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Luster, Craig. "Seed Pods, Bases and Formalism: An Artist's Journey." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5259.
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A sculpture can offer visual information that is simple or complex. The work can present only a single facet to ponder or deal with all facets equally polished and linked. There can be enough information to arrange in an order that reads as narrative. All is possible but, without question, the more complex the sculpture, the more information given, the greater the challenge to the artist to make a coherent and interesting whole of everything being presented. The body of work presented in my thesis show represents the outcome of exploring a chain of questions about sculpture. The first question was simply how to present a sculpture of a seed pod. This question led to inquiring what the base could do for the sculpture. Next came a study of the artwork of Constantin Brancusi. I realized that he had used formal qualities of sculpture to link his bases and sculptures, so I wondered about the ability of formal qualities to solve my base/sculpture problems. All of the work was completed with the intent of expanding my personal sculptural lexicon. I also intended to develop a store of knowledge that allowed free use of multiple artistic concepts. The hope was that what was being communicated through a sculpture would be sufficiently complex that a viewer would be intrigued into considering all the possible implications of the visual information.
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Buydens, Mireille. "Formalisme et aformalisme: essai sur le statut de la forme et du regard au travers d'une analyse du maniérisme." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212664.
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van, Boekel Lambertus Gerardus. "Painting in the computer era: the transformation of archaic structures to contemporary formalism." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382709534.
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Christofides, Sheila School of Art History & Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s." Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.
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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
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Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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LaFountain, Jason David. "The Puritan Art World." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11006.
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In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin's theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture.History of Art and Architecture
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Burnett, Matthew Christian. "Aesthetic/ activism : the liminal area between aesthetic formalism and socio-political activism in art education." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/14856.
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This thesis inquires into how an elementary art education curriculum can embody
the space in/between aesthetic formalism and socio/political activism. I call this
curricular approach aesthetic/activism. Visual texts will be the catalyst for research subjects to engage with aesthetic/activism through art-making, writing and dialogue. I am also interested in the learning and meaning-making that happens as a result of an aesthetic/activist curriculum. This research is situated in an after-school elementary art program in a
multicultural, urban area. Much research has been written about engaging secondary students with socially activist curriculum (see Alter-Muri, 2004; Brown, 2007; Chalmers, 2005; Darts, 2004; Desai , 2006; Gude, 2007; Lanier, 1969; McFee, 1974). There is little research concerned with how younger students would respond to such curriculum. Two questions guided this research inquiry. The first question is: How can a curriculum be enacted that uses visual texts to inquire into the liminal area between aesthetic formalism and socio/political activism? The second question is: What learning results from such a curriculum? The research methodology of a/r/tography was used to inquire into these questions, which requires art, research and teaching to be integral parts of academic inquiry. The process of inquiring into the two research questions stated above led to new learning and knowledge that was co-created by the researcher and the research
subjects. While most subjects conformed to the dominant discourse in the classroom as constructed by the teacher, a minority of subjects had the initiative to express their personal, subjective values when analysing and producing artworks. Most subjects demonstrated an appreciation for the therapeutic qualities of natural
environments unaffected by the corrupting influence of human activity. A number of
students did use art-making as a vehicle to engage with socio/political problems.
Finally, some subjects demonstrated an understanding of aesthetic activism and the inter-relationships between visual and textual data. These results are fully
explained in the Findings and Discussion chapter. This thesis is organized into five chapters. The introduction is the first chapter, which will explain the purpose, rationale and objectives of my research, as well as my research questions. The second chapter includes a literature review that will survey the history of aesthetic formalism and socio/political activism in art
education research, as well as criticisms of each of these paradigms. An inquiry
into art, art curriculum and art education theory that embodies both aesthetics and
activism will provide a context for my research. The third chapter explains my
research methodologies: what they are and how I will use them, as well as a
description of the actual research process which involves teaching and art-making
activities. The fourth chapter, the Findings and Discussion will analyse my research
data. The last chapter is the conclusion of my research and my recommendations for further inquiry.
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Kolokytha, Chara. "Formalism and ideology in 20th century art : Cahiers d'Art, magazine, gallery, and publishing house (1926-1960)." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/32310/.
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The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred around Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post Wold War Two liberal critique.
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Slivo, Yalda. "Den rörliga bildens formlöshet : En studie av den rörliga bilden." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-148312.
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Denna studie syftar till att studera den rörliga bildens historia och relation till måleriet utifrån de två modernistiska konstnärliga rörelserna minimalism och abstrakt expressionism.This study aims at understanding the history and relation between the moving image and two modernistic art movements, minimalism and abstract expressionism.
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Henriksson, Carina. "Tamara de Lempicka : Expressivt och dekorativt." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-375243.
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Alberro, Alexander. "The turning of the screw : the Sixth Guggenheim International Exhibition, Daniel Buren, and the new cultural conservatism." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28913.
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In this study I have sought to explore the theoretical foundations of the French artist Daniel Buren's work and its subsequent resonance in a context of emergent cultural conservatism. The study also traces, the increasingly tenuous position of the avant-garde, the survival of which is contingent on the presence of certain liberal democratic institutions. For me these concerns led to a systematic investigation of the censorship of Buren's installation at the 1971 Guggenheim International Exhibition. This was the last in a series of exhibitions that was to promote international goodwill by bringing together the best of recently produced works by contemporary avant-garde artists from around the world, and awarding prizes to those considered outstanding. But the real ideological significance of this show was apparent in the aggressive attempt by the administrators of the Guggenheim to promote American cultural superiority.
Buren was invited to contribute a piece to the show in the belief that his work fit into the formalist mode around which the exhibition was organized. Yet the day before the show opened Museum officials suddenly decided to remove his work from the exhibition. The official explanation provided by the authorities of the Guggenheim cited the size and placement of Buren's work as being in direct conflict with the work of other artists in the exhibition. However, this explanation was clearly specious given that the Guggenheim officials knew months in advance exactly what this work would look like, and its intended place of installation. Moreover, Museum officials used the complaints of four participating artists as justification for their actions. Meanwhile, fifteen other artists in the show objected to the Museum's use of censorship. The issue of the Guggenheim Museum's sudden decision to withdraw Buren's installation from the Sixth Guggenheim International is thus more complex than the official explanation would indicate.
My thesis contends that the abrupt removal of Daniel Buren's work is traceable to efforts by Guggenheim officials to protect other works in the exhibition, and the International series as a whole, from floating into the avant-gardist-traditionalist polemic that had again flared up in the New York art world. Chapters One and Two examine the organization of the 1971 Guggenheim International and the rationale behind that organization. Chapter Three looks at the threefold controversy surrounding the 1971 International: the conflict that arose between participating artists, the questions of censorship that were raised by the actions of Museum officials, and the overwhelmingly hostile critical response to the exhibition. This study investigates a period of social and epistemological rupture in American art, the reverberations of which continue to be felt today.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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clark, jared lindsay. "One Million Paintings 2005-2007: A Thesis." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/935.
