Dissertations / Theses on the topic 'Artistic Philosophy'
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Schwartz, Melissa Rachel. "Embodied Ethics : Transformation, Care, and Activism Through Artistic Engagement." UNF Digital Commons, 2012. https://digitalcommons.unf.edu/etd/398.
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In what follows, I highlight negative environmental perspectives and actions based on traditional patterns of Western dualist thought with the ultimate aim of developing an alternative way of relating to the environment and the ‘other’, in general. In pursuit of such an alternative, I utilize embodied artistic practices in order to present the notion that one can engage more holistically with one’s environment, and the other. Through habitual, lifelong ‚Ways‛ cultivating specific practices generally necessary to creating and to viewing art, I argue, one can refine one’s ethical awareness and action. Following the aims of care ethics’ more context and experience-oriented approach to moral concern and to treatment of the other, as well as the philosophies of Japan, and feminist philosopher, Irigaray, I show how these artistic practices form a new awareness and stance that encompasses components of care. Finally, I briefly highlight how art has been used for positive activism.
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Kochman, Sloane. "“Back to Zero:” The Artistic and Pedagogical Philosophy of Anni Albers." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22657.
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This thesis investigates Anni Albers’s development from a student at the Bauhaus to a teacher at Black Mountain College, focusing on her unique pedagogical practice that was informed by what she called a “back to zero” approach. My study analyzes the parallels between Albers’s art and teaching by looking at her experience as a student, teacher and artist. Albers’s “back to zero” philosophy frames the narrative of each chapter. In the first chapter, I examine her time as a student at the Bauhaus, exploring precisely which aspects of her Bauhaus education she continued to reference in her own teaching career. The second chapter focuses on Albers’s role as a teacher at Black Mountain College, especially how she viewed self-referential aesthetics (where the surface appearance references internal structure and production methods), the process of haptic creation by which objects signaled their intrinsic connection to the essence of weaving, and the influence of ancient textiles, especially ancient Andean weavings. The third chapter explores the teaching environment that Albers created for her students, ultimately asserting this to be an expression of the same “back to zero” philosophy that she embodied in her artistic practice.
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Elicker, Bradley Joseph. "The Mediated Nature of Literature: Exploring the Artistic Significance of the Visible Text." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381480.
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PhilosophyPh.D.
My goal in this dissertation is to shed light on a practice in printed literature often overlooked in philosophy of literature. Contemporary works of literature such as Mark Z. Danielewski’s House of Leaves, Jennifer Egan’s A Visit from the Goon Squad, and Irvine Welsh’s Filth each make artistic use of the features specific to printed literature such as font and formatting. I show that, far from being trivial aberrations, artistic use of font and formatting has a strong historical tradition going back to the Bucolic poets of ancient Greece. When these features deviate from traditional methods of inscription and perform some artistic function within the work, they are artistically significant features of the works themselves. The possibility of the artistic significance of these features is predicated on works of printed literature being visually mediated when one reads to oneself. All works of literature are mediated by some sense modality. When a work of printed literature is meant to be read to oneself, it is mediated by the modality of sight. Features specific to this method of mediation such as font and formatting can make artistic contributions to a text as well. Understanding the artistic significance of such features questions where we see literature with respect to other art forms. If these features are artistically significant, we can no longer claim that works of printed and oral literature are both the same performative art form. Instead, philosophy of literature must recognize that works of printed literature belong to a visually mediated, non-performative, multiple instance art form separate from the performative tradition of oral literature.
Temple University--Theses
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Leguy, Jean, and José Àngel Sarmiento. "The Artistic Leader : A philosophical reflection." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-64560.
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Philosophy, art and leadership have been considered in previous studies, nevertheless rarely have all three been blended in one. The aim of this thesis resided in the attempt to build an unfixed conceptual net, having the ambition to shed light on the innermost parts of the leader; by collecting insights from philosophical notions, the figure of an artistic leader arises. The personal importance of this work was rooted in the hope of a leadership sourced in an inner reflection. Through qualitative research, we made use of concepts derived from Kant, Foucault, Nietzsche, Heidegger and several other thinkers, targeting the ontological, sensible, and reflecting centers of the figure of the artistic leader; which ultimately was completed by primary data retrieved from experts. At the heart of the thesis, namely the fourth strand, these thoughts are developed in two volumes. The first regards the emergence of the artistic leader, a concise ontology of this figure, the suggestion of the paramount importance played by self-reflection and the ‘care’ as found in a Foucauldian understanding, as well as the mechanisms of the mind of the leader. The eventual practices of the artistic leader are developed in the second volume, seen as expressive channels through which this figure could interact with the environment. The thesis - by its very nature - is open ended, as it is a suggestion of a figure drawing its relevance in the continual constructive thinking this work hopes to generate in the reader.
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Wendland, Aaron James. "Freedom as response-ability : agency and artistic creativity in the work of Martin Heidegger." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:833425ce-5a71-4f67-b846-384fe1556e7d.
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The origin of this thesis can be traced back to a deceptively simple question that struck me when reading Hegel for the first time: What, if anything, can be made of human freedom when we live in a world that has a profound impact on who we are and what we do? Unhappy with the way existentialist reactions to Hegel characterized freedom as our ability to step out of our world and determine our identity through our own decisions and will, but nevertheless inspired by Heidegger’s depiction of human agents as always already in the world, this thesis answers the aforementioned question by turning the existentialist conception of freedom on its head: that is, instead of characterizing freedom as detached decisionism, I argue that freedom is a function of our ability to recognize and respond to the disparate demands our world places upon us. Specifically, and unlike Heidegger’s existentialist interpreters, I read Heidegger’s account of authenticity as a case of engaged-agency in which we clarify the possibilities others make available and then act accordingly. There is, however, a certain limitation to this interpretation of human agency: namely, that treating freedom as an active response to the wants and needs of others binds the agent to possibilities present in her current situation and therefore fails to capture the kind of freedom we associate with cultural transformation or artistic creativity. Hence, this thesis addresses a second set of questions: What conditions make historical change possible? And how is it that artists are able to alter the world? In response to the first query, I turn to Heidegger’s claim that we are in truth and in untruth as well as his discussion of Gelassenheit to argue that the play between the possibilities present in a particular culture and those that are excluded by it along with a release from our present activities create the conditions for cultural transformation. In reply to the second question, I examine Heidegger’s account of the happening of truth and show how thinkers and artists are able to reveal the possibilities concealed in their culture through the creative use of language. Finally, I contend that the freedom associated with cultural transformation and artistic creativity is also a form of responsibility insofar as the success of a given transformation depends on others recognizing that transformation as valuable and thus worthy of their support.
