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Morrow, Stephen M. "The Art Education of Recklessness: Thinking Scholarship through the Essay." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492288407200045.
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Ramey, Joshua Alan. "Gilles Deleuze and the powers of art." Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1176539841&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Salucci, Marco. "Gilles Deleuze, une inéfinition esthétique." Paris 8, 2014. http://www.theses.fr/2014PA084150.
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La notion de ressemblance, l’inconscient œdipien, l’ordre de la grammaire, sont respectivement trois manières finalisées à définir la sensibilité, le désir, l’écriture. Cependant, la philosophie de Deleuze fait dysfonctionner la ressemblance, délirer le désir, met sous tension la grammaire. Dans cette thèse, nous proposons une approche opératoire de la pensée de Deleuze afin de montrer par quels mouvements et par quels concepts, la définition atteint ses limites et la pensée retrouve le véritable étonnement philosophique. Lorsque désir et objet, Dire et Faire, corps et sensation, se retrouvent dans une zone indéfinie, la philosophie ne concerne plus la pensée, elle fait sensation. Cette thèse décompose et explicite les mouvements et les milieux où les concepts deleuziens se forment en partant de la destitution d’un objet clair, pensé et défini. Les vitesses qui parcourent sa philosophie seront mises en contrepoint avec des œuvres d’art qui permettront d’activer une sensation au delà de tout objet défini et en-deçà de tout sujet constitué. Nous verrons comment les trajets indéfinis de leur destitution parcourent une surface dans laquelle la notion de création rencontre, chez Deleuze, la vieThe concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
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Marzec, Megan E. "Wastelands, Revolutions, Failures." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429889399.
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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.
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Baranzoni, Sara <1981>. "Pensiero e creazione. Il theatrum philosophicum di Gilles Deleuze." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3950/.
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Partendo dalla constatazione di un sempre maggiore utilizzo di terminologie, concetti e citazioni deleuziane all’interno delle pratiche sceniche contemporanee e nelle riflessioni ad esse legate, e prendendo atto dell’assenza di studi specifici che affrontino l’argomento nella sua complessità, il lavoro si propone di penetrare nelle opere e nelle teorie del filosofo Gilles Deleuze con uno sguardo attento al verificarne i punti di contatto bidirezionali con le arti sceniche, al fine di individuare – all’interno di un pensiero che solo raramente si è occupato direttamente di teatro, ma che del teatro ha la potenza – quel materiale che può servire da stimolo per la creazione e l’analisi della scena contemporaneo.
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Dewsbury, John-David Charles. "Theatre, an empty space : a thought performance after Gilles Deleuze." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/7a9b6429-d582-4369-85d4-5c38606bf867.
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Johnson, Alyssa Marie. "Views From The House." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429835120.
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Landaeta, Mardones Patricio. "Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119527.
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The critique of images is seen as a set-up’s critique for the emergency ofcritical thinking in the era of the proliferation of information and communication systems, imposed due to their apparent objectivity. This article discusses in seven paragraphs the link among montage, image and event according to the thoughts ofGilles Deleuze and Jacques Rancière.La crítica de las imágenes se entiende como la crítica del montaje para la emergencia de un pensamiento crítico en la era de la proliferación de los sistemas de comunicación e información, que se imponen en su aparente objetividad. El presente artículo aborda en siete parágrafos el vínculo de montaje, imagen y acontecimiento de acuerdo al pensamiento de Gilles Deleuze y Jacques Rancière.
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Brito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze." Paris 8, 2007. http://www.theses.fr/2007PA082850.
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Ce qui se présente toujours à l'étonnement de qui se saisit de l'œuvre de Deleuze, c'est l'abondance de ses références artistiques et la profusion des rencontres entre art et philosophie. En identifiant un programme à résonances éthiques et politiques que Deleuze accorde à la littérature, à la peinture ou au cinéma, ce travail se propose d'éclairer comment s'organisent les rencontres entre le visible et le lisible. Il cherche notamment à préciser quel est le rôle et le statut des arts dans la philosophie de Deleuze. En analysant la notion d'une "philosophie pratique", la conception deleuzienne du sublime, le thème de la "voyance" et de la "fabulation", et l'allégorisme de Deleuze, cette étude révèle enfin comment se construit un plan d'immanence entre les inventions de l'art et les puissances de la vieWhat is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
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van, Putten Jasper Cornelis. "The Networked Cosmos: Sebastian Münster's City Views." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467472.
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My dissertation concerns the networks of production of early modern books of city views. Its focus is the emerging national and regional identities of the makers of the views in Sebastian Münster’s Cosmographia (1544-1628) and competing French city books from the same period. To study the networks I have adopted an interdisciplinary approach that aims to give a measured attention to all individuals involved in the production of the views (cosmographers, patrons, artists, draftsmen, woodcutters, printers). I analyze (1) national myths to which patrons and artists aligned their views, (2) patrons’ depiction of territory and genealogy in their views, (3) national symbols depicted on the views by draftsmen and woodcutters, and (4) draftsmen’s intentional application of “Deutsch” [German] or “Welsch” [French/Italian] styles. Finally, I have mapped views of the all editions of the city books in GIS, in order to visualize and analyze their networks of production over time. It emerges from this inquiry that a necessary condition for the collaborative production of books of city views was the alignment of the diverse interests (scientific, political, dynastic, economic, artistic) of all parties involved along a single unified goal, here the production of a shared national identity.History of Art and Architecture
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Vaillancourt, Éric. "L'atelier d'orfèvrerie de Gilles Beaugrand." Master's thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/23728.
