Dissertations / Theses on the topic 'Ecology in art'
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Trainer, Janette. "Art and ecology : a visual exploration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/852.
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Within the broad theme of art and ecology, local ecological issues were explored through studio practice involving digital imagery, print making, and mixed media. The frame of reference for the creative project included a discussion of the representations of natural, social and cultural environments' by visual artists. As an art educator interested in developing "best practice" including interdisciplinary approaches across the curriculum with an emphasis on visual arts education, the researcher explored the connections between art and ecological concerns. The Curriculum Framework for Kindergarten to Year 12 Education in Western Australia (1998) provided a sound basis for action. In particular, the Values Outcome, Environmental Responsibility and the Present and Future Condition, Global Environmental Issues have significance for this project. Further, The Arts Outcome, Communicating Arts Ideas is a reminder to visual arts educators that ideas, thoughts and feelings may be transformed into art works. In the primary school setting, engagement with ecological issues has the potential to involve students in both group and individual projects. As an art maker, the creative arts project draws on an area of personal significance. The property, Toodyay Gums, at Lot 11 on the Northam/Toodyay Road, in the Avon Valley, north east of Perth became the site for investigation, research and the generation of artworks. The roles of art educator and art maker are brought together in a research question that forms the 'focus of the Creative Arts Project; To what' extent does visual arts practice give rise to a fuller understanding of ecological issues and new insights into a specific site? Documentation for the creative project takes the form of an exegesis, journal entries, visual diaries, and art works. The techniques of print making, digital imagery and mixed media provided the means of representing concepts and layers of experience. The art works produced during the course of the Creative Arts Project were exhibited at The Churchlands Studios, Edith Cowan University, 12•19 December 2002.
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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
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Ratanavanich, Heidi. "Queer ecology." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3516.
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Vesala, Essi. "Practicing Coexistence: Entanglements Between Ecology and Curating Art." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170794.
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This thesis formulates ecological thinking in curatorial practices, as a way to act against neoliberal values, far-right politics and find ways to work in a sensitive way in a time of accelerating ecological crisis. The current socio-political landscape, and its oppressive forces, influence profoundly the art world and whole societies at large. This thesis starts by looking how those forces affect artistic and curatorial practices, and suggests, that a counter-action for these threats could be a practice, that is informed by ecological thinking. Different, ecologically motivated curatorial practices are discussed with curators Jenni Nurmenniemi and Nataša Petrešin-Bachelez, as well as collective Laboratory for Aesthetics and Ecology. Some additional examples are drawn from the work of Mustarinda association. What comes clear, is that ecological thinking is much more than thinking about the environment or sustainability, but rather, it has connection points with theories of new materialisms, post-fossil experimentation and decolonial thought, all of which are also interconnected and entangled. This thesis gathers a praxis, that is informed by said ecological thinking, which functions both as a thinking and a doing. Ecological thinking is about radical coexistence and entangled in the materialities of the more than human world. Ecologically informed practice, then, could mean paying attention to material dimensions of practices, slowing down and rethinking exhibition formats.
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Hayley, David H. "Steps to an art of ecology : an emergent practice." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530760.
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Clarke, Jennifer. "Working between art and forestry : towards an ecology of practices." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229382.
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This thesis is an anthropological inquiry into how art comes to be made in and about forests, and how forestry, art practice and anthropology could be mutually enriched. Drawing primarily on more than two years of fieldwork (2009 - 2012) it examines some of the overlapping interrelationships that emerge through working in the interstices between art and forestry in Scotland, by paying attention to the grounds of artists' and foresters' interests and practices as they operate in specific instances. This thesis also investigates pertinent aspects of forestry management such as forest design and landscape planning, as well as foresters' approaches to interpretation and the role of art in the context of public forestry in Scotland, considering the contemporary issues for the 'multi-purpose' management of such complex ecological and social systems. The points of intersection between the fields of art and forestry are axiological as well as practical. This thesis explores diverse ways of working in as well as with art and forestry, that in different ways are concerned with questions of agency, ethics, and aesthetics, ways of seeing, materials and material processes. It reviews different approaches to art, from more traditional examples of permanent sculptural works commissioned for public forests, to projects by artists whose work engages explicitly with the ethics and politics of working forests, and with people, as well as aspects of forestry management as I mention above. Moreover, my research also explores some of the correspondences between art and anthropology, and works towards one way of doing anthropology 'with' art rather than an anthropology 'of' art. This is revealed in correspondences between art and anthropology, which this thesis explores through practical and conversational experiments that chime with skilled ways of working in both art and forestry. While critical of the apocalyptic visions and utopian politics that often accompany ecological thinking, this thesis is correspondent with forms of contemporary ecological art praxis. The research is offered as a contribution to such ways of working, which reveal the interweaving political, philosophical and ethical implications of ecological perspectives.
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Fowkes, M. "Central European neo-avant-garde art and ecology under socialism." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1380708/.
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This thesis addresses the question of how the natural environment figured in the neo‐avant‐garde practices of the generation of artists who around 1970 started to engage with the subject across the socialist states of Central Europe, where various degrees of communist control over society influenced not only artistic production, but also limited access to information about the state of the environment and ecological discourse. The study examines a historical period influenced by the aftermath of the social and political upheavals of 1968, one where art entered the natural environment and engaged with environmental problems, which corresponded to the moment when ecological crisis was first registered on a planetary scale. Individual chapters devote attention to detailed examination of the practices of the Pécs Workshop from Hungary, the OHO group from Slovenia, TOK from Croatia, Rudolf Sikora from Slovakia and Czech artist Petr Štembera, each of whom developed distinctive approaches to the environment through the investigation of process‐based works, land art, public art, conceptual practices or performances, motivated by the neo‐avant‐garde tendency to dematerialise the art object. By focusing on their diverse approaches to the environment, which included engaging with the problems of ecological crisis, raising environmental awareness among socialist citizens, and exploring non‐anthropocentric positions and cosmic perspectives, this comparative study analyses their practices in light of specific socio‐political and environmental circumstances, and reveals the complexity of art history as a discipline under socialism. Working from specific positions and with different artistic affinities, the artists considered here articulated a cosmopolitan voice which commented on the nationalist trespassing of nature, and the communist denial of the environmental crisis, and spoke about a burgeoning ecological imperative that spanned the globe and could not be confined within any imposed borders.
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Salton, Bronwen Lauren. "53 stitches : sustainability, ecology and social engagement in contemporary art." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001580.
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Through an exploration of both the sculptural and socially-engaged art practices undertaken in creating my Master of Fine Art exhibition, 53 Stitches, I unpack some of the possibilities pertaining to the practice of sustainability, ecology and social engagement in contemporary art. This thesis explores the history and concepts of sustainable development and what the implications are of the far-reaching global consideration of sustainability for contemporary art production. Looking at the writings of Felix Guattari’s (2000 [1989]) and Suzi Gablik’s (1992) on the effects of the economic model of capitalism on our environmental, social and mental ecologies, I discuss the necessary paradigm shift of the artists’ identity from the ‘individual self’ towards the ‘relational self’, affirming our interdependence upon our social and natural environments. With reference to the writings of Maja and Reuben Fowkes (2008), I explore the principles of sustainability in contemporary art and discuss the notion of ‘sustainability of form’ through insight into dematerialisation, recycling and the prospect of artists now becoming knowledge producers/facilitators. This is supportive of my personal exploration and experimentation with recyclable materials as a creative medium, used as a means of knowledge and skills facilitation in socially-engaged arts practice and the process of art-making as research. I refer to the sculptural and ‘painterly’ constructions of Sofi Zezmer and Mbongeni Buthelezi, respectively, as a means to elucidate a practical contextualisation of my practical work, particularly with regard to the use of plastic as a constructive medium. Looking at the works of Linda Weintraub (2006), Marnie Badham (2010) and Miwon Kwon (2002), I expand on the theoretical discourse pertaining to sociallyengaged art practices, and elucidate the reconfiguration of the role of the artist towards now becoming a cultural service administrator, organiser and knowledge facilitator. With reference to Arjen Wals and Johnson et al., I further discuss the role of education in sustainability and explore the necessary reconciliation between university institutions and the social and environmental context in which they are located, in the form of place-based capacity building and service learning. I explore within this thesis the concepts and processbased research of my own sculptures
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pettersson, pontus. "an ecology of things/thinking." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6254.