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Wertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.
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Knackert, Bruce J. "The spiritual, the mystical and the sublime : an artistic search for the absolute." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/724949.
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The purpose of this creative project was to explore the need of the artist to represent a spiritual consciousness in a material-dominated society. It was felt that a return to the mythical origins of art and a resurrected faith in the supernatural would help stimulate creativity, promote inward growth and enhance the evolution of consciousness. The artist examined mystical and philosophical literature which lead to the use of the concept of the sublime by nineteenth century landscape painters as well as the "Abstract Sublime" painters of the mid-twentieth century. Also important was the effect of the Theosophic Society's geometric iconography and color theories on two of the pioneers of abstract art, Kandinsky and Mondrian. These inquiries were incorporated into a large,; three-dimensional, mixed-media installation.Department of Art
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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Kiel, Jeannette Larino Wooden. "Women's stories of ecofeminist activism and artistic expression| A transdisciplinary spiritual feminist inquiry into transformative and spiritual connections." Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10183257.
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This dissertation explores the stories of seven women spiritual-ecofeminist-activist-artists, including myself. It answers the question, What transformative and spiritual connections does one have with her ecofeminist activism and art?
This study connects different ways of knowing from the mind, body, heart and spirit; and it has three significant dimensions. The first dimension—transdisciplinary spiritual feminist inquiry—allows the researcher to interconnect several disciplinary ways of knowing, and it presents feminist ways to inquire about experiences with activism and creative artistic expression. The second dimension—exploration of transformational and spiritual connections—explores how study participants experience spiritual connections within their spiritual-ecofeminist-activist-artwork. The third dimension—inspirational narratives—holds the hope for the reader to connect to these stories, ecofeminist activism, and artwork, and become inspired to become agents of creative social change. After the conclusion of each of the interviews, I created a reflective art-piece, inspired by each artist-activist.
The research methodology combines transdisciplinary inquiry with feminist and women’s spirituality methods. Epistemological approaches are rooted in women’s spirituality and feminism.
The responses of the seven women spiritual-ecofeminist-activist-artists revealed, upon analysis, nine shared themes: Inspiring Others; Finding One's Voice, Connecting to Ancestors, Healing; Honoring/Connecting to Nature, Finding Community, Traveling, Greening Daily Life, and Discovering/Honoring the Goddess. These themes, along with the three main themes—Early Inspiration and Goals, Art and Activism Interconnections, and Spiritual Dimensions—affirm that numerous spiritual and transformative connections exist between their activism and creative artwork, and that these connections are dependent upon the person’s background, history, chosen spiritual-ecofeminist-activist-artwork, and creative media. Their responses indicate that there is a spiritual component to their spiritual-ecofeminist-activist-artwork and that their activism and artwork are interconnected. Their responses show that each of the seven women spiritual-ecofeminist-activist-artists defines ecofeminism in her own unique way, while making connections to nature, women, the sacred feminine or Goddess, and healing. And they utilized art and spiritual sources to heal and regain balance in their lives. The voices in this study, through storytelling, create a space of “multiple consciousness,” where the multi-dimensional voices of the seven women spiritual-ecofeminist-activist-artists are heard and valued.
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Chandler, Chelsea Beth. "The Art of Teaching: Understanding the Lived Experience of Artistic Teachers." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438892983.
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Ozdemir, Ibrahim Soner. "Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.
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In this dissertation, focusing on the problem of &ldquoaesthetic form&rdquo
and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
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Symons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
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This research paper places the three Research Projects 2 DIVINE, CARNIVAL, and HER STORIES: THE WENTWORTH WOMEN against the background of memory, remaking history, play, as well as hermeneutics. It is argued that the understanding of a work of art involves participation in its meaning by the audience which is not so much a mere receiver of information as a catalyst of the work's content. This Research Paper also attempts to place the three Research Projects, which when combined are entitled REMEMORIES/IMAGETEXTS, into a feminist remaking of history (in Barbara Kruger's sense), realigning the male-oriented histories with a female presence. Questioning the 'historical document' as the authority on history, and giving alternative versions of the life of Jeanne d'Arc and the life of Sarah Cox Wentworth are some of the concerns in the Research Projects. How these three Research Projects came to be linked is that each was originally exhibited during 1995 for the Twentieth Anniversary of International Women's Year, in venues from Penrith to Paddington. Their making spans many years, and in essence comes down to a fascination with the portrayal of women throughout history.That our images of women originally derived from how women were portrayed in carnival is one of the emerging themes, and that there are a number of different memories of specific events, depending on who is remembering them, and what their (hidden) agenda entails. In moving between time zones, questioning the portrayal of 'woman as sign', and subverting the traditional sign of woman, the artist puts forward the argument that women are the producers of signs and thus not merely objects as represented by signsMaster of Arts (Hons)(Visual Arts)
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Pratt, Henry John. "Comparing artworks." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117628400.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains ix, 209 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
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Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.
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Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.
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This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.
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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Nevin, Daniel. "Photography and the paradigm of the trace." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/571.
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The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such as Gerhard Richter, Adam Fuss and Cornelia Parker whose work has explored the photographic medium. Through an exegesis and accompanying photobook this thesis addresses the question as to why the trace has proven to be such an enduring paradigm for explaining the nature of photographs, and how the paradigm can be perceived in art practice in recent decades. The subject of the photograph as a trace is investigated through conducting a review of the history of theoretical uses of the paradigm of the trace to explain the nature of photography. The work of visual artists whose practice can be seen as in agreement with or in opposition to these theoretical approaches was also reviewed. In conjunction with this research a series of photographic works was produced using alternative photographic techniques including pinhole photography, photographs and techniques combining digital film projection and phosphorescent plates. Seeing photographs as traces links these forms of image making to one of humanity’s earliest “discoveries”, the ability to interpret traces found in nature. Through such a connection photographs can be seen as a continuation of humanity’s ability to read traces and thereby understand and deal with the passage of time, to buttress processes of memory and belief. This thesis thereby explores a key means through which the photographic object is explained and understood, at a time when the use of photographs as a means of documenting and understanding the world is expanding at an exponential rate.
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Symons, Suellen. "Rememories /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.155641/index.html.
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Webb, Jane Alexandra. "An analysis of the Select Committee on Arts and Manufactures of 1835-6 : anatomy, Benthamism and design." Thesis, University of Wolverhampton, 2003. http://hdl.handle.net/2436/89095.