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I assist discarded collectives of objects to volunteer themselves for inclusion into the privileged legacy of flatness – assuring them they can be transformed into Painting. Reducing my interventions - often to mere arrangement - respects the possibility of this transformation while frankly retaining the objects' original functional identities. Every surface of any object is a readymade painting – especially flat ones. By stacking objects and aligning their surfaces on one privileged side into a flat mega-surface, I am composing and collaging – even building – a painting. With my amateur interest in German I latch upon the double meaning of "Bild" to title my objects, describing my continued interest in the space between painting and sculpture. All my projects transform found objects into ambiguous objects described by Donald Judd as "neither painting nor sculpture". In addition to the Bilds projects such as the Cutllages, the Kitsch Paintings, Soap Drawings, Text Tubes, and List Drawings investigate different ways to transform the found object into painting.While my work is formalist it is decidedly post-modernist in its embodiment of the qualities described by Craig Owens in The Allegorical Impulse: Toward a Theory of Postmodernism.
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Machado, Oscar A. "A Philosophy of Architecture." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/205.
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To evaluate specific architectural theories, an analytic methodology was used. The specific architectural theories evaluated all have in common the fact that their formative models can explain how their original ideas manifest in the practice of architectural works. Although these architectural theories researched are thousands or in some cases hundreds of years apart, a way to compare and contrast them was to use philosophies of art common to all. This contemporary approach to analysis was done with the use of ?analytic philosophy? for its effectiveness to clarify concepts. Central aspects of architectural theories will be analyzed in detail through the lenses of four contemporary theories of the philosophy of art. They are: formalism (including neo-formalism and theories that emphasize the connection between form and function), expression theories, representation theories (including neo-representational and mimetic accounts), and theories based on aesthetic experience. Looking at architecture from the viewpoint of analytic philosophy of art provides new insights into the nature of architecture and illuminates the field in significant ways. A recommendation for further study is enclosed.
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Kosovac, Ena. "Awkward formalism the role of objects in contemporary painting installation : this exegesis is submitted to Auckland University of Technology in partial fulfilment for the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/799.
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I am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
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Schiavo, Bruno. "Autonomia e campo ampliado: Peter Eisenman, Rosalind Krauss e The Institute for Architecture and Urban Studies (1964-1984)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-20122016-145452/.
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A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional.The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.
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Krispinsson, Charlotta. "Abstrakt konst idag : En studie av Ann Edholm och Jacob Dahlgrens förhållande till modernismen." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1055.
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This paper presents an approach in contemporary, abstract art for a new way of experiencing modernist abstraction. This has not been possible until now, about 40 years after the postmodern turn against modernism in art, and the closely connected formalism. This new approach is represented in this paper by the Swedish contemporary artists Ann Edholm and Jacob Dahlgren. Modernist artists such as Kasimir Malevich and Piet Mondrian receives a new relevance to contemporary abstract art. This opens up for a new, more complex and more dialectical understanding and re-evaluation of modernism and its abstract art.This is shown by a historical and chronological investigation which highlights modernist abstract art, formalism, and the critical and post-modern Neo-geometric ‘abstraction’ of the eighties. This background has been a way of proving how modernist abstraction still can possess a validity for contemporary art today, and even vitalize a continuation for abstract art as a contemporary practice.
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Svedbäck, Kerstin. "Konst eller Kitsch? : Konst producerad i DDR speglad genom utställningar efter 1990." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97643.
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This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all “kitsch”. Comparatively few artists in the GDR however, painted in the style prescribed by political leaders. An open issue in this study was, against background: Has GDR art gained in interest and respectability? This study focuses on two exhibitions The Divided Heaven in Neue Nationalgalerie, Berlin and an exhibition in Kalmar konstmuseum, Sweden, named Maintaining the Order of Things – the Aesthetic of Modernism in Commercialism, Nationalism, Elitism and Socialism, 2011. The exhibitions have been analyzed along several dimensions: The number of works from the GDR, strategies for hanging them, the presentation of the exhibitions in information brochures and the homepage of the museums. Descriptions of the works give information on typical motives in the GDR over time and some information as regards the artists. The way the building has supported visitors in experiencing an exhibition has been considered and its importance as an institution. The study of the two exhibitions illustrates two different strategies for showing art from the GDR, in contrast or integrated. The Swedish exhibition which primarily exposed paintings from the 60 s focused on comparing GDR paintings and the Swedish sketches on commissioned etchings on vases from Orrefors glassworks. The German exhibition exposed GDR art together with art from other countries, along thematic lines. The study indicates an increasing interest in the art from the GDR, which is confirmed by the great number of exhibitions 2012. Also projects researching the art from this period in German history and the construction of a new museum for it supports the idea that interest in and respect for art produced in the former GDR is gradually established. This increased interest has not yet included the officially promoted style – Socialist Realism.Vid den elektroniska publiceringen har två bilder tagits bort från den ursprungliga versionen av upphovsrättsliga skäl, bild 21 och 26.
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SARGENTO, PEDRO. "A forma a partir da forma: uma leitura conceptual da teoria e da história da arte entre os sécs. XIX e XX." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2010. http://hdl.handle.net/2108/202615.
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La tesi propone una lettura del concetto di «forma», concentrandosi sugli aspetti metodologici della storia dell’arte, sulla teoria dell’arte e sull’estetica tra la fine dell’Ottocento e l’inizio del Novecento. Prendendo in considerazione la centralità di questo concetto nella storia dell’estetica e nelle teorie dell’arte, nonchè la variabilità del suo campo di significato, si intraprende una ricerca focalizzata sulle tematiche e le proposte avanzate da alcuni autori per un chiarimento della comprensione specifica e della rilevanza del concetto di forma all’interno della riflessione storico-teorica sull’opera d’arte. La ricerca mostra come in questo periodo il concetto di forma acquisisce, attraverso le diverse teorizzazioni, le determinazioni della materialità, della presenzialità, della spaziotemporalità, e infine, tramite un’indagine che ripercorre la mutazione storica del campo semantico associato al concetto (che chiamiamo «formologia»), la determinazione della stessa lettura e dell’interpretazione della storia dell’arte come riflessione sullo sviluppo delle forme artistiche nel tempoThis thesis provides a historical reading and an interpretation of the concept of «Form», drawn upon methodological aspects of the History of Art, upon Art Theory and Aesthetics between the end of the 19th century and the first decades of the 20th century. Considering the central position of this concept and the variations on its field of reference throughout the History of Aesthetics and within Art Theory, this research focuses on the several notional elements and schools of thought that contribute to an elucidation of the understanding and to drawing the relevance of the concept of Form within the historical and theoretical reflexion on the work of art. This thesis attempts to demonstrate that in this period the concept of Form is bound to the determinations of materiality, of presenciality and to its spatial-temporal reality. Furthermore, throughout a reading of the historical mutations occurring in the semantic field of the concept (which we call «formology»), the concept of Form is also attached to the very interpretation and theorization of the development of artistic forms in time
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Chousionis, Vasileios. "Thermodynamical Formalism." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4631/.
