Dissertations / Theses on the topic 'Art as dialogue'
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Knowles, Rachelle Marie Viader. "A translocal approach to dialogue-based art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10269.
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This thesis is a practice-led investigation into a translocal approach to dialogue-based art. The research has been undertaken through the practice of the ‘artist/academic’, drawing on my professional experience in artistic research, academic leadership and teaching, each informing my methods and findings. The problem which emerged through the practice is how to devise an approach to dialogue-based art that is responsive to twenty-first century social relations and telecommunications and attendant to the politics of mobility that constrain and control human movement. The research develops and tests out the application of ideas from the interdisciplinary field of translocality to the practice of dialogue-based art through the production of three collaborative projects. I argue that the practice of dialogue-based art, when informed by translocality, is better placed to critically reflect and act upon the conditions of contemporary life within networked and globalised society. In Translocal Geographies: Spaces, Places and Connections (2011) Brickell and Datta argue for a multi-scalar understanding of translocality beyond the discourse of national borders and international migrations, deploying the term as an expression of “simultaneous situatedness across different locales” (2011: 4). Viewed this way, the theory and practice of translocality presents a framework to understand the activities and goals of artists and artist-led networks seeking to bridge difference towards shared spaces of meaning. As the translocal research perspective develops towards ideas of local-to-local connectivities and a discourse of circulations and transfers, so translocality as applied to dialogue-based art proposes an expanded understanding of dialogue-based art across spatial, temporal and cultural distance. Through three practice-based projects, QR Code Project, Let Me Tell You The Story Of My Neighbour and #3CityLink, presented within the thesis as case studies, the research reveals a set of characteristics that articulate a translocal approach to dialogue-based art. I argue that this approach enables the ‘translocal artist’ to draw on multiple modes of dialogue-based practice, contributing to understandings of ‘simultaneous situatedness’ within the translocal research perspective.
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Cubie, David Livingstone Jr. "Inner Dialogue." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1209230788.
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Björkquist, Tova, and Elisabet Jonsved. "Invisible aesthetics : art as a catalyst for dialogue." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523.
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Through an exchange partnership between Konstfack, University College of Arts, Crafts and Design and Wits University we had the opportunity to stay in Johannesburg from July to October 2007. We arrived in this city with a prior interest in questions relating to public space and the politics of access to these spaces. In a city which continues to be segregated and in many ways difficult to access, these questions felt even more relevant. Through artistic research and the theories of Michel Foucault and Rosalyn Deutsche we address the question: How can art negotiatespace in order to alter power relationships? Our research is based on artistic practices, namely our own experiments and interviews with the two members of the Trinity Session, Stephen Hobbs and Marcus Neustetter, in which we interrogate an aspect of one of their projects. We have analysed these artistic practices through three keywords: public space, power relationships and embodied experience. Deutsche stresses the notion of public space being based in and on conflict. Foucault describes power as something we always produce through our actions. Embodied experience can be seen as a kind of lasting knowledge in the span between unspoken experience and outspoken knowledge. Some contemporary art projects have the capacity to offer people an embodied experience and through this, disturb the production of power because these mechanisms are working on the same level. Given Foucault’s argument that power is not one big entity but rather a series of small practices, these disturbances can be seen as the embryo for something new. To put it simply: micro power can be fought by micro actions. In the longer term we envisage these process-based art practices as having possibilities for the kind of work taking place in schools. We propose that this kind of contemporary art practice can make the art education of today more vivid. We also argue that the notion of embodied experience enriches pedagogical possibilities in school. A CD is attached to this paper which includes documentation from our artistic research and from the final exhibition we installed at Konstfack. We didn’t want to exhibit a representation of our work but rather attempted to produce an experience for people to demonstrate the notion of embodied experience. The form in which we had to work didn’t allow us to initiate a happening. Therefore our exhibition became a necessary reconfiguration where we used similar strategies and artefacts to the ones we have described in the paper but we also encouraged people to participate by sending pictures to a cell phone exhibited in the gallery. In this way our exhibition was interactive at the same time as it showed strategies we have been working with in our exam thesis.BI/Konst
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Hammersley, John. "Dialogue as practice and understanding in contemporary art." Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/8076.
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This study investigates how social constructionist dialogue as art demonstrates a layered mode of practical inquiry, which weaves together interactive and explorative, re-presentational and reflective modes of dialogue in the performance of knowledge. Recent art debates present dialogue as a relational, collaborative and situated mode of meaning-making, and an alternative to traditional constraining frameworks of art. However, artists have been criticised for idealised interpretations of dialogue, which present it as something essentially good and democratic, for insufficiently scrutinising dialogical relationships, and for not providing adequate process accounts for secondary audiences. This study’s multi-layered performance of knowledge draws on thematic insights developed through fourteen interviews and five field conversation artworks from 2008 onwards. Research material from conversational encounters was combined and presented as three constructed written dialogues, which reflect the tensions and questions that emerge out of enacting such a layered mode of dialogue as art. These tensions are re-presented, and discussed in three central thematic chapters, which frame these themes as issues of context, competing characteristics of meaningmaking and relating. The constructed written dialogues provide a platform for further discussion and reflective analysis, which in turn are proposed as an invitation to continued dialogue and socially grounded interaction. The central implication of this study’s contribution to knowledge is that such an approach to practice-led inquiry articulates how dialogue may contribute to the increasing shift in critical art practices towards to more imbricated, uncertain, and performative approaches to knowledge, and provide an alternative to essentialised and foundationalist interpretations of dialogue.
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Allmer, Patricia M. "Correspondences : ReneÌ Magritte's dialogue with art and tradition." Thesis, Loughborough University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416688.
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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.
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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.
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King, Barbara Amelia. "Space Art + Space Science a polymathic paradigm shift in the art/science dialogue." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/32739.
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Perhaps no other field of scientific endeavor has been more influenced by the arts than space exploration. The artistic visions of yesteryear are the technological realities of today. These realities in turn create new possibilities for artistic expression. However, Space Art and Space Science have shared a convoluted history. Their forerunner disciplines of the Humanities and Natural Sciences and their practitioners were entrenched as polar opposites for centuries. Recent research, however, has revealed the reverse; that the psychological profile and the creative processes of artists and scientists are actually similar, often to the point of the practitioners being polymathic. Moreover, it has been discovered that polymathic ability nurtures two qualities essential for the survival of both Space Art and Space Science: that of creativity and innovation. Current literature has taken note of the commonality of polymathic ability between the practitioners of the arts and sciences. Academic and industry think tanks have examined the virtues of artists as space researchers, and conversely, scientists developing an artistic approach as a design strategy. Thought leaders have expressed faith in trans-disciplinary collaboration as the way forward in the global affairs of space. Yet, therein lies the problem. These various studies individually lack a cohesive strategy to leverage their findings and transform the Art/Sci dialogue into a disruptive force that sustains a paradigm shift in the arts, space and society agendas going forward. The impetus for this dissertation is the unique opportunity to amalgamate those disparate studies by utilizing the momentum of New Space culture, and its focus on societal inclusion and environmental concerns to serve as anchors for space research and sustainability. Further, we argue that the next logical step is to inculcate a fundamental Art/Sci paradigm shift within the space community to exploit the unprecedented global drive towards space exploration and colonization, thereby solidifying the influence of the space art and space science agendas in the service of the global commons on Earth and in space.
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Halford, Jacob. "'Of dialogue, that great and powerful art' : a study of the dialogue genre in seventeenth-century England." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87927/.
