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1
Walker, Linda Jean Huffman. "Art From Nature." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1432.
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Seeing beauty in the simplest aspects of nature inspires me to create art as a testament to our world. Being raised on a farm in rural Virginia gave me an appreciation of a reverence for all life. The inherent forms along with color and value establish nature as the master of aesthetics. An early introduction to Japanese art showed me that all nature was worthy and significant as subjects for art. Using materials derived from nature, cotton, linen, wool, silk, adds a tactile quality that I believe elevates the enjoyment of art.
2
Preira, Jamie. "Indoor Nature-Based Art Activities| The themes students discuss while creating nature-based art." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10276991.
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<p>When children can understand their surrounding environments (whether it be the natural environment or their built environment) it is said that they can connect more deeply and have a heightened awareness of their surroundings (Kelly, 2013). This connection and heightened awareness can open their eyes to prevalent environmental issues, increasing their sense of social responsibility. The research on this type of learning generally occurs in formal institutions (i.e., a school), non-formal centers (i.e., at an outdoor education center), or informal meeting places (i.e., at a park with a parent).
I conducted a primarily qualitative study?utilizing arts-based research (ABR) methods and environmental art education theory?to better understand school-aged children?s (5-10 years of age) engagement with nature during indoor nature-based art classes. I observed children within a small, mountain-town school (Kindergarten ? 5th grade) while they engaged in various artistic activities such as drawing, finger painting, and watercolor.
My purpose was to gauge whether indoor nature-based art activities compelled elementary aged children to engage in meaningful conversation about nature. I assessed meaningfulness by the structure of their sentences and topics of their discussions that ensued. This assessment included looking for changes over time in students? reaction to the art they were creating and the subsequent connections they were making. Results demonstrate that students are deeply engaged in their artwork and talk mostly about memories related to nature and what aspects of nature their artwork inspires. Given that these activities provoked students to be thinking about nature, schools may want to consider conducting similar activities if they are unable to provide quality time outdoors for their students but want to help their students maintain a nature connection.
3
von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.
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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
4
Fink, Anastasia. "The Nature of my Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/92.
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In this arts-based thesis for a Masters degree in art education, I explored the meaning of my artwork through a constructivist investigation. During the process of artist research and making artwork, I was able to push boundaries for my art and myself and I was able to discover what kind of artist I was and what meaning was behind my artwork. This process of research,questioning, reflective documentation, and discovery has provided new tools and styles for teaching my students how to find their own personal voice in their artwork.
5
Asikainen, Henna Maaria. "Art, nature and environmental aesthetics." Thesis, Northumbria University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410378.
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Roy, Andréa. "FORME ET AFFECT DANS LA CIRCULARITÉ NATURE/ART/NATURE." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27636/27636.pdf.
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Kenning, Dean. "The Political Nature of Art Today." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496973.
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ITALO, ADRIANA MARIA RAPOSO. "ART & NATURE: PHILOSOPHICAL INTEGRATED CIRCUITS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5262@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Minha pesquisa tem por objetivo examinar a suposta
distinção entre arte e natureza no interior de uma análise
crítica da chamada crise de fundamentos. Isto é, a crise do
projeto fundacionista moderno, a rejeição pós-moderna à
metafísica em geral e à idéia de fundamento em particular,
suas relações com as rupturas impostas pelas novas
tecnologias e suas conseqüências na visão de mundo e de
humanidade. Arte e natureza não constituem domínios
fundamentalmente distintos, ou ainda, não há
heterogeneidade ontológica entre aquilo que se faz por si
mesmo (natureza) e aquilo que se fabrica (arte). Com
efeito, a enorme dificuldade em determinar e definir
precisamente a realidade designada pelo termo natureza
levou ao reconhecimento de que a eficácia da idéia de
natureza é proporcional à sua imprecisão. A quebra do Tabu
do Natural, isto é, a suspensão da crença de que nada do
que é tecnicamente fabricado pode igualar-se à essência dos
trabalhos da natureza, significou um convite à reavaliação
das fronteiras entre natural e artificial. Do cálculo ao
algoritmo, e destes às tecnologias da informação e
biotecnologias, metáforas transformaram-se em máquinas e
ferramentas, e máquinas em potentes metáforas cujo valor
heurístico apresenta-se, em última instância, na
indiscernibilidade entre natureza e cultura. A tecnologia
contemporânea revela e disponibiliza a realidade como
artefato. Isto é, como arte e fato. Ars gratia artis.<br>The purpose of my research is to examine the presumed
distinction between Art and Nature within a critical
analysis of the so called crisis of foundations. I.e., the
crisis of the foundationlist modern project, the post-
modern rejection of metaphysics in general and of the idea
of a foundation in particular, its relationships with the
ruptures imposed by the new technologies and its
consequences on the perception of the world and of humanity.
Art and Nature do not constitute fundamentally different
domains, or yet, there is no ontological heterogeneity
between that which is self-made (Nature) and that which
is manufactured (Art). In effect, the great difficulty in
precisely determining and defining the reality referred to
by the term nature has led to the acknowledgement of the
fact that the efficacy of the idea of nature is
proportional to its imprecision. The lifting up of the
Taboo of the Natural, that is, the suspension in the belief
that nothing which is technically manufactured can be put
on a par to the essence of nature`s doings, was an
invitation to a re-assessment of the frontiers between
natural and artificial. From calculus to algorithms, and
from these to information technology and biotechnology,
metaphors transform themselves into machines and tools, and
machines into powerful metaphors whose heuristic value
lies, in last instance, in the indiscernibility between
nature and culture. Contemporary technology reveals and
makes reality available as an artifact - i.e. art and fact.