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Gilles Beaugrand-Champagne (1906-2005) a été connu dans toute l'Amérique du Nord pour ses vases sacrés et autres objets de culte, à une époque où le monde de l'art religieux a connu un profond renouveau. Beaugrand, par ses études à l'École des beaux-arts de Montréal, puis sa formation en ferronnerie d'art à Paris, connaissait les courants d'avant-garde du monde des arts décoratifs. À partir de 1935-1936, en s'appuyant sur les compétences d'orfèvres expérimentés, il met sur pied un atelier qui se fait rapidement remarquer par sa production d'objets de culte au langage art déco, et par sa capacité à réaliser une grande diversité d'objets métalliques de toutes catégories. Le fonctionnement de l'atelier de Gilles Beaugrand correspond à un modèle fidèle à sa formation académique où le maître d'atelier utilise son personnel pour réaliser de nombreuses oeuvres, tout en étant le seul créateur des objets produits.
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L'Heureux, Antoine. "Commitment to a life : thinking beyond Gilles Deleuze and Félix Guattari's conceptualization of art." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/8007/.
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This thesis takes as its point of departure Gilles Deleuze and Félix Guattari’s conceptualization of art. Art for them is the expression of A Life in the living. A Life is the ontological and genetic condition of that which we are and ordinarily experience, it is the vital and material transcendental plane of immanence which characterizes Deleuze and Guattari’s ontology. Their conceptualization of art, however, sits uncomfortably with contemporary art in rejecting conceptual and photographic practices, and in its radical rejection of human experience. The aim of this thesis is to expand their conceptualization of art whilst remaining close to what is argued to be its core or essence: a commitment to A Life. This thesis explores three paradigms of commitment to A Life that move beyond the paradigm of A Life in the living. These paradigms are developed through the application of concepts developed by Deleuze and Guattari to contemporary mediums and artworks, with the aim of broadening the relevance of their philosophy for contemporary artistic practices. Deleuze and Guattari’s aesthetics is analyzed and expanded through an engagement with works by Francis Bacon, Thomas Struth, Pierre Huyghe, Francis Alÿs and Peter Doig. By finding a commonality between these artists in their commitment to A Life, this thesis hopes to develop a conceptualization of art which allows us to understand how contemporary art practices engage with A Life, the infinite inside which we live and which lives inside us.
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Hardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
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Waterhouse, Brent Alton <1971>. "Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/.
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In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.
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Hesson, Ian Matthew. "The worlds of Eugene Ionesco : his political views and his dramatic art." Thesis, Royal Holloway, University of London, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265310.
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Winde, Annie Rita Yvonne. "I wan´t to work big and learn art- pupils views on art education in lower secondary school." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34506.
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This essay is about the participants students, teachers, school and their terms and regulations. The investigation aim to examine how the art subject curriculum interact with the pupils own views on what they want to achieve in art classes in school. Further this paper is on what impact some processes to adulthood can have on students learning ambitions during adolescence. Especially it discusses art education in aspects of identity process, influence, motivation, reflection and learning. Lastly this thesis inquires if pupils acquire tools through art lessons that can support their ability in learning for life skills and in further education on their own as adults.
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Versluys, Miguel John. "Aegyptiaca romana : Nilotic scenes and the Roman views of Egypt /." Leiden : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb389468502.
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Frans, Nocawe R. "ART : the views of counsellors about skills needed in counselling HIV/AIDS patients." Thesis, Link to the online version, 2008. http://etd.sun.ac.za/jspui/handle/10019/1471.
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Armstrong, Amatullah. "The artist transformed : Sufi views on the development of the self and art." Thesis, Queensland University of Technology, 1997.
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Abu Madyan Shu'ayb, the exalted Sufi Shaykh of twelfth century North Africa and a contemporary of Shaykh Muhyi-d-Din Ibn al' Arabi, used to say to his disciples, "Feed us with fresh meat." He did not want them to merely relate what another person had to say about Knowledge of Allah. He wanted his disciples, those who struggled on the Sufi Path, to bring forth from the depths of their own hearts that particular Knowledge which Allah had given to each
of them. Shaykh Ibn al-'Arabi often quotes the famous Sufi axiom, "Selfdisclosure never repeats Itself" that is, Allah never reveals or unveils Himself in the same manner in two successive moments to any two creatures within His Creation - ever. The Artist Transformed: Sufi Views on the Development of the Self and Art is a meal containing portions of the fresh meat about which Shaykh Abu Madyan Shu'ayb used to speak. The meat is neither raw nor undercooked nor burned. It is fresh in that it brings forth, for the first time, certain aspects of the Spiritual
Doctrine and Methods of Tasawwuf, explaining them and then relating them to the Sufi artist and his world. This meal is not to everyone's taste. It will only be agreeable, health giving and even delicious to those men and women who genuinely yearn for and seek Knowledge of the Divinity.
From the Sufi perspective, fresh and spontaneous Knowledge,
which enters the purified human heart in the flash of a second, is the only knowledge worthy of being called True Knowledge. This endless unfolding of True Knowledge from the Essence Itself is Real Islam; the Total and Perfect Submission to Allah and the Unconditional Love of Him which marks the final unending stage in the Holy Prophet Muhammad's Art and Science of Self-Transformation. "Islam is a spiral, having its beginning with us in the law
of the community and its end is with God in infinitude.