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Coyle, Derek. "'Out to an other side' : the poetry of Paul Celan and Seamus Heaney and the poetic challenge to post-modern discussions of absence and presence in the context of theological and philosophical conceptions of language and artistic production." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1765/.
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Martin Heidegger in 'The Origin of the Work of Art' seeks to approach the self-subsistent nature of art. The Greek Temple opens up a space within which our Being may dwell. It is the site of human civilization and religion, and of our capacity to dwell within abstractions like peace, justice, truth and representation. Art breaks open a new place and presents things in a fresh light. Language is the primary model for this activity. Paul Celan in his poetry offers a challenge to Heideggerian abstraction. Both poet and philosopher were intimately familiar with each other's work, yet there is no essay on Celan, or even a reference, in the entire Heideggerian corpus. Celan's poem 'The Straitening' conveys the breakdown of meaning that has occurred after the holocaust. In form and content it challenges any Heideggerian notion of the higher univocity achieved by great poetry. We will explore recent examples of how poets have examined the idea of cultural belonging exclusion. We present a distillation of this idea in the writings of Paul Celan, particularly his presentation of the moment of 'Shibboleth'. We explore the biblical origin of the term 'Shibboleth' in a conflict between the army of Jephtah and the Ephraimites. We look at a contemporary poem with 'shibboleth' as it theme. Seamus Heaney's 'Broagh'. A consistent theme of Maurice Blanchot's critical reflection from The Work of Fire in 1949 up to and including The Space of Literature in 1955, is the manner in which our being creatures unto death allows us to create art, and to think and write in the abstraction that is language. Life endures death and maintains itself in it. For Blanchot Rainer Maria Rilke is one of the most significant modern poets in the way in which he has presented and explored this theme. We challenge Blanchot's inadequate reading of Rilke in The Space of Literature as an instance of his own pre-conceived philosophical nihilism.
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Shi, Wen. "Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire »." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2020/document.
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Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « ternaires » ou « tripolaires », avec le rôle d’un Tiers, d’un « milieu ». La problématique ainsi retenue est la suivante :Quelles sont les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » ?Au niveau historique, pour chaque culture, deux périodes jugées « significatives » dans le cadre de la philosophie de l’éducation esthétique/artistique ont été retenues. La première période correspond à l’Antiquité. Pour la chine, il s’agit de l’époque des Printemps et Automnes (771 à 476 av. J.-C.), pendant laquelle sont nés les courants philosophiques du confucianismeet du taoïsme. Pour l’Occident, il s’agit de la pensée grecque telle qu’elle est soulignée par Platon et Aristote. La seconde période, ne correspond pas à une synchronie entre la Chine et l’Occident. En revanche, elle se traduit dans un cas comme dans l’autre, par une profonde réforme des valeurs éducatives des arts. Cette réforme correspond pour l’Occident aux Lumières, notamment allemandes, par exemple avec la naissance, au XVIIIe siècle, de l’esthétique sous la plume de Baumgarten. Si la Chine était restée en phase avec la tradition de l’époque des Printemps et Automnes, il fallut attendre l’époque républicaine, à partir de 1919, pour que cette réforme se produise, précisément sous l’influence d’intellectuels chinois qui introduisirent de nouvelles conceptions très influencées par les Lumières européennes.Tel est le parcours historique que propose cette thèse, pour revenir finalement à la question de sa démarche comparative sur la base du « binaire » ou du « ternaire », base sur laquelle oscille l’ensemble du corpus présenté, tant en Chine qu’en Occident. Cette double configuration, repérée au centre des axiologies ici présentées, se prête ainsi, au-delà des valeurs éducatives des arts, à articuler un opérateur comparatif « transculturel » dont la proposition et l’essai constituent l’originalité de cette thèse au regard des approches sino-occidentalesThis thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches
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Hanrahan, Siun. "A combined philosophic and artistic research methodology." Thesis, University of Ulster, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338318.
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Antunes, Gomes Ana Beatriz. "Bergson e a criação artística." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00988983.
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La pensée de Bergson situe l'esthétique à l'intérieur d'une philosophie de la nature, dont le principe métaphysique est loin d'être soumis au déterminisme, et encore plus loin de retomber dans le hasard, car elle se réfère à l'irréversibilité du temps. Au lieu d'être une discipline intellectuelle qui cherche la nature de la beauté, il s'agit d'une performance vitale, du processus virtuel de différenciation vers la position actuelle de nouveautés radicales, qui peuvent aboutir ou non à une activité artistique. Par conséquent, l'art n'est pas un ensemble d'attributs donnés ou la pratique de certaines compétences spécifiques. Il est, en effet, un mode d'action qui entremêle les régimes du virtuel et de l'actuel, sans jamais permettre que l'existence conquise recouvre complètement la consistance. Il se réalise exactement dans une telle ouverture métaphysique. Si la poussée de la vie est ce qui fait communiquer l'esprit et la matière, en insérant de la liberté dans la nécessité, il s'ensuit que l'activité artistique est l'une des voies où l'élan s'écoule, aux côtés des êtres vivants et de l'expression mystique. Pour que l'individuation d'une œuvre soit viable, il faut certains degrés de liberté et niveaux de conscience qui ne peuvent s'expliquer ni par l'espèce, ni par l'individu, car la durée prend d'autres tonalités vitales. Touché par une émotion créatrice, l'artiste va effectivement du Tout ouvert à la position de nouveaux mondes. Ainsi, le véhicule d'action se confond avec l'action elle-même, le créateur avec la créature, de sorte que le corps artistique instauré devient pur débordement de vitalité, excès joyeux à partir duquel le temps prend conscience de lui-même.
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Ljungberg, Roland. "En resa från det ordlösa : en kartläggning av ett personligt yrkeskunnande." Doctoral thesis, KTH, Yrkeskunnande och teknologi, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4877.