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Thermodynamical formalism is a relatively recent area of pure mathematics owing a lot to some classical notions of thermodynamics. On this thesis we state and prove some of the main results in the area of thermodynamical formalism. The first chapter is an introduction to ergodic theory. Some of the main theorems are proved and there is also a quite thorough study of the topology that arises in Borel probability measure spaces. In the second chapter we introduce the notions of topological pressure and measure theoretic entropy and we state and prove two very important theorems, Shannon-McMillan-Breiman theorem and the Variational Principle. Distance expanding maps and their connection with the calculation of topological pressure cover the third chapter. The fourth chapter introduces Gibbs states and the very important Perron-Frobenius Operator. The fifth chapter establishes the connection between pressure and geometry. Topological pressure is used in the calculation of Hausdorff dimensions. Finally the sixth chapter introduces the notion of conformal measures.
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Léglise, Matthieu. "Manet après Manet : 1900-1960 : le spectre du moderne." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H056.
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Cette thèse se propose de décomposer le spectre des commentaires critiques, historiques ou littéraires qui se sont projetés sur l'œuvre d'Édouard Manet dans la première moitié du XXe siècle, en regard de multiples contrepoints visuels. Cet «exercice de style méthodologique total» que permet Manet, selon les mots de Pierre Bourdieu, vise à rendre compte d'une réception mythique, monumentale et pourtant méconnue, tout en procédant en permanence à l'analyse réflexive de ses propres outils d'investigation. Par le prisme de ces présences posthumes très hétérogènes, souvent d'une grande violence, le but est de retracer la généalogie du concept narratif de «modernité» qui s'est déployé à partir d'Édouard Manet, en Europe et aux États-Unis, alors que son œuvre était simultanément défigurée en incarnation du classicisme national. Plus qu'une origine, Manet peut alors se définir comme un «carrefour» : un embranchement, à la puissance spéculaire considérable, d'idéologies, d'historicités et de projections fantasmagoriques. Ces analyses ont pour objet des réseaux très denses d'attraction, de répulsion, et de contamination entre différents systèmes d' énonciation dissonants, envisagés en regard des procédés déployés par Manet lui-même, dans le mouvement d'une œuvre à la fois profondément relationnelle et d'une radicale altérité. La problématique récurrente du fractionnement - dans la multiplicité de ses enjeux et de ses déterminations schizoïdes, du dualisme au fétichisme - forme le fil directeur de cet effort d'exhumation intellectuelle : est ici retracée en détail l'impossible tentative d'en finir avec un peintre qui ne cesse d'inquiéter une modernité constituée sur son nomThe purpose of this dissertation is to decompose the spectrum of commentary, historical and literary, along with the multiple visual counterpoints, that were generated from the work of Édouard Manet in the first half of the 20th century. Manet allows for this « total methodological exercise », in Pierre Bourdieu's words, which endeavours to reckon with a mythical, monumental, yet mostly unknown reception, while continually conducting a reflexive analysis of its own investigative tools. Through the scope of these posthumous, heterogeneous and often extremely violent occurrences, the goal is to retrace the genealogy of the narrative concept of« modernity » which was uncoiled from the figure of Édouard Manet, in Europe and the United States, during a time when his work was simultaneously being distorted as an incarnation of national classicism. More than a point of origin, Manet can be defined as a « crossroad » : a powerful specular junction of ideologies, historicities and phantasmagorical projections. The abject of these analyses is the dense network of attraction, repulsion, and contamination that has been woven between the various and discordant systems of enunciation, studied in the light of processes set up by Manet himself, through a body of work both profoundly relational, yet radically alien. The recurrent question of fractioning, in its multiple issues and schizoid determinations - from dualism to fetishism - make up the guiding principle of this effort of intellectual exhumation; here are retraced in detail the impossible attempts that were made to do away with a painter who has time and again proven to be cause for concern to an idea of modernity created under his name
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Jullian, Martine. "Formalisme et réalisme dans la sculpture romane en France : les occupations des mois." Paris 10, 1995. http://www.theses.fr/1995PA100196.
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Le corpus des calendriers sculptes romans en France qui fait l'objet de la thèse est constituée de 33 cycles, répartis dans 32 monuments. Chaque calendrier fait l'objet d'une notice ou sont exposes les principaux problèmes propres à chacun, et où chaque scène est décrite minutieusement et identifiée (volume II). L'étude de ce corpus (volume I) s'articule en quatre points et a conduit aux conclusions suivantes. La situation tant dans l'espace que dans le temps des calendriers est très groupée : la majeure partie est implantée dans un croissant allant des landes au bourgogne et a été sculptée entre 1140-1160. Dans le monument, la situation privilégiée des calendriers (façade ouest, porte principale, voussure extérieure), qui a permis de dégager une "formule type architecturale", n'est pas sans incidence sur le rôle du thème dans l'église comme facteur d'ordre à la fois spatial et temporel. Sur le plan iconographique, le double phénomène de fixité et de variation a également permis de mettre en évidence une "formule type iconographique", et de faire la part entre les thèmes obliges et les variantes régionales ou individuelles. Enfin, est abordée la question de la valeur documentaire des calendriers sculptes, des œuvres d'art qui n'ont pas été conçues pour rendre témoignage d'une réalité disparue, et dont la dimension esthétique doit absolument être prise en compte par l'historien. L'analyse des formes et des thèmes renvoie à une observation de la réalité à la fois très fine et très sélective. Cette finesse et cette sélectivité du sculpteur confèrent à l'image non seulement une valeur documentaire indéniable sur la civilisation matérielle du XIIe siècle, mais aussi une dimension spirituelle. Détail réaliste et stylisation parfois extrême, combines, servent de révélateur a l'expression d'un idéal : idéal fondamentalement optimiste du bien-être, d'un ordre social et religieux reposant sur un ordre économique et politiqueThe corpus of sculpted Romanesque calendar in France which forms the object of the thesis constitutes 33 cycles, spread over 32 monuments. Each calendar receives an individual notice in which are exposed the principal problems of each, and where every scene is meticulously described and identified (volume II). The study of this corpus revolts around four points (volume I). The situation of the calendar in terms of space as much as time is grouped: the majority is implanted in a crescent spreading from lands region to burgundy and was carved between 1140-1160. In the building, the privileged position of the calendars (west facade, door way, exterior archcurves), which has helped to define a "modal architectural formula" has not been without impact on the role of theme in the church as a factor of order both spatial and in time. From the iconographical point of view, the double phenomenon of steadiness and variation has also helped to reveal a "modal iconographical formula", and mark a difference between obligatory themes and regional or individual variants. Last of all, the question is aborded as to the documentary value of sculpted calendars, works of art which were not conceived in order to capture a reality hitherto disappeared and whose aesthetic aspect must certainly be taken into consideration by the historian. The analysis of forms and themes leads to an observation of reality at the same time very fine and selective. This delicacy and selectivity within the sculptor art gives not only an undeniable documentary value to the image of material twelfth century civilization, but also a spiritual dimension. Realistic detail and at times extreme stylization, when combined at as a revealer to the expression of an ideal: fundamentally optimistic ideal of well-being
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Ben-Porat, Orit. "L'abstraction picturale chez Paul Klee : entre formalisme et symbolisme." Paris 8, 2005. http://www.theses.fr/2005PA083670.