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This thesis examines the dialogue genre in seventeenth-century England. In 1681 when Henry Care established his periodical The Popish Courant he chose the format of a dialogue because people were ‘so set upon dialoging.’ Care’s choice of dialogue for his periodical is indicative of the popularity of dialogue in the seventeenth century. Yet, despite the popularity that dialogue enjoyed in this period it has not received comparative attention by scholars. This thesis seeks to address this gap and make two specific historiographical contributions. Firstly, it demonstrates how the digitization of early modern sources can enable scholars to approach literary history from perspectives that physical books prevent. Using the digital collections of Early English Books Online, British Periodicals Online, and Eighteenth Century Collections Online for its source material this thesis has used a database of dialogues to analyze the genre and provide contextual knowledge about the genre as a whole that can illuminate the rhetorical objectives behind specific uses of dialogue. This is particularly exposed in the final chapter that utilizes this contextual information to understand the appeal of dialogue in Roger L’Estrange’s Observator. Secondly this thesis adds to the growing number of studies of early modern genres such as pamphlets, newspapers, ballads, and chapbooks. The period under discussion was one of significant change in terms of political and social circumstances and this thesis demonstrates that dialogue was sensitive to these political events. By situating the dialogue within the broader print landscape of seventeenth-century England the thesis maps how dialogue adapted to changing circumstances with pamphlet dialogues, periodical dialogues, and dialogues of the dead, in particular emerging in response to social and political events. Looking at the dialogue in the context of other literary forms this thesis argues that the appeal of dialogue was its flexibility and ability to educate a broad range of people across all demographics of seventeenth-century England.
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Morris, Traci L. "Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous." Diss., Access to the online version of the thesis, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1090%5F1%5Fm.pdf&type=application/pdf.
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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.
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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Anusas, Mike. "Beyond objects : an anthropological dialogue with design." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237173.
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This thesis, an anthropological dialogue with design, seeks to explore the formation of the material world beyond objects. The work is situated within the fields of design studies and social anthropology, and contributes to the emerging interdisciplinary field of design anthropology. It draws on my education and perspective as a designer and engineer, my field dialogues with contemporary practitioners and the writings of the media philosopher Vilém Flusser, the social anthropologist Tim Ingold and the architect Kengo Kuma. I begin with a consideration of the material world as all matter which forms the earth, its atmospheres and the dwellings and features of many organisms. Such a notion of the material world is abundant with life, energy and potential and recognises human perception as entwined with lineages of materials, making and transformation. However design has evolved, I argue, to become a practice that tends to obscure the energetic and entangled conditions of the world, by way of presenting materials in the form of objects; discrete and enclosed material entities. This results in an impoverishment of environmental perception and a clotting of the ecological currency of materials. To understand how materials come to be formed into objects, I attend to a site of contemporary engineering practice where designers work with materials, tools and computational media in the formation of a product: in this case the royal relay baton for the 2014 Commonwealth Games in Glasgow. Drawing on a period of sustained participant observation with one Glasgow-based company, I observe how lines of practice course through intention, gesture, conversation, writing, drawing, modelling and making, as materials are projected and presented in object form. I highlight the specific dispositions and activities of individual practitioners as they orient their perception towards different ways of knowing materials and specific practices of formation. Here, it becomes evident that design is, fundamentally, a social practice, constituted in an ongoing dialogue between people, matter and energy. Drawing the strands together, I argue that design is not so much a point-to-point procedural process, as an active matrix of social, material and energetic interchange, in which performance and form are intertwined in the transformation of people, materials and surrounds. Within this matrix of activity, the condition of the object is notably evident - and often dominating - but not absolute or inevitable, and there always exist possibilities for manifestations of form beyond objects. Following this prospect, the thesis rounds not to a closure, but to an opening: to the possibility of design as a practice of material performance led by the attentiveness, critique and imagination of an anthropological education.
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Long, Catherine. "A feminist dialogue with the camera : strategies of visibility in video art practices." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12060/.
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This is a practice–based PhD that seeks to contest limited and reductive tropes of female representation in a contemporary Western context. The focus of the thesis is on video art, which, I argue, can be both a radical tool for deconstructing dominant mainstream images of femininity and play a role in developing progressive re–presentations of female subjectivities. This thesis argues that there is a need to revisit feminist artworks from the 1970s and 1980s, the critical potential of which remains under–examined. Video as an artistic medium emerged during the late 1960s to 1980s over the same period that the women’s liberation movement gained momentum and achieved historic societal and legislative change in the West. Women artists used the medium of video as a means to contest the representational economy of traditional gender roles that placed a broad array of limitations upon women. The camera apparatus allowed women to control the production of their own image, articulate their subjective experiences and directly address the spectator. The re–imaging of female subjectivities progressed by feminist artists was, however, largely halted by the backlash against feminism in the 1990s. The issues raised by feminism, particularly in relation to female representation, therefore remain unresolved. This thesis argues that artistic strategies deployed by feminist artists in the 1970s and 1980s, underpinned by the radical principle ‘the personal is political’, which emerged in the 1970s, are still useful today. Through in depth analysis of selected video works from the 1970s onwards as well as reflection on my own art practice research, this thesis investigates how formal strategies employed by feminist artists can operate to undermine the status quo of hegemonic gender representations and to propose new potentialities of female subjectivities and gender identities.
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strauss, Anke. "Researchers, models and dancing witches : tracing dialogue between art and business." Thesis, University of Essex, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613630.
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Waste, Amy. "Conversational art in the novels of Henry James." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311803.
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Stephen, Ann. "Looking through conceptual art : a dialogue between Ian Burn and his collaborators." Thesis, Queensland University of Technology, 2003.
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A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
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Wilsher, Mark. "Negotiation theory and the critique of dialogue in dialogical and relational art." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5462/.
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This research takes as its context the “social turn” in contemporary art of the last fifteen years, which has emphasised social relationships and made use of the key term dialogue. Four exhibition projects demonstrate an alternative theorisation based on the concept of negotiation. Participation is often related to notions of the public realm, where dialogical art is increasingly superseding the autonomous sculpture as the favoured form of public art. Socially engaged art projects also draw support from political concepts such as social exclusion and inclusion, and as a consequence have become increasingly instrumentalised. Three models of the public realm are explored and related to forms of public art making. Hannah Arendt’s space of appearance and action is shown to relate to the Modernist sculpture of the 1970s, which forms the subject matter of one body of drawings. Mikhail Bakhtin and Jürgen Habermas provide the central notions of dialogue and the discursive public sphere, which are then shown to underpin much relational art through a detailed examination of Nicolas Bourriaud’s Relational Aesthetics (2002) and Grant Kester’s Conversation Pieces (2004). Subsequent debates among art critics around Chantal Mouffe’s formulation of an “agonistic public realm” are also followed. The dialogical paradigm is subject to a critique based on its inability to deal with real difference. Negotiation theory is proposed as an alternative model, specifically the Harvard Negotiation Project’s integrative model of principled negotiation. Four practical projects based on four aspects of principled negotiation are described and presented through documentation. These were exhibited at The Henry Moore Institute, CHELSEA Space, Picture This, OUTPOST gallery and Wysing Arts Centre between 2008 and 2010. Each project demonstrates how negotiation theory models specific interactions between unequal parties, and together they suggest an alternative theorisation of relational art in the agonistic public sphere that avoids both dialogism’s utopianism and agonism’s provocative gestures
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Brosious, Caitlin, Emma Burgin, Andrea Dyer, and Maggie Knobbe. "Art Making to Inform Dialogue Across Spiritual Otherness in the Therapeutic Space." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/908.
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This research was a preliminary pilot study meant to encourage further exploration on the intersection of art therapy, art making, spirituality, and dialogue. This study topic is an important area of investigation due to the long-standing challenges of interfaith dialogue, both historically and currently. An abundance of reviewed literature linking interfaith dialogue and dialogue through art making guided the research hypothesis, which states that the act of viewing and being viewed by the spiritual other through art making could deepen one’s own spiritual practice, increase empathy, foster dialogue, and inform clinical work as psychotherapists. To explore this, the researchers held an explorative arts-based workshop, encouraging participants to use the art individually and in pairs to further reflect on their spiritual beliefs and experiences. In addition, the workshop allowed a space for participants and pairs to share and discuss their reflective art and personal spirituality, then create a dyadic art piece together. The qualitative findings revealed similarities for all eleven participants in both the art and written experiences, with universal themes and shared visual elements emerging. The analyzed data connected the universal themes with the participants’ stated spiritual identity and evidenced experiences of connection in dyadic pairs. As future therapists, and art therapists, the researchers intended this preliminary pilot study to be a basis for further research and inspire wider exploration.