Anyone ascending this ladder continues towards God in infinitude. Thus, every moment, he gains increased knowledge and consequently surrenders himself, more and more, to God ... This is not idealistic talk, because it has a practical beginning that is placed firmly on the ground in order to lead everyone upwards in itlaq, infinitude, at varying degrees of achievement, each according to his level of knowledge. Everyone is ascending this ladder; 'Above every knowledgeable one is another who is even more knowledgeable' ([The Holy Qur'an] 12:76), until knowledge itself culminates with [God] the 'Knowledgeable of all the unknown' ([The Holy Qur'an] 9:78)." This Art and Science of Self-Transformation is known as Tasawwuf. Within Tasawwuf True Knowledge is called ma 'rifa. It indicates Heart Knowledge not head knowledge. Ma 'rifa cannot be learned. It is the Knowledge which is not to be found in books. Ma 'rifa is the very core of Tasawwuf. This thesis concentrates upon the Art and Science
of Transformation and the Spiritual Methods which aim at purifying the heart in readiness to receive ma 'rifa.
From the Sufi viewpoint, the here below cannot be understood
without Illumination from Above. Therefore, all Sufi writings begin from Above, from the Source, from Allah. There is a distinction to be made between Sufi writings and writings about Sufism. Sufi writings refer to works by people who are themselves initiates of a Sufi Tariqa (Path or Order). They are writings from the inside. In contrast, writings about Sufism are studies and observations from the
outside, by people who are not connected to a Sufi Tariqa. This thesis has been researched and written from within the Living Tradition of Tasawwuf by a Western initiate in an authentic Sufi Tariqa, the Tariqa al-Burhaniyya ad-Dasuqiyya ash-Shadhiliyya. Thus the scope of this thesis is to examine both the Spiritual Doctrine and Methods which permeate the traditional world of the Sufi artist. Every moment of his existence and every aspect of the world in which he lives and creates are penetrated and permeated by the Divine Word of the Holy Qur'an. Therefore, the Spiritual Doctrine and Methods of Tasawwuf, which spring directly from the Holy Qur'an, are the central concern of this thesis.
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Sahar, Heelai. "Active Learning in Kabul Schools : Afghan Teachers’ Views and Practices Heelai Sahar Faculty: Art." Thesis, Karlstads universitet, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-32347.
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Afghanistan is one of those countries where the education system is influenced by traditional system where the teachers has a central position while students is passive and do not have chance to express their opinions. However, active learning is essential need for educational context of Afghanistan. So, the aim of the study is to explore some teachers’ perspectives and practices in relation to active learning and identify some of the main challenges of this approach in Afghan schools.This study has been based on quantitative approaches with 100 male and female teachers in Kabul schools which included the questionnaires from 100 teachers and structure observation of 10 different subject teachers. The findings show that although the National Education Strategy Plan (NESP) and Curriculum Framework (CF) of Afghanistan suggest the active learning/student-centred approach but teachers mostly use the traditional lecture methods. It means that the implementation of active learning in various stages of teaching process at Kabul schools is low. As well as, the use of active learning such as group work, pair work and open questions are not mostly considered during teaching processes. Because of some main obstacles such as: lack of classroom space, large number of students in classrooms, shortage of time, the amount of content that needs to be covered, and lack of materials. At all, the viewpoints of teachers were in support of using active learning approach in the teaching-learning process but observation shows that the majority of instructors focus on lecturer-centred method because of some main obstacles which are mentioned before.
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Kato, Miwako. "Views from Daily Life: A Supporting Paper for a Graduate Exhibition." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.
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Campos, Ana Paula de. "Arte-joalheria = uma cartografia pessoal." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284376.
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Orientador: Anna Paula Silva GouveiaAcompanhado de 2 CD-ROM: Material de Apoio (Mídia Digital) ; Anexos (Mídia Digital)
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T01:47:12Z (GMT). No. of bitstreams: 1 Campos_AnaPaulade_D.pdf: 79702408 bytes, checksum: 2ef53e5db2d259576cab947e6ce8107b (MD5) Previous issue date: 2011
Resumo: Ao tomar a joia como assunto, inscrevendo-a no território da arte, essa tese apresenta o campo da arte-joalheria como possibilidade de produzir e pensar esse objeto de modo poético, desobrigando-o de seu vínculo com materiais preciosos e de sua função decorativa. Nesse sentido aborda o fazer artístico em joalheria a partir de alguns pressupostos extraídos da teoria das multiplicidades de Deleuze e Guattari, desenvolvendo-os nesse território. Para isso empresta desses filósofos referências conceituais e procedimentos de pesquisa que permitem realizar um percurso que articula os conteúdos teóricos e práticos apresentados, construindo transversalidades. Sob a ótica da arte-joalheria, a pesquisa aborda questões relativas ao desejo, corpo e materialidade, entendidas como elementos intrínsecos a joia e, tomando o modelo rizomático do pensamento proposto por Deleuze e Guattari, discute-as a partir das dimensões presentes: pensar, fazer, sentir e propor, considerando-as como em constante estado de fluxo. Como recurso para essa investigação utiliza-se uma cartografia também ancorada no pensamento desses autores, que consideram a realidade contemporânea uma paisagem dinâmica, na qual se articulam contextos individuais e sociais. O caráter do procedimento de pesquisa proposto distingue-se daquele no qual os mapas são registros de uma paisagem fixa. Trata-se de uma cartografia configurada como performance, a qual pressupõe seguir as transformações à partir da experiência do real, acompanhar os acontecimentos sendo parte deles. Portanto workshops realizados com artistas e produção de peças dentro desse território são tomados como fundamentais recursos de investigação e articulados a conteúdos extraídos de entrevistas e palestras, além do material bibliográfico. A partir das experiências vivenciadas foram identificadas conexões que possibilitaram a construção e organização dos capítulos. Neles agenciam-se conceitos oriundos do pensamento de Deleuze e Guattari e o território da arte-joalheria, tanto em sua dimensão teórica quanto pratica. Desse modo as ideias apresentadas são articulações derivadas de uma leitura da experiência como possibilidade de refletir conceitos