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A Journey from the Wordless is a study of the development of the author’s own professional knowledge. After an introductory chapter on theory and method, there are four chapters treating of the author`s academic training as an artist (Ch. 2), a presentation and analysis of his own exhibitions (Ch. 3), a chapter on a cooperative effort entitled Pompeii in Time and Space (Ch. 4), and a concluding discussion of the nature of personal knowledge (Ch. 5). Questions are addressed concerning artistic knowledge; how it is built and transferred and how it is developed and transformed. Since the author`s own professional knowledge is the object of the research, special perspectives on personal experience emerges that otherwise would be difficult to articulate. The thesis is also a contribution to the debate surrounding artistic research in the visual arts, focusing on the importance of reflection and analysis in art education and creative art work.QC 20100824
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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
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Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’analyses avec la pratique artistique. Pourtant la question mérite d’être posée : par quelles modalités le philosophe artiste serait en droit de porter ensemble la philosophie et l’art ? La présente thèse tente de réintroduire ce problème pour le moins « éternel » en enquêtant pas-à-pas sur les lignes de tension typiques que cette figure met en jeu : la forme et le contenu ; la métaphysique et le phénomène ; le langage et la métaphore. De même, si Nietzsche est l’objet central de la recherche, nous évoquerons toutefois d’autres philosophes non moins typiques, comme Merleau-Ponty ou Deleuze, ainsi que Spinoza ou Aristote. Toutefois, il ne s’agit pas de ressaisir encore une fois ces problématiques proprement philosophiques, leur réintroduction doit s’éprouver dans la pratique artistique. La thèse envisage donc, à chaque fois, une issue par la création artistique, au lieu de tenter vainement d’élire une figure sans maître et sans limite, la thèse exposera des créations chorégraphiques originales. Ces créations ont été produites en parallèle avec la recherche, elles ont donné lieu à des œuvres singulières qui ont été préoccupées par les mêmes problématiques que la thèse. Elles confèrent à l’étude le degré de plasticité dont l’exposé proprement philosophique pouvait manquer. De plus, elles abolissent la frontière, car elles subissent les mêmes contraintes que celle de l’exposé, puisque Panopticon interroge le panoptisme étudié dans Surveiller et punir de Foucault, Amor fati, le concept de l’éternel retour selon Nietzsche ; être au monde, reprenant le problème de la sensibilité de Merleau-Ponty ; et enfin, L’éthique s’astreignant à réinvestir d’un point de vue sensible l’architecture de l’œuvre axiomatique de Spinoza. N’était-ce pas cela le sens du philosophe artiste ? Expérimenter, éprouver pour en étudier les effets ?The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
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Becker, Dominique. "Alan Watts (1915-1973) : le philosophe-artiste." Nancy 2, 1996. http://www.theses.fr/1996NAN21014.
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Notre sujet, Alan Watts : le philosophe artiste, nous permet de présenter les conceptions d'Alan Watts, personnalité marquante du mouvement de la contre-culture aux Etats-Unis. Nous pensons que le terme de "philosophe-artiste", utilisé par Watts, rend compte de l'ensemble de sa conception de la vie, des formes de psychologie et de psychothérapie ainsi que des religions et métaphysiques occidentales et orientales, particulièrement la mystique chrétienne et le bouddhisme zen. Notre travail s'articule en trois parties : dans la première, l'approche incidente, nous étudions la vie et les idées d'Alan Watts pour aboutir à certaines acceptations du terme "philosophe-artiste" où transparaissent fantaisie, absence de sérieux, cynisme et attrait pour des personnages particuliers des religions primitives, les chamans et les tricksters. L'approche directe nous fera aborder de front la notion de philosophie-artiste, les définitions des termes "philosophe" et "artiste" et les valeurs ajoutées ou retranchées par le second mot au premier : le philosophe-artiste apparaîtra comme un chercheur de sagesse à la fois fantaisiste, constamment étonné, interprète et esthète : la fantaisie de Watts apparaît dans son style, son recours à l'humour, au jeu et à l'absence de but, Watts-l'esthète apprécie la danse et la musique, voit dans la beauté terrestre le reflet de la beauté divine et, par conséquent goûte la beauté de la vie et l'intensité émotionnelle de la pratique religieuse. Nous nous demanderons enfin où mène la voie du philosophe-artiste et situerons Watts entre Nietzsche et Granier. Dans l'approche circulaire, nous étudions l'influence de Watts sur la contre-culture et l'intérêt que Watts suscite aujourd'hui, puis nous situerons Watts par rapport à des penseurs tels que Trungpa, Merton, Fromm, Huxley et Graf DurckheimIn our doctoral thesis, Alan Watts : the philosopher as artist, we present the ideas of Alan Watts, a key figure of the American counterculture. We believe that the terms "philosopher as artist" account for most of Watts's ideas concerning psychology, psychotherapy, eastern and western religions and metaphysics, especially Christian mysticism and zen buddhism. First, in the incidental approach, we study Watts's life and ideas and this leads us to a number of definitions of the "philosopher as artist", showing originality, lack of seriousness, cynism and a special attraction for such primitive characters as the shaman and the trickster. In the direct approach, we start from the notion of "philosopher as artist", explore several definitions of "the philosopher" and "the artist" and study what the latter term adds to or removes from the former : the philosopher as artist appears as someone in search of wisdom, who is at once original, constantly bewildered, is an interpreter and an aesthete. Watts's originality appears in his style, humour, play and purposelessness. Watts as an aesthete appreciates music and dance, recognises in beauty a reflection of divine beauty and, accordingly, tastes the beauty of life and the emotion derived from religious practice. We shall eventually wonder where the way of the philosopher as artist leads, and conclude that Watts stands between Nietzsche and Granier. In our third part, the circular approach, we study the influence of Watts on the American counter-culture and the interest for Watts today, and, last, we shall relate Watts to such thinkers as Trungpa, Merton, Fromm, Huxley and Graf Durckheim
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Manniste, Indrek. "Henry Miller and philosophy of the inhuman artist." Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/7527.
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In my doctoral dissertation I argue that it is possible to reconstruct a coherent philosophical theory from the works of the American writer Henry Miller (1891-1980) and I develop an original and well-integrated version of that theory. Building upon his notion of the inhuman artist, Miller's philosophical foundation is revealed through his literary attacks against the metaphysical design of the modern age. I argue that, by repudiating some of the most potent elements of late modernity such as history, modern technology and an aesthetisized view of art, Miller paves the way for overcoming Western metaphysics. Finally I show that, philosophically, this aim is governed by Miller's idiosyncratic concept of art, in which one is led towards self-liberation through transcending the modern society and its dehumanizing pursuits.Whole document restricted until Aug. 2013, but available by request, use the feedback form to request access.
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Firmo, Adrienne de Oliveira. "Exposições de arte brasileira: um estudo de exposições como meio para a compreensão dos fundamentos e da recepção da arte contemporânea." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-27062017-144240/.