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Pellicciotti, Elena. "André Malraux et l’ethnologie : le dialogue des cultures entre civilisations et art." Paris 4, 2009. http://www.theses.fr/2009PA040067.
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André Malraux a toujours porté un grand intérêt à tout ce qui concerne l’approche du Divers, les civilisations lointaines et inconnues, l’aventure et la définition de la notion d’homme. L’ethnologie nous a semblé offrir un parcours efficace pour essayer d’élargir, d’un regard spécifique et, croyons-nous, novateur, le champ de lecture d’une œuvre complexe et parfois difficilement classable. Notre but était de reconstruire une toile d’influences, de contaminations et de diffusions entre la pensée, le style et la création artistique de notre auteur d’une part, et certaines idées, théories et pratiques liées au domaine de l’ethnologie de l’autre. Nous avons voulu reconstruire, dans la première partie, le contexte d’origine des deux pôles de notre étude – l’œuvre d’André Malraux et l’ethnologie. Nous avons donc reconstitué le cadre historique de la naissance et de la diffusion de l’ethnologie en France pour en comprendre les enjeux, politiques, sociaux et idéologiques. La deuxième partie de notre étude a été consacrée à l’analyse de l’œuvre de Malraux, menée à partir de thématiques qui nous ont semblé particulièrement pertinentes : l’exotisme, le colonialisme, le mythe de l’aventurier, entre autres, mais surtout les thèmes du Sacré et du Mal. Dans la troisième partie nous avons examiné la notion d’art selon trois aspects différents : la considération des arts primitifs ; le rapport entre la culture orientale et l’Occident ; la fonction du musée selon la science ethnologique et selon l’idée qui ressort des écrits malruciens avec une attention particulière au concept de Musée imaginaireAndré Malraux has always been attracted by the Other, by distant civilisations, by adventure and the definition of mankind. In this thesis, I have used ethnology as an original key of interpretation of his work, which forms a complex and difficult to classify corpus. The main aim of this study was to reconstruct the connections between Malraux’s thinking, style and artistic achievements and the ethnological ideas, theories and practices flourishing in his times. In the first part of this thesis, I describe the original context in which both Malraux’s work and ethnology as a discipline developed. I investigate the historical settings in which ethnology was born and developed in France, together with its cultural and societal implications. In the second part, I focus on Malraux’s work, and analyse a number of topics that I have identified as of particular relevance for my research assumption : the attraction for the exotic, colonialism and the myth of the adventurer, and the two major themes of the Sacred and Evil, in particular. In the third and final section, I look at the way art is regarded in Malraux’s works, considering three different aspects : his interest in primitive arts ; the relation between oriental and western culture ; and the idea of the museum as it is laid out in the ethnological approach and as it emerges from Malraux’s writings, with particular attention to the notion of “Musée imaginaire”
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Pereira, Medina Fernanda. "L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20034/document.
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La thèse prétend discuter des analogies intimes révélées entre le travail de l’art conceptuel tel qu’il est conçu par Joseph Kosuth, comme un processus de production de sens, et le travail analytique tel qu’il est élaboré par Sigmund Freud. Elle travaille donc à partir de l’interface entre l’art et la psychanalyse comme deux expériences de production de signification. Elle interroge le sens à partir des particularités inhérentes à chacun des discours et des pratiques concernés, mais aussi à partir de ce qui semble les réunir, à savoir : les mécanismes impliqués dans la production de sens au sein de l’art conceptuel comme de la psychanalyse conduisent à une expression hybride relevant des rapports entre le langage et l’image, entre un discours qui se poste aux limites du dicible et une image qui se place aux limites du visible.L’hybridité du sens relève d’une incertitude intellectuelle, d’un franchissement des limites et d’une ambiguïté impliqués dans la notion de l’Unheimlich. Cette dimension singulière de l’expérience humaine concerne le sujet de l’inconscient et la création artistique. En suivant les déclarations de Joseph Kosuth lui-même, son travail relèverait de l’Unheimlich. La thèse analyse ainsi l’expérience procurée par l’art conceptuel à partir de cette notion qui apparaît dans l’oeuvre freudienne en 1919 dans le cadre d’une investigation sur l’esthétique.Freud ne parle de l’esthétique en tant que théorie du beau mais comme effet affectif procuré par l’oeuvre d’art. De notre côté, nous soutenons l’idée selon laquelle la création artistique relèverait toujours de l’affectivité, même si cette question peut s’avérer controversée dans le contexte de l’art conceptuel. C’est dans ce sens que nous analysons l’expérience procurée par le travail de Kosuth, c’est-à-dire comme une expérience affective de l’ordre de l’UnheimlichThis thesis proposes to discuss the analogies revealed between conceptual art work, as it is conceived by Joseph Kosuth, as a meaning production process, and the analytical work as elaborated by Sigmund Freud. We then work from the interface between art and psychoanalysis as two meaning producing experiences. We question the meaning from the particularities inherent in each of these discourses and practices involved, but also from what it seems to bring them together, namely: the mechanisms involved in the production of meaning in conceptual art as well as in psychoanalysis lead to a hybrid expression indicating the relationship between language and image, between a discourse that lies within the limits of the sayable and an image that is located within the limits of the visible.The hybridity of sense sends us to an intellectual uncertainty, a crossing of limits and an ambiguity that are related to the notion of Unheimlich. This singular dimension of human experience concerns the subject of the unconscious and artistic creation. Following the statements of Joseph Kosuth himself, his work fits into the dimension of Unheimlich. This thesis then analyzes the experience raised by conceptual art from this notion that appears in the Freudian work in 1919, in the context of a research on aesthetics.Freud doesn’t speak of aesthetics as a beauty theory, but as an affective effect promoted by the work of art. From our point of view, we hold the idea that artistic creation is always related to affectivity, even if it is a controversial issue with regard to conceptual art. It is in this sense that we analyze the experience promoted by the work of Kosuth, that is, as an affective experience of the order of the Unheimlich
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Cutugno, Carmela <1985>. "Intercultural Performance and Dialogue. From Richard Schechner Performance Studies Onwards." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6607/.