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Le but de la recherche est d’éclairer le langage abstrait autour et à partir du travail de l’artiste Paul Klee. L’étude portera sur l’apparition de certains thèmes et symboles dans son œuvre. Sa foisonnante création implique un choix, car la position de Paul Klee à la lisière de plusieurs styles, favorise la variété et les diverses associations des paramètres picturaux. La synthèse personnelle de l’artiste entre les divers courants artistiques est illustrée par la création et la théorie. Attentif à la modernité, il tente d’explorer l’espace psychologique, l’espace philosophique et tous les possibles du nouveau langage. 18 tableaux représentent en particulier les paramètres couleur, ligne et symbole et les ramifications de leurs interférences. Cette quête est destinée à montrer, entre autres, le fonctionnement de ce langage, en rapprochant langage verbale et langage visuel, en vue d’extraire une synthèse entre contenu est innovation, et à fournir par la même occasion des clés pour la compréhension de la création en généraleThe purpose of this research is to clarify the abstract language, white evolving around the work of Paul Paul Klee. This study will also deal with various themes and symbols reappearing in his work whose rich variety is due among other things to his personality and his choice of expressing the unity behind several artistic movements. Another reason for his multiple pictorial expressions lies in his intention to exercise all the components of painting and the diversity of their associations. In doing so, his personal synthesis is fully illustrated by his practice and theory. A true disciple of the modernist spirit of creation, his main idea was to employ while exploring it a new type of pictorial space focusing on the psychological and philosophical levels. By choosing specifically 18 paintings, out aim is to throw light on his approach towards colour, line and symbol (and from in general), and their interaction. This will enable us to show the functioning of the artistic language, playing its role between verbal and visual language. Our purpose is finally, to keep in sight a unique view point white referring to content and innovation, and all the same to obtain a wider scope and new keys for the comprehension of creation as a whole
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Mariucci, Giulia <1995>. "L'esperienza estetica fra Dewey e Greenberg: pragmatismo e formalismo a confronto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18002.
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Il presente lavoro si prefigge l’obiettivo di definire il concetto di esperienza estetica mettendo a confronto le posizioni di due suoi teorizzatori, Dewey e Greenberg, e di comprendere, in base anche allo studio del contesto da cui queste proposte emersero e che avrebbero influenzato, se questa concezione dell’arte possa rivelarsi attuale e rappresentare un paradigma per ritrovare il legame di continuità fra l’arte e la vita. Si indaga l’approccio pragmatico del filosofo americano John Dewey che per primo parlò di arte in termini di esperienza. Partendo dalla sua definizione di esperienza come costante interazione fra l’organismo vivente e l’ambiente, si analizzeranno i caratteri che distinguono quella estetica dando vita a una concezione democratica e partecipativa dell’arte, indissolubilmente legata all'esperienza di vita quotidiana. Di diverso avviso si presenta la proposta di matrice formalista del critico newyorkese Clement Greenberg, in base alla quale l’esperienza estetica si configura come mezzo attraverso cui giungere a un giudizio dell’opera d’arte solo in base a criteri formali. Da qui una concezione esclusiva ed elitaria dell’arte, nettamente separata dal proprio contesto. Allo stesso tempo si analizza la scena americana fra l’inizio e gli anni Sessanta del Novecento, luogo in cui queste proposte nacquero e su cui avrebbero esercitato la propria influenza. Si propone infine una lettura in chiave attuale dell’approccio esperienziale allo studio dell’arte.
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Bréhin, Yannick. "La structuration de la production artistique contemporaine au tournant des années 1960 : approche formaliste et socio-historique." Paris 8, 2005. http://www.theses.fr/2005PA082554.
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[Résumé en français]Notre thèse prend pour objet la production artistique contemporaine qui introduit une rupture avec les catégories traditionnelles de la peinture et de la sculpture et qui a contribué au processus évolutif de l'histoire de l'art des années 1960 aux années 1980. Si nous nous appuyons sur les théories formalistes pour démontrer que la description des caractéristiques formelles des œuvres est déterminante pour comprendre l'espace des possibles formels et pour analyser les enjeux esthétiques de cette période, nous articulons à cette approche une analyse plus externe, de type socio-historique, préoccupée par les conditions économiques et sociales de production des œuvres, c'est-à-dire par le fonctionnement du marché de l'art et par la trajectoire des artistes. C'est donc par une approche relationnelle articulant analyse interne et externe, approche formaliste et socio-historique que nous avons contribué à une meilleure compréhension de cette période d'effervescence créatrice.
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Bizzarro, Salvatore. "Il significato della pittura. Imaginative art e actual criticism in Roger Fry." Doctoral thesis, Universita degli studi di Salerno, 2015. http://hdl.handle.net/10556/2136.
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2013 - 2014The present work traces on a chronological schedule the most important steps of Roger Fry’s critique, from the beginning as connoisseur in the end of the 19th Century, through the formalist season of the Twenties, till the formalism crisis and his thoughts on the method and the practice of art criticism in the latest years. This research moves around, from a critic point of view, not only on the rereading of the first contribution on Renaissance Art published by Fry, but also on some unreleased manuscripts, from which some quotes are submitted, that furnish a full documentary repertoire, not explored so far, through which we can build up the study of the ancient Renaissance Masters that for the young connoisseur Fry represents the first field test of his aesthetic sensibility... [edited by author]
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Duval, Romain. "Les formes vivantes de l'art : esthétique figurale et analyse des oeuvres." Paris 1, 2007. http://www.theses.fr/2007PA010592.