Abstract: By taking the jewel as a theme and considering it within the realm of art, this thesis presents the field of art jewelry as a possibility of producing and contemplating an object in a poetic manner, devoid of its link to precious materials and to any decorative function. In this sense, the artistic jewelry production is approached from some assumptions selected from Deleuze and Guattari's theory of multiplicities and is developed accordingly. Conceptual frameworks and research procedures, borrowed from these philosophers, link theory and practical content through cartography, in order to build transverses. Through the art-jewelry perspective, the research addresses issues relating to desire, body and materiality, defined as intrinsic elements of the jewel. The research takes the Rhizome concept proposed by Deleuze and Guattari, and discusses these issues according to the apparent dimensions: think, do, perceive and propose, considering them in a constant state of flux. As a research procedure the study uses a cartography also anchored in these authors thinking, who consider the contemporary reality as a dynamic landscape in which individual and social contexts occur. The cartography procedure adopted here differs from that whose maps are records of a fixed landscape. Instead, this one is a "performance cartography", which requires following the transformations by empirical experience, assumed that one would accompany events, taking part in them. Therefore, workshops with artists and jewelry production within this environment are considered as fundamental resources for investigation, and were related to the information which was taken from interviews, lectures and library materials. From these experiences, connections were identified which enabled the construction and organization of presented contents. This content was a result of the connections between the art jewelry territory and concepts arising from the thought of Deleuze which exist in both practical and theoretical dimensions. Thus, the ideas presented are derived from a reading of experience as a chance to reflect concepts
Doutorado
Artes Visuais
Doutor em Artes
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Berard, Marie-France. "On the experience of encountering art in museum spaces : an inquiry with Gilles Deleuze's concepts of desire and assemblage." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63780.
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Framed by the theoretical concepts of assemblage and desire from philosopher Gilles Deleuze, and his collaborative writings with psychoanalyst Félix Guattari (Deleuze and Guattari, 1983, 1987), this study inquires into the qualities and productive potential of the art encounter in a gallery setting. The study brings together my practice in the field of art museum education, and my interest in the art encounter to inquire what the art encounter does. Thinking with Deleuzian concepts enacts a view of the art encounter as a milieu of experimentation where affects move a body to create assemblages, connections with things, human and non-human bodies, expressions, qualities, ideas, spaces. Assemblages allow desire (as a force) to circulate; desiring-assemblages move bodies to produce connections with other human or non-human entities, thoughts, they produce subjectivation as a mode of existence.
For Deleuze, one does not 'have' an experience of an artwork or exhibition detached against the background of life; experience is a milieu which contributes to actually making life. My study inquires how working within a philosophy conceived in terms of relationality, connections, flows and multiplicity (rather than fixed identities) enact a view of the art encounter as a milieu of immanent ethics. By immanent ethics, Deleuze means that encountering increases the potential for new connections, it can actualize the possibilities already in life. The experience of encountering art is inviting one into experiences of living.
This post-qualitative study followed a process of research as assemblage formed by: the research site at the Vancouver Art Gallery, and the dynamic constellation of interconnected objects, bodies, ideas such as my field notes, photographs, the writing of personal narratives of my encounterings in the gallery space, and scholarly texts. Throughout the research process, two guiding questions remained present: 1) With the production of data in autobiographical fieldnotes, how does Deleuze’s concepts of desire and assemblage help me inquire about my art encounters, and what insights can I bring forth on the art encounter? 2) In what ways does thinking with Deleuzian concepts enlarge received discourses in art education and museum education about the art encounter within the art museum?Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Zullo, Douglas R. "Jiri Kolar in Exile: Ubiety and Identity in Two Views of Prague." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132666987.
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Johnson, Andrea M. "Incongruous Conceptions| Owen Jones's "Plans, Elevations, Sections and Details of the Alhambra" and British Views of Spain." Thesis, University of South Florida, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076071.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Karam, Samantha. "Art and Becoming-Animal: Reconceptualizing the Animal Imagery in Dorothea Tanning's Post-1955 Paintings." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/470.
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In 1955, American artist Dorothea Tanning abandoned her figurative Surrealist renderings of dream-like scenarios in favor of a complexly abstract and fragmented style of painting. With few exceptions, the ways in which Tanning’s later works function independently of her earlier paintings tends to be downplayed in the scholarship on her oeuvre. Equally sparse is the scholarship on Tanning’s dog imagery, which pervades her oeuvre but becomes most apparent in her later phase. This thesis seeks to shift attention toward Tanning’s later abstract paintings; it also seeks to fill the gap in scholarship on Tanning’s dogs. Specifically, through the study of five Tanning paintings from the late 1950s and 1960s, with the theoretical aid of Deleuze and Guattari’s conception of the becoming-animal, this thesis will investigate how Tanning’s post-1955 paintings create and promote new ways for viewers to think about the relations between humans and animals in the human-dominated modern world.