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Attraverso un excursus storico, teorico e metodologico, questa tesi di dottorato analizza la nascita, gli sviluppi e l’attuale dimensione costitutivo-identitaria dei Performance Studies, un ambito di ricerca accademica che, nato negli Stati Uniti alla fine degli anni Settanta, ha sempre palesato una natura restia nei confronti di qualunque tentativo definitorio. Se i Performance Studies concepiscono la performance sia come oggetto d’analisi sia come lente metodologica, e se, come evidenziato da Richard Schechner, praticamente tutto può essere “elevato a performance” e quindi indagato secondo le categorie analitiche di questa disciplina, ecco allora che, con uno slittamento transitivo e “meta-metodologico”, questa ricerca dottorale ha scelto come proprio oggetto di studio i Performance Studies stessi, osservandoli “as performance” e avvalendosi degli strumenti metodologici suggeriti dal suo stesso oggetto d’analisi. Questo lavoro indaga come l’oggetto di studio dei Performance Studies sia, seguendo la teoria schechneriana, il “behaved behavior”, e dunque come di conseguenza, il repertorio, prima ancora che l’archivio, possa essere considerato il fedele custode delle “pratiche incorporate”. Soffermandosi su esempi di “reenactment” performativo come quelli messi in atto da Marina Abramović e Clifford Owens, così come sui tentativi condotti dalla sezione dell’Intangible Cultural Heritage dell’UNESCO, suggerisce validi esempi di “archiviazione” della performance. L’elaborato prende poi in esame casi che esemplificano la proficua identificazione tra “studiare performance” e “fare performance”, sottolinea il ruolo cruciale e imprenscindibile determinato dal lavoro di ricerca sul campo inteso come “osservazione partecipante”, ed evidenzia il costante coinvolgimento sociale e politico assunto dai Performance Studies. Questa dissertazione affronta e supporta l’efficacia dei Performance Studies nel proporsi come uno strumento innovativo in grado di analizzare un mondo sempre più performativo nelle sue dinamiche. La loro natura tanto interdisciplinare quanto interculturale sembra farne una lente adeguata attraverso cui promuovere livelli diversi di performance dialogica tra culture localmente distinte ma globalmente assimilabili.Through a historical, theoretical and methodological excursus, this thesis analyzes the birth, development and current identity of Performance Studies, an academic research field that, born in the United States at the end of the Seventies, has always been reluctant towards any attempt to be defined. If Performance Studies conceives performance both as an object of analysis and as a methodological lens, and if, as pointed out by Richard Schechner, everything can be studied "as" performance and so investigated according to the analytical categories of this discipline, then, with a transitive and "meta- methodological" shift, this doctoral research takes Performance Studies as its object of study, observing it "as performance" and using the same methodological tools suggested by its object of analysis. This work investigates how the object of study of Performance Studies is, following Schechner’s theory, the "behaved behavior", and thus how, as a result, the repertoire, even before the archive can be regarded as the true custodian of "embodied practices". Focusing on examples of performative "reenactment" such as those by Marina Abramović and Clifford Owens, as well as on the efforts undertaken by the UNESCO’s Intangible Cultural Heritage section, it suggests valid examples of "archiving performance". The paper then examines cases that exemplify the successful identification of "studying performance" and "doing performance", it underlines the crucial and inescapable role played by the on-field research, understood as "participant observation", and highlights the constant social and political commitment of Performance Studies. This dissertation addresses and supports the effectiveness of Performance Studies in itself as an innovative tool able to analyze a world increasingly performative in its dynamics. Thanks to its both interdisciplinary and intercultural nature, Performance Studies seems to be a proper lens through which to promote different levels of performance dialogue among cultures which are locally different but globally comparable.
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Trimmer, Jason. "Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio Gonzalez." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126898089.
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Alexander, Loris, and na. "Visual art dialogue in personal psychological learning a private journey with public relevance." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061006.153107.
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Understanding and managing emotion in psychological therapy is a complex
and challenging problem for practitioners and clients. The traditional
emphasis on verbal language as the mediating process in therapy is expanding
with the inclusion of multimodal creative arts, based on visual, auditory, and
kinaesthetic perceptions, to better support the reaccessing of emotion. This
can be followed recursively by the use of words to develop narrative and
meaning. The main research emphasis in this thesis was on visual art. Studies
of other art forms may follow. Philosophical understanding, neuroscience
advances and developments in psychological therapy underpin and explain
this therapeutic expansion.
A qualitative research approach is taken, engaging several different actions
from within that research paradigm. The thesis is written as a metaphorical
journey and conveys the experience of art dialogue and the experience of
researching, as parallel stories. Psychological learning journeys undertaken by
its author and a colleague, some clients, therapists and teachers, are described
in three encounters.
The first encounter explored visual art dialogue as a process addition to a
developing experiential phenomenological approach using multimodal
creative arts (The MIECAT Process � Lett 2001). The objective was for the
colleagues to experience a lengthy creative arts sequence, developing and
undertaking the process of visual art dialogue. Multilevel actions and
outcomes were recorded throughout the collegial engagement. The collegial
encounter required that the co-researchers pursue their own personal
psychological meanings and report on their experience of the process.
Personal narrative meanings exposed in exploring visual art dialogue, are not
discussed, the emphasis being on confirming how actions occurred and their
effectiveness for application. Actions stopped where direct verbal therapeutic
engagement might occur.
Following collegial experience, visual art dialogue was used with clients and
other therapists and teachers, to question its broader relevance. The second
inquiry, involving three clients of the author, asked how the process would
support professional actions in a therapeutic situation. The third encounter
engaged other therapists and teachers to expand on questions of by whom
and how, art dialogue could be used.
Psychological therapy theory suggests process location within a humanistic
framework, in an eclectic focus or supporting the development of an
experiential, phenomenological psychology process approach based on the
known functions of mind and body. The associated personal and professional
aspects of the experience of process exploration constituted a step in authorial
understanding and may contribute to increasing knowledge of the creative
arts applied to psychological therapy.
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Alexander, Loris. "Visual art dialogue in personal psychological learning a private journey with public relevance /." Australasian Digital Theses Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061006.153107/index.html.
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Thesis (PhD) - Swinburne University of Technology, 2006.Submitted in completion of the degree of Doctor of Philosophy, Swinburne University of Technology - 2006. Typescript. Includes bibliographical references.
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Huang, Bei. "Segalen et Claudel : dialogue à travers la peinture extrême-orientale /." Rennes : Presses universitaires de Rennes, 2007. http://catalogue.bnf.fr/ark:/12148/cb41082618g.
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Texte remanié de: Thèse de doctorat--Littérature française et comparée--Paris 4, 2005. N°: 05PA040083. Titre de soutenance : "Peintures" de Segalen et "Cent phrases pour éventails" de Claudel : dialogue à travers la peinture extrême-orientale.Bibliogr. p. 431-454. Index.
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Yue, Sam Sing Bai. "Developing a dialogue between old and new: North Carolina University Center for Art and Architecture." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53313.
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In the preservation of a small historic church, a state-wide education center for the arts is proposed due to the similarity of their inherent and adaptive nature in function.
A similar sized, new building mass with a contemporary design style is added to the old church; it will also utilize a competitive contrast to the old church in its design. The integration of the old and the new buildings will find new meanings within historic preservation.Master of Architecture
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Elliott, Stephen Richard. "Words about pictures, an analysis of dialogue content and process in high school art-viewing sessions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/NQ39030.pdf.
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George, Donna. "Reflections on art education, two studies on student-led dialogue as a basis for curriculum development." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0003/MQ44887.pdf.
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Brown, Storm Jade. "Art, outrage, dialogue: a McLuhan reading of three visual communicative practices in Cape Town public space." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/22031.
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This mini-dissertation places a specific focus on the City of Cape Town and considers the space between aesthetics, commercial interest and social relevance in public visual communication practices. Instead of making a general statement or providing a value judgement, this research examines the nature of the debate surrounding public artistic practices by referring to three main artists; namely Michael Elion, The Tokolos Stencil Collective and Freddy Sam. The basis of the discussion is centred around the recent controversy surrounding Michael Elion's Sea Point public art sculpture, Perceiving Freedom (2014) and the respective questions it raised about what public space means, who has the right to represent themselves, and what that looks like. By drawing a comparison with Perceiving Freedom (2014) to the visual communicative practices of Freddy Sam and The Tokolos Stencil Collective, this research examines the progression of the debate. This encompasses the ways in which each artist and their work serve to illuminate the different visual modes of engagement in Cape Town's public spaces. Due to the contemporary nature of the subject matter, this debate is engaged with on three different levels. The first level examines the context of this debate and each artist, whereas the second level considers the points where their respective visual communicative practices intersect and engage in dialogue with each other as well as the general public. The last level considers an alternative way of reading the content, context and form of visual communicative practices so that their resulting effect can be better understood. This is done with the use of Marshall McLuhan's (1964) total effect media theory. Although several other prominent South African artists are mentioned in the scope of this research, it is important to note that the focus still pertains to the aforementioned themes of aesthetics, commercial interest and social relevance in public visual representative practices. Therefore Michael Elion, The Tokolos Stencil Collective and Freddy Sam remain the specific focus of discussion, as their respective works are used to illustrate these three themes. The first level of engagement offers a theoretical background to the reader by briefly familiarising them with international street art and graffiti practices. This brief yet concise background allows for a better understanding of the history and politics surrounding unsanctioned public visual practices and how they differ to formal sanctioned and funded ones.