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Qu'entendre à l'aube du XXIe siècle par formes vivantes de l'art ? Émergeant à la faveur d'une relecture du concept du figural élaboré par Jean-François Lyotard, les formes vivantes font face aux pratiques du monde de l'art culturel, jugées médiocres par les uns, porteuses de nouvelles relations esthétiques pour les autres. La notion de formes vivantes ne qualifie pas l'hétérogénéité combinatoire ni le caractère protéifonne des œuvres contemporaines comme le voudrait l'idéologie éclectique de la postmodemité. Fondée sur une interprétation partielle du "vitalisme" de Gilles Deleuze et Félix Guattari, cette idéologie ignore qu'ils considèrent l'art en tant que "composition esthétique" ou configuration de qualité. Loin des formalismes de l'art pour l'art et de la forme pure, loin du postmodemisme réducteur et d'une esthétique libidinale quantitative, les formes vivantes se définissent dans le régime fructueux du figural : celui de l'entremonde, d'où elles réinterrogent l'idée d'organicité et les liens entre l'art et la vie. Notre esthétique des formes vivantes, prenant acte des transformations de la modernité, s'appuie sur les théories fécondes du romantisme allemand, l'Einfühlung, la psychologie de la forme ainsi que les pensées de Baudelaire, Nietzsche, Adorno, Wölfflin, Focillon. . . Mais elle donne toute sa mesure dans l'analyse esthétique approfondie des œuvres sur les modèles de Paul Klee et du figuralqui articulent pensée formelle, perception en acte et étude des formes. Ainsi, l'analyse d'œuvres exemplaires - un dessin de George Grosz et une séquence filmée de Jonas Mekas - nous permet de mesurer à l'échelle micrologique la qualité de leurs formes "inexactes" pour mieux appréhender la notion de formes vivantes
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Dunn, Adam. "A model of wildfire propagation using the interacting spatial automata formalism." University of Western Australia. School of Computer Science and Software Engineering, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0071.
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[Truncated abstract] In this thesis, I address the modelling and computer simulation of spatial, eventdriven systems from a computer science perspective. Spatially explicit models of wildland fire (wildfire) behaviour are addressed as the specific application domain. Wildfire behaviour is expressed as a formal model and the associated simulations are compared to existing models and implementations. It is shown that the in- teracting spatial automata formalism provides a general framework for modelling spatial event-driven systems and is appropriate to wildfire systems. The challenge adressed is that of physically realistic modelling of wildfire behaviour in heterogeneous environments . . . Many current models do not incorporate the influence of a neighbourhood (the geometry of the fire front local to an unburnt volume of fuel, for example), but rather determine the propagation of fire using only point information. Whilst neighbourhood-based influence of behaviour is common to cellular automata theory, its use is very rare in existing models of wildfire models. In this thesis, I present the modelling technique and demonstrate its applicability to wildfire systems via a series of simulation experiments, where I reproduce known spatial wildfire dynamics. I conclude that the interacting spatial automata formalism is appropriate as a basis for constructing new computer simulations of wildfire spread behaviour. Simulation results are compared to existing implementations, highlighting the limitations of current models and demonstrating that the new models are capable of greater physical realism.
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Clements, Neil. "The Ivory Tower and the Control Tower : formalist aesthetics and cultural affiliations in British abstract art, 1956-1968." Thesis, Glasgow School of Art, 2017. http://radar.gsa.ac.uk/5606/.
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This thesis addresses British art of the late 1950s and 1960s, and specifically traces how formalist aesthetics and broader cultural factors influenced abstract art being made at this time. As such it is concerned with defining how particular artworks, while not depicting the environment in which they were produced, can still be demonstrated to embody it through other means. Opposing a binary separation of pop figuration and formalist abstraction prevalent in other scholarship dealing with the period, this text instead outlines a scenario where formalist strategies of art-making were themselves ideologically predicated on a number of other societal factors. These factors include the semantic economy underpinning the field of branded advertisement, the increasingly afunctional appearance of industrially styled commodities, and an image of ‘classless’ professionalism cultivated to combat an existing political Establishment. Additionally, this study includes an examination of the influence exerted on British abstraction by American sources, and revisits the critic Norbert Lynton’s observation regarding the ‘Mid-Atlantic’ position many practitioners found themselves occupying stylistically. At the heart of such an enquiry is an attempt to account in concrete terms for characteristics differentiating British artwork from that being produced elsewhere. It is structured as three chapters, looking at the work of Richard Smith at a time during which he was resident in both London and New York, that of a number of sculptors who participated in the Whitechapel Art Gallery exhibition New Generation 1965, and the development of Jeremy Moon’s painting practice. Brought together these three case studies combine to suggest an autonomous and vital sensibility, one quite distinct from developments being made either in Continental Europe or the United States.
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Roncaglia, Roberto. "Studies of Classically Chaotic Quantum Systems within the Pseudo-Probablilty Formalism." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278979/.
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The evolution of classically chaotic quantum systems is analyzed within the formalism of Quantum Pseudo-Probability Distributions. Due to the deep connections that a quantum system shows with its classical correspondent in this representation, the Pseudo-Probability formalism appears to be a useful method of investigation in the field of "Quantum Chaos." In the first part of the thesis we generalize this formalism to quantum systems containing spin operators. It is shown that a classical-like equation of motion for the pseudo-probability distribution ρw can be constructed, dρw/dt = (L_CL + L_QGD)ρw, which is rigorously equivalent to the quantum von Neumann-Liouville equation. The operator L_CL is undistinguishable from the classical operator that generates the semiclassical equations of motion. In the case of the spin-boson system this operator produces semiclassical chaos and is responsible for quantum irreversibility and the fast growth of quantum uncertainty. Carrying out explicit calculations for a spin-boson Hamiltonian the joint action of L_CL and L_QGD is illustrated. It is shown that the latter operator, L_QGD makes the spin system 'remember' its quantum nature, and competes with the irreversibility induced by the former operator. In the second part we test the idea of the enhancement of the quantum uncertainty triggered by the classical chaos by investigating the analogous effect of diffusive excitation in periodically kicked quantum systems. The classical correspondents of these quantum systems exhibit, in the chaotic region, diffusive behavior of the unperturbed energy. For the Quantum Kicked Harmonic Oscillator, in the case of quantum resonances, we provide an exact solution of the quantum evolution. This proves the existence of a deterministic drift in the energy increase over time of the system considered. More generally, this "superdiffusive" excitation of the energy is due to coherent quantum mechanical tunnelling between degenerate tori of the classical phase space. In conclusion we find that some of the quantum effects resulting from this fast increase do not have any classical counterpart, they are mainly tunnelling processes. This seems to be the first observation of an effect of this kind.