Ars gratia artis.
9
Schneider, Bettina. ""Nature" und "Art" in Montaignes "Essais" /." Paris ; Seattle ; Tübingen : Papers on French seventeenth century literature, 1996. http://catalogue.bnf.fr/ark:/12148/cb36696512x.
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Kieran, Matthew Laurence. "The nature and value of art." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14807.
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This thesis examines the nature and value of art. It is primarily concerned to advance an argument which makes sense of the significance we ordinarily afford art, rather than rendering it merely aesthetic and thus cognitively trivial. Contrary to philosophical orthodoxy, it is argued that 'art' does not have two distinct senses. Rather, we should understand art as an inherently evaluative, evolving cultural practice. Thus, I argue, 'art' is essentially a cluster concept. I consider an account of art according to which it is in the pleasure art affords, that its value lies. However, though we derive pleasure even from apparently unpleasant artworks, the mark of art's value lies elsewhere. That is, the pleasure we derive from art is the result of an artwork's being of value in some other way. Through critically assessing the standard accounts of art's value, I argue that art's pleasures are primarily cognitive. Furthermore, I argue, the cognitive value of art arises primarily from the engagement of our imagination and interpretation of artworks. That is, we enjoy the imaginative activity of engaging with artworks and the promotion of particular imaginative understandings. Furthermore, as imaginative understanding is of fundamental importance in grasping the nature of our world and others, art may have a distinctive significance. That is, art may afford insights into and thus promote our imaginative understandings of our world and others. Thus, through the promotion of imaginative understanding, art may cultivate our moral understanding. Therefore, art is of profound significance and import.
11
Kang, Eem Yun. "'Floating mind' : art, nature and myth." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1860/.
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During my three years of this doctorate programme, I have explored the notion of the 'floating mind'. In Art Anthropology, Japanese philosopher Nakazawa Shinichi describes the term 'floating mind' as something that does not have any specific form, colour or direction. Rather, it is something free to move which contains multidimensional shapes or forms. Shinichi (2006, p.39) points out that this 'floating mind' originates from the beginning of creative thinking. In Shinichi's practice, myth related to the idea of 'floating mind' starts with questioning natural phenomena and requires a creative way of thinking about nature and human existence. In this report I will explore the various definitions of 'myth'. Through the process of research, I will define how I use the concept of myth in the final project of my doctorate programme. I will also look into the relationship between myth, Shinichi's 'floating mind' and Deleuze's idea of 'becoming'. In the section related to the research on artists, I will investigate Cy Twombly's use of classical myth in relation to poetry and Palaeolithic art. I will analyse the Korean artist Jong Mok Lee and his interpretation of nature in his visual language; I will also investigate the relationship of nature to his work. In addition to these two artists, I will refer to the British painter Katy Moran in comparison to my creative practice. I have combined the ideas of myth and nature in order to be able to visualise the idea of the 'floating mind'. In every myth, the vital part of the story contains different forms of transformation or metamorphosis. Metamorphosis can be seen as the climax of the myth. In metamorphosis, nature can be the location of a mythical story or simply a landscape where myth can exist. This concept of metamorphosis in myth intrigued me to the point 2 that I asked myself how to capture transformation within my painting practice, as transformation contains time-based elements. During the first year of my doctorate programme I explored the concept of myth through painting. I questioned how to capture the moment when metamorphosis happens and how the duration of the transformation can be explored through the process of drawing. The paintings resulting from this introspection appeared to be ambiguous and became abstract and expressive. It was difficult to point out what kind of transformation I would be able to capture. This led me to experiment with ceramic clay during the second year of my doctorate programme. During the process of firing the ceramic work, transformation happened as the clay changed its chemical characteristics. During this process I could not witness or take control while the transformation took place. I could only see before and after the process of firing. Whereas in the process of painting, I could always witness the transformation while I worked and therefore I could better control the result of my work at each given stage. Throughout this doctorate programme, the elements of nature, transformation and myth have permeated into my practice. The idea of nature in relation to myth and endless transformation will be expanded in my final project 'Hidden'. This will consist of a large-scale (18m) series of continuous paintings representing mystic landscapes containing poetic moments and narrative, in particular the story of a whale in a mountain.
12
Metheny, Carrie Leigh. "Passions in nature." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2944.
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My work is a representation of my study of the female form in nature. My forms have become an extension of nature and nature has become an extension of the forms. My work represents the beauty and adaptability of the female. Nature has become a decorative camouflage and in turn the form has become a representation of the beauty of Mother Nature.
