To see the other types of publications on this topic, follow the link: Consciousness in art.
Dissertations / Theses on the topic 'Consciousness in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Consciousness in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Juarez, Gonzalez Naun Rodrigo. "ART/CONSCIOUSNESS SCIENTIFIC EXPLANATION AND ITS CORRELATION." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-61.
Full textAbstract:
This essay is more or less a very boring analog game in paper, which is trying to find the similitude between ART and CONSCIOUSNESS, as well as the boundaries of legality of taking over or stealing someone else's work. The dynamic of this game of mine starts by choosing a lecture of any research and change some keywords to create a new research. The format of this essay suggests an interaction and will need an interaction of the reader with the essay itself in order to add more concepts and could make it more personal and transform the main subject of this essay. It does not necessarily have to be an art topic, so it is very open to any personal interest. There are no rules of this game, you can change the subject, the actors, the author or try to change it back to the original lecture. Everything is possible; at the end the reader could acquire by signing this essay or theory.[I examensarbetet ingår utställningen "YSO":] YSO explore metaphysical information in order to expand the idea of Art and consciousness, which experience and perception are both essential as a part of the information processing. Condensing this information to be able to exchange it on different states the Meta, Virtual and physical state. The formal aesthetic display of YSO is an interpretation of the different inputs objects or data that will or could construct an assumption with deliberate inputs through the senses to be able to interpret the correlation between Art and Consciousness. Material: Freezer, pick-up car, silicon form, water, wood, plastic sheet, tv, ice machine, media player and paint. Teknik: Installation/video/variable. Längd på video: 01:54:00.
The video, essay and installation is a unit and represent different states of consciousness and non-physical matter's reality (nonphysical-matter Reality) and all of these contribute to the information.
Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen.
The master work includes a written essay and a forming part. The alternative title is the name of the forming part.
2
Jaleel, Nuzhat. "The metaphysician in the dark : T.S. Eliot consciousness art." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275746.
Full text
3
Brown, Natalie. "Art and consciousness in light of Maharishi Vedic science." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/378.
Full textAbstract:
This research examines the field of art and consciousness in light of Maharishi Vedic Science. Maharishi Vedic Science is a complete science of consciousness and its expressions, based on ancient Vedic knowledge, as elucidated by His Holiness Maharishi Mahesh Yogi, the foremost scholar in the field of consciousness. The research explores the practical application of Maharishi‘s technologies of consciousness― the Transcendental Meditation program and TM-Sidhi program, and simultaneously the theoretical understanding of consciousness through the study of Maharishi Vedic Science. The research examines this knowledge by considering two questions- Question 1―What is the benefit of the practical technologies and theoretical knowledge of Maharishi Vedic Science for the arts and the artist? Question 2―Through my own subjective research into consciousness, how has this knowledge affected the outcome of my creative practice? This research is both an intellectual objective analysis and simultaneously a subjective investigation through my own personal experience in the development of consciousness. The research elucidates Maharishi Vedic Science and verifies it through modern scientific research, art and its foundation in creative intelligence, the history of art and its future potential, and my own personal artwork and creative process that has grown through the understanding and practical application of Maharishi Vedic Science in my daily life.
4
Porobic, Damir Verona. "MFA thesis exhibition." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4189.
Full textAbstract:
Thesis (M.F.A.)--West Virginia University, 2005.Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).
5
Freay, Emily M. "Seeds of Consciousness: Bioethical Activism in Critical Art Ensemble’s "Molecular Invasion"." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470043895.
Full text
6
Regan, Josephine. "Untitled : a dissertation submitted in partial fulfilment of the requirements for the Master of Fine Arts degree at Otago Polytechnic School of Art, Dunedin, New Zealand /." Josephine's Websites, 2007. http://www.regan.net.nz/.
Full textAbstract:
Thesis (M.F.A.)--Otago Polytechnic, 2007.Supervisors: Bridie Lonie and Clive Humphries. Thesis typescript. First produced for a website at: http://www.regan.net.nz "July 2007." Otago Polytechnic department: School of Art. Includes bibliographical references.
7
Blaszak, Urszula. "THE REBIRTH OF CONSCIOUSNESS." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3820.
Full textAbstract:
Human beings encounter cascades of a plethora of experiences, one after another, every single microsecond of our lives. There are many things happening around. The world is full of events and occurrences. As they happen, the mind reacts to every individual input. This is a very exhausting and difficult. Thus, people have developed a process of self-defense against this horrible mishmash of information. Their minds have this amazing capacity of sorting them out and making sense out of them. Humankind's survival depends on that. If one does not sort all this information out, one might not be able to make a simplest decision. As humans process the information, they learn to ignore and forget. They focus on their feelings and emotions. They forget the logic. The oversimplification process begins. Humans create rigid systems of oversimplified formulas. They assign adjectives to things, occurrences, and other people. The number of those adjectives is small. After assigning, those adjectives obscure everything else. A new world is created, stupid, limited, lazy, and in the end making humans very easy to control. What starts as a basic survival process ends up as a tool one can use to destroy the owners of the mind. In the end, the birth of consciousness leads to its death. My work fights this process. It aims to put a person back into that state of shock created by a mishmash of information and thus create the rebirth of consciousness.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
8
Mackinnon, Jeremy. ""The art of human consciousness" : DeLillo's White Noise and contemporary theories of subjectivity /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arm1582.pdf.
Full text
9
Doyle, Kaitlin Cavanaugh. "EXQUISITE MIND, EUPHORIC KNOWING: SOUND, LANGUAGE, AND CONSCIOUSNESS IN EXPERIMENTAL MUSIC AND CONCEPTUAL ART AFTER 1960." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case152293207480721.
Full text
10
Palumbo, Meredith. "Alienation, consciousness, and reclaiming the trajectory of the visual arts in Namibian nation building (John Muafangejo, Joseph Madisia) /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3204286.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0004. Adviser: Janet Kennedy. "Title from dissertation home page (viewed Dec. 12, 2006)."
11
Galushko, N. "Art as a phenomenon of personality formation." Thesis, Міжнародний центр наукових досліджень, 2020. https://er.knutd.edu.ua/handle/123456789/16772.
Full textAbstract:
Today humanity has faced the problem of aesthetic value. The current crisis of society is manifested in economic, political, ideological, moral and spiritual spheres of human activity. As a matter of priority an increased focus has to be put on spiritual crisis, because it extremely influences the other spheres of our life. Society needs a harmonious combination of material artefacts and spiritual values of civilization and culture. Art plays a significant role in this context. It helps to orient all spheres of civilization and culture humanistically. Moreover, it morally enlightens and promotes the formation of personality. Art activates creative forces, helps self-expression and self-affirmation, cultivates kindness and cordiality, develops imagination and creative thinking of the individual. At the same time, art gives aesthetic and moral satisfaction, and the harmony of the soul with it. That is why only art is an effective tool for becoming a full personality in modern conditions. Art is an integral attribute in the life of humanity. It plays an important role in all spheres of human activity. Art is a unique and original form of activity. Art not only reflects the prevailing ideas of culture in its development but also participates actively in the formation of new aspects of social consciousness, psychology, expanding human potential, ideas of beauty and promoting its self-improvement.
12
Kuster, Deborah A. "Critical Cultural Consciousness in the Classroom Through an Art-Centered Curricular Unit, "Respect and Homage."." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4597/.
Full textAbstract:
The purpose of this study was to describe the implementation, structure, content and outcome of an art-centered unit developed for 5th grade students. This unit was designed to be an example/model of specific tools and procedures that teachers can use in the art and general classroom to promote critical cultural consciousness, which is the ability to analyze both the covert and overt elements of a culture with the purpose of developing a holistic viewpoint that values the cultural heritages of self and others. The participants selected for this study were all the students in three 5th grade classes. The art-centered unit focused on three artists-Romare Bearden, Elizabeth Catlett and Charles White-under the theme "Respect and Homage." The research methods used in this investigation were qualitative. This study was written in a style that described the research design with its origins, organization and implementation. The implementation of the curricular unit developed for this study took place in the art and general classroom. Of particular interest in this study was the framework and structure of the art-centered unit, designed around two specific strategies utilized to promote critical cultural consciousness. One strategy in this unit was the identification of art-related or art-centered micro-cultures as an organizing framework for promoting critical, aesthetic inquiry of the selected works of art. Another important curricular strategy examined in this study was the utilization of personal and cultural value orientations for their role in developing cultural consciousness and critical aesthetic inquiry into works of art. Value orientations are common general issues or questions that we as people and as cultures apply various ranking patterns. Evidence of students' development of critical aesthetic inquiry into the focused works of art was documented and discussed, along with evidence of students' expanded understanding of art and culture. That evidence, added to students' personal, reflective ideas exhibited in the context of their personal art making, provided the record of students' growth in critical cultural consciousness used in this study.
