa compreender esse modelo de pensamento, sua atualidade como manifesto crítico e como possibilidade de construção cognitiva não mais voltada a uma racionalidade que se sobrepõe às particularidades do objeto do conhecimento, reprimindo-as em favor da soberania do sujeito. Busca esclarecer como o estético, em Adorno, tornou-se um experimento teórico para apresentar objetos sociais e históricos – as obras de arte – que resistem ao jogo do valor de troca e que, por meio de uma linguagem enigmática e de uma perspectiva utópica, propõem mudanças para o atual estado de coisas. Pretende, ainda, mostrar que a Teoria estética superou os traços desesperançosos e pessimistas que marcavam o discurso de Adorno: a razão humana não está destinada a reprimir-se e a reprimir a natureza e os homens. A obra de arte resiste e, ao resistir, nega. Ao negar, propõe algo que não existe, um não-idêntico, algo que não se sabe o que é. O desejo de algo novo, liberto do peso totalizador da Aufklärung, atravessa a Teoria estética.This paper is an attempt to study Theodor W. Adorno‟s model proposition formulated in an essay-like and parataxic-like model in his Ästhetische Theorie. The paper pursues a better understanding of Adorno´s thought model, its today‟s actuality both as a criticism manifest and as a possibility of cognitive construction no longer dependent on a rationality that supersedes the particularities of the object under study, inhibiting them in favour of the subject‟s sovereignty. The paper also tries to make it clearer how the concept of esthetics, in Adorno, has become a theoretical experiment to present social and historical objects – works of art – that do not yield vis-a-vis the exchange value game and which, by means of an enigmatic language and of a utopic perspective, propose changes in favour of the present-day status quo. Besides, this paper also tries to show that Adorno‟s Ästhetische Theorie has overcome the hopeless and pessimistic traits that marked Adorno‟s discourse: human nature is not bound to repress itself and to repress nature and men. A work of art resists and, upon resisting, it denies. Upon denying, it proposes something that does not exist, something non-identical, something one does not know what it really is. A desire for something new, free from the totalizing weight of the Aufklärung permeates the Ästhetische Theorie.
12
Allan, Derek. "Art and the human adventure : Andre Malraux's theory of art." Phd thesis, 2007. http://hdl.handle.net/1885/150976.
Full text
13
Osborne, Jaquelyn Lisa. "Sport, art and contingency : redescriptions." Thesis, 1996. https://vuir.vu.edu.au/18201/.
Full textAbstract:
In today's highly technical and product-oriented world, sport, like many other
things, has become a realm of efficiency, records and statistics. While one can certainly
appreciate the breathtaking accuracy, speed and strength of the world's elite athletes, seems that there may be more that can and should be understood and appreciated about
sport. This thesis examines the relationship between sport and art using a "functional"
approach. That is, it is shown how sport can be seen to function as art does at certain
times and under certain conditions.
Sport is shown to be a "human-made" entity that has no essential nature or
pre-determined meaning. As a result, sport can and should be described and redescribed many different ways. This thesis concludes that redescribing sport in terms of art will have a two-fold effect on sport. Firstly, the current descriptions and perceptions of sport can be challenged and descriptions which depart from the norm will be encouraged. Secondly,
there can exist in sport description and reporting the provision to promote the kind criticism which is usually afforded only to art.
It is the concern of philosophic inquiry to examine these issues in a critical and
logically sound manner. To a certain extent the philosophic method combines the logical
and critical approach with a more imaginative or projective concern. The philosophic
method goes beyond the said and the done, to the possibly said and the possibly done. It examines the possibility of a change in, or an elaboration of, our understanding of our sporting institutions and practices, and ourselves.
14
Cermatori, Joseph Paul. "Traditions of the Baroque: Modernist Conceptual Stagings Between Theory and Performance." Thesis, 2016. https://doi.org/10.7916/D8FN1665.
Full textAbstract:
Between 1880 and 1930, European and American modernists connected to the theater became fascinated with the subject of the baroque. Among the first, Friedrich Nietzsche argued that the baroque style recurs throughout western history, tending in every artistic medium toward the theatricality of strong emotions and exciting gestures. His writings reflect a larger trend during this period, imagining the baroque as a spectral presence of sorts, a force both haunted by theater and haunting western history repeatedly. “Traditions of the Baroque” takes up these various hauntings, pursuing two simultaneous claims. It argues that the memory of the baroque stages of seventeenth-century Europe helped produce new forms of theater, space, and experience around the turn of the twentieth century. At the same time, it also argues that modern theater has played a key role in the baroque’s development into a modern philosophical concept, both for the analysis of art, and for a self-reflexive inquiry into the nature of philosophical discourse itself. These two reciprocal developments amount to a “modernist baroque” paradigm in theory and theater alike: a pattern of having to look back to the past in order to pursue the new.