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An ecology of things/thinking is a textual work, a document of my thinking and the things Ihave created during my master studies in fine arts at Konstfack. As the title and word suggests‘ecology’, it is a material practice. I have called it a choreographic step entering thiseducation. With several motives and desires and with a ten-year background in dance andchoreography, the main thread has been to look into the object and installation work I havebeen doing. in which objects, clothes and larger sculptures have been ways for me tounderstand choreography not only entangled in dance but in everything. Concepts/words likehospitality, temporality and context are reoccurring topics of my inquiries, as I understand thehuman with great plastic qualities and potential. In my work I always need to consider thecontext, pre-conditions and conditions for a dance to emerge.I see the body as both reading and writing machine, we cannot only producetext, dance and objects, but we also read and write the movement in between things, the largerchoreography and the interwoven parts. Doing dance and choreography, my artistic practiceblends these notions in both making objects or exhibitions, dancing for others or myself,writing poetry and curating events. For my master studies I needed to leave the morespectacle-like parts of dance and performance out of my palette of expressions. I wanted to letthe objects and installation work have more agency, still working with choreography. Thesituation/context – Konstfack became my field of study and from where I could speak/createfrom.
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Scheuer, Benedict Leo. "A Spiritual Ecology of the Line." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587552184531075.
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Heineman, Anna Marie. "Nurturing neighborhoods: Buster Simpson's eco-art." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/513.
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Buster Simpson is a Seattle-based artist who creates work that revolves around environmental issues in public settings. His ecological messages reach local communities through works that are often funded by percent-for-art programs, non-profit organizations such as schools and museums, and other public institutions. By using recycled materials or by purifying water, Simpson's public art draws attention to the local environment, and his works provide examples of ways that people can care for their local surroundings. My thesis sheds light on Simpson's public and environmental work, detailing the creative manner in which he incorporates history, education, and artistic complexity into his sculptures. Through their aesthetics and their real-world utility, Simpson's works nurture neighborhoods.
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Marner, Anders. "Digital media embedded in Swedish art education : a case study." Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.
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In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
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Donelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.Department of Art
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Collins, Timothy Martin. "Art ecology and planning : strategic concepts and creativity within the post industrial public realm." Thesis, University of Plymouth, 2007. http://hdl.handle.net/10026.1/2789.
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The intent of this thesis and its attendant body of practical work was to examine and test ideas and practices that can inform and expand the artists' role in the post-industrial public realm and its environmental context. The general focus was on transformative approaches to contemporary public art. The specific interest (and area of practice) is defined by artwork that takes an interdisciplinary approach to new forms of social creativity in the context of post-industrial environmental change. This dissertation begins with a broad literature review to understand public art and its relationship to: the public realm, ecology, nature and the environment. The intent was to understand the theory and process that inform answers to questions regarding the artists' ability to affect public policy; the ability to expand the creative act beyond singular authorship and finally the question of can we verify the impact of art? The thesis closes with two chapters describing practical work on 'Nine Mile Run' a project that developed an ecolo nPical restoration approach to post-industrial public space; also'3 Rivers 2n Nature'which focused upon the emancipation of, and a means to advocate for post industrial nature. These projects were developed with the intention to test theory through application and value through outcome. The goal was to provide a better understand of ideas that define and enable collaborative or inter-relational approaches to transformative art practice. The intention was to make a small contribution to the theoretical framework that informs the conceptualization, experience and valuation of transformative public art practices that intend to affect the material and conceptual forms of the postindustrial public realm. It is through intellectual study and ongoing practice that the three original questions are addressed with a cautionary affirmative. Other specific findings include the following. " The ongoing tension between individual freedom and social interaction is best addressed through a moral commitment to creativity in relationship to the emancipation of people, places and things. " Visual evidence can not be the sole focal point of critical engagement with transformative practice. " Transformative practices that undertake an inter-relational methodology demand ethical, responsible and distributed outcomes.
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Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
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I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multiâ€media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multiâ€media installations.
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Galbicka, Evan. "Path." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5476.
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Path is a collaborative system that developed over the course of five months of studio activity and continued through the duration of the exhibition. The system’s main collaborators were a land snail native to eastern North America (Neohelix albolabris), myself, and a digital cellular automaton. These prime agents interwove processes and exchanges between one another into a complex network of folded fractal feedback loops. Cyclic processes produced artifacts and infrastructures to support communication between the components and agents of Path. As a whole, Path spoke to the possibilities for interspecies, cyber-physical, and ecological collaboration to create an emergent landscape.
The iteration of Path that follows in this document extends the collaborative system onto the space of the page. Path.txt is a concrete poem drawn from personal notes and observations from field and studio research. The composition of the text was generated through one of the processes at play in the production of Path as a gallery installation. The arrangement of text follows an algorithmically determined sequence initiated by the slime trail of N. albolabris. Following this textual iteration, a section of images and text outline the processes that operated in Path as a gallery installation.
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Curran, Fiona G. "Towards a fractured topography of the present : art, ecology and the political economy of speed." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1534571/.
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This research examines landscape, explored within my own practice and within visual art practices since the 1960s, as sight (representation/mediation) and site (material). The aim of the research is to contribute to enriched ecological ontologies that further the development of a spatialised ecological politics. Two interlinked questions guide the research: 1) How can a situated art practice contribute an alternative aesthetic and material approach to contemporary debates on the environmental impact of new technologies? 2) Can landscape, as representation and material within art, offer critical significance in examining conditions of power in late capitalism? Adopting a transdisciplinary theoretical methodology rooted in the studio practice of assemblage the research focuses on spatial and temporal imaginings that enable alternative social-aesthetic-material formations to emerge. The chapters are organised around a series of landscape tropes - Tropical, Desert, Glacial and Atmosphere – each exploring the movements between the material and metaphorical meanings of space. The speculative fictions of J.G.Ballard are deployed alongside Paul Virilio’s concepts of “grey” ecology and “dromospheric pollution,” extending ecological debates to include the temporal and planetary impacts of new technologies. The thesis proposes that thinking “grey” ecology with and through visual art practices allows new spatial and material imaginaries to form. These newly assembled landscapes operate along a natural-technological continuum, able to incorporate the radically artificial environment that has emerged into visibility in the Anthropocene. The research argues that attending to the visual-material dialectic of landscape as sight/site reveals a situated geopolitics of knowledge production that is essential to the shaping of any post-anthropocentric ecological politics. Speculative spatial and temporal imaginaries are re-tethered to political possibilities for the human through acknowledgement of shared environments that are more-than human.
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Baylor, Brendan Neil. "Contested futures." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4573.
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Emory, Jorie Lynne. "Exploring the Role of Artist Residencies on Local Land Stewardship: A Case Study of the Sitka Center for Art and Ecology." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248715949.
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Arp, Mary. "Global housekeepers /." Online version of thesis, 1993. http://hdl.handle.net/1850/12154.