13
Walters, Marilyn. "Marxist aesthetics : the social relation of the creative process and emancipated consciousness." Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/26027.
Full textAbstract:
A great deal has been written about the activity we know as Art; its role within the larger community, its relationship to the general mode of production within a given society, as well as its potential as a force for social change. Theorists in this area have bequeathed to us, tome upon tome in their efforts to better understand how we perceive Art, its objects and processes. Within the discipline of Aesthetics, definitions of the ”beautiful" and the ”good" and explorations of the relationship of one to the other, which have been with us since Plato's time, have been continually scrutinized, and in the Complex societies of Modern Capitalism, the perennial question, what is Art? persists, begging an answer. As Donald Brook remarks: It has been intuited for millenia that people can not make real art intentionally, on demand, because there is a significant sense or respect in which nobody knows even what it is; much less do they know how to set out to make it.
14
Kountouriotis, Pavlos. "Techniques of training pain in performance : somatic practices and altered states of consciousness." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/techniques-of-training-pain-in-performance(2a27dd8a-e452-4c97-bdd8-4f24f05b39dc).html.
Full textAbstract:
This practice-as-research project (a) invents, examines and self-reflects upon two techniques - 'Whirling in Pain' and 'Neurobreathing' - that the author has developed for dealing with pain in performance, (b) creates a framework for the qualitative analysis of pain retraining techniques by conducting an interdisciplinary study of the parameters that describe Somatic Practices and the psychology of Altered States of Consciousness, (c) establishes a taxonomy and classifications for describing and assessing techniques of pain management in the performing arts, (d) qualitatively assesses the training techniques of three practitioners —Antonin Artaud, Jerzy Grotowski and Marina Abramović—who have used Somatic Practices and Altered States of Consciousness in their techniques, and draws out patterns and themes in their practice, (e) distils generic principles of practice that are essential for training pain perception and could be used by other practitioners for developing their own techniques, or to better embody the techniques that the author has developed. These transferable principles are: reinforcement, exhaustion of pain-processing resources, inquisitive modes towards otherness, embodied knowledge, surrendering, Sisyphean reiteration, and music’s capacity for fascination. This dissertation considers the issue of dealing with pain in performance beyond the limited area of theatre pedagogy, suggesting an interdisciplinary approach and expanding its scope into the wider realms of theoretical discourse around culture and pain. This dissertation argues that since pain is not only a biochemical process but one that is culturally constructed, it is therefore possible to retrain or un-train the perception of pain through the facility of Somatic Practices that induce Altered States of Consciousness. Such retraining of pain perception has wider socio-political ramifications that challenge the pervading modern and neoliberal culture around pain, which understands it only through a reductively biological model and relies heavily on the use of exogenous analgesics to alleviate pain. Finally, this dissertation proposes that dealing with pain is possible not only by transcending and moving attentional focus away from pain, but also by entering a plane of immanence, achieved through working synergistically with pain in order to find the coping mechanisms and hidden reserves that lie dormant within the individual. The practical element of this submission consists of: (a) a Manual for Practitioners that describes the techniques step-by-step, and explains the principles behind them, and, (b) two performance videos that exhibit how the author has used the two techniques to create and manage pain within performances.
15
Young, Rhea. "The cognitive impact of art-gallery interventions for people with dementia." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12791/.
Full textAbstract:
Dementia is a progressive disease characterised by a widespread impairment of mental functioning including cognitive skills. Research has suggested that arts and health interventions can have positive effects in terms of physical and mental health in people with a dementia. The current study evaluated the impact of two, eight week, art-gallery based interventions, including art-viewing and art-making, for 13 people with dementia and their carers. Audio recordings of these sessions were transcribed and analysed using content analysis. The study sought to identify the impact of the intervention on cognition, in particular, on verbal fluency and memory. The findings suggested that on the whole, the intervention promoted increases in verbal fluency and in memory stimulation, which is consistent with previous research. Despite the methodological limitations inherent in this pilot study, the findings provide rationale for further controlled research and implications for clinical practice in encouraging clinicians to seek out links with community art gallery resources in order to facilitate the development of further interventions of this kind.
16
Benjamin, Garfield. "The cyborg subject : parallax realities, functions of consciousness and the void of subjectivity." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/621858.
Full textAbstract:
This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.
17
Serrano, Maria Cristina. "Visualizando la Conciencia Mestiza: The Relation of Gloria Anzaldúa’s Mestiza Consciousness to Mexican American Performance and Poster Art." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3591.
Full textAbstract:
This thesis explores Gloria Anzaldúa’s notion of mestiza consciousness and its
relation to Mexican American performance and poster art. It examines how the traditional
conceptions of mestizo identity were redefined by Anzaldúa’s Borderlands/La Frontera
in an attempt to eradicate oppression through a change of consciousness. Anzaldua’s
conceptions are then applied to Guillermo Gomez-Peña’s performance art discussing the
intricacies and complexities of his performances as examples of mestiza consciousness.
This thesis finally analyzes various Mexican American posters in relation to both
Anzaldúa and Gomez-Peña’s art works. It demonstrates that the similarities in the artist’s
treatment of hybridity illustrate a progressive change in worldview, thus exhibit mestiza
consciousness.
18
Chappell, Brenda Joyce. "The consciousness of African American women artists: rage, activism and spiritualism (1860-1930), interdisciplinary implications for art education /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314694311.
Full text
19
Terry, Amanda R. "Waking up to waste: Exploring the transformative capacities of deep listening and sound art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121493/1/Amanda_Terry_Thesis.pdf.
Full textAbstract:
This study investigates how improvisational Sound Art performance, focussed through the practice of 'Deep Listening', can promote new insights into societal understandings of 'waste'. Consumable items that are initially considered valuable very quickly become re-categorised as waste. This tacit process, aided by the ways in which we then hide those items in bins, landfills and the atmosphere, limits reflection on the ecological ramifications of creating such 'waste'. The study sought to change public perception of these materials 'out of place' via an improvised sound art performance, that categorised and utilised waste items as valued sound making instruments.
20
Daiello, Vittoria S. "The “I” of the Text: A Psychoanalytic Theory Perspective on Students’ Television Criticism Writing, Subjectivity, and Critical Consciousness in Visual Culture Art Education." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293716652.
Full text
21
Jennings, Bryan Colby. "Beneath the surface seeing through reflections /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/b_jennings_041910.pdf.
Full text
22
Yang, Ya. "A Meaningful Task: Investigating Into the Culture of Assessment in the Art Classroom of the Schools in Denton." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177266/.
Full textAbstract:
This is an enterpretivist cultural study on how the lively idea of assessment is enacted by the art teachers, students and administrators in Denton school art education, North Texas, the United States. This ethnographic research aims to extend understanding on assessment as vivid cultural and social dynamics that both reflects and enlivens varied and interconnected values promoted and shared among the people involved. Through a perspective of the culture of assessment, this study is expected to facilitate insights on art education as lived, purposeful experience bearing suggestions on a certain social environment and historical implications. Such insights as sought further illuminate specific understandings on art education in different cultural societies, such as China. From a Chinese native viewpoint, the researcher broadens her horizons on connection and independence important for informative performance of art education in the discourses of modern nation and schooling, as well as globalization. It is hoped that this study will interest other art educators, teachers, and researchers to make multiple and continuous efforts in further exploring the culture of assessment with cultural and historical consciousness and knowledge.
23
Giust, Anna. "Towards Russian Opera: Growing National Consciousness in 18th - Century Operatic Repertoire." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3422536.
Full textAbstract:
The nationalistic music critics of the 19th century (V. V. Stasov, among others), searching in the past for the legitimacy of the emerging national school of The Five, built in music the 'myth' of Mikhail I. Glinka, the founder of the two major branches through which the Russian Opera was to produce its best successes: the historical epic set up with the opera A Life for the Tsar (1836) and the magical fairy-tale opera inaugurated with Ruslan and Lyudmila (1842). This myth was fueled by Soviet historiography in the 20th century, and survives today, at a time when, at least on an informative, the pattern is repeated in the same terms.