Tracing this pattern, “Traditions of the Baroque” focuses on avant-gardists whose thought and writing takes place between theory and performance: philosophical theater-makers and theatrical philosophers from Nietzsche and Stéphane Mallarmé to Walter Benjamin and Gertrude Stein. Moving between the page and the stage, it tracks citations of seventeenth-century theater through modernist aesthetic theory across an array of otherwise disparate materials: Nietzsche’s writings on Wagnerian opera; Mallarmé’s hermetic and unstageable theatricals; Benjamin’s analyses of Expressionism and Epic Theater; and Stein’s saintly miracle plays. At each step, it uncovers a notion of historical unfolding based not on narrative progress, but on the citability and iterability of the past, making clear that the idea of the baroque spurred modernist thinkers to reimagine both western history and modernity altogether. Far from perpetuating age-old anti-theatrical prejudices based in transcendental metaphysics, Nietzsche, Mallarmé, Benjamin, and Stein all adopt baroque forms of theatricality precisely to subvert the ideological regimes of the past. The baroque becomes, for these authors, a means to disrupt norms of representation across a wide array of registers: aesthetic, economic, sexual, historiographic, and metaphysical. These modernists take up the baroque vision of the world as a grand theater organized around a divine center, and radically transform it to suit a modern awareness of performance’s pervasiveness in everyday life. Their modernist baroque functions not as an official style of hegemonic power— such as the absolutist state or counterreformation church—but as a deconstructive force, one that extends the baroque’s afterlife into the contemporary theater and theory of our present time.
15
Werier, Leah. "From Vitrine to Screen: Art and the Architecture of Commodity Display." Thesis, 2021. https://doi.org/10.7916/d8-jgd0-7f97.
Full textAbstract:
This dissertation is a study of the architecture of commodity capital: the display window. Taking as a starting point the work of Henri Lefebvre and Goerg Simmel, this dissertation understands the shop window to be a mode of display, what I define as “the logic of the vitrine,” that has shaped the way the world appears. Tracing a genealogy from the Parisian Arcades to the twentieth-century department store, this project explores the relationships between gender, sexuality, race, and architecture. Feminist critiques of commodity desire and display illuminate how the shop window is as important to our understandings of capitalism as is the commodity.
Through feminist, queer, postcolonial, and anti-racist readings of material and commodity culture, this dissertation considers the shop window to be a site of subject formation. This dissertation also examines how designers, artists, and architects have explored the display of the shop window through a series of case studies, including Marina Abramovic’s Role Exchange, Gene Moore’s “drag” in Bonwit Teller’s shop windows, the making of a black mannequin, and Lynn Hershman Leeson’s site-specific installation 25 Windows. This dissertation concludes with a consideration of the architectural role reversals of the shop window and the gallery; the work of Silvia Kolbowski and Elmgreen and Dragset’s Prada Marfa ground this analysis. Artists have disrupted the display of the shop window, transforming the architecture of commodity capital into a space for resistance and critique.
16
Walton, Judith May. "By hand and eye: dance in the space of the artist’s book." Thesis, 2010. https://vuir.vu.edu.au/16100/.
Full textAbstract:
By Hand and Eye: Dance in the Space of the Artist’s Book is a practice-based research project that
explores what potential there might be for dancing, or an expanded notion of dance, to be
found and/or created in book form. For instance, how might a book dance, rehearse its
contents? What relationships can be found or forged between the body and the artist’s book:
the movement of the eye, the spacing of thought, temporality and duration, and the
choreography of the page?
These propositions have been explored and expanded through a tactile, experiential
examination of selected artists’ books from the National Art Library (NAL) of the Victoria &
Albert Museum, a translation/re-working of existing performances into book form, and the
creation of unique artist-made books. The project seeks to embody and enact concepts and
questions considered through the research; signalling, suggesting, amplifying, and marking,
gestures and rehearsals for movement.
17
Fleming, Steven Peter. "The bed maker's model a thematic study of Louis I. Kahn's 1961 article "Form and design" in terms of Plato's theory of forms as treated in The Republic." Diss., 2003. http://www.newcastle.edu.au/services/library/adt/public/adt-NNCU20040329.192248/index.html.
Full text
18
Wood, Deborah. "Frida's moustache : making faces in women's self-portraiture, an exegesis." Thesis, 2001. https://vuir.vu.edu.au/16076/.
Full textAbstract:
This exegesis combines theory and art practice to interrogate the idea that self-portraiture by women artists can be positioned, and interpreted, as a practice that
strategically intervenes in the politics of representation, gender and identity.
The focus of this study is the face. The represented female face is identified as a site that is both problematic and dynamic for women artists. The face involves two
contradictory traditions of representation for women. It is generally used in portraiture and self-portraiture to indicate the presence of the individual, the 'subject'. However, the female face has more often been represented as a de-individualised site, the object. When a woman artist attempts to make a self-portrait she must, therefore, re-negotiate the relationship between object and subject in order to make room for her own representations of subjectivity.
In this study I closely analyse how other women artists have employed their faces in their self-portraits. I also provide insights into my own practice of self-portraiture through the use of a commentary, which follows my thoughts and decisions throughout the art making process. I link the art works to theoretical debates concerning feminist art history, faciality and subjectivity. By inter-weaving praxis and theory in this way the study provides a new perspective on these debates.
19
Boyle, Mark. "Do you like my pics? : exhibition and exegesis as self reflective study." Thesis, 2012. https://vuir.vu.edu.au/21477/.
Full textAbstract:
This research thesis, Do you Like My Pics, investigates perceived value in art through the recreation of well-known paintings. Using photography and photo-manipulation the content of the image has been recreated in another medium in order to dissociate the tangible, actual image from the aura of the artist who created it.