13
PEDRAS, LUCIA RICOTTA VILELA PINTO BRANDO. "THE ENCHANTRESS NATURE: NATURE, SCIENCE AND ART IN ALEXANDER VON HUMBOLDT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9023@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>O objetivo dessa tese foi verificar o uso da linguagem
literária nas obras
científicas Ansichten der Natur e Kosmos de Alexander von
Humboldt (1769-
1859). A hipótese consistiu em salientar a importância do
tratamento estético da
linguagem para a configuração de certa noção e prática de
ciência. Considerando a
permanente preocupação de Humboldt em nunca reduzir a
ciência ao seu caráter
descritivo e tecnicamente operacional, constatamos o
predomínio de um
conhecimento antropologicamente fundamentado. Isso nos
permite considerar, a
partir do aproveitamento estético-simbólico dos assuntos
científicos, os vários
colapsos que irão sendo instaurados entre
consciência/imaginação, ciência/magia,
conceito/intuição, conhecimento/mistério, aparência
física/significado ideal,
real/ideal, subjetivo/objetivo. Argumentamos ainda que as
condições de percepção
e experiência transformam, aqui, os resultados das
apreensões. As prerrogativas
do Standpunkt da cosmovisão e outras formas de mediação,
como a viagem, a
saída e o retorno a si, resguardam a impressão de
totalidade, num mundo cada vez
mais desintegrador. Em suma, a ciência de Humboldt sendo
linguagem e estando,
portanto, preservada na forma de seu efeito moral, revela
a possibilidade de
reintegração de espírito e Natureza, sem contudo
transformá-los numa unidade
indissolúvel. Considerado como ciência poética, e em
virtude da harmonia que
promove, o conhecimento de Humboldt confere ao empírico um
começo, uma
direção que vai precisamente significar a retomada
idealista/ transcendental do
mundo.<br>This dissertation s aim objective was to verify the use of
literary language
on the scientific works Ansichten der Natur and kosmos
written by Alexander von
Humboldt (1769-1859). The hypothesis emphasized the
importance of the
aesthetic treatment on the language, resulting in a
certain scientific notion and
pragmatic. Considering the everlasting preoccupation of
Humboldt in never
reducing science to its descriptive character nor reducing
it to its technically
operational character, we´ve perceived an anthropological
knowledge
predominantly structured,. this allow us to consider,
throughout the symbolicaesthetic
utilization of scientific matters, many collapses that
will be installed
between imagination/conscience, magic/science,
intuition/concept, mistery/
knowledge, ideal significance/physical appearance,
ideal/real,
objective/subjective. We then discuss that the conditions
of perception and those
of experiment transform, the result of the accomplishment.
The prerogatives in
the Standpunkt of cosmovision and other ways of mediation,
like traveling , the
exit and the return to oneself, preserve the sensation of
totality, in a world growing
in disintegration. In conclusion, Humboldt´s science being
language and being
preserved in its form from its moral effects reveals the
possibility of reintegration
of Nature and spirit, however it doesn´t change them into
an indissoluble unity.
Considered as poetic Science, and due to the harmony that
it brings forth,
Humboldt´s knowledge gives to the empirical a starting
point, a direction that will
precisely signify an idealistic/ transcending recover over
of the world.
14
Morgan, Rebecca. "Joy in Nature." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2521.
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Artist Statement I am fascinated with colors in nature and how it affects our moods. The colors of a sunset and moonlit sky; the feeling of a brewing storm; the laziness of a cold, gray day; the roar of an ocean; and the feel of sand on your feet are elements that I want to capture in my drawings and paintings. In addition to the natural environment, animals are an integral part of nature that I incorporate in my work. Pets are the unspoken blessings that bring joy and laughter to my life. Pets, especially dogs, are proven to relieve stress, to brighten emotions, to contribute to healing, to be forgiving, and to be loyal. Finally, my family features prominently in my work. The best times in my life have all been a result of relationships and special moments with them.
15
Kim, Margaret. "Nature-derived life force." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2919.
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The aim of this thesis is to grasp the life force of nature that is inherent in nature and formalize it through my instinctive and experiential perspective toward life rather than reproducing an organism itself. The idea is to deliver more positive and hopeful messages by inducing natural human consciousness and flow of emotions, using metal as an art medium for its unique properties to express life images.
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Blain-Rozgay, Teagan B. "Cairns: A Journey into Art and Nature." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/564.
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This paper looks at the different influences behind my senior art project. Chapter I discusses the history of ceramics and the ceramic artists whose work was influential for my project, specifically, Robert Arneson and Viola Frey. Chapter II looks at the non-ceramic artists whose work influenced my project by, Andy Goldsworthy and Sally Mann. It also talks about Land Art. Chapter III moves away from my artistic influences to discuss the main idea behind my project, which is my journey of self-discovery in New Zealand. Chapter IV looks to the influence of fantasy and science fiction genres on my project.
17
Harris, Susanna. "The Nature of Loss." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620050401352492.
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Shepardson, Emily. "Domestic in Nature." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2986.
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I am a painter and a printmaker. My imagery consists of houses, barns, birds, trees, hands, and gloves. On the surface these items represent home, nature, and female identity. On another level they symbolize an inner world of dreams, wishes, and losses. My paintings contain aspects of collage, they combine paint, paper, and low relief. I paint layers of transparent and opaque images and colors in order to achieve a dreamy and ethereal effect. In printmaking, I combine my imagery in layers by printing small plates and stencils next to and on top of one another until a dense, multifaceted image is achieved.