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Na tese é averiguado o estatuto do fato artístico em exposições na atualidade, mediante a investigação de sua recepção em exibições nacionais e internacionais de arte brasileira. Fundamenta-se em textos relativos às mostras, observados à luz do multiculturalismo, de vertentes da filosofia contemporânea e das demandas por reconhecimento nas sociedades atuais. Está dividida em quatro partes, onde são examinadas as tendências da arte nacional de vanguarda nas mostras dos anos 1960, a fim de entender, por intermédio do conceito de performação, como procedimentos transferem-se do objeto artístico às exposições; averigua-se então como as tendências performam nas narrativas expositivas nos anos 1980; na seguinte são identificadas mostras dirigidas à proposição discursiva, conceituadas pela pesquisa como exposições proposicionais defrontadas a outros projetos expositivos; por fim dialoga com a produção universitária concernente ao assunto abordado.This thesis examines the status of the artistic fact in contemporary exhibitions, through the investigation of its reception in national and international Brazilian art exhibitions. It is founded on texts concerning expositions in light of multiculturalism, some aspects of contemporary philosophy and demands of recognition in contemporary societies. It is divided into four parts: where the tendencies of national avant-garde art exhibitions of the 1960s are examined, in order to understand how procedures were transferred from the artistic object to the exhibitions, through the concept of performação; it is then ascertained how tendencies perform in the expository narratives in the 1980s; then exhibitions towards the discursive proposition are identified and conceptualized by the research as propositional expositions in face of other expositive projects; finally, it dialogues with university production concerning the subject matter.
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Zussman, Na'ama. "Artists' Books---Both Map and Territory." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1590433.
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The field of artists' books is a realm in which a phenomenon is mapped and territorialized. This is based on the human necessity to map the world and have a better grasp of it. Additionally, it is constructed on the understanding of the history of the book’s physicality as an important emblem in civilization. An artist’s book is an isolated realm, both a map and a territory. It is closed in itself, and has its own rules and dynamics, yet carries varied affinities with the outside world.
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Dalmoro, Daniel. "Tempo da representação em A Sociedade do Espetáculo, de Guy Debord." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11637.
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Previous issue date: 2013-10-17This work focuses in the book The Society of Spectacle, from the french polemicist Guy Debord (1931-1994). Initially, there is the study regarding the influences to whom the author dialogues directly or indirectly Marxism, French philosophy, the artistic avant-gardes of the twentieth century. Subsequently, it follows more closely to the refered book, in particular in the matter of representation the representation in politics, representation in language and representation of time. Finally, there is a brief critical readback of the 1988's text, Comentaries about the Society of Spectacle
Este trabalho versa sobre a obra A sociedade do espetáculo, do polemista francês Guy Debord (1931-1994). Num primeiro momento são levantadas as influências com quem o autor dialoga direta ou indiretamente , o marxismo, a filosofia francesa, as vanguardas artísticas do século XX. A seguir se debruça mais detidamente sobre o livro referido, em especial na questão da representação a representação na política, a representação na linguagem, a representação do tempo. Enfim, há um breve cotejamento crítico com o texto de 1988, Comentários sobre a sociedade do espetáculo
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Lima, Agra Emídio Manuel. "Materiales y Artistas." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/399924.
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Esta tesis se mueve entre los textos de T. W. Adorno y las obras de arte, entre la teoría del arte de Adorno y las obras concretas. Por una parte, se destaca una estética que da primacía a la experiencia, que piensa las obras de arte en su dinámica histórica, en su actualidad. Por otra, se destacan obras radicalmente experimentales, fruto de la fragmentación de la experiencia, de una nueva percepción que gana forma en la metrópolis moderna. El debate entre Adorno y Walter Benjamin cruza este proyecto, sus diferencias, su compromiso, la conformidad de sus intenciones teóricas. Adorno y Benjamin piensan la modernidad tanto en su dinámica destructiva como en su capacidad para desencadenar nuevos potenciales estéticos. Ambos entienden lo moderno como una cualidad de la experiencia. Ambos procuran una nueva dirección para el arte de vanguardia. En esta tesis, los textos de Adorno reciben la intersección de obras como las del pintor Francis Bacon, del compositor György Ligeti o del director de cine Andréi Tarkovski. El objetivo es producir un contraste, desplazar el ángulo de visión, poner en movimiento categorías centrales de la estética de Adorno, categorías como autonomía y compromiso, mimesis y racionalidad, belleza artística y belleza natural, verdad y apariencia, negatividad y contenido utópico, armonía y disonancia, viejo y nuevo. Se trata de pensar la relación entre el arte y la sociedad desde la estética de Adorno, desde la relación del artista con un material histórico.This thesis attempts to weave together the texts of T.W. Adorno and artworks, Adorno's theory of art and particular works of art. On the one side, an aesthetic of the primacy of experience is put forward, whereby works of art are considered in their historical dynamics, in their now; on the other, radically experimental works, resulting from a new perception that takes shape in modern metropolises, from the fragmentation of experience, is focused on. The debate between Adorno and Walter Benjamin goes right through this project: their differences, their commitment, the conformity in their theoretical intentions. Adorno and Benjamin's thought on modernity considers its destructive dynamics as well as its capacity to trigger new aesthetic potentials. Both understand the modern as an attribute of experience. Both seek a new direction for avant-garde art. In this thesis, Adorno’s texts are intersected with works of art like those of painter Francis Bacon, of composer György Ligeti or of film director Andréi Tarkovski. The purpose is to create a contrast, to shift the viewpoint, to set in motion central categories of Adorno's aesthetics, like autonomy and commitment, mimesis and rationality, art beauty and natural beauty, truth and semblance, negativity and utopian content, harmony and dissonance, old and new. The point is to ponder the relationship between art and society from the perspective of Adorno’s aesthetic, from the perspective of the artist’s relation to a historical material.
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Clarke, Daniel Wade. "The social poetics of place making : challenging the control/dichotomous perspective." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/692.
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Lutkus, Lauren Julia. "Holistic Approaches to Art Education: A Case Study of Choice-based Art Education." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1564572381222662.
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Bracewell, Pamel Joyce. "Space, time and the artist : the philosophy and aesthetics of Wyndham Lewis." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/3027/.