One of the permanent aftermaths of the recalled traditional vision is that Mikhail Glinka in particular has come to be considered a watershed dividing the history of Russian opera into two main sections, either side of the year 1836: on the one hand the true history, and on the other a sort of prehistory, a partition that is reflected in handbooks in the distinction between do- (pre-) and ot- (post-) Glinkian opera, long time accepted by Western scholarship. As a consequence, for a long time the pre-Glinkian experiences were not acknowledged for their artistic value, and this resulted in these works being neglected, with little effort being made to identify or enhance single moments, authors, or works. Pre-Glinkian opera is precisely the object of the present research, which aims at highlighting elements of continuity since the 1730s (when the first opera troupes arrived in Russia), until the end of the century, through the reigns of the sovereigns Anna Ioannovna (1730-1740), Elizabeth Petrovna (1741-1762), Catherine II (1762-1796) and Paul I (1796-1801).
The analysis of available sources indicates the need for clarification of the documentation and interpretation, regardless of subsequent aesthetic evaluations, and prescinding from considering the ‘Russianness’ of the studied work sas a criterion, yet not formulated by the time of their production. It emerges an image of the musical Russian not so peripheral to European musical life, but rather taking part in the processes that characterized it: the use of opera seria as a celebratory event of the sovereign and 'mirror' of the court, the growing taste for comic opera and its progressive becoming sentimental and serious, the search for 'broader' forms corresponding to more elevated themes.
Up to the turn of the century (especially after the Napoleonic campaign in Russia, which remains outside the chosen span, though), the gradual development of a national consciousness can be noticed, which finds expression in music, and looks for proper means of expression: this is the beginning of a perspective that was to reach to the most exclusive nationalism, while remaining at the same time a European, and thus, paradoxically, cosmopolitan phenomenon. This phenomenon has not been highlighted enough in this stage (pre-Glinkian), partly due to the lack of attention paid (also by accredited historians such as R.-A. Mooser) to seemingly secondary factors, such as the language in which the works were represented, or the use of musical folklore.
On the one hand, associated with an important debate on linguistic codification as a means of national identification, the practice of representing the foreign works in the Russian translation appears as a major means of appropriation and reinterpretation in a national sense, even political, of the European works.
On the other hand, the reference to popular music, one of the cornerstones of the Russian school of The Five from the late 19th century onwards, appears abundant even before, in works that are not rare experiments, but form a large body, also cataloged in the ‘official’ collection Russian Theatre, issued by the Academy of Sciences in Catherine's time (1786-94), in what seems a conscious attempt at canonization of its own repertoire, to which the tsarina herself contributed significantly.
These experiences of musical theatre are expressed in the forms of time that produced them, and they have been wrongly discredited in retrospect, unrecognized as credible manifestations of the culture that had produced them. Already studied in the parallel field of study of literature, in the musical one this phenomenon is still in need for revisionism, a reviewing today only incipientLa critica musicologica di stampo nazionalista-ottocenteso (V. V. Stasov tra altri), cercando nel passato la legittimazione dell’emergente scuola nazionale, ha edificato in ambito musicale il ‘mito’ di Michail I. Glinka, fondatore dei due tronconi principali attraverso i quali l’Opera russa avrebbe prodotto gli esiti maggiori: l’epopea storica nata con l’opera Una vita per lo zar (1836) e l’opera magico-fiabesca inaugurata dall’opera Ruslan e Ljudmila (1842). Tale mito fu alimentato nel XX secolo dalla storiografia sovietica, e sopravvive tutt’oggi quando, perlomeno a livello divulgativo, lo schema viene riproposto negli stessi termini Uno degli strascichi più duraturi di questa visione è la forte scissione che essa impone alla storia della musica in Russia tra quanto avvenuto prima e dopo l’avvento di Glinka, con relativa svalutazione di circa un secolo di attività, almeno per quanto concerne il teatro musicale. Proprio questo è il settore del quale la presente ricerca si occupa, proponendosi di evidenziare gli elementi di continuità a partire dagli anni ’30 del Settecento, e fino alla fine del secolo, attraverso i regni di Anna Ioannovna (1730-1740), Elizabetta Petrovna (1741-1762), Caterina II (1762-1796) e Paolo I (1796-1801). Dall’analisi delle fonti disponibili emerge la necessità di precisazioni circa la documentazione e la relativa interpretazione a prescindere da giudizi posteriori, essi stessi storicizzabili, quali, ancora una volta, la possibilità di considerare un’opera sufficientemente ‘russa’ o sufficientemente ‘opera’, in riferimento a una produzione che prescindeva da questi criteri, in quanto non ancora formulati. Ne deriva un’immagine dell’ambiente musicale russo non così marginale rispetto alla vita musicale europea, ma piuttosto partecipe dei processi che la caratterizzarono: il ricorso all’opera seria come evento celebrativo del sovrano e ‘specchio’ della corte; il crescente gusto per l’opera comica e il suo progressivo farsi sentimentale e seria; la ricerca di forme più ‘ampie’ corrispondenti a tematiche più elevate. A cavallo tra i secoli XVIII e XIX, e in particolare dopo la campagna napoleonica in Russia, emerge lo sviluppo progressivo di una coscienza nazionale, che trova espressione nell’opera in musica, e cerca nuovi mezzi espressivi in corrispondenza dell’evoluzione degli umori nel passaggio del secolo: l’inizio di un cammino che giungerà fino al nazionalismo più esclusivo, pur restando al tempo stesso fenomeno europeo, e quindi, paradossalmente, cosmopolita. Questo fenomeno non è stato evidenziato a sufficienza in questa sua fase (preglinkiana), in parte a causa della scarsa attenzione riservata (anche da uno storico accreditato quale R. - A. Mooser) a fattori apparentemente secondari, come la lingua in cui le opere venivano rappresentate, o il ricorso al folclore musicale. Associata a un importante dibattito sulla codificazione linguistica in quanto strumento di identificazione nazionale, la pratica di rappresentare le opere straniere in traduzione russa appare come uno dei mezzi principali di appropriazione e rivisitazione in senso nazionale, anche politico, dello spettacolo europeo dell’opera. Essa dà inoltre la misura in cui l’aspetto testuale fosse sin da subito essenziale nella ricezione dello spettacolo operistico. D’altra parte, il riferimento alla musica popolare, uno dei capisaldi della Scuola russa dal secondo Ottocento in avanti, si manifesta abbondante già in precedenza, in opere che non sono rari esperimenti, ma che formano un abbondante corpus, catalogato ad esempio nella raccolta Rossijskij featr emanata dall’Accademia delle Scienze al tempo di Caterina (1786-94), in quello che mi sembra un consapevole tentativo di canonizzazione di un repertorio proprio, cui la stessa sovrana contribuì in modo significativo. Tali esperienze, nel teatro musicale come in ambito esclusivamente letterario, si esprimono nelle forme del tempo che le ha prodotte, e sono state illegittimamente screditate a posteriori, misconosciute quali manifestazioni credibili della cultura che le ha prodotte. Già evidenziate in ambito letterario, richiedono, in quello musicale, una revisione oggi solo incipiente.
24
Willacy, Eric. "The search for "self" in a fragmented mind." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/28928.
Full textAbstract:
The reason for making art goes beyond a desire to pictorially represent a chosen subject. The subject and the production methodology chosen to present it, are to art, what scaffolding is to a new building; a necessary means to an end, but to me at least, not an end in and of itself.
I contend that when we produce art, we instil into it some aspect of ourselves, a fragment of our psyche that we cannot describe. We know it only by its presence, which can only be detected through the nature of our response to visual or other sensory stimuli. This response is characterised through the way it makes us feel, yet the causal chain of these feelings is always absent.
This paper seeks to define the source of these emotional responses and to explain why we can have no cognition of the events that prompt them, and further, using the work of a range of artists, as well as my own, to ponder how this aspect of our personality becomes embedded in our art.
25
Francini, Althea Art College of Fine Arts UNSW. "Analyzing oppositions in the concept of visuality between aesthetics and visual culture in art and education using John R. Searle's realist account of consciousness." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43669.