19
Wood, Chris. "Art, psychotherapy and psychosis : the nature and the politics of art therapy." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341832.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land Art comme analyseur du social." Besançon, 2002. http://www.theses.fr/2002BESA1026.
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Il s'agit de comprendre la nature des forces sociales à l'œuvre dans l'Amérique des Sixties, qui mènent, entre 1969 et 1973, De Maria, Heizer, Holt, Ross, Smithson, Turell, à construire ou à projeter des œuvres-sites-monuments (œuvres de terre, dont la Planète est le socle, de dimensions monumentales) dans les déserts du Sud-ouest. Qu'expriment ces œuvres du social de leur époque, nommées par la suite Land Art ? Sont-elles un art de rupture enraciné dans la culture américaine et portant ses traits identitaires ? La thèse retrace la construction de l'identité culturelle de l'Amérique, les fondements et l'histoire de la contestation. Elle présente le " bricolage " conceptuel articulé autour des notions de réseaux et de cliques et la méthode d'enquête mobilisant monographies et journal de bord. C'est la lecture des pratiques sociales de création alliées aux intentions des artistes révélées par la forme des œuvres qui montre les traits identitaires qu'elles portent.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social /." Danjoutin (6 rue de Verdun, 90400) : J.-P. Brun, 2002. http://catalogue.bnf.fr/ark:/12148/cb390766694.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2005. http://catalogue.bnf.fr/ark:/12148/cb40092117t.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb409277393.
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Brun, Jean-Paul Minary Jean-Pierre. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411109683.
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White, Angela. "Nature Calls." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1824.
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I am wandering wonderingly through the unplanned material atmosphere shaped by differences in temperature and moisture. The chaotic nature of weather phenomena is the catalyst for visual exploration of the subterranean catacombs of reality. The work is metaphor of nature and its creation of form and substance. Observing art and nature: I am allowing nature to be the instigator of art.
26
Soustre, Robert. "Art et nature dans quelques romans de l'insularité." Poitiers, 1992. http://www.theses.fr/1992POIT5007.
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La dialectique de la nature et l'art - au sens etymologique de ces termes - est celle des deux expressions contradictoires de l'etre humain, l'affectivite et la rationalite. La premiere domine dans la production des mythes, des religions et celle des "beaux-arts", alors que la seconde s'impose dans les productions techniques, dans les systemes philosophiques et dans les sciences. Il s'agit, dans cette etude, de montrer que les ecrits romanesques prenant l'ile pour theme sont, sous des formes diverses, le "roman" devenu inconscient de l'insularite de chacun, auteur ou lecteur. Dans cette perspective, le retour a la nature est, pour le robinson, le retour au temps mythique - anhistorique, donc - de sa propre nature, alors que l'art, s'il temoigne de l'effort de l'homme pour maitriser rationnellement et techniquement la nature, est surtout l'expression d'une acceptation, pour chacun, de son etre social et du reel a assumer. Retour a la nature par le moyen de l'art et passage de l'insularite a l'alterite par le moyen du don de l'oeuvre, tel est le sens de l'aventure esthetique.
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Turner, Julia J. "Processing Nature." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4697.
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In my artwork, I merge nature with typography. I use macro-level photography to capture details of nature, such as the pistils of a flower or the sensory hairs of an insect. I print enlargements and transfer these photos onto pages of poetic text about nature, or collage them onto canvas. Once transferred, I use multiple media to alter and enhance features of the photos. I intentionally obscure much of the text which allows me to place focus on the overall layout and design. The arrangement of lines of text and spacing of words is used to create a visual rhythm. The poetic script acts as a foundation or platform for presenting the often unnoticed elements of nature.
In developing a piece, I use a wet transfer which allows me to obtain subtle textures and imperfections that occur from the process. To add visual interest and complexity, I continue to manipulate the surfaces with various media and marks. This approach helps to create a blending of text and image. Similar to reading a poem or observing nature, I want to engage the viewer in an experience of visual poetry.
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Kirkham, Georgina Katharine. "Creating art or vexing nature? : ethics and the manipulation of nature, a critical study of arguments from Nature." University of Western Australia. Philosophy Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0163.
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This dissertation comprises a series of five separate papers, arranged as chapters, linked thematically and also in their conclusions. The thematic connection between the chapters is that, in each, I investigate some aspect, either historical or contemporary, of how moral limits have been, or might be, applied to the human manipulation of nature through technology. More specifically, I explore how the concept of naturalness has been, and still is, employed in ethical arguments that seek to place limits upon or defend the use of various technologies. In each chapter, I argue that arguments which appeal to nature or naturalness as a normative concept make proper sense only when understood from the perspective of virtue ethics. The conclusions of each chapter are connected, and connected to the conclusions of the dissertation as a whole: firstly, that what I call 'arguments from nature', as they are used in debates about the moral limitations on the use of technology, are defensible only from within a virtue ethics framework; secondly, that such arguments have an important, although limited, role in such debates; and, finally, that virtue ethics more broadly can inform debates about the ethics of technology and the environment. In the first two chapters, by comparing contemporary debates over the ethics of technological manipulation of nature with historical debates over the proper relationship between art and nature, I demonstrate that virtue ethics have played, and still do play, a significant role in our ethical understanding of our relationship with the non-human world. I argue that the ethical issues that arise from our relationship with the non-human world, in response to advances in technology and to problems with the environment, indicate the need for an understanding of ethics that goes further than the mere consideration of rights and utility. In chapters three and four, I argue that virtue ethical theory provides the most promising understanding of the argument from nature as it is applied in attempts to place limits on the human manipulation of nature. In the final chapter, I explore what a modern environmental or technological virtue or vice might be. I explain and defend the environmental and technological virtue of 'living in place' and, in doing so, bring together and validate the claims made in previous chapters that the appeal to human nature does have a role as a normative guide for our ethical evaluations of how we should live and, more generally, that virtue ethical theory can be of guiding and foundational significance in an overarching ethics of the environment and technology.