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My study, in Part I of this thesis, of Wyndham Lewis's philosophical principles outlined in Time and Western Man (1927), reveals a mode of thought which is inspired and determined by beliefs about visual art and its metaphysical significance. The ultimate rejection of the philosophies of Bergson, Schopenhauer and Nietzsche and the 'Space-Timeists' such as Spengler, Whitehead and Alexander, in pursuit of a 'philosophy of the eye' was, I argue, fashioned according to aesthetic objections. 'Time-values' are challenged by 'space-values', ideally expressible for Lewis in the static, spatial medium of visual art. The aesthetics of Vorticism, discussed in Part II, was formalized in the two Blast journals (1914-15), and provides the key to an understanding of Lewis's later philosophy in its negation of Bergsonist-related doctrines. His aversion to chronologism' had emerged in various ways well before the public launch of Vorticism and had subsequently achieved a subtle, effective coherence in the 'logic of contradictions' which directed the theoretical strategies of Blast. But In modernism Lewis recognized 'empty' abstraction and thus the taint of the time-cult itself. As a method of working, abstraction was not abandoned, but was directed away from the sensational and emotional in the service of intellect and rational thought. In order to clarify the interdependence of art and philosophy in Lewis's thought, I propose two schematic models. The first characterizes Lewis's philosophical principles and posits the concept of the vortex as Lewis's noumenon. The second superimposes the aesthetic values and form of the vortex symbol itself as a prior justification of the philosophical schema: each 'model' is clearly incomplete without cognizance of the other. Since, for Lewis, the essential character of Vorticism was first expressed in art practice, the findings of this thesis support Lewis's own retrospective view (1956), that Vorticism was a 'new philosophy' in visual form.
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Bortoleto, Marco Antonio Coelho 1976. "O carater objetivo e o subjetivo da ginastica artistica." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/274942.
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Orientador: Elizabeth Paoliello Machado de SouzaDissertação (mestrado) - Universidade Estadual de Campinas. Faculdade de Educação Fisica
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Resumo: Neste trabalho estudamos a modalidade Ginástica Artística (GA), no contexto delimitado ao esporte de Alto Nível, realizando a apresentação e discussão do que seja o caráter Objetivo e o Subjetivo desta prática. Com relação a estes aspectos, buscamos além da compreensão dos mesmos, entender sua relação e a importância de cada um deles perante a prática da GA, dissertando sobre as características objetivas e subjetivas desta modalidade. Para aproximarmos este estudo teórico da realidade prática da modalidade, e para obtermos respaldo e comprovação para nossas colocações, realizamos uma pesquisa de campo com sete sujeitos de representatividade nacional, sendo que dois foram abordados somente na condição de árbitro, dois na condição de técnico e três em ambas as perspectivas. Para esta pesquisa, utilizamos uma metodologia qualitativa, com uma análise de cunho etnográfico-interpretativo, segundo a proposta metodológica sugerida por Clifford Geertz, onde os dados foram obtidos por meio de duas entrevistas semi-estruturadas para cada sujeito da pesquisa, com duração de aproximadamente duas horas para cada entrevista. Come considerações finais, podemos destacar que ambos os aspectos fazem parte da realidade da GA e merecem serem vistos com atenção, contudo, o caráter Objetivo (Técnico) está muito mais presente tanto na literatura quanto no discurso dos entrevistados. Neste sentido, entendemos que a GA necessita rever alguns de seus conceitos sobre estes aspectos, sobretudo, voltar seu olhar para o caráter Subjetivo (Expressivo). Este fato, pode contribuir para a evolução desta modalidade como esporte de característica artística
Abstract: This work brings the study of an Artistic Gymnastic (AG) event, in a context tumed to the high performance sport, achieving the introduction and discussion of what is the Objective and Subjective characters of this practice. Relating to these aspects, we searched beyond its comprehension, understanding this relation and the importance of each one of them in the presence of Artistic Gymnastic practice. The Objective and Subjective character of this practice has been disserted. To approach this theoretic study to the practical reality of the event, we suggest and executed a field reserch with five referrers and five coaches of the national representation, aiming to achieve the support and proof for our position. For this research, we used a qualitative methodology, with the analyses of an ethnography nature according to the methodological support suggested by Clifford Geertz, which the data were taken through semi-structured interview, lasting two interviews of approximately two hours for each subject of the research. As final considerations, we can emphasize that both aspects make to Artistic Gymnastic reality and it deserve to be seeing with attention, however, the Objective (Technical) character is as much as present in the literature as in the Artistic Gymnastic environment and in the speech of the interviewed subjects. In this direction, we can understand that the Artistic Gymnastic needs to review some of its concepts about these aspects, especially, tums its consideration to the Subjective (Expressive) character. This fact can contribute for the evolution of this event, as a sport of artistic characteristic
Mestrado
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Shepard, Kathryn Ann. "Artists for Humanity's Sake: An Ameliorative Project Concerning Artists and the Existentialist Struggle Against the Dominant Narrative." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/104036.
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Existentialist ethics tell us that we as individuals cannot be truly liberated until all are. This means that we must pursue a more just world for all. Interestingly enough, as we look at the evidences of the ways in which cultural violence have been used historically and today as a means to withhold power from the people, we find that participating in the arts grants a great deal of power to the people. Thus, accessibility to participating in artistic acts or the creative process become fundamental to activism for social justice. This work lays out five fundamental aspects of the creative process that help us move towards liberation—confrontation of ideas, vulnerability, choice making, truth or world building, and authentic identity formation. In order to realize the full potential of positive impact the creative process can have in the realm of social justice, however, we must reframe our understanding of artists and the creative process in our society. This is a call to action both to artists and audience to recognize and wield the power of the arts to liberate all within our society.Doctor of Philosophy
We have all heard the disparaging stereotypes surrounding the arts--the arts aren't a viable career choice, they aren't important, they're just meant for hobbies, or they're for folks who aren't smart enough to do something "useful" with their lives. If you have been a practicing artist for any number of years you have surely been offered payment in "exposure" at least half a dozen times by now. And yet, creating art is perhaps one of the most powerful and political acts we may undertake as humans. With each creative act we make claim to our own identities and have the opportunity to support the unique identities of others. In a world plagued by injustice perhaps artists are just the heroes we need. In this work I outline the connection between the artistic act and liberation. It is a call to action both to artists and audience to recognize the great potential that artists have to shape the world for better or worse. It asks you, the reader, to support social justice by supporting accessibility to confrontational, vulnerable, and deliberate artistic acts both by others and yourself.
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Morton, Luise H. "Theories of three conceptual artists : a critique and comparison." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/425069.