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Ismail, Nouri. "Esthétique nomade : la ligne, Deleuze et Klee." Paris 8, 2010. http://octaviana.fr/document/150188242#?c=0&m=0&s=0&cv=0.
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A partir de plusieurs notions et techniques appartenant à Deleuze et à Klee, nous avons tenté de créer un agencement esthétique nomade. C'est un ensemble ouvert, constitué d'éléments disparates et traversé par une ligne de fuite. Une esthétique nomade a pour trait fondamental une nouvelle conception de l'espace. C'est une distribution nomade de l'espace. Dans cet espace nomade, les éléments ne sont pas des formes, mais des événements, des heccéités, des mises en forme : Gestaltung. C'est le recours à un concept clé, la ligne nomade, qui permet de considérer cette nouvelle esthétique et renvoie à une fonction opératoire, et non à une essence. C'est à partir de ce concept de la ligne, après la définition de ses composantes et de ses rapports avec la forme que nous avons d'abord développé les traits principaux, dégagés à partir de l'œuvre de Deleuze et de Klee, de cet espace plastique nomade. Cette réflexion nous a alors amené à définir l'essence de cette esthétique nomade dans sa conception originale de la création, comme rapport avec le devenir et les forces du chaosFrom several concepts and techniques belonging to Deleuze and Klee, we tried to create an nomad aesthetic arrangement. An aesthetic for nomadic basic feature a new design space. In the mobile space, the elements are not forms, but events, hecceities, the formatting : Gestaltung. It is the use of a key concept, the Nomad line, which allows us to consider this new aesthetic and returns an operational function, not an essence. It is from this concept of the line that we first developed the main features of this area plastic nomad. This discussion then led us to define the essence of this aesthetic nomad in the original design of creation, as compared with the forces of chaos
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Halla, Steve Richard. "The Wittenberg altarpiece and its reflection of Martin Luther's expressed views of the visual arts." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
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Verhaeghe, Julien. "Esthétique du flux dans l’art contemporain." Paris 8, 2010. http://octaviana.fr/document/156197480#?c=0&m=0&s=0&cv=0.
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A une époque où la profusion du réel, les échanges accélérés et l’investiture du numérique tiennent lieu de paradigmes, se pose la question de la représentabilité de ce qui semble continuellement se mouvoir, face à des pratiques ou des approches théoriques qui, traditionnellement, investissent le champ de l’immobile. Comment en cela montrer ce qui sans cesse se meut ? Qu’impliquent la nécessité de vivre et de penser le monde selon une relative adéquation ? Partant d’une notion de flux, nous nous acheminerons vers une certaine contemporanéité du monde actuel, interrogeant à partir d’artistes le lien que tissent l’esthétique et le contemporain. Dans un premier temps, l’actualisation de la notion de devenir nous permet de souligner le jeu des contradictions, propices à l’émergence du nouveau et de l’événement. En cela, ce que nous enseignent des artistes tels que Tacita Dean, Darren Almond ou Sam Taylor-Wood, est que le flux s’envisage telle une articulation mouvante, animant différents ordres de grandeur. Dans un second temps, est mise en place une approche cartographique, rendant compte de la reconfiguration des rapports de forces qui, en vertu de l’esprit des « multitudes », nous rappelle que le contemporain est praxis et production. Des artistes tels que Andreas Gursky, Thomas Hirschhorn ou Francis Alÿs nous aideront dans cette voie, insistant sur la dimension articulée, participative, interactive, et en définitive, fluide, de la construction du monde actuel. C’est ce qui nous conduit vers une troisième partie où, de l’esthétique du contemporain, nous aboutissons à un contemporain de l’esthétique, dans sa tension vers une « construction esthétique de la réalité »In a period when the profusion of the reality, the accelerated exchanges and the nomination of the digital technology hold place of paradigms, arises the question of the “representability” of what constantly seems to move, in front of practices or theoretical approaches which, traditionally, invest the field of the immovable. How to show what ceaselessly moves? What involves the necessity of living and of thinking of the world according to a relative adequacy? Starting with a notion of flow, we shall move towards a certain contemporaneousness of the current world, questioning from artists the link that weave the aesthetics and the contemporary. At first, the updating of the notion of becoming allows us to underline the set of the contradictions, convenient to the emergence of the new and the event. In that, what teach us artists such as Tacita Dean, Darren Almond or Sam Taylor-Wood, is that the flow envisages such an unstable articulation, livening up various orders of height. Secondly, is organized a cartographic approach, reporting the reconfiguration of the balance of power which, by virtue of the spirit of the "multitudes", reminds us that the contemporary is praxis and production. Artists such as Andreas Gursky, Thomas Hirschhorn or Francis Alÿs will help us in this way, insisting on the articulated, participative, interactive and after all, fluid dimension, the construction of the current world. It is what what leads us towards the third part where, of the aesthetics of the contemporary, we end in a contemporary of the aesthetics, in its tension towards a " aesthetic construction of the reality "
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Topka, Marzena. "Ruptured Spaces: cracking Deleuze and Guattari's lines of flight in contemporary art practice." Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/729.