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Manser, Sara Jane. "Tracing the Subnatural: Understanding the Aesthetic of Urban Nature." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365826.
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This studio-based research focuses on my visual exploration of ideas about nature, specifically, urban nature. Through my practice of mark making I investigate and find inspiration in the many non-human forms of nature, seen and unseen, on the surfaces and in the margins of cities. Urban ecological thinking has enabled me to argue that cities are natural, and that ideas we continue to hold onto, of a pristine wilderness, do not necessarily help advance our appreciation of, and value for, the nature where we live.
This exegesis also discusses a shift in the anti-aesthetic and aesthetic aspects of contemporary art and nature. I discover that there is a shift in the aesthetic appreciation of nature due to an awareness of different forms of nature that we now live with, and even create, like weeds, dust, and pollution. The artists I survey highlight the value of the urban. While they are ecologically aware, they are not overtly environmentalist. This research contributes to the extensive discourse on art and the environment, and about critically thinking about urban nature, and the nature humans create. Throughout, this chronological investigation sets out the changes and shifts in location and resulting studio outcomes.
I begin by outlining my exploration of the traces of nature on surfaces of the city, focusing on marks of wear and effects of time, age and decay as aesthetic qualities of desire and nature. These forms of nature are referred to as subnature. I examine concepts of the human/non-human connections through the marks of nature on man-made structures, and of man-made marks on nature. My studio work explores ideas of artificiality by experimenting with surfaces, stains, and mark making, in relation those observed in the urban environment.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Contente, Ana Rita Marçal dos Santos. "Objectos comestíveis: uma reflexão sobre a sustentabilidade no contexto artístico e sociocultural." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21131.
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Objectos comestíveis – Uma reflexão sobre a sustentabilidade no contexto artístico e sociocultural
é uma dissertação de caráter teórico-prático, realizada no contexto do Mestrado em Artes
Visuais Intermédia do Departamento de Artes Visuais e Design da Universidade de Évora, variante
tridimensional. Consiste na investigação e realização de uma obra de arte efémera sobre o ciclo de
produção, utilização e eliminação dos objetos do quotidiano, assim como sobre as implicações
ambientais, sociais e individuais da cadeia consumista nas sociedades contemporâneas.
Partindo do reconhecimento de que o atual sistema económico reforça um paradigma
insustentável – ecológica e socialmente –, a obra propõe uma possível alternativa para o descarte
mediante a transformação orgânica da matéria, com o intuito de suscitar no público a reflexão sobre
os processos relativos ao excesso de consumo e lixo.
A realização de seis objetos de uso comum em materiais comestíveis formaliza a proposta
artística, na qual o tempo de vida útil dos objetos coincide com o tempo efetivo da sua presença no
meio, eliminando a desproporção atual entre a transitoriedade do usufruto do objeto e a perenidade
dos detritos do pós-consumo; ABSTRACT:
Eatable objects – a reflection on sustainability in the artistic and sociocultural background, it’s
an essay both theoretical and practical, accomplished for the Visual Arts PHD in the Design and Visual
Arts Department of Universidade de Évora, thri-dimensional branch.
It consists of an investigation as well as the creation of an ephemeral piece of art, about
the cycle of production, use and elimination of everyday objects, as well as its impact on the environment,
on society and the individual effects of the consummerist chain in contemporary societies.
As society embrasses and strenghtens an unbearable paradigma – both ecologically and
socially – the work of art proposes an alternative to be thrown away since its matter can be organically
transformed. The goal is to arouse questions and the audience to reflect about the processes
related to the surplus of consummerism and waste.
The creation of six eatable objects conveys the artististic concept, in which the life spam
of the objects is the same as their duration and presencea round people, putting an end to the
opposition between the transitoriedade do usufruto of the object and the perenidade of post consummerism
waste.
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Daly, Jennifer Linnea. "The temporal nature of things." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/80.
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Birchler, Susan. "Ecological Art: Ruth Wallen and Cultural Activism." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001969.
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Bergère, Raphaël. "Ecopoïèses : enjeux écologiques de la création artistique à l'ère des nouveaux médias." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20076.
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Les rapports que l’homme entretient avec son environnement semblent évoluer au fil des nombreuses découvertes scientifiques et technologiques. En effet, ces dernières engendrent de nouvelles manières d’intervenir sur le monde qui nous entoure. À l’ère des biotechnologies, des nanotechnologies, du numérique, des réseaux et des nouveaux systèmes audiovisuels, nos possibilités d’interactions avec le monde sont en mutation. Il semblerait bien qu’en explorant ces nouveaux médias pour réaliser des œuvres, de nombreux artistes interrogent la complexité des systèmes écologiques et technologiques qui nous environnent. Lorsqu’ils posent un regard critique sur ces technologies, ou inventent de nouveaux modèles systémiques, cela ne serait-il pas souvent des manières de nous inciter à nous réapproprier nos milieux de vie ? Le travail d’écriture mené au long de cette thèse entreprend d’étudier comment, dans les pratiques artistiques contemporaines, la notion d'écologie peut être revisitée au regard des technologies et des nouveaux médias. Nous avançons l’hypothèse qu’une étude des relations entre l’art et son (ou ses) environnement(s) en articulation avec les nouveaux médias puisse nous aider à repenser nos manières humaines d’habiter le monde. Nous proposons d’employer le terme « écopoïèse » pour désigner de manière générale les processus de création qui ont des enjeux écologiques. Il s’agit alors d’élaborer une pensée qui tient compte des relations complexes et systémiques que les créateurs, les œuvres et les spectateurs entretiennent avec leur environnementMan's relationship with his environment seems to evolve following a pattern similar to that of the discoveries of science and technology, which bring about new ways to interact with the world. Now in the age of biotechnology and nanotechnology, of digital networks and new audiovisual media, our capacity to act in the world mutates accordingly. In their practice of new media in order to produce their works, many artists question the complexity of the ecological and technological systems that surround us. When they seem to criticize these technologies or try to create new systemic models, is it not often their way of encouraging us to claim ownership of our very habitats? This dissertation studies the ways in which ecology may be revisited through the use of new media and technologies in contemporary artistic works. Our hypothesis is that a study of the relation between art, the environment(s) where it is displayed and the new media it uses may help us rethink the way we inhabit the world. Tentatively, we suggest the word « ecopoiesis » to qualify the creative processes in which ecology is at stake. The goal is to come up with a notion of the complex and systemic relations that the artists, the works of art and the audience have with their environment
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Wertz, Gail Williams. "Dwelling "Where The Waters Rise And Fall:" The Historical Ecology Of Archaic Period Settlement In The Rappahannock River Valley." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444442.
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This study examines long-term change in Indigenous settlement in Virginia's Rappahannock River Valley and its underlying causes during the Archaic Period (10,000-3000 BP). Previously-unstudied archaeological collections from two sites along the Rappahannock River provided evidence of demographic changes from the Middle Archaic to the Late Archaic period, and offered evidence of shifting settlement patterns. To evaluate why different locations were selected for Middle Archaic settlement versus Late Archaic settlement, the overall topography, hydrology and environmental settings of the two sites were evaluated by geospatial analyses of LiDAR images. The reasons for the changes were assessed further using the research framework of Historical Ecology to consider long-term environmental data in conjunction with paleoclimate, biological and archaeological information. Climate change, sea-level rise, formation of the Chesapeake Bay and the effects of embayment on the landscape of the tributary Rappahannock River were evaluated. I present a line of reasoning that links the Late Archaic choice of settlement location to the new riverine resources that became available as the Rappahannock River flow-rate slowed dramatically with Chesapeake embayment. A rationale and broad time-line for this transition are deduced. This information is coupled with analyses of the archaeological lithic assemblages to examine Indigenous actions and choices made relevant to settlement, subsistence and technology in the face of environmental change. These studies benefited from consultation with present-day members of the Rappahannock Tribe.