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Conceptual Art emerged as an international, avant-garde art movement in the mid-60s. Attacking the prevailing aesthetics of modern art, Conceptual artists claim that art lies not in the object itself but in the artist's idea or intention. Their asserted goals have been to combine theory with art and to eliminate the need for form in artworks. The purpose of this study was to examine and critique the key theoretical writings of three artists whose works have been recognized by the critics as significant and seminal for the Conceptual Art Movement: Joseph Kosuth, Sol LeWitt, and Terry Atkinson.Historical aspects relevant to this study included the following: (i) early twentieth-century antecedents of Conceptual Art; (ii) recent avant-garde movements of the 60s and 70s; (iii) the history and nature of the concept theories of Kosuth, LeWitt, and Atkinson; (ii) a critiqueof t ese theories in terms of their consistency and viabi ity for generating art; (iii) a comparison of Conceptual Art theories with both commonly accepted theories of art and more radical aesthetic theories of contemporary philosophers.Upon completion of this study, it was concluded that despite many ideological differences, Kosuth, LeWitt, and Atkinson agree on two key notions: (i) the locus of the "work of art" is not a physical object; and (ii) it is the artist's idea which alone accounts for the significance of an artwork. Their arguments in support of these notions are unsatisfactory. Longstanding issues in aesthetics, viz., the problems of defining art and evaluating its significance, are not resolved. The critics' acclaim of the writings critiqued in this study must therefore rest on extrinsic features such as the prestige of the artists, the relevance of the content of the writings to dominant trends in contemporary art, and the potential historical significance of their challenges to established views about art and aesthetics.
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Parra-Aledo, Marie Cholley Jean. "L'artiste dans la société japonaise moderne philosophie de la création au Japon /." Lyon : Université Lyon3, 2007. http://thesesbrain.univ-lyon3.fr/sdx/theses/lyon3/2006/parra_m.
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Huang, Jui-Yi. "An artist of Tai Chi : a critical study of the life, art and culutral philosophy of the children's literature artist Ed Young /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204281593.
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Medeiros, Maria Beatriz de. "L'artiste plasticien, sujet et objet de l'art, ses interventions : manie-festa-actions." Paris 1, 1989. http://www.theses.fr/1989PA010604.
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Cette thèse traite d'une série d'actions artistiques éphémères (performances?) effectuées entre 1982 et 1987 par nous-mêmes, en groupe ou individuellement (avec la participation de musiciens). La question du langage a utiliser pour cette thèse a été souvent posée. Lors de nos actions, nommées manie-festa-actions, nous utilisons un langage de l'ordre du désordre, langage du corps. Non-langage? Nos "manies" sont irréductibles à des mots. Nous cherchons à provoquer l'interrogation par l'entassement de contradictions. L'ambiguïté est notre partenaire. La structure de cette thèse a été conçue comme la structure d'une action: fragments de mémoire, moments-écriture d'ordre très divers, citations introduites au hasard. . . J'ai cherché à créer une dynamique inédite. "C'est le corps qui est conscience" Dufrenne. Quel corps? Quelle est la part de l'érotisme? Acte, plaisir, désir, interdit. Qu'est-ce que la jouissance? La "conclusion" de notre recherche nous mène au silence. Le rire et la fête (festa), l'irrespect et l'ironie nous ont fait réfléchir sur l'utopie. Le silence, le lieu de l "ou" (non) - "topos" (lieu).
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Mann, Lyndsay. "Voice and uncertainty : processes of voice in artists' nonfiction moving image." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25829.
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Voice is an inconstant yet constantly performative material; it is our internally-housed, liminal technology. ‘Processes of voice’ is the term I develop throughout the text of this thesis to articulate materialities of voice and methods of address within processes of practice in artists’ moving image that ‘give voice’ to material and non-material forms. I interrogate this in relation to key concepts in Philosophy of Mind to address the complex ways in which bodily skills and action inform perception and thought to explore an account of perception and process in relation to voice. I examine the liminal, inconstant, and uncertain in subjective experience, and the ways in which this is extended into the social through a politics of embodied practice harnessed in moving images. I make a case for the uncertain I-voice, which engages the fully embodied and openly subjective, to challenge established narratives and conventions of address, and the power and knowledge dynamics that structure them. I come to focus on the uncertain acousmatic I-voice in moving image, which through its presentness, intimacy and acknowledgement of uncertainty relinquishes the acousmêtre’s threat of control to share a liminal territory of destabilized authority with the viewer. This is also explored in and through my own moving image work, A Desire For Organic Order (2015), a single screen video, which contributes to the overall thesis.
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Oliveira, Neto Mario Cysneiros de. "A morada do artista." Universidade Católica de Pernambuco, 2018. http://tede2.unicap.br:8080/handle/tede/989.
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In this dissertation we have realized a reflective study over some of the reasons for the existence of the creative impulse and of Art. We had as a general goal to investigate the motivations for production and appreciation of art through theories of psychanalyses, philosophy and immersion in the artistic universe of Francisco Brennand. From psychanalyses, we’ve studied the concepts of pulsion, phantasy and sublimation in Sigmund Freud, the bond between sexuality and regression to the motherly womb in Sándor Ferenczi and the theory of creativity of Donald Woods Winnicott. From philosophy, we’ve used the concept of will from Arthur Schopenhauer, the subjective experience of spaces in the theory of Gaston Bachelard and the transcendence phenomena under the prism of Plato. Concerning the field research, we’ve investigated the creative aspects of Francisco Brennand and his relations with his atelier through personal contact and an interview with the artist, visits to the Oficina Brennand and access to the artistic and bibliographical collection of the place, as well as through texts and videos published in the media. Having collected the data, we’ve stablished connections between his artistic production with the theories studied and we’ve developed some thought and intuitions. We’ve oriented the research from dimensions, three spaces, the intrapsychic, intersubjective and transcendence, and to facilitate the understanding of our purpose we’ve created a metaphorical image, The Tree of Existence, which, respecting this tripartition, organizes our theoretical writings and offers a general view of the existing dynamics between the dimensions. We’ve considered the presence of a feeling of existential discomfort due to the interaction between those dimensions, and the existence of a conflict of opposing forces, each plane seeking to impose itself over the other and be dominant. Then we followed the guiding hypothesis that through the fruition of art, its creation and contemplation, there would be a reduction in the feeling of discomfort, and that this decrease would happen through two main experiences, two phenomena, the existential increase due to the achievement of metaphysical planes and the movement of return to a mythical past of fusion and completeness – the fire. This fact showed resemblances between the path and destiny of sexuality and art, sex and the divine, chaos and the superior world. The present text sought to explore some of these purposes and their means of realization.