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Krull, Bethany. "Manifestations of nature /." Online version of thesis, 2007. http://hdl.handle.net/1850/5441.
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Payne, Catherine Lily. "Topologies: Nature, Mind, Thought. Media Art in the Anthropocene." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16042.
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This thesis advances the theory that perceptions of ‘nature’ are changing in an era increasingly understood as the Anthropocene, and that it is possible to map such changes in key film, video and media art. ‘Nature’ is recognised as a contested and complex assemblage, and a pressing problem shared across disciplines is: how to ‘see’ or think about ‘nature’ in the contemporary era. This thesis uses the term ‘the Anthropocene’ to recognise that human actions en masse are now considered equivalent to a geological force and to offer a global context for re-approaching the concept of nature. It asks: What do media artists ‘bring to light’ in their work about contemporary ways of seeing and thinking about nature? How do they reconcile the vastness of geological time with the fleeting and fugitive nature of the senses? And are perceptions of nature changing? These questions are approached through two distinct, yet complementary, research methodologies: a creative work, and a parallel written text. The creative work, Topologies: The Hidden Landscape, is a study of the fugitive nature of our senses in relation to the vastness of the geological record, and comprises a cycle of nine short video ‘miniatures’ (total duration approximately 33 minutes). The parallel written text, Topologies: Nature, Mind, Thought—Media Art in the Anthropocene (approximately 65,000 words), contextualises the research questions and the creative work, within the larger interdisciplinary fields of the arts, humanities and sciences. These situate the research into the media arts within the Great Acceleration (1945–ca. 2015) and the rise of Earth system science between the late 1970s to 2015—a period proposed as a major epistemological break in the way people see nature, and one of emergent conscious awareness of anthropogenic change. The thesis looks closely at ‘small things’ and forms in the media arts—such as the reprise of the field diary, notebook, sketch, étude, miniature and social media trail—to provide a way to link and connect ideas across fields and disciplines, and to sketch the emergence of a topological mode of thought. To do this, the thesis introduces Michel Serres’s concept of topology and extends Gilles Deleuze’s concept of cinema as a ‘mode of thought’ into the media arts to map new ways of seeing and thinking about nature. The written text provides an analysis and discussion of key media art that shares a method of ‘composing with time and space’ to see what they ‘give rise to’. Works have been selected from the fields of experimental cinema, video, sound, music and media art, and include works by Fiona Foley, Santu Mofokeng, Binh Danh, Errol Morris, Terrence Malick, Iannis Xenakis, Claude Ballif, Jeremy Welsh, Brad Miller and Gayle Chong Kwan. The thesis reveals that key media artists perceive the world as a complex topology of sensate, physical, conceptual and cultural space, and point to the media arts as a site for re-thinking relationships to nature.
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Singel, Rachel Jeanne. "Embodying nature." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2633.
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My imagery comes from what I see in nature. From a hollow in a tree to a break in the clouds, absence is a recurring motif. These spaces intrigue me, and I begin to wonder where they might lead. The structures becomes one rounded, spreading volume.
By printing on both sides of the paper, two images intertwine: one drawing attention and the other subtly shifting beneath the surface. The work becomes an expression of the intricacies and depth of natural forms. Ultimately, I want to take on the processes of nature and embody them in my own works of art.
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Ciborek, Beth. "Beyond Walls: A Study of Nature Based Art Education." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1247941239.
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Thesis (M.F.A.)--Kent State University, 2009.<br>Title from PDF t.p. (viewed March 31, 2010). Advisor: Linda Hoeptner Poling. Keywords: art education and nature; environmental art education; art; art education; outdoor art education; nature based art education. Includes bibliographical references (p. 117-118)
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.<br>Department of Art
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
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Pegram, Juliette. "Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.
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Art History<br>M.A.<br>The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet's complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century.<br>Temple University--Theses
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Hanenbergh, Maria Rudolphine Irene. "Freedom nature : (researching the visionary fantastic in contemporary art) /." Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/8398.