Full textAbstract:
In art and education, theorists dispute the concept of visuality, or how meaning occurs from what we see. This study examines two opposed and acrimoniously entrenched theoretical perspectives adopted internationally: visual culture and aesthetics. In visual culture, visual experience, including perception is mediated by background cultural discourses. On this approach, subjectivity is explained as conventional, the role of the senses in making meaning is strongly diminished or rejected and from this, accounting for visuality precludes indeterminate and intuitive aspects. Differently, aesthetic perspectives approach visual meaning as obtaining through direct perceptual and felt aspects of aesthetic experience. Here, subjectivity remains discrete from language and the role of cultural discourse in making meaning diminishes or is excluded. Each description is important to the explanation of visuality in art and education, but problematic. To start, the study outlines the central explanatory commitments of both visual culture and aesthetics. The study identifies problems in each with their explanations of subjectivity or self. Both positions maintain from earlier explanations of cognition that separate theoretically and practically the senses, cognitive processes, and context. The study looks at approaches to mind and representation in accounts of visuality and provides some background from the cognitive sciences to understand the problem further. Contemporary explanation from science and philosophy is revising the separation. However, some approaches from science are reductive of mind and both aesthetics and visual culture theorists are understandably reluctant to adopt scientistic or behaviourist approaches for the explanation of visual arts practices. The aim of the study is to provide a non-reductive realist account of visuality in visual arts and education. To accomplish this aim, the study employs philosopher John R. Searle's explanation of consciousness because it explores subjectivity as qualitative, unified, and intrinsically social in experience. By doing this, the study addresses a gap in the theoretical understanding of the two dominant approaches to visuality. The key to relations between subjectivity and the world in reasoning is the capacity for mental representation. From this capacity and the rational agency of a self, practical reasoning is central to the creation, understanding, and appreciation of art and imagery. This account of consciousness, its aspects, and how it works includes description of the Background, as capacities enabling the uptake and structuring of sociocultural influence in mind. Crucially, the study shows how the capacity for reasoned action can be represented without dualism or reduction to the explanatory constraints of behavioural or physical sciences, an important commitment in the arts and education. In this explanation, the study identifies epistemic constraints on the representation of mental states, including unconscious states, in accounting for practices as reasoned activities. Centrally, the study looks at how, from the capacities of consciousness and the self's freedom of will, visuality is unified as qualitative, cognitive, and social. In exploring Searle's explanation of consciousness, some account of current work on cognition extends discussion of a reconciliation of visuality on these terms.
26
McGeehan, Shane. "Altered States." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430818059.
Full text
27
Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.
Full textAbstract:
By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in the EWF’s visual art, including album covers, music videos, and concerts.
A content analysis was conducted to study the lyrics and identify themes related to ancient Egyptian spirituality. A content analysis was also used to study the visual art and decipher what the symbols may signify. This research was based on the premise that Earth, Wind & Fire used their artistry to be a positive influence. When the lyrics and visual art were examined, the researcher found that they both contain themes of ancient wisdom and universal truths. The conclusions drawn from the findings suggest that EWF’s mission was to raise the consciousness of the world, and the way people responded is an indication that the mission was accomplished. The findings also suggest that the negative criticism EWF has received is unjustifiable.
28
Whelan, Ashleigh. "For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/104.
Full textAbstract:
This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness.
29
Tuttle, Megan K. "HAMBRE DEL ALMA:NOURISHING THE HUNGRY SOUL." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1258336622.
Full textAbstract:
Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed April 21, 2010). Advisor: Kirk Mangus. Keywords: ceramics; ceramic sculpture; figurative sculpture; heads; graffiti art; stream of consciousness; narrative. Includes bibliographical references (p. 16).
30
Lodato, Thomas James. "A treatise on the loop as a desired form: visual feedback and relational new media." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33880.
Full textAbstract:
The visual feedback loop has long-been ignored as a form and an aesthetic within new media. Media theories have largely assumed a medium is defined by the material technology, relegating visual feedback to a circumstance of media rather than a unique and well-defined concept. This thesis sets forth a criteria for characterizing the visual feedback loop as a desired form, that is, a distinct set of formal and phenomenological qualities that are independent of a medium. Grounding the criteria are the cinema theories of Gilles Deleuze and Sean Cubitt; these theories propose that the cinematic image relates visual forms to generate information in decoding rather represents information directly. The thesis elaborates the theoretical concepts in examples of visual feedback loops from video (Nam June Paikâ s TV Buddha, Bruce Naumanâ s Live Taped Video Corridor), new media art (Daniel Rozinâ s physical mirrors), and digital technologies (GPS navigation systems). To reconcile the visual feedback loop within media theories, the thesis calls for a radical change in how theorists define a medium. Moving away from notions of inscription and materiality, media now rely on a collapsed distinction between sender and receiver. Hence, visual feedback loops exist as remediations of a conceptual framework rather than a technological one, and so require a logic within media theory that allow for the rise of other desired forms like the visual feedback loop.
31
Dias, Sarah Frances. "Core values and principles generators of significance in architecture, painting and sculpture." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/14116.
Full text
32
Nelson, Meaghan Brady. "How Social Consciousness and the Development of Social Responsibility Can Grow Through the Meaning-Making Processes of Collaboration and Artmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343620040.
Full text
33
Sung, Shin-Young. "Espace réel, espace virtuel, espace transcendantal dans l'art contemporain : le cas de Robert Irwin." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040051.
Full textAbstract:
La notion d’espace prend un sens très fort et comme actif dans le travail artistique de Robert Irwin. Celui-ci instaure un nouveau mode d’être pour l’espace par son installation dite « site-conditioned/determined » tout en la nouant pourtant avec celui du site préexistant, qu’il soit intérieur ou extérieur. Le statut ontologique de son installation est celui d’un « non-objet », d’une extrême simplicité de forme et d’un minimum de matérialité : une bande noire ou une surface de voile semi-transparent, à la fois objet montré et sujet montrant, mettent en jeu lumière et ombre, attirant notre attention non seulement sur lui mais tout autour, intégrant l’espace où il s’intègre. L’installation est mise en œuvre de son environnement architectural ou naturel. L’installation est ainsi installa(tten)tion, c’est-à-dire installation qui installe l’attention. Ce que procure l’artiste au spectateur par son installation est la sensation pure de l’apparaître dynamique et changeant de l’espace du monde réel. Sensible d’abord à la dimension réelle de l’espace physique, nous découvrons peu à peu sa dimension virtuelle, puis transcendantale, au fur et à mesure que ce processus de sensation pure déclenché par l’aspect inhabituel de cet espace pourtant réel se déploie. Grâce au toucher direct et vivant d’un sentir aiguisé, et visuel et kinesthésique, éveillé par l’installation de Robert Irwin, devient quasi palpable notre conscience d’exister. Elle résonne alors à la réalité directe et immédiate du monde mais aussi aux virtualités de son apparaître et à ce qui les rend possibles : sa forme en soi, révélée et actualisée comme la véritable nature de l’espace réelThe notion of space has a strong and active meaning in Robert Irwin’s art work. He establishes a new way of appearance of space through his so-called “Site-conditioned/determined” installation by uniting the installation with the space of the existing site, whether indoors or out. The ontological status of his installation is that of a “none-object”: extremely simple in form and with a minimum of materials. He uses a black tape or a surface of semitransparent scrim. These objects are both “object shown” and “subject showing”. They play with light and shadow, catching our attention not only on themselves but also on their surroundings, including the space into which they fit. So the art piece is not only the installation itself but its circumstance with its whole architectural or natural environment. So the installation is installa(tten)tion, that is to say an installation that installs attention. Through the installation, the artist provides for the viewer a chance to have a pure sensation of the dynamic and changing appearance of space in the real world. At first sensitive to the real dimension of physical space, we discover little by little its virtual and then transcendental dimensions, as this process of pure sensation unfolds, triggered by the unusual aspect of the real space caused by the installation. A direct and living contact through a sharpened feeling, both visual and kinesthetic, with the space, awakened by the installation of Robert Irwin, makes our awareness of existing almost palpable. This awareness of existing resonates with the direct and immediate reality of the world as well as potentialities of the world’s appearance and what makes these potentialities possible: form in itself, revealed and actualized as the true nature of real space
34
Matos, Sílvio Alexandre Rato de. "O que resta da acção do corpo no processo criativo da media art. Análise da obra Osmose de Char Davies." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14707.
Full textAbstract:
Este estudo aproxima-se da área artística da media art, tendo em conta o tipo
de ligação que o corpo estabelece com as ferramentas tecnológicas utilizadas.
Intimamente ligado a este facto, importa observar que corpo é este que entra no
processo criativo do artista e o tipo de acção que têm perante as matérias de expressão.
O facto desta pesquisa conter um lado subjectivo e pessoal, levou a que
procurasse o tipo de corpo que pretendia estudar, bem como os seus efeitos aquando da
manipulação das matérias artísticas. Esta pesquisa acerca do corpo, baseou-se em muito
no estudo de um autor especialista no assunto, o filósofo José Gil.