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Auriol, Jean-Bernard. "Modélisation du sujet humain en situation de résolution de problème basée sur le couplage d'un formalisme logique et d'un formalisme d'opérateurs /." Paris : École nationale supérieure des télécommunications, 2002. http://catalogue.bnf.fr/ark:/12148/cb38845759g.
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Baker, David, and n/a. "Of Unprincipled Formalism: Readings in the Work of David Malouf and Peter Carey." Griffith University. School of Humanities, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.120642.
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This thesis develops a critical reading methodology entitled unprincipled formalism. This methodology is tested in close readings of three relatively contemporary Australian literary texts: David Malouf's short story "A Traveller's Tale" (1986) and novella Remembering Babylon (1994), and Peter Carey's short story "The Chance" (1978). Unprincipled formalism is developed in relation to three broad contexts: the fragmented state of the contemporary discipline of literary studies; the complex of international economic and social phenomena which goes under the general rubric of globalisation; and the specific Australian left-liberal literary critical tradition which I have termed, for convenience sake, the Meanjin literary formation. Unprincipled formalism does not draw a distinction between form and content. Unprincipled formalism is a critical methodology that is both avowedly socially concerned and strictly formalist. It is concerned with articulating and analysing the particular social and political interventions made by literary texts (as well as the resultant critical discussion of those texts) through a consideration of the formal techniques by which literary texts situate themselves as acts of communication. Principal among these techniques is the mise en abyme. The thesis provides a detailed analysis of debates around the mise en abyme informed by the work of theorists such as Ross Chambers, Lucien Dallenbach, Frank Lentricchia, Moshe Ron, Jacques Derrida and others. Politically, unprincipled formalism attempts to steer a middling course between neo-liberal triumphalism on the one hand and nostalgic left romanticism on the other. This involves on the one hand a critique of neo-liberalism drawing on the work of Charles Taylor, Stephen Holmes, John Frow and others, and on the other a critique of a nostalgic romantic tendency in "progressive" critical technologies such as postmodern and postcolonial literary studies.
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Brembilla, Paola <1985>. "It's All Connected. Strategie competitive ed evoluzioni formali nelle serie TV statunitensi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7330/1/Brembilla_Paola_Tesi.pdf.
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Questo lavoro propone un'analisi di come le evoluzioni istituzionali, economiche e tecnologiche dell'industria televisiva statunitense abbiano influenzato forme e formati delle serie TV dal secondo Dopoguerra a oggi.
Coniugando teorie di television e media studies a strumenti dell'economia e dell'analisi strategica, il lavoro si serve di un approccio sistemico che evidenzia le proprietà dinamiche del settore e dei suoi prodotti, portando così in primo piano la co-evoluzione fra forze di mercato e proprietà formali delle serie TV, il cui valore simbolico e monetario è ciclicamente rinegoziato.
La tesi si compone di cinque capitoli che delineano un percorso co-evolutivo fra industria e produzioni. Nei primi due, di tipo storico-ricognitivo, si indagano le pratiche competitive, produttive e distributive dell'industria dall'inizio delle trasmissioni all'affermazione della televisione via cavo e degli OTT. Negli altri tre, ci si concentra sul contemporaneo e sulle pratiche che stanno nuovamente ridefinendo il settore e i prodotti, analizzando gli effetti (economici, culturali, estetici) dell'invasione dei player online nel mercato televisivo, con attenzione alla costruzione di ecosistemi digitali e narrativi.This thesis examines how the U.S. television industry's institutional, economic and technological evolutions shaped the styles, aesthetics and formats of scripted TV series, from the mid-Forties to today. Being the U.S. TV industry a highly competitive oligopoly, closely related to the fluctuations of the outer environment (national and global economy, mediascape, society and culture), the thesis focuses on how the market leaders responded to cyclical institutional, technological, and industrial changes, along with how these adaptive reactions shaped the forms and texts of TV series, constantly renegotiating their symbolic and financial values. The thesis is composed of five chapters that trace co-evolutionary paths between TV institutions and TV products. The first two chapters provide an historical account of the main industrial practices of the network era and the multichannel transition, highlighting the competition between broadcast TV and cable and outlining some main product groups sharing some aesthetic and narrative features. It then introduces the post-network era and digitization, along with the entrance of OTT players into the TV market. The following three chapters problematize this entrance and examines the manifold ways broadcasters reacted to the new scenario, focusing on corporate strategies, business strategies, formal strategies and the construction of digital and narrative ecosystems. Bringing together television and media studies and strategy analysis, the work uses a sistemic approach that highlights the dynamic features of the industry and its products, eventually bringing to the fore the co-evolutionary patterns of market forces and formal properties of TV series.
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Lucena, Júnior Alberto. "Hipercinema : elementos para uma teoria formalista do cinema de animação hiperrealista." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284589.
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Orientadores: Antonio Fernando da Conceição Passos, Marcello Giovani TassaraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T08:12:31Z (GMT). No. of bitstreams: 1 LucenaJunior_Alberto_D.pdf: 14069485 bytes, checksum: 0faaf35a9f1dd903e00f992649686519 (MD5) Previous issue date: 2012
Resumo: A pesquisa almeja formular uma teoria estética para o cinema de animação hiperrealista. Após completar meio século de existência, a computação gráfica finalmente alcançou um estágio tecnológico no qual o artista dispõe de ferramentas poderosas e flexíveis o suficiente para enfim encarar o desafio de criar filmes com imagens realistas sintéticas absolutamente convincentes. Impõe-se, entretanto, a necessidade de fundamentação estética para fornecer o apoio artístico capaz de colaborar para o êxito expressivo desse novo cinema, tanto no trabalho de produção quanto na avaliação crítica. Para tanto o estudo empreende uma investigação do desenvolvimento da arte desde sua origem a fim de situar, seja na arte fixa ou na arte móvel, o lugar da forma realista e verificar as exigências formais que transformam uma imagem de alto nível icônico em obra de arte
Abstract: The research aims to formulate an aesthetic theory for the hyperrealist animated film. After completing half a century, computer graphics has finally reached a technology stage in which the artist has powerful and flexible tools to finally face the challenge of creating films with realistic synthetic images absolutely convincing. It must be, however, the need for aesthetic reasons to provide artistic support able to contribute to the expressive success of this new cinema, both in production work and in critical evaluation. For that, the study undertakes an investigation of the development of art from its origin in order to place, whether in still art or moving one, the place of realistic form and check the formal requirements that make a high-level iconic picture into the work of art
Doutorado
Multimeios
Doutor em Multimeios
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Coiculescu, Ion. "Dynamics, Thermodynamic formalism and Perturbations of Transcendental Entire Functions of Finite Singular Type." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4783/.