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In the research for this project I investigate several prominent definitions and examples of fantasy in contemporary visual art, notably associated with the Freudian “uncanny” and the Surrealist “marvellous”. In the dissertation I propose a sub-genre of fantasy: the Visionary Fantastic. The mode of this sub-genre, I claim, is manifest in the work of several contemporary artists. It is also a concept I find useful in describing and directing my own artistic practice during this project. The adopted research methods include:<br>- Surveying a number of concepts, theories and literature on fantasy, I have drawn upon a number of writers, noting two seminal essays, “The Uncanny” (1919), by Sigmund Freud and “The Surrealist Manifesto” (1924) by André Breton, and definitions by theorist Tzvetan Todorov.<br>- Investigating the subject by discussing elements of the Visionary Fantastic in the practice of six contemporary artists whose work has been of considerable significance to my practice. Fantastic art can hardly be referred to as an autonomous area and does not refer to a particular movement in art. Given that it rather possesses a system of inclusion based upon certain selective principles, these artists address elements of the Visionary Fantastic yet do not approach the concept of fantasy as their exclusive concern.<br>- Discussing the processes in my practice, addressing the subject loosely within tropes of Utopia (– Arcadian lands, fantastic communities and marginal societies), Obsession (– techniques of detailed repetition, miniscule facture), Monstrosity (– formidable creatures, instinctual domains, hybridity) and Enchantment (– meditative, mediumistic and altered states of mind).<br>The disciplines I have applied in the work for the end exhibition include painting, printmaking and drawing. The outcome, a selection of works produced within this research, will be displayed as a cohesive body of work. It addresses myriad fantasy manifestations within the four principles discussed in the dissertation.
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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
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van, Lierop Bernard. "Imaged concepts : art and the nature of the aesthetic." Thesis, Cardiff University, 2009. http://orca.cf.ac.uk/55805/.
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The two research questions of this thesis are: 'What is the aesthetic' and 'What is the relationship of the aesthetic to art' These questions launch an argument that seeks to challenge and reverse some recent 'deflationary' accounts of the aesthetic. The research uses the foundational aesthetics of Hume, Baumgarten and Kant to counter the arguments of deflationary aesthetics, then, drawing upon evolutionary theory and cognitive neuroscience, it highlights the power of the aesthetic in both nature and art. The 'deflationist' George Dickie called the aesthetic attitude a 'myth' and dismissed the concept of 'disinterestedness'. Gombrich doubted whether shared aesthetic values are possible, while Danto initially argued that aesthetic properties are merely imputed to artworks through context. For Carroll, historical precedence determines the identity of art, with the aesthetic reduced to a contingency. However, Hume and Kant testified to the realism of both disinterestedness and the aesthetic attitude, while Baumgarten proposed a new science of aesthetics to underscore the centrality of the senses to epistemology, rhetoric and art, notably through his postulated 'imaged concepts', the apparent source for Kant's 'aesthetic ideas'. Danto's final acknowledgment of the artistic role of enthymeme and metaphor signalled his acceptance of art's essentially aesthetic character. Evidence from Darwin confirms that the aesthetic is a shaping force in evolution, rather than a construct of human culture, and much congruence is revealed between the aesthetics of Baumgarten and Kant, and recent cognitive neuroscience. It is argued that philosophical aesthetics needs to integrate the findings of science into its metaphysics. Accordingly, this thesis offers some new definitions of the aesthetic attitude, rhetoric and art, principally influenced by Baumgarten and biology. The arguments are further evaluated through three case studies: 'bowerbird art', the 'nexus of art, power and crime', and 'sound sculpture'.
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PEREIRA, IGOR LEONARDO ROMEIRO. "ART AND NATURE IN THE AESTHETICS OF LUIGI PAREYSON." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27532@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Este trabalho investiga o estatuto da natureza no pensamento estético de Luigi Pareyson. Calcada em sua filosofia de feição existencialista, personalista e ontológica, sua teoria estética indica numa atividade – a formatividade – o elemento comum que garante algum caráter artístico a todo atuar humano e que, especificado, institui a arte em sua autonomia e independência, conferindo assim a máxima extensão à experiência estética. O problema da natureza surge aí enquanto esta – não sendo obra humana – se mostra sob dois aspectos: como limite extremo da fruição estética, no belo natural, e como modelo cujo operar a formatividade humana imita, na produção artística. Com base na descrição e na análise dos paralelos entre arte e natureza encontráveis na teoria – na descrição pareysoniana da obra de arte e de sua produção em termos organicistas, em sua teoria da interpretação conforme aplicada à natureza, e na reelaboração de ideias de Kant e Goethe – pretende-se compreender como a esfera natural pode ser afirmada como autônoma e formativa, tendo-se por base uma filosofia da pessoa em sua relação com o ser. E igualmente, de que modo se podem conciliar as valências naturalista e personalista da formatividade numa visão coerente do caráter estético comum à natureza e à arte. Tal exame se conclui pela defesa de que é o formar da pessoa a instância paradigmática em analogia e em contraste à qual se pensa e compreende o formar da natureza, com a consequente redução e subordinação de elementos metafísicos e naturalistas ao horizonte pessoal-existencial do pensamento do filósofo.<br>This work investigates the role of nature in the aesthetic thought of Luigi Pareyson. His aesthetic theory, based on a philosophy of existentialist, personalistic and ontological features, embodies in one activity – formativity – the common element which grants an artistic character to every human act and which, when specified, installs art in its autonomy and independence, thus granting a maximum reach to aesthetic experience. The problem of nature arises since nature – being not a human product – presents itself under two forms: as the extreme limit of aesthetic fruition, in natural beauty, and as a model whose operation human formativity imitates, in artistic production. Based on the description and analysis of the parallels between art and nature in the theory – in the pareysonian description of the work of art and of its production in organicistic terms, in his theory of interpretation as applied to nature, and in his re-elaboration of Kant s and Goethe s ideas – this work intends to understand how the natural sphere can be affirmed as autonomous and formative, according to a philosophy of the person in their relation with being. And, also, to understand how the naturalistic and personalistic aspects of formativity can be reconciled into a coherent view of the aesthetic character shared by nature and art. This investigation concludes that personal formativity is the paradigm in analogy and in contrast to which nature s formative power can be conceived and understood, with a consequent reduction and subordination of naturalistic and metaphysical elements to the personal-existential horizon of Pareyson s thought.