Intimamente ligado a esta investigação está o trabalho prático Flow, que se
insere no formato de uma instalação audiovisual em circuito fechado de vídeo e
projecção.
A obra Flow, foi ganhando consistência à medida que se cruzou a pesquisa
teórica e bibliográfica realizada, sendo que alguns dos artistas tratados têm qualquer
coisa em comum, seja pelas semelhanças na forma como encaram a participação do
corpo do espectador, seja pela experimentação durante o processo criativo.
De uma forma mais circunscrita, realizo uma análise da obra Osmose de
Charlotte Davies, bem como do seu fazer artístico, que acabou por resultar num ponto
fundamental do eixo central de todo o trabalho, ao ponto de ser integrada no título da
dissertação.
O estudo em torno do processo criativo do artista baseia-se na perspectiva de
Gilles Deleuze, principalmente pelas relações entre artista, espectador e obra, bem como
as percepções que atravessam estas três entidades; ABSTRACT: This study approaches the artistic field of media art, taking into account the
type of connection that provides the body with the technological tools used. Closely
connected with this fact should be noted that this body is going into the artist's creative
process and the type of action that they have with the art materials.
The fact that this research include a personal and subjective side, led to seek
the kind of body that wanted to study, and their effects during manipulation of art
materials. This research about the body was based on a study of the subject matter
expert author, the philosopher José Gil.
Associated with this research is the practical part - Flow, which falls in the
form of an audiovisual installation in a closed circuit video and projection.
The work Flow, gained consistency as I crossed the literature and theoretical
research carried out, and treated some of the artists that had something in common, with
similarities in the way we view the participation of the viewer's body, or by tests during
creative process.
In a more limited way, I conducted an analysis of the work Osmose of
Charlotte Davies, as well as her artistic practice, which eventually resulted in a
fundamental point of the central axis of the dissertation, at a point of being integrated in
the title of the dissertation.
The study about the artist's creative process is based on the perspective of
Gilles Deleuze, especially the relationships between artist, viewer and work, as well as
the perceptions that cut across these three entities.
35
Soustre, de Condat Bérangère. "Entre memoria et conscience aristocratique : femmes, art et religion dans le Royaume de Sicile (XIe-1ère moitié XIIIe siècle)." Université catholique de Louvain, 2009. http://edoc.bib.ucl.ac.be:81/ETD-db/collection/available/BelnUcetd-03152009-123913/.
Full textAbstract:
Dans le Royaume de Sicile, le patronage religieux entrepris par les femmes des dynasties normande et Hohenstaufen sous-tend la question de l'affirmation de l'individu dans la société médiévale. Comme dans les représentations iconographiques des reines et des princesses, ces actions mettent l'accent plus sur le pouvoir de la dame aristocratique que sur son appartenance au genre féminin. Mais le patronage féminin est aussi lié à la question de la mémoire du lignage; l'individu se définissant par rapport à un groupe formé de morts et de vivants, la commémoration des ancêtres disparus participe aussi à la création d'un mémoire aristocratique véhiculée par les femmes. / In the Realm of Sicily, the religious patronage begun by the women of the dynasties Norman and Hohenstaufen underlies the question of the assertion of the individual in the medieval society. As in the iconographic representations of the queens and the princesses, these actions emphasize more the power of the aristocratic lady than her membership in the feminine genre.But the feminine patronage is also connected to the question of the memory of the nobility; the individual defining itself with regard to a group formed by deaths and by alive, the remembrance of the disappeared ancestors also participates in the creation of an aristocratic report conveyed by the women.
36
Arcuri, Irene Pereira Gaeta. "Ampliação da consciência por meio da calatonia e da arteterapia." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/15794.
Full textAbstract:
Made available in DSpace on 2016-04-28T20:40:00Z (GMT). No. of bitstreams: 1
Irene Pereira Gaeta Arcuri.pdf: 4917996 bytes, checksum: 8e9284d8d0cf2e0fe9d061ea85909f6a (MD5)
Previous issue date: 2009-03-24Conselho Nacional de Desenvolvimento Científico e Tecnológico
The main purpose of this research is understand the experience of expansion of consciousness, lived along de process of psychotherapy after Calatonia and expressed by means of making mandalas and its subsequent associations. It deals with a qualitative research, based in clinical cases interpreted through the lumen of Jungian Analytic Psychology. The expansion occurred always that some unconscious content was integrated to the consciousness in this process. When the unconscious content was retained by mechanisms of defense, pressuring and provoking the increase of the unconscious energetic level, the emergency of a new symbol, enabled by Calatonia and expressed in the mandalas and/or in the process of associations, allowed the transformation of the structure of the consciousness and the assimilation of the unconscious content, that formerly couldn t be assimilated. Both experiences, corporal and artistic, in the process of Calatonia and the accomplishment of mandalas, based on the singularity of the relationship between patient and therapist, reproduced similar conditions of the first relations between people, propitiating the transformation of the complexes and the expansion of consciousness
O objetivo desta pesquisa é compreender a experiência de ampliação de consciência, vivida no processo de psicoterapia, com aplicação de calatonia e expressa por meio de realização de mandalas e das subsequentes associações. Trata-se de uma pesquisa qualitativa, baseada em casos clínicos, interpretados à luz da psicologia analítica junguiana e autores afins. A ampliação ocorreu sempre que, neste processo, algum conteúdo inconsciente foi integrado à consciência. Quando o conteúdo inconsciente encontrava-se retido pelos mecanismos de defesa, pressionando e provocando aumento do nível energético do inconsciente, a emergência de um novo símbolo, possibilitado pela calatonia e expresso nas mandalas e/ou nos processos de associações, permitiu a transformação da estrutura da consciência e a assimilação do conteúdo inconsciente, que, anteriormente, não podia ser assimilado. A experiência conjunta, corporal e artística, no processo de calatonia e realização das mandalas, apoiada na singularidade da relação entre paciente e terapeuta, reproduziu condições semelhantes às das primeiras relações interpessoais, propiciando a transformação dos complexos e a ampliação da consciência
37
Barros, Bianca Bernardo. "A fábrica de peles: Hundertwasser e o caminhar contemporâneo." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6030.
Full textAbstract:
Por convergência teórica, esta tese de dissertação é estruturada em quatro capítulos, retomando a teoria das cinco peles de Hundertwaser. O artista austríaco, filho de mãe judia e pai ariano, realizou em Paris sua primeira exposição no ano de 1954 e desde então, não cessou mais de trabalhar, aglutinando os exercícios de arquiteto, ambientalista, naturista e higienista moral, assim como as atividades de pintor e gravador, todos efetivados nos múltiplos diálogos estabelecidos por cada pele. As cinco peles de Hundertwasser acredita o homem como um ser de camadas, que se desenrolam por uma espiral concêntrica, que parte do eu-profundo para o mundo exterior, operada por osmose, nas cadeias sucessivas dos níveis de consciência do indivíduo. as cinco peles de Hundertwasser são um plano de vida - e mais: uma reflexão profunda do ser e estar sobre a terra, colocado em prática ao longo de sua jornada artística. A abordagem pretende desdobrar tal teoria - o que cada pele me suscita - no corpo fabril da minha produção em relação a de outros artistas e teóricos. A transmissão das cinco peles de Hunderwasser desenvolve-se em situações de alargamento das peles. Uma apropriação que re contextualiza, revela novos posicionamentos no caminhar da arte contemporâneaBy theoretical convergence, this thesis dissertation is structured in four chapters, referring to the five skins theory of Hundertwasser. The Austrian artist, son of a Jewish mother and German father, held his first exhibition in Paris in the year 1954 and has not stopped since then, as an architect, environmentalist, naturist and moral hygienist, as well as the activities of painter and engraver, all ralized in the multiple dialogues established for each skin. The five skins of Hundertwasser are: the first skin, the epidermis; the second skin, clothing; the third skin, the home; the fourth skin, our social identity; and finally, th fifth planetary skin. Hundertwasser believe the man is a being of layers, which unrolls as a concentric spiral, that part form the deep-self to the outside world, operated by osmosis, in the successive chains of consciousness levels of the individual. The five skins of Hundertwasser are a life project - and more: a deep reflection of the being and standing on the earth, put into practice along his artistic journey. The approach seeks to unroll such theory - what each particular skin brings me - in the body of my production, relating to other artists and theorists. The transmission of the five skins of Hunderwasser develops as situations that extendes the skins. An appropriation that brings new context, revealing new ways of contemporary art
38
Macelloni, Alfredo Henrique. "Arte/Educação na aula de História: um espaço na construção da consciência ambiental." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2047.