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In what ways can a relationship be drawn between contemporary art practice dealing with ruptured/destabilised space and Gilles Deleuze and Félix Guattari’s concept of lines of flight? This is the starting point of my thesis. Central to the question is the control of space through mapping, measurement or invention of categories (classification systems) that fulfill a vital pragmatic role of organising, locating and identifying. Postmodern cultural theorists recognise that these categories can also condition and place boundaries on the way we relate to or understand our environment, and for that reason they seek to examine and shake the foundations of Western systems of organisation. For Postmodern theorists the key to alleviating the unwanted symptoms is to identify the locus of power and overturn it. Deleuze and Guattari stand in opposition to an externally imposed system of organisation, however their approach takes into account organisation at a micro level. They developed a toolbox of concepts that could potentially be deployed to bring forth a subjectivity based on creativity rather than control.The focus of my writing is on Deleuze and Guattari’s concept of lines of flight. They propose a way of being and thinking that allows for these creative connections to emerge. These molecular connections have the potential to reconfigure habitual or molar ways of being or imagining. Deleuze and Guattari define space in terms of striated or smooth (space that is interchangeable, and in constant flow). Their spatial approach is indispensable in providing a context for my discussion of lines of flight. Deleuze and Guattari also recognise a social dimension to space that allows for connections to be made between actual (architectural) spaces and socially constructed value systems.In my practice I am interested in how a sense of destabilisation and deterritorialisation can be activated in space via installation to challenge the placement of socially conditioned or self-constructed boundaries. This thesis consists of 25,000 word thesis and 3 DVDs evidencing the creative component of my practice-led research and associated exhibitions. Both the written thesis and creative practice respond to the same question and explore the analytical and pragmatic effectiveness of the concept of lines of flight in relation to contemporary art dealing with ruptured space.
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Lippert, Ellen J. "George Ohr in His Nineteenth Century Context: The Mad Potter Reconsidered." Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1220491878.
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Burzlaff, Mary Caroline. "Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.
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Thesis (M.A.)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.
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BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.
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Vujanovic, Suzan. "Young Vietnamese children's conceptions of play." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16157/1/Suzan_Vujanovic_Thesis.pdf.
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Children benefit in many ways from play. Play provides children with an excellent way to express their feelings and conceptions of the world in which they live. Play also provides a forum in which researchers can capture, understand and interpret children's voices and views.
Like many countries around the world, Vietnam is currently reforming their early childhood education curriculum to provide a play-based, child centred and outcomes focused approach to early childhood education. In order to capture children's interest and promote child initiated and directed learning, educators and policy makers need to consider how children interpret their personal play lives. This study presents data from children's programs in nine kindergartens and cultural programs in Hanoi and Ho Chi Minh City. Children's drawings and stories were collected to document young children's conceptions of play in Vietnam at the turn of the millennium. Through these 353 drawings and stories, key themes in the children's play lives were identified.
The purpose of this study is to examine children's views about play. What do they like to play? How do they define play? How are young Vietnam's children's conceptions of their play influenced by cultural attitudes and expectations? In addition, the study proposes some new play-based, child centred and outcomes focused approaches to curriculum development for Vietnamese early childhood programs.
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Davies, Ruby. "Contested Visions, Expansive Views : The Landscape of the Darling River in Western NSW." University of Sydney, 2005. http://hdl.handle.net/2123/1119.
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Master of Visual ArtsThis paper grows out of my ongoing practice of photographing the Darling River in western NSW. My interest in imaging the landscape and representing the contemporary divisions within it led me to investigate previous colonial conflicts, which occurred as white explorers in the 1830’s and squatters in the 1850’s took over the Aboriginal tribal lands on the Darling. In this paper I investigate the images created by explorers, artists and photographers, which were the beginnings of a Eurocentric vision for this land. These images were created in the context of a colonial history which forms the ideological backdrop to historical events and representations of this land. This research has involved me in an investigation across three different disciplines; Australian history, Australian visual art, and environmental aspects of human interactions with the land. The postcolonial histories which inform my work are themselves re-evaluations of earlier histories. This recent history has revealed, amid the images of European ‘settlement’ and ‘progress’, views of frontier violence and Aboriginal resistance to colonisation that were excluded from earlier histories. The fan-like shape of the Darling River, which for millennia has bought water to this dry land, is the motif that focuses my investigation. I discuss the relatively recent degradation of the river, which is the focus of contemporary conflicts between graziers, Aboriginal people, environmentalists and irrigators. Because large-scale irrigation now has the capacity to divert the flows of entire rivers for the irrigation of cash crops, the insecurities of earlier generations over the ‘unpredictable’ floods and their perception of lack of control over water - has been entirely reversed. ‘Control’ of water is now held by irrigators and the river down stream from the pumps is kept at a constant low, becoming a chain of stagnant waterholes during summer. Like many rivers in industrialised countries, the Darling no longer flows to its ocean. The physical characteristics of rangeland grazing are an important background to my paper. Although the introduction of sheep and cattle has altered and degraded this landscape, unlike ploughed country to the east this land retains much of its native vegetation and an Aboriginal history embedded across its surface. This paper is an investigation of the changing representations of the Australian landscape, and central to my paper (and a result of growing up in this area) is my recognition, at an early age, of cultural difference in the context of this landscape. I became aware of contradictions in how Aboriginal people were treated by the ‘white’ community and I glimpsed the distinct cultural viewpoints held by Aboriginal people. A connection to country continues to be expressed in art produced by Aboriginal people in the Wilcannia area, including work by Badger Bates and Waddy Harris. The Wilcannia Mob, a schoolboy rap-group received national press coverage, winning a Deadly Award in 2002 for their acclaimed song ‘Down River’. While a discussion of these artworks is not part of the discussion of my paper, it is a context for my research. In broad terms this paper is an investigation of different worldviews, different views of land and landscape by graziers, Aboriginal people, environmentalists and irrigators. These views carry with them different cultural understandings and different representations of the land - different and sometimes opposing views of its past and its future. It seems in 2005 that, just as artists, historians, filmmakers, etc. are beginning to come to terms with Australian colonial history, as the El Nino seasons and the importance of ‘environmental flows’ in the Murray Darling Basin are increasingly understood, that technological changes and the global effects of population densities are creating other changes (greenhouse gasses, ozone depletion, climate changes) that once again appear to be unpredictable and beyond our control. While this environmental discussion is outside the scope of the current paper it is a context for my investigation of this landscape.