Realizamos nesta dissertação um estudo reflexivo sobre algumas razões da existência do impulso criativo e da Arte. Tivemos como objetivo geral investigar as motivações da produção e apreciação da arte através de teorias da psicanálise, filosofia e imersão no universo artístico de Francisco Brennand. Da psicanálise, estudamos os conceitos pulsão, fantasia e sublimação em Sigmund Freud, o vínculo entre sexualidade e regressão ao útero materno em Sándor Ferenczi e a teoria da criatividade de Donald Woods Winnicott. Da filosofia, utilizamos o conceito de vontade de Arthur Schopenhauer, a vivência subjetiva dos espaços na teoria de Gaston Bachelard e os fenômenos da transcendência sob o prisma de Platão. Sobre a pesquisa de campo, investigamos os aspectos criativos de Francisco Brennand e sua relação com seu atelier a partir do contato pessoal e entrevista com o artista, por meio de visitas à Oficina Brennand e acesso ao acervo artístico e bibliográfico do local, por textos e vídeos publicados na mídia. Colhidos os dados, estabelecemos conexões entre sua produção artística com as teorias estudadas e desenvolvemos algumas intuições e reflexões. Orientamos a pesquisa a partir de dimensões, três espaços, o intrapsíquico, intersubjetivo e transcendência, e para facilitar o entendimento de nosso propósito criamos uma imagem metafórica, A Árvore da existência, que, respeitando essa tripartição, organiza nosso escrito teórico e oferta um panorama geral da dinâmica entre as dimensões. Consideramos a presença de um sentimento de mal-estar existencial decorrente da interação entre tais dimensões, por existir um conflito de forças opostas, cada plano buscando se impor aos demais e ser predominante. Então seguimos a hipótese norteadora de que pela fruição da arte, sua criação e contemplação, haveria a diminuição do mal-estar; e que tal minoração de desconforto ocorreria a partir de duas experiências principais, dois fenômenos, a ampliação existencial com alcance de planos metafísicos e o movimento de retorno a um passado mítico de fusão e completude – o fogo. Tal fato demonstrou semelhanças entre os caminhos e destinos da sexualidade e arte, o sexo e o divino, o caos e o mundo superior. E o presente texto buscou explorar alguns desses propósitos e suas vias de realização.
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Goodwin, Matthew J. "The artist and the philosopher : the aesthetic phenomenological method of Maurice Merleau-Ponty /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1362525641&sid=21&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Ruck, Erica. "Touches visuelles de la pensée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080099.
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Dans notre travail de recherche nous voulons esquisser une élaborationconceptuelle de la pensée du philosophe-artiste selon Nietzsche, Artaud etEisenstein en tant que « pensée visuelle ». La pensée du philosophe artiste est trèsancienne, elle remonte à Platon, avant de recommencer avec Nietzsche et des’élaborer avec Artaud.En déclarant que la musique et la parole sont liées, Nietzsche appartienttoujours à la tradition platonicienne du philosophe-artiste. Selon lui, la penséeartistese modélise sur la musique parce que la musique est le seul art qui nouspermet d’accomplir des abstractions de la pensée. Artaud, en revanche, affirmeune conception anti-platonicienne de la pensée du philosophe-artiste en tant quepensée visuelle. Il opère ainsi le renversement de valeurs, recherché parNietzsche, mais non abouti en esthétique.Contre l'idée du théâtre comme représentation, Artaud a théorisé un théâtrede la cruauté qui nous permet de découvrir la vérité, de dépasser la réalité. Lelangage proposé par ce théâtre, fait de formes, de sons et de gestes, peut avoir lesmêmes effets intellectuels que le langage verbal. Nous sommes ainsi en présenced’une pensée propre, où la parole n'est pas supprimée, mais où sa fonction estmodifiée.Eisenstein, avec son montage des attractions, arrive à donner forme àl’image-idée. Le public soit au théâtre, soit au cinéma est choqué par une série desattractions qui l’amènent envers une pensée précise. Le cinéma intellectueldevient lieu de la penséeThe aim of our research is to outline a conceptual elaboration of thethought of the artist -philosopher according to Nietzsche, Artaud Eisenstein,conceived as visual thinking. The thinking of the artist philosopher is veryancient, dates back to Plato, before reappearing with Nietzsche and elaboratingwith Artaud.Declaring that music and word are related, Nietzsche still belongs to thePlatonic tradition of the artist -philosopher. According to him, artist thinkingshapes on music because music is the only art that allows us to accomplish andreach abstractions of thought.Artaud, on the other hand, states an anti-platonic conception of thethought of the artist - philosopher as visual thinking. This is the overthrow ofvalues, sought by Nietzsche, but not achieved in aesthetics. Against the idea of atheater as representation, Artaud has theorized a theater of cruelty that allows usto discover the truth, to go beyond reality. The language proposed by this theater,made up of forms, sounds, gestures, may have the same intellectual effects asverbal language. We are so in the presence of a proper thought, where the word isnot suppressed, but where its function is modified.Eisenstein, thanks to its attractions editing, is able to shape the idea-image.The audience is shaken by several attractions that lead to a clear thought.Intellectual cinema becomes the place of thought
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Parra-Aledo, Marie. "L'artiste dans la société japonaise moderne : philosophie de la création au Japon." Lyon 3, 2006. https://scd-resnum.univ-lyon3.fr/in/theses/2006_in_parra_m.pdf.
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Nous avons étudié l'objet d'art et l'artiste en particulier dans la société japonaise moderne, dans les années 70-90, en partant du point de vue que tout objet est porteur d'un vécu, d'un ressenti capable de révéler l'imaginaire collectif. Nous nous sommes appuyé : sur des textes d'auteurs japonais écrits soit pendant la période concernée soit à la fin de la dernière décennie, sur les textes théoriques de psychologues et de philosophes de différents horizons culturels, sur l'observation directe des objets montrés pendant cette période dans des galeries d'art ou sur divers sites publics d'exposition, sur nombre d'entretiens avec des artistes japonais résidant et travaillant au Japon. Cette réflexion sur les fonctions de l'art dans une société industrielle nous a permis d'envisager une définition possible de son rapport aux grandes problématiques des temps modernes : l'environnement, la communication, l'éducation, entre autres.
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Hachmeister, John. "Pluralism and the hard sell historically unique influences on young artists today." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9845.
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Gleason, Paul William. "The artist-hero novels of D.H. Lawrence, James Joyce, and Samuel Beckett and the transformation of aesthetic philosophy /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004271.
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