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Green, N. P. "The nature of the Bourgeoisie : Nature, art and cultural class formation in nineteenth century France." Thesis, University of Portsmouth, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372753.
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Myszkowski, Nils. "Sensibilité esthétique : Nature, mesure, variabilité." Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05H106.
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La sensibilité esthétique visuelle se rapporte à la capacité à juger des propriétés esthétiquesobjectives d’une oeuvre d’art et qu’on appelle communément le « bon goût » (Eysenck, 1983).De précédents résultats suggèrent que la sensibilité esthétique visuelle, est une aptitudeessentiellement indépendante de l’intelligence de la personnalité (Frois & Eysenck, 1995). Cesrésultats ont conduit les chercheurs à faire l’hypothèse que la sensibilité esthétique visuelle estune aptitude « isolée » et un don inné (Frois & Eysenck, 1995). Cependant, de récentesrecherches indiquent qu’elle pourrait être prédite par des traits de personnalité (Furnham &Chamorro-Premuzic, 2004; Furnham & Walker, 2001; McCrae, 2007; Rawlings, Barrantes iVidal, & Furnham, 2000), et peut être facilitée cognitivement par des aptitudes mentales(Reber, Schwarz, & Winkielman, 2004; Silvia, 2006; Smith & Smith, 2006). Dans cetterecherche, nous investiguons la nature de la sensibilité esthétique visuelle. D’abord, les qualitésmétrologiques du Visual Aesthetic Sensitivity Test (Götz, 1985) sont examinées (étude 1). Puis,nous faisons l’hypothèse que la sensibilité esthétique est liée à l’intelligence générale (étude 2) età des traits de personnalité spécifiques (étude 3). Ensuite, nous testons l’hypothèse selon laquellela maîtrise des opérations perceptuelles impliquées dans les mesures de sensibilité esthétique estliée et permet de prédire efficacement la créativité dans le domaine graphique (étude 4). Enfin,un modèle global, intégrant la sensibilité esthétique, à la fois comme variable prédite parl’intelligence et la personnalité et comme variable prédisant la créativité graphique, est testé(étude 5). Confirmant nos hypothèses, les résultats indiquent que la sensibilité esthétique estnotamment liée à l’intelligence, l’ouverture à l’esthétique et la créativité graphique. Ces résultatssont discutés sur le plan théorique (aspects cognitifs et conatifs de la sensibilité esthétique, placede l’évaluation dans la créativité) et des applications pratiques sont proposées (design,marketing, identification du potentiel créatif, etc.)<br>Visual aesthetic sensitivity refers to the ability to judge the aesthetic properties of works of art,which we commonly describe as “good taste” (Eysenck, 1983). Early framework suggests thatvisual aesthetic sensitivity is a mostly intelligence-independent and personality-independentability (Frois & Eysenck, 1995). This finding led researchers to hypothesize that visual aestheticsensitivity is an “isolated” ability and an innate gift. However, recent research suggests thataesthetic experience and its outcomes can be predicted by personality traits (Furnham &Chamorro-Premuzic, 2004; Furnham & Walker, 2001; McCrae, 2007; Rawlings, Barrantes iVidal, & Furnham, 2000) and is related to mental abilities (Reber, Schwarz, & Winkielman,2004; Silvia, 2006; Smith & Smith, 2006). Following these new findings, the nature of visualaesthetic sensitivity is investigated. First, the metrological qualities of the Visual AestheticSensitivity Test (Götz, 1985) are examined (study 1). Second, it is hypothesized that visualaesthetic sensitivity is related to general intelligence (study 2), some art-specific personalitytraits (study 3) and figural creativity (study 4). Finally, a general model, which proposesaesthetic sensitivity as predicted by intelligence and personality, and predicting creativity, istested (study 5). As hypothesized, aesthetic sensitivity was notably found to be correlated withintelligence, openness to aesthetics, and and figural creativity. The results are discussed as anempirical support of a double-sided (cognitive and conative) conception of visual aestheticsensitivity, and as a support of aesthetic judjement as part of the creative process. Applicationsare discussed, proposing uses of aesthetic sensitivity measures in various domains (design,creative potential identification, marketing, etc.)
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Alkhatib, Sara. "A Deep Breath of Art." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/99372.
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In a busy city like Washington D.C., where people tend to work for long hours, and remain in constant fight with deadlines as they try to complete their daily tasks, such lifestyle can be very exhausting. Artists are no exception to that. A preoccupied lifestyle can keep them distant from their inner creativity and would make them lose their inspiration for art. What they really need is to take a step away from this fast society and find a place that offers them the space, time and environment to recharge and reconnect with their art.