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Alexandra, Carla. "Reimagining the city through art : Tactics, opportunities and limitations from Experiment Stockholm." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-132078.
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The transformation of cities is a challenge of global significance that will depend on the capacity to re-imagine the potential of cities, and thus needs more than standard technocratic urban planning approaches. Deep engagement with the arts provides one avenue for recasting the future of cities. This thesis explores the question of how ‘critical urban art interventions’ develop alternative ways of knowing urban nature, and the opportunities and limitations of using art to reimagine the future of cities. By drawing on urban political ecology and cultural geography, the thesis documents and explores the aims and tactics used in five urban art interventions to reimagine sites of urban nature in Stockholm. Qualitative interviews and participant observation were carried to explore these questions. Findings suggest that tactics used in urban art interventions promote embodied ways of knowing, and simultaneously interacting with the physical and socio- historical constructions of sites of urban natures.
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Gaučienė, Sigita. ""Skrybėlės kitaip"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20131122_113233-43061.
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Visuomet ieškojau būdų kaip saugoti gamtą ir buvo įdomu, kaip ir kiek vartojame, kokią žalą patiria aplinka ir tuo pačiu mes patys. Pradėjusi magistro studijas supratau, jog tokius ekologiškus sprendimus, kaip antrinis stiklo panaudojimas, galiu pritaikyti ir kūryboje. Technika – “fusing” ( sukepinimas), pate de verre.Studying Master‘s degree studies i understood that creating artistic glass object can be applied ecological aspects and recycling ideas. Creating in fusing and pate de verre technologies.
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Teed, Corinne Ryan. "Queering the species divide." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1773.
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Potential alliances between queers and animals populate queer scholarship, while dominant culture has relegated both groups to similar sites of subjugation and abjection. My work presents utopic visions crafted from these shared sites of marginalization and asks how they can enable new biopolitical communities. I ask: can we co-habitate, with non-human animals, these particular sites of marginalization in a manner that enables cross-species, affective solidarity? And can this co-habitation also encourage ruptures within heteronormative and human-centric paradigms? Rescuing the subjectivity and cultures of animals from extent subjugations can build new multispecies communities that are essential in an era of environmental devastation and climate change. Through printmaking, installation and time-based media, I explore real, psychological and metaphorical environments of cross-species encounters.
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Lombardo, Lisa. ""The Flukishness of Being Related": Biosemiotics, Naturecultures, and Irony in the Art of Nina Katchadourian." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18388.
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This thesis contends that Nina Katchadourian's oeuvre can be read as subtly breaking down problematic assumptions about nature in Western thought. The second chapter draws on biosemiotics, which redefines life as semiosis, and trans-corporeality, which reconceptualizes the human body as inseparable from the environment, to show how Katchadourian's art routinely calls attention to non-human animal and material agencies. The third chapter demonstrates how Katchadourian's work implicitly reinforces Donna Haraway's idea of naturecultures, which contends that nature and culture are mutually implicated and inextricably intertwined, through a close reading of two of Katchadourian's pieces, Natural Crossdressing and Mended Spiderwebs #19 (Laundry Line). The final chapter compares the use of irony in two pieces that comment on Western animal classification--Chloe, by Katchadourian, and Scala Naturae, by Mark Dion--contending that Katchadourian's piece demonstrates what Bronislaw Szerszynski terms an "ironic ecology."
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Stahl, Nicole. "Prevail: In the moment." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/562.
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This body of work is composed of sculptural mixed media objects and scenes that heavily utilize cast glass. These pieces are physical representations of my quest to seek mental balance by focusing on what brings me happiness and comfort while still honoring mortality.
Moldmaking and repetition of process innate within casting and other aspects of this work makes me focus and revisit an idea, repetitively, like a meditation or a prayer. The intense focus required helps combat my anxiety and translates anxious energy into more positive, productive, balanced way of living.
Part of this balance requires the acknowledgment of the opposition. In this work, I confront some of these dualities by exploring my understanding and interpretation of life, death; beauty, grotesque; reality, fantasy; happiness, and depression. References to and use of ecology like the human form, animals, insects and flowers acknowledge the natural cycle of life. Peonies specifically symbolize my personal request for health and healing. Replicated items are used to honor the original object or memory and give figurative power to concepts I wish to emphasize. Some works resemble a memorial and become monuments to a memory or an emotion.
When presented as a body of work, my intention is to create an experience and thus a memory for the viewer. A memory is more likely to be impactful and longer lasting when more than one sense is activated. With this in mind, a calming scent of peony is diffused throughout the area as the viewer navigates through the space and interprets anthropomorphic creatures, wilting flowers, and a vignette of metamorphosing butterflies. Viewer's memories are activated with my references, and a personal narrative manifests. It is my pleasure to share my experiences, understanding of life, and to create a new memory with them.
Prevail: In the moment... is a story of resilience. It is a petition for balance, health, and healing. It is a remark of gratitude for the positive moments, and an honoring of mortality. It is the creation of a new memory and a manifestation of looking forward to the future.
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Sgaramella, Chiara. "Hacia un enfoque ecosocial. Prácticas colaborativas, ecología y compromiso político en el arte actual (1995-2020)." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/163790.
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[ES] La presente tesis doctoral sondea las intersecciones entre prácticas de creación colaborativa y arte relacionado con la ecología en los últimos veinticinco años. La investigación se desarrolla en el contexto de la actual situación de crisis ecológica y social y explora el papel de las prácticas artísticas estudiadas en la reconsideración del paradigma civilizatorio neoliberal, así como de los conceptos modernos de autonomía del arte y autoría. A partir de una metodología interdisciplinar, se propone una tentativa de acotación para definir un enfoque ecosocial en la producción artística contemporánea identificando además algunos aspectos caracterizadores del mismo. Se presentan cuatro estudios de caso para evaluar de qué manera las prácticas artísticas de enfoque ecosocial pueden contribuir a producir otros saberes, modos de sociabilidad, prácticas y sensibilidades encaminadas a la construcción de modelos culturales social y ambientalmente comprometidos.[CA] La present tesi doctoral sondeja les interseccions entre pràctiques de creació col·laborativa i art relacionat amb l'ecologia en els últims vint-i-cinc anys. La investigació es desenvolupa en el context de l'actual situació de crisi ecològica i social i explora el paper de les pràctiques artístiques estudiades en la reconsideració del paradigma civilitzatori neoliberal, així com dels conceptes moderns d'autonomia de l'art i autoria. A partir d'una metodologia interdisciplinària, es proposa una temptativa d'acotació per a definir un enfocament ecosocial en la producció artística contemporània identificant a més alguns aspectes caracteritzadors d'aquest. Es presenten quatre estudis de cas per a avaluar de quina manera les pràctiques artístiques d'enfocament ecosocial poden contribuir a produir altres sabers, formes de sociabilitat, pràctiques i sensibilitats encaminades a la construcció de models culturals social i ambientalment compromesos.
[EN] This thesis explores the intersections between collaborative practices and ecology-related art in the last twenty-five years. The research develops in the context of the current ecological and social crisis and examines the role of the described artistic practices in the reconsideration of the neoliberal paradigm, as well as of the modern concepts of art autonomy and authorship. Adopting an interdisciplinary methodology, we attempt to define an ecosocial approach in contemporary art production and to identify some of its key characteristics. Four case studies are presented to evaluate how art practices based on an ecosocial approach can contribute to generate knowledge, modes of sociability and sensibilities for the construction of socially and environmentally engaged cultural models.