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Thériault, Edmond. "La création d'un vitrail sur la nativité de Jésus : un dialogue entre l'artiste et le croyant." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25316/25316.pdf.
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Turner, Raewyn Mary. "SKEIN pick up styx : an investigation of a selection of olfactory communication cyphers and their relationship to world events : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master in Art and Design (MA&D), 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/712.
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The work in progress, Pick Up Styx, investigates re-sensing and extra-sensing of the world. It is an exploration of communications with reference to quantum theory which challenges current sense perceptions, while engaging and exploring the notion of communications as signals. The methodology is a winding, coiling motion between research and creative practice based on the way my grandmother used to wind wool from a skein into a ball. The project investigates the game as a tool to examine the ciphers of perfumes that have been designed for love and happiness since 2001. The project aims to develop aesthetic pleasure in game play beyond the industry focus on games technology. Picking up the sticks and experiencing the perfumes in them is procedural to encountering the War on Terror, and the perfumes that have accompanied its progression over the last 8 years. In a materialist culture where technologies are enabling psycho kinesis, via the transmission of information signals, and where thought can influence matter in a variety of ways, we are training ourselves out of separatist thinking and fixation on the Western scientific paradigm. This project has grown from my curiosity regarding anomalous forms of cognition and paranormal perception, motivated by the need to address current issues of human relationship and environmental concerns.
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Lagacé, Michel Francis. "Dialogue entre narrateur et narrataires, facétie romanesque intitulée La gaie planète et essai théorique afférent." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26384.pdf.
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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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Herman, Melissa Sara. "Iconography in dialogue : negotiating tradition and cultural contact in the art of seventh century Anglo-Saxon England." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/9073/.
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The seventh century in Anglo-Saxon England offers a particularly rich historical period in which to examine the material effects of cultural contact between disparate cultures. As it lacks close contemporary textual accounts of the events taking place and the cultural response to the resultant changes, the material record becomes the site upon which that dialogue plays out. This study is primarily concerned with the art of what might be considered a transitional period in Anglo-Saxon England, the seventh century, between the arrival of the papal mission from Rome in 597 CE and the beginning of the eighth century when Christianity seems to have become well established throughout much of the region. At its core, this study is intended to present an iconographic, art historical examination of the artwork produced in this historical period, focusing predominantly on decorated metalwork, specifically personal ornament, as a medium for the transmission of iconography. To that end, given the scope of the historical events and material artefacts encompassed within that time period, it will focus primarily on traditional iconography, the so-called Germanic motifs, and their persistence and resurgence in response to the incoming Mediterranean influences. The artwork, specifically the metalwork, demonstrates a valuation and retention of longstanding traditions, both iconographic and aesthetic, which seem to be in direct response to the introduction of a competing culture. This embracing of tradition does not mean that significant cultural change was occurring throughout the seventh century, nor does it necessarily indicate a societal resistance to that change; however it does reveal that there was a level of uncertainty about the changes taking place and a resultant desire for the familiar, symbolic and significant traditions of the remembered past.
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Oujlakh, Bahéra. "Le tissu cet entre-deux : vie et œuvre de Patrice Hugues." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2019. http://www.theses.fr/2019UPHF0017.
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La présente recherche entend décrire et analyser la vie et l’oeuvre de l’artiste plasticien Patrice Hugues. Il s'agit d'une monographie qui relate par cycles et par thèmes la création photographique et textile de l’artiste, des années 1970 à nos jours. En outre, ce travail a pour ambition rétrospective d’expliquer en quoi la rencontre de Patrice Hugues avec l’industrie du textile oriente dès 1973 sa longue et fructueuse carrière. En effet, notre question est de comprendre la manière dont le textile anime tout un imaginaire sensible et puissant chez l’artiste car c’est la rencontre avec la technologie du transfert sur les voiles et tissus qui détermine son inclinaison pour les installations, et en conséquence l’abandon de la peinture. L’importance du médium textile est au coeur de cette étude au même titre que la question de l’entre-deux du tissu. Une dimension présente dans les installations de l’artiste, incontournable et déterminante pour l’ensemble de ses créations. Cette thèse vise à saisir la manière dont l’entre-deux textile reconditionne une approche de l’oeuvre d’art, et ce, par le biais des valeurs euphorisantes, de la prise en compte de l’espace et de la place du spectateur. Une place sans nul doute revalorisée et déterminante dans les parcours et les dispositifs thermo-imprimés du plasticien. Ainsi, notre objectif est de replacer l’oeuvre de Patrice Hugues en regard des principaux plasticiens utilisant le textile dans leurs créations, à une époque en concordance à celle du créateur. L'idée consiste à saisir toute la spécificité et la singularité du travail de Patrice Hugues qui aborde le tissu en tant que créateur-chercheur, à la fois comme un médium de création mais aussi comme un extraordinaire sujet d’étude et d’analyse de nos sociétés. Il existe chez ce dernier une double dimension de recherche et de création, dialoguant entre les riches et fascinantes réceptions et interprétations du langage des tissusThis research aims to describe the work and life contemporary artist Patrice Hugues. This monograph study examines the photographic and textile creations of Patrice Hugues, from 1970 to 2020. His work is presented chronologically and thematically. It strongly influenced by changes in the textile industry around 1973. Our question is to understand the way textile generates fertile imaginary. Textile transfer technology on veils fabric accounts for his taste for installations and the reason why he abandons painting. The impact of textile as a medium is at the heart of this study, as is the question around the in-between of fabric. The latter is crucial for all his creations, particularly in installations. This research proposes to explore the way the in-between in textile modifies perception through the use of euphoric values linked to the spectator’s place when viewing the installations. The printed textiles of the artist offer added value relocate Patrice Hugues’s work compared to other textile artists’ of the same generation. The core of the thesis intends to comprehend the specificity and originality of Patrice Hugues’s work. An artist for whom fabric is both used for research and creation. There are two dimensions to his work : the two contribute to making textile a stimulating and multi-faceted medium, which lead him to call it a language
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Gipson, Laura. "Lived In." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/676.
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This thesis is a description and analysis of work that I produced during my Gradate studies at the University of New Orleans. The central theme of these works is the common human experience of inner dialogue, an interior experience. Through prints and sculpture I produce stand-ins for the body. These objects are meant to invite the viewer to sense recognizable human traits and to experience the works as having been "lived in."
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Woodcroft, Kate. "Catherine or Kate : the tertiary spaces of collaboration, performance and humour in contemporary art." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/54664/1/Kate_Woodcroft_Thesis.pdf.
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The traditional model of visual arts practice is one that privileges highly individuated and predominantly material investigations and outcomes. This approach overlooks and devalues the formal and informal dialogues and collaborations that take place in the process of making art. This Masters research project considers how the experience of working in collaboration can generate a new model for thinking about practice-led methodologies in visual arts. It aims to do this by mapping out and elaborating on the processes and approaches to making that fellow Masters student Catherine Sagin and I have come to use in our alliance as ‘Fiona Mail’, ‘Catherine Sagin’ and ‘Catherine or Kate’ respectively. The fluidity of our collaborative moniker is one example of the way this project creatively explores and re-assesses the implications of collaboration. Drawing upon the contextual frames of conceptual art, performance art, and comedy this research looks at the significance of and possibilities for working as a collaborative duo.
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Côté, Amélie. "Une histoire de résonnance : un dialogue entre texte et images." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29336/29336.pdf.
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Kvist, Lotta. "Urban Participation & Public Art : A study of Community Projects in Havana, Cuba." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-39945.
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In this paper it is argued that participation and public art contribute to sustainable community development. This is a study of four Community Projects in Havana made during a two month stay during summer 2009. The study is based on a number of interviews with people involved in the community projects. By using the Cuban culture and participation as a platform for sustainable community development the Community Projects have created a sense of belongingness and identification in each neighbourhood. This in turn has the ability to join the people together in participatory development work. The Community Projects also function as free space since they are one of the few places where Cubans are allowed to make their own initiatives. This has opened up a discussion between the citizens and the authorities which is important for future urban development. The Community Projects also work with public art in a participatory way that has contributed to place identity and public dialogue in Havana.