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In this dissertation, we study the dynamics, fractal geometry and the topology of the Julia set of functions in the family H which is a set in the class S, the Speiser class of entire transcendental functions which have only finitely many singular values. One can think of a function from H as a generalized expanding function from the cosh family. We shall build a version of thermodynamic formalism for functions in H and we shall show among others, the existence and uniqueness of a conformal measure. Then we prove a Bowen's type formula, i.e. we show that the Hausdorff dimension of the set of returning points, is the unique zero of the pressure function. We shall also study conjugacies in the family H, perturbation of functions in the family and related dynamical properties. We define Perron-Frobenius operators for some functions naturally associated with functions in the family H and then, using fundamental properties of these operators, we shall prove the important result that the Hausdorff dimension of the subset of returning points depends analytically on the parameter taken from a small open subset of the n-dimensional parameter space.
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Thebault, Patricia. "Formalisme CSP (Constraint Satisfaction Problem) et localisation de motifs structurés dans les textes génomiques." Phd thesis, Université Paul Sabatier - Toulouse III, 2004. http://tel.archives-ouvertes.fr/tel-00011452.
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La recherche d'occurrences de gènes d'ARN dans les séquencesgénomiques est un problème dont l'importance est renouvelée par la
découverte récente de très nombreux ARN fonctionnels, opérant
souvent en interaction avec d'autres molécules.
Le formalisme des réseaux de contraintes est approprié à cette problématique aussi bien sur le plan de la modélisation que sur les développements algorithmiques qu'il permet de proposer.
Après une analyse et une comparaison des outils existants plongés dans le cadre des réseaux de contraintes, nous
montrons comment l'utilisation conjointe des réseaux de contraintes,
des techniques de résolution associées et des algorithmes et
structures de données du "pattern matching" permet de modéliser et de
rechercher efficacement des motifs structurés en interaction (faisant
intervenir plusieurs textes génomiques simultanément).
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Thérault, Patricia. "Formalisme CSP et localisation de motifs structurés dans les textes génomiques." Toulouse 3, 2004. http://www.theses.fr/2004TOU30081.
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Simmons, David. "Random Iteration of Rational Functions." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115157/.
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It is a theorem of Denker and Urbański that if T:ℂ→ℂ is a rational map of degree at least two and if ϕ:ℂ→ℝ is Hölder continuous and satisfies the “thermodynamic expanding” condition P(T,ϕ) > sup(ϕ), then there exists exactly one equilibrium state μ for T and ϕ, and furthermore (ℂ,T,μ) is metrically exact. We extend these results to the case of a holomorphic random dynamical system on ℂ, using the concepts of relative pressure and relative entropy of such a system, and the variational principle of Bogenschütz. Specifically, if (T,Ω,P,θ) is a holomorphic random dynamical system on ℂ and ϕ:Ω→ ℋα(ℂ) is a Hölder continuous random potential function satisfying one of several sets of technical but reasonable hypotheses, then there exists a unique equilibrium state of (X,P,ϕ) over (Ω,Ρ,θ).
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Muir, Stephen R. "Gibbs/Equilibrium Measures for Functions of Multidimensional Shifts with Countable Alphabets." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68021/.
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Consider a multidimensional shift space with a countably infinite alphabet, which serves in mathematical physics as a classical lattice gas or lattice spin system. A new definition of a Gibbs measure is introduced for suitable real-valued functions of the configuration space, which play the physical role of specific internal energy. The variational principle is proved for a large class of functions, and then a more restrictive modulus of continuity condition is provided that guarantees a function's Gibbs measures to be a nonempty, weakly compact, convex set of measures that coincides with the set of measures obeying a form of the DLR equations (which has been adapted so as to be stated entirely in terms of specific internal energy instead of the Hamiltonians for an interaction potential). The variational equilibrium measures for a such a function are then characterized as the shift invariant Gibbs measures of finite entropy, and a condition is provided to determine if a function's Gibbs measures have infinite entropy or not. Moreover the spatially averaged limiting Gibbs measures, i.e. constructive equilibria, are shown to exist and their weakly closed convex hull is shown to coincide with the set of true variational equilibrium measures. It follows that the "pure thermodynamic phases", which correspond to the extreme points in the convex set of equilibrium measures, must be constructive equilibria. Finally, for an even smoother class of functions a method is presented to construct a compatible interaction potential and it is checked that the two different structures generate the same sets of Gibbs and equilibrium measures, respectively.
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Capdeville, Loïc. "Fortune de l'historicisme : les usages du terme historicisme dans les écrits sur l'art." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0107.
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De plus en plus fréquents depuis les années soixante-dix, les usages du terme historicisme dans le champ de l'art n'ont que peu de cohérence. On peut, tout au plus, associer au néologisme un nombre réduit de fonctions: manière de rejeter les historiens, de juger une époque ou de se positionner quant aux modalités critiques, l'historicisme pose plus de questions qu'il n'apporte de réponses. Si on prend la peine de considérer la terminologie qui lui est associée, on constate même une ambivalence trop généralisée pour être contingente; les grandes références historiques achèvent de compliquer le tableau en constituant une série de filiations radicalement concurrentielles. Une approche pragmatique permet pourtant d'expliquer ce qui, du côté du lexique, relève d'un système de propositions converses et du côté de l'historique, constitue une série de recouvrements. Il semble ensuite que la relation entre art et historicisme puisse-t-être reconsidérée comme une simple version dérivée de la relation entre art et histoire, une relation que viennent singulièrement compliquer les clivages disciplinaires, l'absence d'alternative historiographique et les axiologies contradictoires nées de la difficile sécularisation des thématiques en causeThe uses of the term "historicism" in the field of art, which have grown more and more frequent since the seventies, bear but little coherence. At most, this neologism can be associated to a Iimited number of functions: historicism, whether it be a way of rejecting historians, judging an era/epoch, or taking a stand on critical processes, raises more questions than it brings answers. If one attempts to study the terminology associated with the term, one even notices an ambivalence that is too widespread to be contingent. The great historical references complicate the matter further by forming a series of radically conflicting correlations/associations. A pragmatic approach, however, will contribute to delineate a notion which, from the point of view of lexicon, falls within a system of converse assertions, and, from that of history, can be regarded as a series of overlaps. It seems, from then on, that the relationship between art and historicism may simply be reevaluated as a derived version of that between art and history, a relationship that is made extremely complex by the divisions between different fields of study, the absence of historiographical alternatives, and the conflicting axiologies caused by a problematic secularization of the themes involved
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Horng, Wen-Bing. "Using Extended Logic Programs to Formalize Commonsense Reasoning." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278054/.