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Wan, Hsu-Ting. "L'oeuvre comme évènement : une ontologie de l'art évènementiel-conceptuel et une généalogie de la modernité propre à l'art contemporain à partir de Fontaine de Marcel Duchamp (1917), ainsi qu'une typologie de l'oeuvre à travers l'avant-garde, le modernisme, le postmoderne /." Paris 8, 2002. http://www.theses.fr/2002PA082040.
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L'enjeu théorique de notre recherche consiste à élaborer une "logique de l'évènement" correspondant à un nouveau type d'art dont le mode ontologique s'est dépouillé de toute substantialité sensible ou toute matérialité esthétique et est devenu purement évènementiel ou conceptuel. Il s'agit d'une transformation du paradigme qui se manifeste comme un devenir-évènement de l'oeuvre. Nous considérons le collage cubiste comme le "dernier objet" de l'art, et le ready-made de Duchamp, notamment Fontaine, comme le "premier concept" de l'art. Ce devenir-évènement de l'oeuvre a entraîné deux grandes transfigurations du paysage dans le monde de l'art contemporain : la "socialisation" et la "conceptualisation" de l'art. . .
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Mello, Jamer Guterres de. "Insensato : um experimento em arte, ciência e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27050.
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Este trabalho apresenta uma proposta de discussão sobre a questão dos métodos aplicados à pesquisa científica na área das ciências humanas. Buscou-se identificar os pontos de aproximação e distanciamento entre ciência e arte, para analisar de que forma a produção artística pode contribuir com a pesquisa, de que modo estes dois campos do saber dialogam e quais são as suas possíveis interseções. Mais especificamente, esta dissertação propõe o uso do método do cut-up, formulado por William Burroughs, e da estética dos fanzines como afirmação das potências do falso e do simulacro, conceitos da filosofia de Gilles Deleuze. O trabalho se baseia também na noção de montagem cinematográfica e na sua relação com o cut-up, já que ambos podem operar como mecanismo articulador fundamental que justapõe imagens e textos para priorizar os efeitos de choque visual, de fragmentação, de imagens sujas e borradas que são comuns aos fanzines e a uma certa produção cinematográfica.This work presents a discussion proposal for the question of the methods applied to scientific research in the human sciences field. The attempt was to identify the points of approach and distance between science and art, to analyze how artistic production may contribute to research, how this two fields of knowledge dialogue and which are their possible intersections. More specifically, this master thesis prompts the use of cut-up method, formulated by William Burroughs, and fanzines aesthetics, as an affirmation of the powers of the false and the simulacrum, concepts of the philoshophy of Gilles Deleuze. The work is also based on the notion of movie editing and its relation with cut-up, as both of them may operate as a prime joining mechanism which juxtaposes imagens and texts to stress visual impact, fragmentation, dirty and blurred image effects common to fanzines and a certain cinematographic production.
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Foster, John-Henry Edward. "Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71800.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology.
AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.
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Zamani, Pegah. "Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.
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Smith, Jeffrey Statler. "Multi-camera: interactive rendering of abstract digital images." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/341.
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The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.
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Longo, Anna. "Répétitions et simulacres : l'art contemporain entre métaphysique et immanence." Paris 1, 2012. http://www.theses.fr/2012PA010510.
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La thèse recherche se propose de démontrer comment la répétition théorisée par Deleuze correspond avec une certaine ligne de la pratique artistique contemporaine. Cette ligne, qui n'a pas encore été reconnue comme relative à une ontologie immanente, se détacherait d'une autre qui, en revanche, se trouve encore liée à la « répétition du même» et à la métaphysique. Nous croyons être en mesure de révéler qu'à partir des années 1960, une alternative ontologique à la métaphysique commence également à produire ses simulacres capables de renverser, enfin, le platonisme. Nous avons focalisé notre analyse des schémas de répétition sur les œuvres, sur la manière dont les artistes conçoivent la création et sur les constructions théoriques regardant le rôle et la valeur de l'art dans le contexte culturel, social et économique contemporains.
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Filho, Sergio de Moraes Bonilha. "Hipótese volátil." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01122015-104139/.
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Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade.Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.
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Vujanovic, Suzan. "Young Vietnamese Children's Conceptions of Play." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16157/.