Full textAbstract:
Made available in DSpace on 2016-03-15T19:43:47Z (GMT). No. of bitstreams: 1
Alfredo Henrique Macelloni.pdf: 1822872 bytes, checksum: 2e9220d0f6e3197a8dea7c7117359d84 (MD5)
Previous issue date: 2010-02-11Promoting the sensitization and the construction of the environmental consciousness in the History classes was the goal of this study; it was trying to go deeper into the knowledge that already exists in the relations among History, Landscape, Landscape Painting and Environment. This paper approached the knowledge about environmental history [defended by Worster] to the historical scholar knowledge, with the intention of propitiating learning opportunities for a study inserted in the everyday coastal life. This approximation was done through artistic works from the historical, social, cultural and environmental point of view. It tried to verify the understanding about the environment coming from the students of the first year in high-school, with ages between 14 to 15 years old in the city of Bertioga-SP. Passing by a process of intervention in the History classes, where the researcher was also the teacher who is guided by the principles of the art / education proposed by Ana Mae Barbosa, some reproductions of paintings from the artist Benedito Calixto were used. What interested in Benedito Calixto‟s works was the thematic linked to the paintings of landscapes (natural and marine), in special the creations of the beginning of the twentieth century. After the intervention adjusted to the teaching of research-action expressed by Thiollent, the students dedicated themselves to the development of their artistic skills when they created visual poetic forms, based on photographs, for, this way, show in an artistic way the interaction between the man ant the environment. Some of these photographs served as a disclosure to the process of environmental degradation and the decrease in quality of life, other photographs were used as a way to value the natural beauty that are still preserved. With this, it was verified through questionnaires that appeared new comprehension in what was understood about the environment. For the analysis of the investigation in a qualitative order, the method Bardin was used, that, when classified categories using unities of register, it permitted a safer interpretation and made it easier the decisions during the intervention. This way, it was possible to find out that the experiences of art / education developed with the students made it possible the enrichment of the history classes and offered conditions that helped the construction of the environmental consciousness of the students involved.
Promover a sensibilização e a construção da consciência ambiental nas aulas de História foi a finalidade deste estudo, procurando aprofundar o conhecimento do que já existe nas relações entre História, Paisagem, Pintura de Paisagem e Meio Ambiente. Aproximou os conhecimentos da história ambiental [defendidos por Worster] ao saber histórico escolar, com a intenção de propiciar oportunidades de aprendizagem para um estudo inserido no cotidiano da vida litorânea. Essa aproximação se deu por meio de obras artísticas do ponto de vista histórico, social, cultural e ambiental. Procurou verificar o entendimento sobre meio ambiente por parte dos alunos do 1º ano do ensino médio, com idades entre 14 e 15 anos, de uma escola pública estadual da cidade de Bertioga-SP. Passando por um processo de intervenção nas aulas de História, onde o pesquisador é também o professor e norteado pelos princípios da arte/educação propostos por Ana Mae Barbosa, foram utilizadas algumas reproduções de pinturas do artista Benedito Calixto. O que interessou das suas obras foi as temáticas ligadas à pintura de paisagens (natural e marinhas), em especial as criações do começo do século XX. Depois da intervenção, ajustada aos ensinamentos da pesquisa-ação explicitados por Thiollent, os alunos se dedicaram ao desenvolvimento de suas habilidades artísticas ao criarem formas poéticas visuais, a partir de fotografias, para, então, revelar de forma artística as interações do homem com seu meio. Umas serviram como denúncia dos processos de degradação ambiental e diminuição da qualidade de vida, outras como formas de valorizar as belezas naturais que ainda estão conservadas. Com isso, verificou-se, através de questionários, que surgiram novas compreensões do que se entendia por meio ambiente. Para a análise das investigações, de ordem qualitativa, utilizou-se o método de Bardin, que, ao classificar categorias utilizando unidades de registro, permitiu uma interpretação mais segura e facilitou as decisões durante a intervenção. Desse modo, foi possível constatar que as experiências de arte/educação desenvolvidas com os alunos possibilitaram o enriquecimento das aulas de História e ofereceram condições que auxiliaram a construção da consciência ambiental dos educandos envolvidos.
39
Petroni, Ana Paula. "Psicologia Escolar e arte: possibilidades e limites da atua??o do psic?logo na promo??o da amplia??o da consci?ncia de gestores." Pontif?cia Universidade Cat?lica de Campinas, 2013. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/447.
Full textAbstract:
Made available in DSpace on 2016-04-04T18:29:57Z (GMT). No. of bitstreams: 1
ANA PAULA PETRONI .pdf: 3159092 bytes, checksum: 2350af5ddc991b7edc9913ef37cffe5e (MD5)
Previous issue date: 2013-02-20The goal of this research and intervention is to analyze the performance of the psychologist through practices that use art as mediation of the consciousness expansion in school principals, from a public Elementary School. In this way, it assumes the theoretical and methodological presuppositions of Cultural-Historical Psychology, especially of the consciousness and experience concepts, discussed by Vigotski, that constitutes as foundation of our analysis. Five school principals were the subjects of the research: a director, two vice-directors and two pedagogical advisors. The data was collected in twenty-three meetings, recorded in audio and transcripted, furthermore the semi-structured interviews with five participants. The reading of these results originated the construction, through the sense indicator, of three main categories: managing function: characteristics, tensions and contradictions; the psychologist insertion in school: constituents movements of his performance; and art mobilizing the development of consciousness: possibilities of action in school. As results, it was observed that the individual, when set new senses and meanings in his reflections initiated by arts contact has the possibility to enlarge the consciousness about himself and the other. It was revealed, also, that despite the partnership established among the mangers, the insertion and the performance of the psychologist at school presents a lack of legitimacy, either by the school professionals or through the establishment of public policies that promotes and support this insertion.
Esta pesquisa-interven??o tem por objetivo analisar a atua??o do psic?logo por meio de pr?ticas que se utilizam da arte como mediadora da amplia??o da consci?ncia de gestores, de uma escola p?blica municipal de Ensino Fundamental. Assumem-se os pressupostos te?rico-metodol?gicos da Psicologia Hist?rico-cultural, fundamentados no materialismo hist?rico e dial?tico, em particular os postulados por Vigotski, com destaque aos conceitos de consci?ncia e viv?ncia, que se constituem como fundamentos de nossa an?lise. Foram sujeitos da pesquisa cinco gestores: um diretor, dois vice-diretores e dois orientadores pedag?gicos. Os dados foram colhidos em vinte e tr?s encontros semanais, gravados em ?udio e transcritos, al?m de entrevistas semi-estruturadas com os cinco participantes. A leitura desses dados resultou na constru??o, por meio dos indicadores de sentidos, de tr?s grandes categorias: fun??o gestora: caracter?sticas, tens?es e contradi??es; a inser??o do psic?logo na escola: movimentos constituintes de sua atua??o; e a arte mobilizando o desenvolvimento da consci?ncia: possibilidades de a??o do psic?logo na escola. Como resultados, observou-se que o sujeito, ao configurar novos sentidos e significados nas reflex?es desencadeadas pelo contato com as artes tem a possibilidade de ampliar a consci?ncia sobre si e sobre o outro. Evidenciou-se, tamb?m, que apesar da parceria estabelecida com os gestores, a inser??o e atua??o do psic?logo na escola carecem de legitima??o, seja por parte dos pr?prios atores escolares ou da institui??o de pol?ticas p?blicas que promovam e sustentem esta inser??o.
40
May, Virginia. "Intuitive Inquiry and Creative Process: A Case Study of an Artistic Practice." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16038/1/Virginia_May_Thesis.pdf.
Full textAbstract:
This Master of Arts by research was comprised of two components: creative practice (60%) and a written thesis (40%). The creative practice was partially represented in an exhibition of paintings, drawings, photographs and artist books entitled Traces, held at WiseART Gallery, 166 Ann St, Brisbane, March 2005. The written component is represented in this manuscript.
This case study illustrates the creative process of an individual artistic practice through intuitive inquiry, which utilized self-observation methods such as painting, drawing, photographing, bookmaking, exhibitions, journaling, questioning and mindfulness. Intuitive inquiry is outlined as the predominant method of both the phenomenon of art making in this case, as well as the method used to study the creative process. The concept of intuitive inquiry as a research method, by its similarity to this particular creative process, was well suited to studying its delicate, preconscious, internally reflective and reflexive activities. Intuitive inquiry also underpins the exceptional, transformative experiences of the artist, which are often excluded from conventional empirical research.