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In this dissertation, we investigate how commonsense reasoning can be formalized by using extended logic programs. In this investigation, we first use extended logic programs to formalize inheritance hierarchies with exceptions by adopting McCarthy's simple abnormality formalism to express uncertain knowledge. In our representation, not only credulous reasoning can be performed but also the ambiguity-blocking inheritance and the ambiguity-propagating inheritance in skeptical reasoning are simulated. In response to the anomalous extension problem, we explore and discover that the intuition underlying commonsense reasoning is a kind of forward reasoning. The unidirectional nature of this reasoning is applied by many reformulations of the Yale shooting problem to exclude the undesired conclusion. We then identify defeasible conclusions in our representation based on the syntax of extended logic programs. A similar idea is also applied to other formalizations of commonsense reasoning to achieve such a purpose.
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ARRIGONI, Luigi Ernesto. "La metrica di Alfonso Gatto. Strutture formali e paradigmi artistici." Doctoral thesis, Università degli studi di Bergamo, 2010. http://hdl.handle.net/10446/598.
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The thesis focuses on the metrical forms in Alfonso Gatto’s poetry. The work analyses Gatto’s entire production from the first book, Isola, dated 1932, up to the posthumous volume, Desinenze, published in 1977, one year after the writer’ s death. It is fundamental, in a global perspective on the metrical aspects, to delve on the interaction between art and literature. Gatto wrote several essays about painting, sculpture, architecture, theatre and cinema. His books were often illustrated by contemporary artists, like Fulvio Bianconi (Allegretto, 1957), Carlo Carrà (Venezia, 1964) and Graziana Pentich (Il vaporetto, 1963), the poet’s mate. The aesthetic concept that emerges from his articles and from the collaborations with some painters allows to adapt some categories used for the arts of XIX and XX centuries (Impressionism, Cubism, Abstract and Informal Art) to describe the metric of Gatto’s poems. Gatto used various poetic forms, both regular and closed (especially sonnets, quatrains of hendecasyllables and canzonette of settenari) and written in free verses (short and long ones). The connection among the different types of verses is similar to the dynamic aspects of painting, sculpture and cinema. The book in which explicitly appears the importance of the parallelism between painting and literature is Rime di viaggio per la terra dipinta, a collection of 100 poems created with 100 pictures painted by Gatto himself.
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Kim, Eun-Il. "Logiciels de thermique de l'habitat, formalisme et précision méthodes détaillées et méthodes simplifiées." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37598729n.
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Leneutre, Jean. "Contribution à l'étude de la logique linéaire comme formalisme de modélisation et de spécification /." Paris : École nationale supérieure des télécommunications, 1999. http://catalogue.bnf.fr/ark:/12148/cb37054938h.
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Mourgues, Gérard J. F. "Utilisation du formalisme de Wigner en mécanique statistique classique et en traitement des signaux certains." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37608304h.
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Grazzini, Serena Spies Bernhard. "Der strukturalistische Zirkel : Theorien über Mythos und Märchen bei Propp, Levi-Strauss, Melerinskij /." Wiesbaden : deutscher Universitäts-Verl, 1999. http://catalogue.bnf.fr/ark:/12148/cb399232852.
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Perata, R. "L'OUVERTURE D'OPERA ITALIANA DALLA MORTE DI MOZART ALLA RESTAURAZIONE - TECNICHE FORMULARI E INNOVAZIONI FORMALI." Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/370299.
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The operatic repertory composed between the death of Mozart, in 1791, and the consecration of Rossini, around 1815, is one of the less known to professional musicians of our day and one of the less performed in modern opera houses. A period of deep transformation, in which social, political and economical changes lead to significant innovations in the world of Italian opera and its management as well, establishing new methods and techniques in music composition, with a growing role played by conventions and formulas. Starting from a famous essay by Philip Gossett, this research investigates the evolution of a specific form within the operatic world - the overture - allowing to focus on music issues rather than on the libretti.
After a historical recognition on composers and titles that were actually performed in major Italian opera houses during the chosen period, and on the theoretical background provided by composition treatises of the second half of the 18th and early 19th centuries, a corpus of about one hundred thirty overtures by thirty-seven composers is analysed with a double-eyed look -both historical and modern-, in search of recurring patterns and structures, but also of personal solutions and novelties. Comparative study proves that the overture went through a much larger variety of possibilities than its usual description -both in ancient and modern sources- as a "sonata form without development" allows to understand: although forms not related to the sonata are rare, a certain amount of choices were available (number of themes, transition paths, development, crescendo, etc.). While carrying out a much more specific and detailed morphology of the overture, tracing its evolution through some twenty-five years also allows re-establishing historical truth over legendary tools such as the Rossini-crescendo, and to reconstruct the "common language" of Italian opera at the time, making a better understanding of the contributions of each composer possible. This should lead to a new comprehension of authorship, freed from the modern attitude of "genius-at-work", and re-inserted in its historical context of a musical res publica whose forms, tonal paths, compositional formulas, and orchestral solutions, were still common to all its citizens.
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PECCHENINI, FEDERICO. "Evoluzione e caratteri formali dell'influenza francese sulla moda nobiliare del XVIII secolo." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1857.
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La tesi vuole evidenziare il carattere continuativo che l’influenza francese ha esercitato sulla moda curiale nel XVIII, fino allo scoppiare delle Rivoluzione.
I primi tre capitoli, sono necessari per comprendere la nascita di questa fortuna. Lo scontro tra corona francese e corona spagnola si è caratterizzato nel XVII secolo anche come scontro di codici vestimentari.
Il perdurare delle “divise” di corte maschile e femminile nel XVIII perfezionate durante la seconda metà del regno di Luigi XIV è funzionale al mantenimento del ruolo guida: riconoscendo la necessità di uniformarsi agli abiti prescritti dal cerimoniale francese, le corti si appropriano non solo di un codice vestimentario, ma di una particolare immagine della monarchia.
Il monopolio francese sulla moda si basa su un’autorità che deriva innanzitutto da quella conseguita nel secolo precedente.
Alla fine del Settecento il rifiuto per gli abiti strettamente di corte che coincide con la creazione di alternative che possano soddisfare l’esigenza dell’apparire curiale segue una matrice quasi strettamente femminile: capacità della corte francese è quelle di elaborare spunti provenienti da altre culture e modificarle in chiave nazionale.The thesis wants to focus on the continuity of the French influence on the evolution of European fashion during the eighteenth century to the Revolution. The first three chapters are indispensable to understand the origin of this success. The fight between the French and the Spanish court during the sixteenth century was also a fight for the supremacy of their own fashion style. The persistence in the eighteenth century of the court dress code for man and women that was elaborated during the reign of Louis XIV was functional to the maintenance of the guide role of the French court in Europe. At the end of the century, the refusal of strictly court dresses for new kind of clothes is peculiar of the women living at the court, but the French court has the ability to invent new fashions using ideas coming from other countries.