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Children benefit in many ways from play. Play provides children with an excellent way to express their feelings and conceptions of the world in which they live. Play also provides a forum in which researchers can capture, understand and interpret children's voices and views. Like many countries around the world, Vietnam is currently reforming their early childhood education curriculum to provide a play-based, child centred and outcomes focused approach to early childhood education. In order to capture children's interest and promote child initiated and directed learning, educators and policy makers need to consider how children interpret their personal play lives. This study presents data from children's programs in nine kindergartens and cultural programs in Hanoi and Ho Chi Minh City. Children's drawings and stories were collected to document young children's conceptions of play in Vietnam at the turn of the millennium. Through these 353 drawings and stories, key themes in the children's play lives were identified. The purpose of this study is to examine children's views about play. What do they like to play? How do they define play? How are young Vietnam's children's conceptions of their play influenced by cultural attitudes and expectations? In addition, the study proposes some new play-based, child centred and outcomes focused approaches to curriculum development for Vietnamese early childhood programs.
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Johnson, Andrea Marie. "Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6101.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Oliveira, Jose Mario Aleluia. "Curriculos-hipertextos-pops." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252049.
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Orientador: Antonio Carlos Rodrigues de AmorimTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Currículos-Hipertextos-Pops assume, em sua escrita como tese, a banalidade, o ordinário e o comum aos quais remetem as culturas escolares, em seus ritmos espaço-temporais. Enfrenta esta condição de práticas educativas que se movimentam em três escolas, com professoras e professor de distintas experiências, com projetos educativos em multiplicidades. É tese que se inverte no caos. E nele se efetua. O trabalho com conceitos de Gilles Deleuze, na tese, coloca-os em fluxos para o campo dos estudos de currículo, invadindo-o e com ele seatritando. Não é uma conversa tranqüila, com canais abertos ao diálogo, à hospitalidade. Trabalhou-se na barbárie, foi preciso fazer do currículo passagem para a multidão, desconstrutora e violenta. A opção foi deixar vazar os fluxos pelo que há de mais comum e poderoso no pensamento curricular sobre a escola: sua organização em espaços e tempos da modernidade, sua centralidade nos conteúdos, sua expectativa em comunicar para ensinar. As pontencialidades do encontro do currículo com os tempos ¿deleuzianos¿ são, nesta tese, o desassossego das relações entre escola e culturas. Também são os traçados, linhas do ¿conto¿ para se considerar a política curricular como estética artística
Abstract: Curriculum-hypertexts-pops assumes, in its writing as a thesis, the banality, the ordinary and the common to which the scholastic cultures are sent, in their space-temporal rhythms? It faces this condition of educational practices that are set in motion in three schools,with teachers with different experiences, with educational projects in multiplicities. It is a thesis that inverts in the chaos. And it is made effective on it. The work with concepts of Gilles Deleuze, in the thesis, puts them into fluxes to the curriculum field studies, invading it with attrition. It is not a relaxed chatting, with open channels to dialogue, to the hospitality. It was worked under barbarism, it was necessary to make from the curriculum passage to a violent and deconstructive multitude. The option was to let empty the fluxes of the most common and powerful in the curricular thinking of the school: its organization into spaces and times of the modernity, its centrality in contents, its expectation to communicate to teach. The potentialities of the meeting of the curriculum with the ¿Deleuzian¿ times are, in this thesis, the disturbance of the relations between school and cultures. They are also the draw, lines of ¿story¿ to let curricular politics be considered artistic esthetics
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Brooks, Erin. "Co-creation: A study of intimacy and control." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3486.
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Drawing from ongoing revitalization initiatives in Richmond, Virginia, this adaptive reuse project creates a structured dialogue between public and private expression to create a more immersive gallery experience for viewer and practitioner. The gallery experience is twofold; traditional object-based display and nontraditional process-based display. Preservation of the historic fabric of the existing Handcraft building at 1501 Roseneath is integrated with the transformative potential of introducing voyeuristic opportunities in creating a community arts center. Notions of voyeurism will center around ideas of visual connection and physical separation. This project questions if tactics of voyeurism, which inherently create physical barriers, can facilitate interaction and encourage co-creation in a creative setting. Structured moments of intimacy and control are accomplished through presented and found views of movement, object, and process. These moments of intimacy and control create a conceptual reciprocity which guides the design of this project. Ultimately, the redesign creates a dialogue between the process of making and the final product/object by facilitating interaction between the viewer and practitioner through different points of the creative process. The project moves away from exploiting the site’s formal, historical, and contextual components and encourages the audience member to engage with the maker through a corporeal, experiential encounter. The environment becomes a catalyst for cross-disciplinary creativity on an individual, group, and community level. The development of spaces that engage the creative mind and foster collaborative growth will serve the Richmond arts community and can act as an icon for successful urban transformation.
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Solander, Tove. ""Creating the Senses" : Sensation in the work of Shelley Jackson." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65968.
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This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors. Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship. Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political radicalism go hand in hand. Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces. Her work is also described as object writing: a literary equivalent to surrealist object art. A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.
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colannino, david. "It's Always Better With A Good DM." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2136.
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It’s Always Better With A Good DM is about our relationship with objects and maps as a vector for fantasy. Beginning from the premise that humans understand the world via narrative, I am concerned with the loss of imagination in adulthood in lieu of ideology, which is no more real than stories of future and fantastic places.
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Whitehead, Johanna Jacoba (Hanje). "Challenging the hand : critical confrontations of female craft and animal artefact in post-apartheid visual art." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71770.
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