Estoy muy agradecida por haber podido disfrutar de un contrato predoctoral en el contexto del programa de ayudas MINECO BES-2016 que me ha permitido dedicarme a tiempo completo a esta investigación.
Sgaramella, C. (2021). Hacia un enfoque ecosocial. Prácticas colaborativas, ecología y compromiso político en el arte actual (1995-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/163790
TESIS
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Mckee, Cameron. "Cultivating Visible Order : representations of Race and Ecology in the French Atlantic World." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0131.
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Cultiver l'ordre visible est structuré en un ensemble de trois études de cas qui retracent la tension entre la représentation de la Caraïbe francophone et les processus préjudiciables de la domination raciale et environnementale du colonialisme. Chaque chapitre met l’emphase sur une phase spécifique de la politique impériale au moyen de la peinture, révélant ces aspects conflictuels du paysage caribéen, où l'oppression raciale a paradoxalement fourni les moyens de cultiver l’existence Noire. Ma thèse débute dans la seconde moitié du XVIIIe siècle. Je propose qu'un petit corpus de peintures de genre en Martinique, du peintre itinérant Le Masurier, est enchevêtré dans des discours historiques naturels qui ont renforcé l'autorité coloniale en naturalisant l’existence Noire, définie par le travail forcé afro-caribéen, dans le paysage tropical. Le deuxième chapitre traite du bouleversement radical du colonialisme européen et de l'exploitation agricole mercantiliste auguré par les révolutions françaises et haïtiennes. J'adopte une approche à deux volets pour interroger les moyens par lesquels Haïti a été intégré dans les discours sur la liberté des Noirs et la perte coloniale au moyen de l'imagerie botanique : la curieuse inclusion de détails botaniques caribéens autochtones dans les peintures d'histoire néoclassiques de l'artiste guadeloupéen métis Guillaume Guillon Lethière et les images de floraison et de plantes qui flétrissent dans les traités botaniques caribéens de François-Richard de Tussac et Michel Étienne Descourtilz publiés après la Révolution haïtienne. Mon troisième chapitre adopte une approche comparative de la représentation de sujets émancipés à travers la figure de la femme Noire laborieuse dans l'œuvre de Camille Pissarro dédiée à la représentation de son île danoise-caribéenne natale, Saint Thomas, au moment de son déménagement à Paris en 1855. Je soutiens que Pissarro a tenté de reconfigurer la féminité Noire dans ces dessins, aquarelles et peintures comme un trope visuel proprement caribéen pour faire face à un prolétariat émancipé dans les Antilles danoisesMy dissertation, entitled Cultivating Visible Order, is structured as a set of four case studies that trace the tension between the representation of the francophone Caribbean and colonialism’s injurious processes of racial and environmental domination. Each chapter is focused on an artist whose paintings engage these appositional aspects of the Caribbean landscape as a site of racial oppression that also provided the means for the cultivation of black personhood. My dissertation begins with the itinerant painter Le Masurier’s reliance on natural history to construct Afro-Caribbean relationships to the slave garden and tropical vegetation in eighteenth-century Martinique. The second chapter interrogates the mixed-race artist Guillaume Guillon Lethière’s inclusion of botanical details to contend with imperial memory of the Haitian Revolution in his neoclassical history paintings. My third, and final, chapter investigates Camille Pissarro’s post-abolition construction of a picturesque landscape in his natal Danish Caribbean alongside realist representations of black women to represent the shifting ecology of emancipated labor. When placed in the broader visual cultural context of the period–including amateur drawings, scientific prints, and photography–these case studies reveal the extent to which painting could have contradictory functions in the francophone Atlantic World. My dissertation argues that, on the one hand, painting could bolster white imperial authority by eliding the coeval inhumane violence and ecological brutality of colonialism. On the other, these artworks are inadvertent repositories for parallel ecologies opening onto embodied African diasporic knowledge of the Caribbean landscape in the form of alimentary, medicinal, and cultural practices illegible to or suppressed by colonial environmental discourses
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Mazrimienė, Silvija. "Tapybos paveikslų ciklas „Sąvartynas“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120211_145807-41417.
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Norai nuolat didėja. Žmonija juda į priekį. Kuo aukštesnis visuomenėspragyvenimo lygis, tuo daugiau buitinių atliekų. Jas tenka pašalinti drauge su milijonais tonų kitų susikaupusių, perdirbimui neparuoštų šiukšlių. Taip sąvartynai ir pilnėja. Drobėse vaizduojamos atliekos, prieš užverčiat jas žemėmis. Tai yra šių dienų aktuali problema. Masinis žmonių vartojimas po savęs palieka neišnaudotas galimybes. Kūriniai orientuoti į ateitį, išsiskiria drąsiais sprendimais, yra originalūs, todėl skatina naujas ir aktualias mintis. Ekologai ir žalieji jau senokai gąsdina žmoniją, kad Žemė vieną kartą “atsirūgs“ atliekomis darkančiomis gamtą, nuodijančiomis dirvožemį, upes ir jūras, tiesiai mums į veidą. Ir tada bus per vėlu atgailauti. Bet Žemė kantri. Kol kas ji kantriai saugo mūsų kūrybines atliekas. Nagrinėjant ekologijos temą per pastaruosius metus buvo sukuti penki tapybos darbai. Jie pateikti aprašomojoje dalyje. Pagrindiniai trys 150x190 dydžio paveikslai, įgyvendinti tapybos technika, svarbūs šiai dienai, skatinantys susimąstyti apie vartojimo įpročius bei harmonija su gamta.Theexpectations are constantlychanging. Mankindisdeveloping. Thehigherthelevelofpeople’slivingis, themorehouseholdwasteexists. It must be removedtogetherwithmillionsoftonesofotherwaste, accumulatedbutnotpreparedforrecycling. Thisisthereasonofdumps’ expanding. Wastebeforethelandfillingisdepictedontheclothsand it representstheproblemofnowadays. A lot ofmissedopportunities are leftbehindthemassivehumanconsumption. Theworks are focusedonthefuture, they are unique to bravedecisions, originalityandthey also encouragenewandrelevantideas. TheecologistsandtheGreens are alwaystrying to frigtenthehumanitythatonedaytheEarthwill „belch“ thatwastewhichdeformsthenature, poisonsthesoil, theriversandtheseas. Howeverthen it will be too late to apologize. Fortunately, theEarthispatientand it isstillsavingourcreativewaste. Whileexaminingthetopicofecologyduringthelastfiveyears, fivepaintingworksweredesigned. They are representedinthedescriptivesection. Themainthree 150 x 190 sizepictorialpaintings are significant to thesedaysastheyencourage to thinkaboutthehabitsofconsumption. It isveryimportant to remembertheancestry, theirbalanceandharmonywithnature.
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Viewegh, James. "Life! land, air, and sea : a series of mixed media drawings on plexiglass." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864920.
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The creative project was a series of three, mixed media drawings created on multiple layers of transparent plexiglass. The artist designed a frame in which three sheets of plexiglass were contained. This unit portrayed a three-dimensional drawing. The artist then experimented with a variety of mediums to determine which material was best suited for successful rendering on plexiglass. The artist then did a number of sketches to determine what images would best convey the idea of humankind's close connection to the land, air, and sea.The primary accomplishments achieved in this project were the knowledge gained in the experimentation of materials and the ability to create a composition on multiple layers of plexiglass. Through these successes, the artist was able to effectively create a series of three three-dimensional mixed media drawings.Department of Art
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Lancaster, Linus. "Soils and interventions." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4761.