The results of this study demonstrate that it is through the hermeneutic interpretations of process, product and dialogue that a deeper understanding of the creative process is gained. The hermeneutic model of creative process that emerged (Fig 4.14) will assist others in a deeper understanding of how creative process can be utilized in generating new knowledge. More importantly, it is this creative interpretive process that can lead to transformative experiences, which encourage both the artist and the audience to search for a deeper engagement with each other and the world.
41
May, Virginia. "Intuitive Inquiry and Creative Process: A Case Study of an Artistic Practice." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16038/.
Full textAbstract:
This Master of Arts by research was comprised of two components: creative practice (60%) and a written thesis (40%). The creative practice was partially represented in an exhibition of paintings, drawings, photographs and artist books entitled Traces, held at WiseART Gallery, 166 Ann St, Brisbane, March 2005. The written component is represented in this manuscript. This case study illustrates the creative process of an individual artistic practice through intuitive inquiry, which utilized self-observation methods such as painting, drawing, photographing, bookmaking, exhibitions, journaling, questioning and mindfulness. Intuitive inquiry is outlined as the predominant method of both the phenomenon of art making in this case, as well as the method used to study the creative process. The concept of intuitive inquiry as a research method, by its similarity to this particular creative process, was well suited to studying its delicate, preconscious, internally reflective and reflexive activities. Intuitive inquiry also underpins the exceptional, transformative experiences of the artist, which are often excluded from conventional empirical research. The results of this study demonstrate that it is through the hermeneutic interpretations of process, product and dialogue that a deeper understanding of the creative process is gained. The hermeneutic model of creative process that emerged (Fig 4.14) will assist others in a deeper understanding of how creative process can be utilized in generating new knowledge. More importantly, it is this creative interpretive process that can lead to transformative experiences, which encourage both the artist and the audience to search for a deeper engagement with each other and the world.
42
Cornwell, Emma. "“Alexa, Are You Conscious?”: Exploring the Possibility of Machine Consciousness." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1375.
Full textAbstract:
This thesis seeks to answer the following question: “could a machine be capable of consciousness?” I begin to tackle this question by providing a presumed definition of consciousness, employing Bernard Baars’ Global Workspace Theory. Next, I look to various discussions of machine intelligence and whether or not this would be sufficient for categorizing a machine as conscious. And lastly, I explore the notion that the human brain may be a sort of computational system itself and the implications this notion has for the potential that non-human systems may achieve consciousness.
Through these sections, I ultimately conclude that a machine could potentially mimic the cognitive systems of the human brain that produce consciousness (at least insofar as these systems and consciousness itself are defined by Global Workspace Theory). And therefore, a machine could indeed be capable of consciousness.
43
Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.
Full text
44
Lewest, José. "Les processus de reconfigurations dans l'art caribéen : Guadeloupe, Haïti, Jamaïque." Thesis, Antilles, 2015. http://www.theses.fr/2015ANTI0014/document.
Full textAbstract:
La nature et la rythmique des évolutions des pratiques artistiques en Guadeloupe, Jamaïque et Haïti, pays caribéens aux mêmes bases historico-culturelles, dès le XVIIIe siècle, démontrent une singularité dynamique portée par le concept de reconfiguration. Du règne de l’académisme européen aux balbutiements de l’imitation des autochtones caribéens descendants d’esclaves et exclus de l’art érigé en privilège de castes, jusqu’à la rupture épistémologique opérée à partir des années vingt, sous l’influence des mouvements nationalistes, anticoloniaux développés dans la Caraïbe et renforcés à l’extérieur par les capitales occidentales, New York, Paris, Madrid. Les principes idéologiques progressistes incarnés et réinvesties par Price Mars, Alain Leroy Locke, Marcus Garvey, Aimé Césaire renversent les valeurs académiques et déclenchent l’irruption de la subalternité dans l’art caribéen. Ces procédures de reconfigurations s’illustrent dans les continuelles ruptures au XXe siècle jusqu’à aujourd’hui et sont à l’origine des mouvements Indigénisme, Primitivisme, Intuitivisme développés avec le concours plus ou moins marqué d’étrangers. Ses multiples visages qui se dessinent à travers une succession de métamorphoses, d’adaptations et de reconfigurations à chaque fois renouvelées dans la variance des représentations et des contextes lui confèrent une dimension épique. A chaque étape de cette épopée, les artistes caribéens actualisent leurs pratiques traversées par un balancement lancinant entre l’ancrage que procure la réacquisition des références matricielles Africaines et Caribéennes et ouverture au monde. En dépit des écarts évidents entre les trois pays, des valeurs communes d’échanges démocratiques portées par les termes, Koudmen, Coumbite et Lyannaj sont retranscrites par tous, en engageant la réalité d’une géostratégie de l’art suggérée par les notions de multilatéralisme et de multipolarité. L’envers de cette stratégie de la convergence humaniste de l’art se fonde dramatiquement sur les disfonctionnements psychiques hérités de l’histoire qui trouvent leurs expressions dans les concepts de double conscience et de conscience marassa. Ces nouvelles modalités d’appréhension du monde sont les symboles de l’écartèlement entre des aspirations contradictoires et sont révélatrices d’une face contrariée de la reconfiguration de l’art. Ces procédures de transferts d’influences culturelles interpellent sur les limites qu’elles circonscrivent et incitent à l’interrogation sur la capacité de l’art caribéen à se projeter au-delà des gestes systématiques de retraitement, de recyclage et d’importation afin de générer une approche plastique intégrale, autonome, moins dépendante de la gestion d’influences et de modes ?The nature and rhythm of the evolution of artistic practices in Guadeloupe, Jamaica and Haiti, Caribbean countries with the same historical-cultural bases, as soon as the 18th century, show a dynamic singularity which is driven by the concept of reconfiguring. From the reign of the European academicism to the infancy of imitation of the Caribbean natives-descendants of slaves and excluded from art erected in caste privilege, up to the epistemological rupture operated from the 20s under the influence of the nationalist and anti-colonial movements which were developed in the Caribbean and which were strengthened on the outside by the Western capitals, New York, Paris, Madrid. Progressive ideological principles embodied and reinvested by Price Mars, Alain Locke, Marcus Garvey, Aimé Césaire, overturn academic values and trigger the emergence of the subalternity in Caribbean art. These reconfiguration procedures are illustrated in the continual breaks in the twentieth century until today and are the source of Nativism movements, Primitivism, Intuitivism, developed with the more or less marked help of foreigners. Its multiple faces that emerge through a series of metamorphoses, adaptations and reconfigurations, each time renewed in the variance of representations and contexts give it an epic dimension. At each stage of this epic, Caribbean artists update their practices crossed by a nagging swinging between the anchoring provided by the reacquisition of the African and Caribbean references and openness to the world. Despite the obvious differences between the three countries, common values of democratic exchanges carried by the words, Koudmen, Coumbite and Lyannaj are transcribed by all, by engaging the reality of a geostrategy of art suggested by the concepts of multilateralism and multipolarity. The other side of this strategy of humanistic convergence of art is dramatically based on the psychic dysfunctions inherited from history, which find their expressions in the concepts of double consciousness and Marasa Consciousness. These new methods of apprehension of the world are the symbols of the quartering between contradictory aspirations and are indicative of an upset face of the reconfiguration of art. These cultural influences transfer procedures challenge the limits they circumscribe and encourage the questioning on the ability of Caribbean art to project beyond the systematic actions of reprocessing, recycling and import, in order to generate an autonomous integral plastic approach, less dependent on the management of influences and modes
45
Renz, Flora. "The Gender Recognition Act 2004 and transgender people's legal consciousness." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/65552/.
Full textAbstract:
Until the Gender Recognition Act (GRA) came into force in 2004 trans people in the UK were not able to legally change their birth certificates and other documents to accurately reflect the way they experienced their gender identity. Previous case law defined sex and gender in primarily biological terms and made several highly problematic assumptions about trans people. For example, it assumed that trans people were intentionally deceiving either potential partners or indeed the state, by wanting to access marriage rights while being in homosexual relationships. The GRA has supposedly revolutionised gender rights in the UK by moving away from a biological understanding of sex/gender and by making it possible for trans people to change their birth certificates, gain access to legal rights, and as a result enjoy protection against discrimination. However, it contains several provisions that effectively encourage trans people to regulate their gender identity. This regulation aims to enforce a binary gender framework; regardless of whether this binary reflects people's own understanding of gender. Overall, the GRA seems designed to create subjects that govern their behaviour and self-expression in a way that aligns with a purely binary model of sex/gender and sexuality. Although a deviation from these norms does not incur any direct punishment it indirectly leads to a denial of rights and legal protections, which is particularly worrisome when considering the impact on those people, who are not just unwilling, but unable to meet the standards set out in the GRA. By reviewing relevant legislation and case law, and through qualitative research with people engaged with the GRA, I argue that instead of uncritically accepting or completely rejecting the GRA trans people engage with this law in a more sophisticated way. The GRA does not accurately reflect many trans people's own understanding of their gender identity or their sexuality. As a result people have to make strategic choices about how they present themselves to officials throughout the recognition process.