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Chen, Hsiao-Lan Sharon. "Knowledge, Reflection, and Dialogue: An Educative Exploration of Co-Operative Inquiry as Practical Art in Two Professional Education Sites." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382962917.
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Goepfert, Marie-Bernard. "Esthétique et absolu chez Kierkegaard : une esthétique du don en dialogue avec l'esthétique contemporaine." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10042.
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Cette étude aborde la possibilité et l'intérêt, dans le débat contemporain, d'une esthétique fondée sur la reconnaissance d'une transcendance de l'absolu, en particulier pour la question du sens existentiel de l'art, et cherche chez Kierkegard les fondements d'une telle esthétique. Elle montre qu'il existe bien une esthétique kierkegaardienne, centrée sur les notions de beauté et de sublimité et s'épanouissant dans la notion d'esthétique existientielle, mais toujours située en référence à l'absolu transcendant. Cette référence offre un fondement solide à la critique contemporaine de l'essentialisme esthétique, mais évite les apories liées à une remise en cause de l'identité même de l'art. Elle donne surtout une vision existentielle de l'art et de l'esthétique, ainsi que les bases d'une étique de l'esthétique, centrée sur l'authenticité d'une relation de sujet à sujet.
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Park, ChanYoung. "La Bible illustrée par Marc Chagall (1887-1985) : un dialogue interculturel et son évolution." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040141/document.
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Cette thèse est consacrée à l’étude des illustrations bibliques de Marc Chagall (1887-1985). Dès le commencement de son travail pour la Bible (publiée en 1956 par Tériade) dans les années 1920, il s’approprie le thème biblique comme sujet central de son art et se sert de ses compositions comme modèle iconographique permanent pour les autres œuvres bibliques. On analyse cette Bible ainsi que tous les autres livres bibliques illustrés par Chagall (Dessins pour la Bible (1960), The Story of the Exodus (1966), Psaumes de David (1979 et 1980) en vue de déceler leurs particularités et estimer leurs places dans l’ensemble de l’art religieux de l’artiste. En effet, le parcours de Chagall donne à voir un être toujours en mouvement entre son monde d’origine juive et le monde étranger. Ce va-et-vient crée en lui une dualité du monde intérieur et du monde extérieur, qui agit comme une dynamique dans ses créations. Les eaux-fortes pour la Bible représentent tout à fait cette dynamique. Or, ce caractère disparaît lorsque Chagall s’approprie le monde étranger comme le sien ; la dualité s’efface pour évoluer vers une unité et une synthèse des différentes cultures présentes chez lui. À mesure que ses œuvres prennent de l’ampleur, l’artiste s’efforce de les doter d’un message et d’un caractère plus universels. En développant sa philosophie de paix et d’amour universels, fondée sur son interprétation du message biblique, Chagall recherche à travers ses œuvres religieuses une grande synthèse dans laquelle il y a une dynamique et une continuité de l’Ancien au Nouveau Testament et du judaïsme au christianismeThis study examines all of the Bible illustrations made by Marc Chagall. Once he started to work on the Bible by etching, the biblical theme became the major subject of his art, and these etchings have been largely used as a model for his other works. We analyse this Bible and all of the other biblical illustrated books of Chagall to find out their characteristics and their meanings in his entire religious art. In fact, we can notice in Chagall’s journey from his birth to his Bible illustrations that this artist has continually been moving between his own Jewish tradition and the outside world. These comings and goings make in him a duality and it becomes dynamic in his creations. His etchings for the Bible show especially this feature. They take root in Jewish tradition but also show various marks of different cultures known by the artist. Nevertheless, we can’t find this characteristic again in any of his other biblical illustrated books, because in appropriating the outside world as his own, the duality disappears and unites. As he works on stained-glass windows in churches, he develops a philosophical view of the universal peace and love based on his interpretation of the biblical message. Then he seeks this universality through all his religious works and biblical illustrations until his last days
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Boudrika, Mohammed Amin. "Jan Fabre : dialogue du corps et de la mort. Ecriture, scénographie et mise en scène." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR154/document.
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Le dialogue du corps et de la mort chez jan Fabre est fondé sur un corpus de textes théâtraux. En ce qui concerne la démarche de mon travail, elle était principalement axée sur trois volets principaux d’abord les héritages et les inspirations artistiques et culturelles ensuite le rituel et le sacrifice dans sa dimension historique philosophique et artistique et enfin la fabrication du spectacle : de la genèse à la représentation scénique. L’objectif de ma thèse est de démontrer la volonté de l’artiste d’affranchir les limites, de violer les codes de la société et de créer un langage artistique authentique inspiré de toute matière possible pour toucher à la vulnérabilité de l’homme contemporain. Pour ce faire Jan Fabre a élaboré une méthode de travail qui fait redécouvrir un corps brut et instinctif, un corps générant une énergie vitale résultant ainsi à des sensations fortes. Dans ce processus de travail j’ai remarqué que pour Fabre la notion de recherche a une place primordiale en se basant sur une évolution conceptuelle, philosophique et historique. Jan Fabre construit ses spectacles de sorte que tous les composants de la représentation s’entremêlent. Une écriture textuelle et visuelle singulière construit une sorte d’état post-mortem dans le sens où la logique est cédée à l’intuition, une écriture qui offre un univers scénique riche d’images et d’allégories. Une composition scénique où l’espace, le temps et le rythme se basent surtout sur la tension et l’élaboration d’une atmosphère rituelle. Finalement le corps et la mort dans son univers font unité et il manifeste un travail récurant entre l’apparition et la disparationJan Fabre's dialogue of body and death is based on a body of theatrical texts. Regarding to the approach of my work, it was mainly focused on three main aspects, first the inheritances and the artistic and cultural inspirations, then the ritual and the sacrifice in its historical philosophical and artistic dimension, and finally the production of the performance: from genesis to scenic representation. The goal of my thesis is to demonstrate the artist's desire to overcome the limits, to violate the codes of society and to create an authentic artistic language inspired by all possible materials to touch the vulnerability of contemporary man. To do this Jan Fabre has developed a method of work that rediscover a body raw and instinctive, a body generating a vital energy and resulting in strong sensations. In this work process I noticed that for Fabre the notion of research has a primordial place based on a conceptual, philosophical and historical evolution. Jan Fabre builds his performances so that all the components of the performance interweave. A singular textual and visual writing constructs a sort of post-mortem state in the sense that logic is ceded to intuition, a writing that offers a scenic universe rich in images and allegories. A scenic composition where space, time and rhythm are based mainly on tension and the development of a ritual atmosphere. After all, the body and death in his universe are united and he manifests a recurring work between the appearance and the disappearance
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Fradet-Le, Coz Marie-Françoise. "La construction de la fiction dans l'écriture de textes narratifs à visée littéraire à l'entrée au collège : quand le dialogue pédagogique interfère avec le dialogue intérieur chez les jeunes scripteurs." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0029/document.