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The problem that I have identified during my research for this dissertation is the quantifiable depletion and exhaustion of large percentages of the world's soils through human activity in agriculture and other industrial practices. In the course of researching this problem I have looked closely at some of the primary causes, and a range of proposed and applied solutions in the field of ecology. The primary focus of the research has been in looking at how artists have responded to ecological issues and have engaged in environmental activism in their practices. Integral to the research has been direct participation in collaborative art practices that investigate and strive to raise public awareness about issues related to soil ecology. It has proceeded through reading established texts, interviewing expert practitioners, publishing my findings, and presenting at numerous conferences, concurrently with direct participation in ecologically oriented practices, related artistic projects, professional art exhibits, activist events, and working in the field of professional organic farming. During the research phase I attended nine Planetary Collegium Sessions with fellow researchers and received valuable direction from supervising professors. The result is a written, theoretical dissertation that documents the research through text and photography in seven chapters. It has also produced a body of sculptures and documented physical experiments and performances that are motivated by, and speak directly to issues of soil ecology. The efficacy of the artwork that has been made in the course of researching problems in soil ecology comes from its continuation of, and direct participation in, established, contemporary art projects and movements that have had a demonstrable influence of society. The contribution that it makes to new knowledge is by addressing in unique ways the emerging subject of soils, which have tended to be overlooked in many ecological discussions, and in so doing it also brings to bear a unique combination of influences in its practice. These include: Art practice, Situationist performances, Core Shamanic practice (as developed by Michael Harner), soil science, inspiration drawn from a number of continental theorists, participation in sustainable agriculture, and political activism, applied simultaneously in a transdisciplinary body of work described herein specifically on behalf of soils. In this endeavor the dissertation and its body of produced objects and performances has also sought to blur some of the conventional lines between theoretical research, contemplation and practice, as appropriate to a trans-disciplinary project. Numerous discoveries have been made in the course of the research, chief among them that the new transdisciplinary approach to soil studies that my collaborators and I have taken turns out to be of necessity if we are to avert large-scale collapses of agriculture due to soil degradation on a global scale in the course of this century.
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Stuerzl, Jennifer Ingrid. "The Brisbane River : Art, Ecology and Perception - How Can Painting Communicate and Question the Course and Impact of Human Activity over Time on the Ecology and Perception of the Brisbane River?" Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366581.
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The ecology of the Brisbane River has been subject to damage caused by human activity from colonial times onwards. This damage has been studied scientifically, and is implicated in the Brisbane flood of 2011. I live and work in proximity to the Brisbane River, and it has been central to my practice as an artist. This close engagement with the river has led me to address the issue framed in the research question: how can painting communicate and question the course and impact of human activity over time on the ecology and perception of the Brisbane River?
Investigation into Philip Rawson’s analysis of time in art, into the science of Brisbane River ecology, into a range of eco-philosophies – from James Lovelock’s Gaia, to the eco-feminism of Val Plumwood – and into contemporary artists whose work reflects an interest in time and ecology, has been supplemented by theoretical and literary research into the Romantic vision of landscape in colonial painting, and into depiction, representation and landscape, as discussed by Michael Podro, Ernst Gombrich and Simon Schama.Thesis (Masters)
Master of Philosophy (MPhil)
Queensland College of Art
Arts, Education and Law
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Bomfim, Vanessa Lima. "As Ecologias nas Pesquisas em Educação Ambiental - Dissertações e Teses." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/59/59140/tde-11022016-160220/.
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O que é Ecologia? Originalmente uma disciplina científica ligada à Biologia. Todavia, o termo ecologia, se popularizou e passou a representar uma multiplicidade de abordagens para além da ciência. Ecologia e Educação Ambiental (EA), embora sejam áreas distintas e complexas, se relacionam, tendo como ponto de convergência as questões socioambientais. Esta pesquisa objetiva investigar se as Ecologias, em suas variadas abordagens, estão, de fato, presentes nas pesquisas em EA e de que forma. Optou-se por organizar estas Ecologias em dois agrupamentos: 1) Ciência Ecologia, enquanto disciplina/área restrita ao campo científico da Biologia e 2) Outras Ecologias, que acrescentam aspectos ideológicos, filosóficos, sociais e políticos às questões ecológicas, sendo este subdividido em: Ecologia Humana, Ecologia Política, Ecologia Social e Ecologia Filosófica. Realizou-se uma pesquisa qualitativa, de análise do conteúdo, inserida em um projeto interinstitucional que desenvolve o estudo sobre o estado da arte da pesquisa em EA brasileira, denominado EArte. Através do Banco de Dissertações e Teses do EArte, foram selecionados 545 trabalhos que apresentaram o radical de busca ecolog. Estes foram mapeados quanto aos aspectos institucionais, contextos educacionais e temas de estudo, a partir de dados de Fichas de classificação. Verificou-se uma grande quantidade de trabalhos de mestrado realizado em instituições públicas em programas de Educação e em contexto escolar. As Ecologias foram identificadas em 113 trabalhos. Verificou-se que há um equilíbrio numérico entre as pesquisas que se referem à Ciência Ecologia (43,4%) e às Outras Ecologias (53,1%) e que o termo não representa uma área única e homogênea, mas, uma variedade de formas de abordagem relacionadas tanto com as Ciências Naturais quanto com o questionamento sobre os modos de organização social, política e econômica, demonstrando variações do pensamento ecológico encontradas em categorias de limites ainda não bem delimitados e em interações diversas com a EA.What is Ecology? Originally, a scientific discipline connected to Biology. However, the ecology term, that popularized and begun to represent the approaches multiplicity, a lot of beyond the Ecology Science. Ecology and Environmental Education (EE) although they are distinct and complex areas are interconnected, having environmental questions as convergence point. This research has as objective to investigate if the Ecologies, in varied forms and approaches are, indeed, present in EE researches and in what forms they are appear in these researches. We chose to organize these Ecologies in two main groups: 1) Ecology Science, while discipline/area restricts to the Biology scientific field and 2) Other Ecologies, those involve ideological, philosophical and politics ecological questions aspects, those subdivided by: Human Ecology, Political Ecology, Social Ecology and Philosophical Ecology. A content analysis qualitative research carried out by inserted in an interinstitutional project that develops the State of the Art research in Brazilian SA, called EArte Project. Using the record unity ecolog for dissertations and theses EArte database researches, were selected by this research about 545 early works, those were mapped by institutional aspects, educational contexts and study themes, from classification records written data. It was found a lot of masters researches in public institutions and in education programs and in school context. Among these selected by final documentary corpus 113 works, that offered by the Ecologies identified conditions. It was found a numerical equilibrium by the Ecology Science (43.4%) and the Other Ecologies (53.1%) and the subject dont represent an unique and homogeneous area, but, a lot of approaching forms related as with Natural Sciences well with the questioning about the economics, politics and social organization, showing ecological thinking variations founded in limit categories still not well delimited and in several interactions with the EE.
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Jou, Florence. "La constellation : vers une écologie de l'art." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H316.