46
Ziada, Hazem. "Gregarious space, uncertain grounds, undisciplined bodies the Soviet avant-garde and the 'crowd' design problem." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39599.
Full textAbstract:
This thesis proposes a theoretical framework for spatial inquiry into conditions of radical social gregariousness, through probing the crowd design problem in the work of the Soviet Rationalist architects (1920s-30s) - particularly their submissions to the Palace of Soviets competition (Moscow 1931-3). Legitimizing the crowd construct as an index of collective consciousness, and examining the early-modern revolutionary crowd's struggles for proclaiming its self-consciousness, this thesis investigates the interwar political phenomenon of amassing large crowds within buildings as a device for constructing collective social relations.
The research project is divided into two main parts. The first is concerned with the crowd design problem, identifying this problem not just as the technical task of accommodating large political crowds, but as the basis of the formulation a new kind of conceptual intent in architecture. Finding the competition brief inadequate to in-depth formulation, the thesis investigates three primary sources for the crowd design problem: mass-events, revolutionary-theatre and revolutionary-art. Four components comprise the Crowd Design Problem each seeking legitimacy in the mass of crowd-bodies: i) the problem of crowd configurations; ii) challenges from the kinesthetic-space conception evoked by theatrical director V.E. Meyerhold's Biomechanics; iii) the legitimacy of 'the object' within a spatial-field of intersubjectivity; and iv) the challenge of 'seeing' crowds from immersive viewpoints counteracting representational filters of class privilege.
Part-II focuses on the response of the Rationalists--one of the groups participating in the competition--to the crowd design problem. The study unearths in their designs a logic of space-making founded in the construction of inter-subjective states of consciousness radically different from prevailing individualistic conceptions of social space. To explain this logic of space-making, it proposes the notion of Gregarious Space--a theoretical framework of inquiry into what Marx called "species-being", taking radical gregariousness as the primary, generative condition of society. Besides drawing on morphological principles, social theory, historical analyses, and philosophical reflections, the notion of Gregarious Space is found to be particularly amenable to design propositions. Within the proposed theoretical framework, the Rationalists' design-proposition of curved-grounds, dense notations, textured co-visibilities and empathetic graphic conventions - all comprise a founding spatial-principle trafficking in rhythmic fields between subjects and against non-commodified objects: a principle which challenges the material domain of Productivist Constructivism as well as Historical Materialism's canonical constructs of alienation. Moreover, its uncertain kinesthetics sustain dynamic, aleatory states of consciousness which subvert prevailing disciplinary techniques of Panopticon inspection.
47
White, Kelley. "Space: A Discovery of Visual Language." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2487.
Full textAbstract:
Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.
48
Michel, Matthias. "Une épistémologie des sciences de la conscience. Are you experienced ? An epistemology of consciousness science." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL070.
Full textAbstract:
Si la conscience semble d’abord poser un ensemble de problèmes philosophiques, l’étude de la conscience est aussi un domaine florissant des neurosciences cognitives. Au lieu d’un travail de philosophie de l’esprit visant à déterminer a priori si la conscience est explicable scientifiquement, cette thèse offre une analyse détaillée des pratiques scientifiques impliquées dans l’étude de la conscience, et d’un ensemble de problèmes philosophiques surgissant de l’intérieur même de ce programme de recherche. Cette nouvelle approche, relevant de la philosophie des sciences, donne toute sa place à un problème identifié comme central dans la constitution des sciences de la conscience, celui de développer des procédures permettant de déterminer si les sujets ont des états mentaux conscients, ou non, c’est-à-dire, des procédures de détection de la conscience. Parce qu’elle présente une synthèse complète des procédures de détection de la conscience utilisées par les scientifiques, et des problèmes impliqués par l’utilisation de ces procédures, cette thèse s’adresse tout à la fois aux philosophes soucieux de comprendre la façon dont les scientifiques étudient la conscience, et aux scientifiques à la recherche des fondements épistémologiques de leur discipline. Les sceptiques, enfin, y trouveront un ensemble de réponses à leurs arguments, fondées pour la première fois sur une épistémologie cohérente des sciences de la conscienceAlthough consciousness might appear as a primarily philosophical topic, the scientific study of consciousness has been an integral part of cognitive neuroscience for about thirty years. Instead of a work in philosophy of mind, debating whether or not consciousness can be explained scientifically, this dissertation provides a detailed examination of the scientific practices involved in the scientific study of consciousness, and of a wide variety of philosophical problems arising from within the science of consciousness itself. Through its original philosophy of science approach to the scientific study of consciousness, this dissertation focuses on one of the most central problems in the field: that of developing procedures for determining whether subjects have conscious or unconscious mental states, namely, procedures for detecting consciousness. As the first detailed epistemological analysis of the detection procedures used in consciousness science, and the problems they face, this dissertation is of interest for philosophers who want do understand how scientists study consciousness, aswell as for scientists who desire to reflect on the epistemological foundations of their field. Those who are skeptical about the prospects of the scientific study of consciousness will also find, for the first time, answers to their arguments based on a coherent epistemology of consciousness science
49
Gok, Selvi Elif. "Modeling Consciousness: A Comparison Of Computational Models." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611178/index.pdf.
Full textAbstract:
There has been a recent flurry of activity in consciousness research. Although an operational definition of consciousness has not yet been developed, philosophy has come to identify a set of features and aspects that are thought to be associated with the various elements of consciousness. On the other hand, there have been several recent attempts to develop computational models of consciousness that are claimed to capture or illustrate one or more aspects of consciousness. As a plausible substitute to evaluating how well the current computational models model consciousness, this study examines how the current computational models fare in modeling those aspects and features of consciousness identified by philosophy. Following a detailed and critical review of the literature of philosophy of consciousness, this study constructs a composite and eclectic list of features and aspects that would be expected in any successful model of consciousness. The study then evaluates, from the viewpoint of that list, some of the current self-claimed computational models of consciousness, specifically CLARION, IDA, ACT-R and model proposed in the Cleeremans'review and study. The computational models studied are evaluated with respect to each identified aspect and feature of consciousness.
50
Charles, Amelia N., and Lia M. Bevins. "Building Allies Who Are Informed and Engaged." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/asrf/2019/schedule/31.
Full textAbstract:
Growing inequity and political polarization necessitate organized political action capable of challenging large-scale, globalized power. Political projects around the globe, and certainly in America, that aim to shift power relations have become synonymous with projects of building allies. Others—people of color, queers, and women—have long formed political alliances in order to build movements that contest hegemonic power. Others have formed these alliances (with various allies) along the lines of political ideology. Increasingly, with the growing influence of identity politics overshadowing class politics, identity plays a key role in shaping who takes part in political action. The role of an “ally” has also followed this pattern, allowing non-marginalized subjects to claim a “good ally” identity, despite lived experiences that share struggle with Others. However, ally-ship is a project of life-long work that engages various forms of anti-oppression work and is rooted in a process of what Paulo Freire terms “conscientization.” Using Freire’s concepts, principals of “the ethics of care philosophy,” and qualitative interviews, this research examines why allies are important to liberation projects of marginalized groups, specifically queers. The individuals interviewed for the research each have extensive experience educating others in the process of building allyship. The research analyzes their unique approaches along with other programs centered on the process of ally building to highlight the most successful methods. The research explores the differences in ally-ship with and affirmation of Others; complicates the projects of non-oppressive groups versus anti-oppressive groups; and examines the process of ally building. Based on the data and information gathered from qualitative interviews and literature, a framework is created that outlines the processes necessary in allyship building. The findings of the research illustrate the benefits of allies to Others in the fight for equality and demonstrate how an individual can work towards becoming an ally to these groups. In short, this research illustrates Freire's concepts of education for “critical consciousness” as it is applied to allies and the necessary action against oppressive agents.