This thesis explores the role of architecture in creating moving artistic experiences that ignite the artists' inner creativity and feeds their imagination. By using design concepts that encourage their interaction with their surroundings, we can raise their curiosity to explore and observe to help them unleash their creativity. Because ,we, humans are mostly influenced by the spaces we inhabit and spend most of our time in.
A proposed artist retreat in the U.S. National Arboretum, creates an architecture that enhances the way artists experience art through the use of proportions, forms, materials, light and shadow. The project consists mainly of two parts, the first part is a place that respects the artists' need for solitude, to be able to self-reflect on their inner self and art. The second part is a place for the artist community, where they socialize and exchange their knowledge and experiences. Moreover, the buildings design aims to breaks the barrier between the inside and outside worlds to help create an intimate experience between the artists and nature. On the other side, there is the relationship between the buildings and the site, where the buildings design, materials and construction respects the landscape of the site and are adaptive to the beauty of the site's seasonal changes. This is how my thesis will explore art through the lens of architecture and give these artists a deep breath of art.<br>Master of Architecture<br>In a busy city like Washington DC, where people tend to work for long hours, fight deadlines and try to complete their daily task, such a lifestyle can be very exhausting. Artists are no exception of that, as such lifestyle can keep them distant from their inner creativity and lose their inspiration for art. What they really need is to take a step away from this fast society and find a place that offers them the space, time and atmosphere to recharge and reconnect with their art.
This thesis explores the role of architecture in creating moving artistic experiences that ignite the artists' inner creativity and feed their imagination. By using design concepts which encourage their interaction with their surroundings, raises their curiosity to explore, observe and unleash their creativity. Because we humans are mostly influenced by the spaces we inhabit and spend most of our time in.
My thesis will be an artist retreat at the US National Arboretum, a place for these artists to practice their art in a natural environment, in places that either encourage them to socialize with the artist community or in single cabins in the forest, that isolate them into their own world. The buildings will act as thresholds that bring the outdoor natural views, sunlight and wildlife to the indoor living spaces to embrace the performance of these artists and let them experience art through the lens of architecture. The buildings also have their own language of how they represent and respect the nature of the site. This is how my thesis will give these artists a deep breath of art.
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Daly, Jennifer Linnea. "The temporal nature of things." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/80.
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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.
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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.
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Darjania, Vakhtangi. "Concrescence: geometry and design in nature." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/2062.
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With my research in Concrescence planters I was able to design set of planters using specific methods that I generally use in designing. The methods that I utilized the most are the Golden Rectangle and the Fibonacci sequence as Golden Rectangle talks about the symmetry and design in nature and how I apply the same systems to my own design to make it as natural for human interaction. The research also utilized some of the same design techniques and element that then to translate from one design to another which make the design process simpler and fluid.
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Bennett, Julie. "Where the sun has fallen to earth : A studio investigation of the nature of place, and the place of nature in visual art practice." Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/44694.
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My work involves the insertion of a structure into a landscape - a particular landscape, one I have contemplated for many years. In my landscape, 'my place', time is seen through the change of farming and weather seasons. We think we know and understand the landscape that immediately surrounds us, the place in which we live, but in the event of even a small change within that familiar place, our understanding and perceptions are called into question and our sense of time and space are rearranged.<br>Master of Arts (Visual Arts)
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McCrea, Genevieve Rosalind Art College of Fine Arts UNSW. "Self organization in nature." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43573.
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Sand is an appropriate material to embody and make visible the impulses which may pass through the moving hand and also permeate the universe. Its ability to absorb impressions means it can take on the full range of material states, solid, liquid or vapour, and allows it to speak with the rhythmic language the whole of nature itself uses. Developing a language of forms which more closely speaks this rhythmic language of nature requires an intimate knowledge of the processes of nature. Sand experiments undertaken show the formation a rich array of dazzling patterns. Chaos theory explains this self organizing capacity, and reveals the depth of interdependence of systems within nature. The aspect of self-similarity is also of central significance in appreciating how nature looks and function, and thus how it might be imaged. Drawings from nature were developed using sand as a parameter, starting with the single grain and translating the dynamism of moving sand into mark. Field trips involved looking for waves and repeated lines in nature, and observing how marks form in nature. Chaos theory provides a ground to bring together different spheres of knowledge ?? science, theology and art. It reveals the peculiarities of a material??s behaviour as being of critical importance in the mechanism of evolution. It also provides fresh insight into an incarnational Christian theological perspective, and the relational dynamic within the Trinity. The unity of far and near is also reflected in chaos theory in the self similarity of images. Romantic artists Turner and Van Gogh both engage in the search for a visual language of transcendence through nature using the use of the themes of chaos and order, with an emphasis on physicality and movement. Contemporary artists Goldsworthy, Blanchflower and Kirkeby ground their work in knowledge of material. Changes from solid and rigid to shifting and open show in the development of my work. The immediacy and dynamism of mark making in drawing and staining, ripping and sanding in painting gives process and materiality greater weight. The significance of relationality has reinforced the integrity of horizontal and vertical as expressed in nature and allowed for flexible repositioning of the image within a grid
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Jackson, Myles Wayne. "Goethe's law and order : nature and art in Elective Affinities." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386168.
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Popovich, Patricia A. "Re-Connecting Adolescents with Nature using Environmental Art and Photography." Ursuline College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=urs1210364879.
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Hood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.
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This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.