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Cette thèse de doctorat en arts plastiques étudie la constellation. se situe dans une société contemporaine, où s'opère un tournant spatial, que ce soit en arts ou dans d'autres disciplines. est le creuset d'une réflexion transversale. ouverte aux articulations entre des pratiques et des disciplines. à partir des travaux artistiques de la doctorante et ceux de Bouchra Khalili, Bernard Heidsieck, Fabrice Hyber, Christophe Tarkos… associés aux perspectives écologiques menées par Tim Ingold, Philippe Descola, J. J. Gibson… cette thèse en arts plastiques analyse une écologie de l'art au fonctionnement constellatoire. au travers de cinq cahiers. dont trois cahiers principaux, cartographier–bâtir–chercher. territoires d'exploration. pour chercher à faire émerger des questions écologiques sur les pratiques artistiques ex : comment une association entre Fernand Deligny, Bouchra Khalili et David Antin permet de saisir une expérience cartographique à l’échelle écologique ? cette thèse en arts plastiques propose une circulation par notions écologiques. – #usages, #interactions, #échelle… – permettant de déterritorialiser des pratiques. d'exposer et mettre à l’épreuve des contaminations, jonctions ou transmissionsThis PhD thesis focuses on the constellation. originates in a contemporary society where a spatial corner arises, whether it be in arts or in any other disciplines. is the area of a cross-disciplinary thought. open to interactions between practices and disciplines. based upon on the work of the PhD student and those of Bouchra Khalili, Bernard Heidsieck, Fabrice Hyber, Christophe Tarkos… linked to the ecological theoretical perspectives carried by Tim Ingold, Philippe Descola, J. J. Gibson… this thesis in art analyses an ecology of art of the functioning of constellation. through five notebooks. of which three main notebooks, cartographier–bâtir–chercher. areas of exploration. in order to make ecological matters about artistic practices emerge. e.g : how does the link between Fernand Deligny, Bouchra Khalili and David enable us to understand a cartographic experience on an ecological scale ? this thesis in art offers a circulation via ecological notions. – #usages, #interactions, #scale… – enabling to deterritorialise practices. to expose and to put to the test contaminations, junctions or transmissions
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Stathopoulos, Marco. "La résilience urbaine : art de la crise et architectures pirates." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080096.
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Le concept de résilience a été adopté dans le langage et les pratiques de l’urbanisation planétaire, dont le modèle dominant est la planification. La théorie de la résilience est cependant critiquée, notamment pour sa difficulté à mener à des résultats prévisibles, ou pour sa récupération par les approches les plus néolibérales de cette planification. Cette thèse montre qu’elle peut aussi être un point de départ pour questionner le modèle dominant et ouvrir à d’autres manières d’appréhender, théoriser et concevoir l’urbain. Elle développe comment la théorie de la résilience urbaine peut se fonder sur un cadre conceptuel spécifique, dont les critères permettent d'orienter des choix lors d’une mise en projet. La recherche débute avec le corpus qui s’est structuré en écologie, qui a ouvert à une théorie de la résilience dans l’urbain, et en développe les singularités. Etant donné que le modèle dominant entretient un brouillage des repères, elle emprunte une méthode d’analyse métaphorique, transportant donc la théorisation en dehors des cadres de celui-ci. Elle propose pour cela un concept, celui de « piraterie urbaine», comme art de la mise en projet de la résilience. La métaphore de la piraterie est construite autour de son sens étymologique, de ses archétypes, et de son histoire. À travers elle sont notamment théorisés : les conditions de la résilience et leurs aspects qualitatifs ; le rapport à la forme architecturale, au temps et au lieu d’un urbain conçu selon ses critères ; sa symbolique et son décalage vis-à-vis du modèle dominant ; sa dimension politique, dialogique, expérimentale et incrémentale ; les repères et seuils orientant des choix architecturaux et urbainsThe concept of resilience has been adopted by the language and practices of growing global urbanisation, the dominant model of which is planning. However, resilience theory is also questioned, notably for the difficulty it manifests in ensuring predictable results, or for the usage that is made of it by the most neoliberal approaches to planning. This thesis shows that concept of resilience can also be a starting point for questioning planning by introducing other ways of understanding, theorising and designing urban environments. It addresses how urban resilience theory can shed light on specific conceptual frameworks, whose criteria may orient design choices. The research originates in a corpus that has been developed in the field of ecology, opening the way to an urban resilience theory, and explores the singularities of this transition. To overcome the dominant model’s tendency to blur landmarks, and free this process of theorisation from the ambiguity of its frameworks, this thesis adopts the method of analysis through metaphor. It thus proposes the concept of "urban piracy", as an art of designing resilience in urban environments. The metaphor of piracy is constructed along its etymological sense, its archetypes and its history. It gives way to a theorisation that includes the qualitative aspects of the conditions of resilience; the relationship to form, time and place, of a city designed according to its criteria; the symbolism of its theory and its discrepancies vis-à-vis the dominant model; its political, dialogical, experimental and incremental dimension; and finally, the landmarks and the thresholds that orient choices in architectural and urban design
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Barnes, Katherine Rachel, and n/a. "Reconstructive Strategies for Artists Engaging With ecology: An Examination of the Relationship Between Culture, Nature and Technology in Ecological Art." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061011.150154.
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With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.
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Barnes, Katherine Rachel. "Reconstructive Strategies for Artists Engaging With ecology: An Examination of the Relationship Between Culture, Nature and Technology in Ecological Art." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366109.
Full textAbstract:
With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Miller, B. Darlene. "Playground for the imagination." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.
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Thesis (M.F.A.)--Georgia Southern University, 2006."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
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Marty, Patrick. "L'eau de l'art contemporain : une dynamique d'une esthétique écosophique." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30072.
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L’eau est porteuse d’aspects différents de consciences, tout en étant un espéranto planétaire. Doit-on parler des artistes de l’eau ? ou bien de l’eau des artistes ? Quel que soit le point de vue que l’on considère, il se dégage une synergie de pensées oeuvrant à une réflexion consensuelle et paradigmatique. Cette recherche propose une nouvelle lecture de l’interaction de l’élément naturel avec la place qu’il occupe dans l’art contemporain ; comment l’eau dans l’art contemporain devient, grâce à sa puissance évocatrice, l’Eau de l’Art, une source inépuisable d’adaptabilité transculturelle qui se fait l’écho d’une nécessaire métamorphose. L’eau est devenu un médium parmi tant d’autres. L'eau, matière naturelle par excellence, se retrouve utilisée indifféremment par un peu tous les courants artistiques actuels notamment dans des vidéos, des performances, des sculptures, en architecture ou dans des expériences à la frontière de l’art et des sciences cognitives. On peut examiner trois aspects de la culture de l'eau : en tant que vecteur à la fois d'une culture enracinée, et d'une éthique de l'Universel commun, la force symbolique de l'eau dans l'histoire de l’art, et l'actualité écologique, scientifique et psychologique. L’eau couvre tous les champs du possible, et rend accessible les moindres recoins de la pensée, aussi bien la part d’ombre que la lumière de la psyché humaine. Elle accompagne et interagit sur les non dits des sociétés, car elle contient leurs savoirs ; elle est la matrice de leur philosophie, leur sociabilité, leur géographie (compréhension de l’espace et des milieux de vie), leur communication, leur histoire, leur langage. L’Eau de l’Art dynamise ainsi une esthétique écosophique en puisant dans la poésie du tempsWater is a messenger of various aspects of consciousness, while being a global Esperanto. Should we talk about artists of water? Or the water of artists? Whatever point of view one considers, a synergy of thoughts emerges involving a consensual and paradigmatic vision. This research proposes a new reading of the interaction of the natural element with its role in contemporary art; how water in contemporary art becomes, with its evocative power, Water of Art, an inexhaustible source of crosscultural adaptability that echoes a necessary metamorphosis. Water has become a medium among many others. Water, a natural material par excellence, is used interchangeably by almost all the current artistic trends, including video, performance, sculpture, architecture and experiences on the frontier of art and cognitive science. There are three aspects of the culture of water: as a vector of both an ingrained culture and the Universal ethic; the symbolic force of water in art history; and the ecological, scientific and psychological information. Water covers all possible fields, and allows access to every corner of the mind, the dark side as well as the light of the human psyche. It supports and interacts on the unspoken aspects of society because it contains their knowledge; it is the matrix of their philosophy, their sociability, their geography (understanding of space and living environments), communication, history, language. Therefore, Water of Art adds a dynamic to ecosophical aesthetics in drawing from the poetics of time
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Harley, Magdalena Johanna Gertruida. "Op weg na 'n kontemporere eko-estetiek." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53543.