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La présente recherche s'inscrit dans le contexte de l'enseignement-apprentissage de l'écriture à l'entrée au collège. Il s'agit d'observer comment se construit la fiction dans des textes narratifs à visée littéraire quand le tout nouveau collégien est d'abord seul face à la commande d'écriture et au texte qui s'élabore, puis accompagné de l'enseignant qui engage un dialogue avec lui à la lecture du texte produit. L'analyse conjugue trois perspectives : celle de la didactique, en interrogeant le concept de médiation (médiation discursive et médiation pédagogique) et celui de dialogisme, en référence aux travaux de L.-S. Vygotski et de M. Bakhtine ; celle de l'étude littéraire, en liant la fiction à l'interprétation, selon la théorie esthétique d'U. Eco ; et enfin, celle de la linguistique, en empruntant à la génétique textuelle ses méthodes pour lire les productions des collégiens comme des textes d'écrivains. Les investigations menées permettent de porter un regard nouveau sur ce qui constitue la fiction dans les écrits des jeunes scripteurs (un imaginaire médiatisé, mêlé à une subjectivité d'auteur, qui traduit l'expression de soi) et d'enrichir la réflexion sur le rôle joué par le professeur, auteur de consigne et accompagnateur, dans la maîtrise progressive des procédés d'écriture par les élèvesThe presented research has been written in the context of teaching-learning how to write when entering secondary education. It is about observing how fiction is built in literary narrative texts when a new pupil first approaches the topic and deals with the essay he is writing alone, and then when accompanied by the teacher who engages in a dialogue after having read the produced essay. The analysis uses three perspectives: didactic touching upon concepts of mediation (discursive mediation and pedagogic mediation) and dialogism with reference to the works of L.S. Vygotski and M. Bakhtine; literary study linking fiction and interpretation according to the aesthetic theory of U. Eco; and linguistic borrowing to textual genetic and its methods to read pupils? essays like a writer?s text. The investigations carried out led to a fresh look at what constitutes fiction in the writings of young scripter?s (a mediatised imaginary, linked to subjectivity which translates self expression) and to enriched reflection on the role played by the teacher, author of the essay topic and assistant in the progressive mastering of the writing process by pupils
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Harper, Alison. "How can my textile art and my textile craft processes contribute to a dialogue through an investigation of materials used in a disposable culture?" Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/10709/.
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In this thesis I explore the contribution that my textile art and textile craft processes can contribute to an ethical dialogue through an emerging materiality. This contribution is distinctive because, by focussing on certain materials commonly thought of as ‘waste’, I am drawing attention to how the growth and acceptability of a disposable culture alienates us from both the material world and also from knowledge of ourselves. Through my practice and this thesis, and the interface between them, I explore how a recognition of this use, or rather mis-use, of resources can assist in better understanding the isolation and alienation that society is experiencing as noted for example by Bauman (2003). My current art practice and this research project seeks to uncover, reveal and deepen the connections with our material world; connections that are currently stretched and ruptured by the strictures of capitalism and the politics of neoliberalism. My work is about resources, the depletion of which impacts on the natural world and the biosphere. It seeks to bring about a reassessment of how we use, view and value ‘common’, everyday objects and materials in post-industrial societies, seeking to bring about and enable a less destructive and combative system of production and reproduction than currently exists. This work takes the form of an examination of materialism and materiality, less about its economic impact, but more as a search for a different materialism, a new materialism, a deep materialism, which will enable a reviewing and a reparation of the relationships between matter and materials and our (optional) need and desire for both. The materials I use in my practice have already passed through people's hands. They have been used fleetingly, are felt but not seen; consigned to their post-use phase. They are not broken, but our relationship with them is. I am re-working and re-presenting these materials so that they are seen as part of an integral and egalitarian 'whole', with no one material, human or otherwise, being seen as dominant or more important than the other. With recent developments in quantum physics showing us that matter we previously thought of as 'inert' is in fact made up of vibrating strands of energy and in a post-anthropocentric age of diminishing resources and an uncertain future, some may say an ecological crisis, it is crucial that we reassess and revise our relationship with the material world.
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Hagemann, Anja. "Les interactions entre le texte et l’image dans le « Livre de dialogue » en France et en Allemagne de 1980 à 2004." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040041.
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Cette thèse a pour objet d’étudier les interactions entre le texte et l’image dans le Livre de dialogue, crée en commun par un poète et un peintre, en France et Allemagne de 1980 à 2004. Il ne s’agit pas ici de s’intéresser au « Livre illustré » qui sous-entend que l’image sert seulement d’illustration au texte, mais au« Livre de dialogue » où deux modes d’expression sont mis en présence en un rapport d’égalité ; dialogue qui provoque des interactions complexes. La problématique réside dans l’existence de deux systèmes sémiotiques différents, tels la poésie et la peinture avec, l’un et l’autre, ses unités distinctes, son fonctionnement syntagmatique et paradigmatique propre et sa manière particulière de créer de la signification. Les procédés examinés portent sur les différentes apparitions, les conséquences et les limites de cette rencontre. Une étude détaillée aborde en premier lieu les procédés s’attachant à la représentation de l’objet - poétique ou pictural – oscillant entre figuratif et abstrait. Ensuite, sont explorées les interactions entre texte et image à partir des notions de l’espace, du fragment, du corps et du processus créatif. En conclusion, il s’agit non pas de transposer le modèle stylistique sur la peinture ou inversement, mais de dégager des points d’intersection entre sémiotique, intermédiatique, esthétique et histoire de l’artThis thesis investigates the interactions between text and image in the artist book (Livre de dialogue), composed jointly by a poet and a painter, in France and Germany from 1980 to 2004. In contrast to the « illustrated book», where the image is subordinated to the text, I explore in this special type of book the encounter between two means of expression sharing equal importance, a dialogue that yields complex interactions between visual and verbal signs. The existence of two different semiotic systems such as poetry and painting bears interesting questions, as each possesses its specific units, its own syntagmatic and paradigmatic structure and its specific way to create significance. The analysis focuses on the different forms, the consequences and the limits of this encounter. The first part consists of an examination of the figurative processes that are linked to the representation of the poetic or pictorial object in a general way. Following this examination, a more detailed analysis investigates the interactions between text and image based on the concepts of space, fragment, body and the creative process. Thus, the aim is not to transpose the stylistic system to painting or vice versa, but to explore points of intersection between semiotic, intermedia, aesthetic and history of art
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Pajgrt, Adam. "Art and democracy: The impact and the role of the right to freedom of artistic expression in various political regimes." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-194654.
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The access to technology, the effects of instant information and the emergence of an increasingly empowered global citizen have contributed to the fundamental shift of the global political and economic landscape over the last twenty years. In consequence, the soft-power resources are becoming more and more important components of nation's foreign policy. Foreign policy instruments of public diplomacy and cultural diplomacy can effectively utilize such soft-power resources in order to assert foreign policy goals by purposefully supporting wide range of cultural and artistic activities. It is the aim of the thesis to examine both the direct and indirect impacts of artistic production on societies with various degrees of democratic culture and in connection to elaborate on the relevance of the right to freedom of artistic expression and creativity. The essential aim of this thesis is to look at the role that art production plays in the development of a democratic society.
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Cakpo, Érick. "Art chrétien en pays de mission : la sculpture d'inspiration chrétienne au Bénin, XVIIe-XXIe siècles." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAK011.
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Au cours de l’entre-deux-guerres, certains textes pontificaux, tels Maximum Illud (1919) de Benoît XV et Rerum Ecclesiae (1926) de Pie XI, ont marqué un tournant très important dans la réflexion missiologique, donnant non seulement une nouvelle impulsion aux missions elles-mêmes mais encore suscitant une nouvelle pratique de l’art chrétien dans les pays de mission. Après avoir été foncièrement européocentrique, la politique iconographique des missionnaires s’efforça désormais d’aboutir à la création d’un art sacré mieux adapté à l’imaginaire, aux langages d’images et aux sensibilités diverses des pays de mission. Forts de ces orientations et surtout encouragés par la prédisposition de l’art local à offrir à la pensée chrétienne de nobles formes d’expression, les missionnaires de la Société des Missions Africaines œuvrèrent activement pour l’émergence de l’art chrétien au Bénin. Les caractéristiques particulières que présente, dans ce pays, l’émergence de l’art chrétien et la richesse des collections d’objets de facture chrétienne par rapport à celles des autres pays d’Afrique méritaient qu’on leur consacre une recherche approfondie. Outre la constitution d’un corpus iconographique, la thèse propose la contextualisation des œuvres, l’examen de leurs diverses fonctions et l’analyse des paradigmes successifs répondant à la nouvelle perspective missiologique : l’inculturationPapal texts such as Maximum Illud (1919) by Benedict XV or Rerum Ecclesiae (1926) by Pius XI show that the interwar period represented a watershed in missiological thought which gave a new impetus to missions. Hence a new strategy concerning Christian art in “mission countries” was adopted. Because it had beforehand been centred on Europe, the missionaries’ iconographical policy then consisted in creating a form of sacred art which fitted the various cultural characteristics of “mission countries” better. Armed with these tendencies and above all encouraged by the fact that local art could give noble expressions to Christian thought, the missionaries of “La Société des Missions Africaines” worked for the emergence of Christian art in Benin. Christian art in Benin is highly distinctive and the collections of this country boast a significant number of objects of Christian craftsmanship which deserve a thorough research work. Thus, as well as putting an iconographical corpus together, this thesis will describe the background of the works, examine their various functions, and analyse their successive paradigms which correspond to the new missiological perspective: inculturation
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Watt, Jane Fawns. "The process and practice of the artist in public art commissions in Britain at the turn of the twenty-first century : a personal dialogue with five case studies." Thesis, Manchester Metropolitan University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392840.