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Thesis (MA)-- Stellenbosch University, 2003.ENGLISH ABSTRACT: On the way to a contemporary eco-aesthetic. My thesis consists of three chapters; the first chapter contains a basic background study and philosophic research of concepts which are relevant to my work; the second chapter is a discussion of ecofeminism as political and spiritual phenomena (my work resorts in the genre of ecofeminism); and the third chapter is an analytic consideration and discussion where my works are presented as a visual explanation of my own interpretation of the dialogue between art and science with underlying geographical and ecological concepts. Some of these concepts purport the ritual of cycles and the aesthetic experience thereof. They deal with the earth as maternal patron where the layers of society (evidence of existence) becomes evident in the layering of the earth. This evidence of existence can be found in the waste generated from the cyclic existence of living beings and organisms. In addition, the traditional scrub or healing activities which are ascribed to women, are used as an argument to effectuate a consciousness of symbioses.
AFRIKAANSE OPSOMMING: My tesis bestaan uit drie hoofstukke; die eerste hoofstuk behels 'n basiese agtergrondstudie en filosofiese ondersoek na konsepte wat na my mening betrekking het op my werk; die tweede hoofstuk is 'n bespreking oor ekofeminisme as politieke en spirituele verskynsel (my werk ressorteer onder ekofeminisme as genre); en die derde hoofstuk 'n analitiese beskouing en bespreking waar my werk aangebied word as visuele verduideliking van my persoonlike interpretasie van die dialoog tussen kuns en wetenskap met onderliggende geografiese en ekologiese konsepte. Van hierdie konsepte gaan oor die ritueel van siklusse en die estetiese belewenis daarvan. Dit handeloor die aarde as die moederskoot waar die lae van samelewings (bewyse van bestaan) gelees kan word in die gelaagdheid van die aarde. Hierdie bewyse van bestaan kan gevind word in die afval wat gegenereer word uit die sikliese bestaanswyse van lewende wesens en organismes. Hiermee saam word die tradisionele skrop- of helende aktiwiteite wat aan vroue toegeken word, as argument gebruik om 'n bewussyn van simbiose te bewerkstellig.
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Collins, Reiko Goto. "Ecology and environmental art in public place : talking tree : won't you take a minute and listen to the plight of nature?" Thesis, Robert Gordon University, 2012. http://hdl.handle.net/10059/788.
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My research started with a question: Is it possible to create change if we understand life is interdependent and interrelated with nature in our environment? I researched this question from the perspective of a practising artist in the field of environmental art in the context of ecology. I chose trees as the focal point of my enquiry as trees represent the largest living thing we encounter in our day-to-day activities. Empathy, particularly as defined in the work of Edith Stein, emerged as a significant critical construct which I used to examine the inter-dependence and interrelation of humans and trees as dynamic and diverse communities on earth. Empathy is related to metaphor, particularly Donald Schön’s idea of a generative metaphor and George Lakoff and Mark Johnson’s 'empathic projection'. These metaphorical conceptions can be relied upon to talk about trees without falling into anthropomorphising nature. The research was also informed by positions in the aesthetics of art. First Emily Brady positions human imagination as aesthetic mediation between human perceptions and scientific understanding of nature. Secondly Grant Kester’s dialogical aesthetics that are informed by conversation, inter-subjective exchange and empathic relationship. I then sought to understand how empathy had been embedded in practices of art over the last thirty years. Particular artworks are selected because they are internationally relevant examples of work that intended to create change in a specific public sphere: Time Landscape (1978) by Alan Sonfist, 7000 Oaks (1982) by Joseph Beuys and Serpentine Lattice (1993) by Helen Mayer Harrison and Newton Harrison. My interest in these works is focused on the potential for an empathic relationship with trees as living things that are embedded in specific environments. To meet this goal in my aesthetic practice, I have developed a discrete relational artwork in collaboration with a plant physiologist, a computer programmer and other artists to create the means to experience how trees ‘breathe’. This is accomplished by translating the plant physiological processes - photosynthesis and transpiration - to sound using, and extending, a custom software system. I also invented Plein Air, an easel that not only holds the plant's physiological system and the sound system but also becomes a small portable station to observe various trees in different places. In my conclusion I examined the implication of ecological and symbolic meanings that go beyond an artist’s authorship, which is created through this empathydriven enquiry and shared experience between people, place and trees in public places.
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Imai, Hideaki. "The Role of Film-making in Nature-human Relationships." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1523999723625547.
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Гальчинська, Ольга, Микола Яковлєв, Калина Пашкевич, and Цзянсінь Лю. "Вплив творчості Енді Голдсуорті на творчість митців ленд-арту сьогодення." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17901.
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Надано результати дослідження підходів до створення об’єктів ленд-арту на прикладі авторських проектів: досліджено принципи створення об’єктів ленд-арту; визначено основні концепції творчих задумів інсталяцій митців ленд-арту; проаналізовано основні художні засоби, застосовані для втілення проектів; досліджено матеріали, які використані митцями для створення арт-об’єктів.The results of the research of conceptual approaches of land art objects on the example of copyright projects are presented. To achieve this goal, the following tasks have been identified and solved: research into the creative task of the artists of the land art, definition of the basic concept of the author's idea for the creation of the installation, analysis of the main artistic means used to embody the project, research of materials used to create the object of land art. The scientific novelty of the study lies in the study of contemporary artistic approaches and creative designs that are used by artists of landscape art in their works. The practical significance of the results obtained is to develop your own project.
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Polli, Andrea. "Communicating air : alternative pathways to environmental knowing through computational ecomedia." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/889.
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This dissertation, Communicating Air: Alternative Pathways to Environmental Knowing through Computational Ecomedia, is the culmination of an art practice-led investigation into ways in which the production of ecomedia may open alternative pathways to environmental knowing in a time of urgent climate crisis. This thesis traces the author’s artistic, personal and political development across the period of study and presents an extended argument for greater public engagement with weather and climate science, greater public and private support for long-term collaborations between media art and climate science, and increased public open access to global weather and climate monitoring and computationally modelled data.
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Freeman, Paul Murphey. "In search of a new aesthetic." Thesis, Virginia Tech, 1995. http://hdl.handle.net/10919/41992.
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The study of ecology is having profound effects on society. It has begun to cause a shift in western culture. People are becoming aware of their impacts on the environment, and are changing their behavior. This shift is now affecting aesthetics in landscape architecture. The validity of the dominant landscape aesthetic in the profession of landscape architecture is being questioned on the grounds of its ecologic impacts. As a result, a new landscape aesthetic is being called for. Five articles published in Landscape Journal between 1986 and 1990 outline the argument for a new aesthetic. These articles provide a theoretical framework that is then applied to a body of artwork. The artwork is the result of a 1992 art exhibit that gathered together many "ecological artists". Just as the study of ecology is affecting change in landscape architecture, it is also affecting change in art. The theories from landscape architecture are applied to the physical forms in art to see if connections can be made between the idea and its implementation. "Art and landscape architecture are related so that they allow for this type of comparison. The results can be used to inform landscape architecture in its search for a new aesthetic.
Master of Landscape Architecture