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Fernandes, Maria Eugênia Seixas de Arruda Camargo. "O World Café e o aprendizado pelo diálogo: limites e possibilidades de um território de sentidos no processo de formação: \"diagnóstico socioambiental na APA Embu Verde: educação ambiental para a sustentabilidade na bacia do Rio Cotia\", Embu das Artes, SP." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-18082015-115613/.
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A pesquisa em questão pretendeu compreender o processo de construção de um território dos sentidos através do diálogo, no âmbito de um projeto de Educação Ambiental. Buscou-se investigar as relações de pertencimento e vínculo que se estabelecem entre os sujeitos e o ambiente da APA Embu-Verde através de um processo de diálogo e criação coletiva para uma leitura de mundo (FREIRE, 1996). Situada na região metropolitana de São Paulo, no município de Embu das Artes, a APA (Área de Proteção Ambiental) Embu-Verde é uma unidade de conservação criada pela Lei municipal n. 108/ 2008 (EMBU DAS ARTES, 2008). A pesquisa está inserida num projeto mais amplo de Diagnóstico Socioambiental da APA Embu- Verde, aprovado com recursos do FEHIDRO (Fundo Estadual de Recursos Hídricos) que envolve uma série de atores e instituições incluindo poder público, sociedade civil e Universidade de São Paulo. Neste contexto utilizou-se uma metodologia inovadora para a prática do diálogo The World Café (BROWN, 2001) que faz parte de um conjunto de metodologias intitulada Art of Hosting (Arte de anfitriar conversas significativas). Buscamos através do presente estudo responder a seguinte pergunta: Em que medida o World Café, entendido como método de diálogo pode contribuir nos processos de Educação Ambiental? Com a possibilidade de um estágio de doutorado-sanduíche nos EUA com apoio da Capes/Fulbright foi possível aprofundar o estudo sobre o World Café como método de diálogo e da abordagem do Art of Hosting no tratamento de questões complexas. Neste sentido foram realizadas 12 entrevistas com lideranças que vem utilizando tal abordagem na cidade de Columbus, Ohio, EUA para lidar com questões complexas em diversas áreas (Saúde, Educação, Moradia, Segurança alimentar). Os resultados destacam o forte componente de aprendizado presente em tais metodologias e a jornada pessoal de cada um dos anfitriões como parte essencial do processo. O referencial teórico é multirreferencial contando com o pensamento de autores de diversos campos: da Educação e complexidade ((FREIRE, MORIN) da Educação Ambiental (SORRENTINO, CARVALHO, SAUVÉ, JACOBI). A compreensão dos dados foi realizada segundo a hermenêutica, uma interpretação simbólica de cunho antropológico através da jornada interpretativa (FERREIRA-SANTOS, 2006) no campo da Antropologia da Educação.This research aims to comprehend the process of building a territory of meanings through dialogue within the framework of an environmental education project. We sought to investigate the sense of belonging and connections established between people and the environment at the Embu Verde environmental protected area through a process of dialogue and collective creation for a reading of world (FREIRE, 1996). Situated in the metropolitan region of São Paulo, in the city of Embu das Artes, the APA (Environmental Protected Area) Embu Verde is a conservation unity recently created by a municipal law (n. 108/2008). This research is inserted into a bigger project called APA Embu Verde Social and Environmental Diagnosis, financially supported by FEHIDRO (Water Resources State Fund), which is composed by multiple stakeholders and institutions including the public sector, civil society and University of São Paulo. In this context we used The World Café methodology (BROWN, 2001) which is included at the Art of Hosting approach, a set of innovative methodologies to deal with complex issues. We sought through this study to answer the question: In which way The World Café, as a dialogue method, can contribute to the environmental education process? Through the opportunity of a Capes/Fulbright scholarship we could deeply understand the methodology principles in contact to The World Café Community Foundation. We did 12 interviews with host leaderships who have been using such an approach in various fields in the city of Columbus, Ohio (US) to deal with complex issues in areas like Health, Education, Homelessness, Food Security. The results highlights the strong learning component present in such methodologies and the personal journey of each host as an important part of the process. The theoretical reference has multidisciplinary sources, with the authors working on different fields, like Education and Complexity (FREIRE, MORIN), Environmental Education (SORRENTINO, CARVALHO, SAUVÉ, JACOBI). The analysis of the data was based on hermeneutics, which is a symbolic interpretation with an anthropological approach through an interpretative journey (FERREIRA-SANTOS, 2006) in the field of Anthropology of Education.
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Dottin-Orsini, Mireille. "Les représentations de la femme à la fin du XIXe siècle - la figure de Salomé et le dialogue entre la littérature et les arts (1870-1914)." Paris 4, 1996. http://www.theses.fr/1996PA040091.
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A la fin du XIXe siècle, la mutation de la figure féminine, de la muse romantique au poncif de la "femme fatale", instaure un dialogue entre littérature et peinture qui manifeste avec une étonnante brutalité l'obsession d'une féminité exacerbée et de sa dangerosité ontologique. Un discours ambivalent donne la femme comme source de mort, mais la désigne aussi comme devant être tuée. L'autorité de la parole scientifique, en particulier médicale, vient nourrir et conforter les affirmations misogynes : un vampirisme féminin est ainsi relié à la physiologie pour devenir fait de nature. Le mythe littéraire et pictural d'une Salomé fin-de-siècle, développé dans toutes les formes d'expression artistique, en présente l'illustration éclatante. Il confère à l'obsession une dimension éternelle ; il lui apporte la caution de l'art par l'évocation de tableaux célèbres, ceux de Regnault ou de Gustave Moreau, mais s'annexe aussi bien les peintures de la Renaissance ; il la dote d'éléments décoratifs ; il propose enfin un résumé spectaculaire et définitif de la guerre des sexes. Le scenario biblique originel est subverti jusqu'à faire de la danseuse une figure quasi divine, sur laquelle sont projetées toutes les hantises de l'altérité féminine et de l'éros fin-de-siècle. Mythe daté, dont un recensement montre l'importance, mais également le caractère répétitif, et qu'une dimension parodique omniprésente vient tenir à distance et banaliser dans le même mouvementIn the late XIXth century, the changing woman figure, from the romantic muse to the femme fatale cliché, triggers off a dialogue between literature and painting which pushes into the limelight the obsession of the ontologically threatening exacerbated feminity. Woman is ambiguously presented as both giving death and sentenced to death. Scientists, more particularly physicians, confirm and foster the current misogynous statements, helping to turn female vampirism into a natural fact. This obsession is brilliantly illustrated by the manifold representations of the literary and pictorial myth of a fin de siecle Salome which gives it an eternal value, as well as the artistic guarantee of contemporary painters like Regnault and Gustave Moreau or even of renaissance painters. It also endows it with decorative elements and, lastly, sums up the war of the sexes in a most striking and final way. The biblical account is tampered with to the point of turning the dancer into a near goddess laden with the haunting fears born from female otherness and fin de siecle Eros. A period myth, both important and repetitive, but kept at a distance and made trite by omnipresent parody