Academic literature on the topic 'Performance art Themes, motives'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Performance art Themes, motives.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Performance art Themes, motives"
1
Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
Full textAbstract:
Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
2
Babenko, Leonid, Andrew Babenko, and Larysa Haidai. "THEORY AND PRACTICE OF INTRODUCTION OF MUSICALS IN THE TRAINING SYSTEM OF FUTURE TEACHERS OF ARTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 52–55. http://dx.doi.org/10.36550/2415-7988-2021-1-195-52-55.
Full textAbstract:
The article deals with the introduction of performances of theatrical musicals into the educational process of preparing future art teachers on the artistic faculty of the Centralukrainian State Volodymyr Vynnychenko Pedadogic State University. Illuminated positive impact of such an introduction on the quality of professional training of students. The motivational approach to the meaningful responsibility of students for training is revealed when they carry out self-control over the process of acquiring the necessary knowledge and skills and become fully responsible for the quality of learned material. All this greatly increases the creative activity of students, prompts them to self-studying and self-development, forms an active life position. The role of a teacher in this system of educational process is the role of the coordinator. He carries out a general leadership of the educational and creative process, acts as a consultant, an assistant, and most importantly – he is a professional-mentor, a senior mate who helps students to master the whole complex of knowledge, skills and abilities. In such motivated training, it is necessary to point out initial goals, determined by the teacher, which coincides with the educational motives of students. Only under such conditions, academic actions of the students will be transformed into conscious educational activities, the motivation of success will be created. That is why students study on the basis of partnership in the chorus studio. They make their proposals for project themes, develop the concept, choose the form of material presentation, create scenarios and are interested in preparatory and organizational work, as well as independently choose the direction of its own educational activity within the project – write or distribute musical solos and choral parties, make them choral. Arrangement or perform computer arrangement of musical accompaniment, etc. Execution of such a work not only reveals existing knowledge of students on the relevant educational subjects, but also requires mastering new knowledge and skills, assimilating the material of new educational subjects that are needed to implement the plan.
3
Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.
Full textAbstract:
Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.
4
Dixon, Steve. "Cybernetic-Existentialism in Performance Art." Leonardo 52, no. 3 (June 2019): 247–54. http://dx.doi.org/10.1162/leon_a_01544.
Full textAbstract:
A theory of Cybernetic-Existentialism is proposed to offer a new critical perspective on technological performance art. Case studies of Wafaa Bilal, Stelarc and Steve Mann are used to demonstrate how core ideas and themes from both cybernetics and existentialism are increasingly converging in contemporary arts.
5
Swanson, Scott R., J. Charlene Davis, and Yushan Zhao. "Art for Art's Sake? An Examination of Motives for Arts Performance Attendance." Nonprofit and Voluntary Sector Quarterly 37, no. 2 (December 10, 2007): 300–323. http://dx.doi.org/10.1177/0899764007310418.
Full text
6
Dixon, Steve. "Cybernetic-Existentialism and Being-towards-death in Contemporary Art and Performance." TDR/The Drama Review 61, no. 3 (September 2017): 36–55. http://dx.doi.org/10.1162/dram_a_00672.
Full textAbstract:
Ideas and themes central to both cybernetics and existentialist philosophy converge in the work of some of the world’s most celebrated contemporary artists. Utilizing little or no technology, these artists nonetheless employ “systems” approaches and protocybernetic models, while simultaneously exploring themes directly related to existentialism.
7
Naeem, Usman, and Muhammad Kashif. "Discovering the Motives to Browse Internet among MBA Students: An Interpretivist Investigation." Vision: The Journal of Business Perspective 22, no. 3 (July 16, 2018): 243–52. http://dx.doi.org/10.1177/0972262918785959.
Full textAbstract:
This study aims to discover motives to browse Internet among MBA students from Pakistan to understand its role to facilitate student leaning in business schools. The data is collected by means of focus groups and Facebook posts to discover motives to browse Internet. Thematic analysis is performed to analyse the data which includes recording, coding, and development of emergent themes. The four motives to browse Internet which are: Communication, Career Management, Information seeking, and Academic performance. The study is unique in two aspects. First, the data triangulation is achieved by methodological advancement to explore the motives behind Internet browsing. Secondly, the business students from a developing Asian country are selected to render some country specific strategies to make productive use of Internet.
8
Procop, Natalia. "Rustic and urban in the creation of Florentin Leancă." Akademos, no. 3(62) (January 2022): 146–50. http://dx.doi.org/10.52673/18570461.21.3-62.19.
Full textAbstract:
Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.
9
Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE." Проблемы исторической поэтики 20, no. 2 (March 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.
Full textAbstract:
“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.
10
Kupchenko, Tatiana А. "Sergey Yesenin in the screenplay of V. Mayakovsky “The Story of One Nagan”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2021): 89–100. http://dx.doi.org/10.20339/phs.5-21.089.
Full textAbstract:
For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.
Dissertations / Theses on the topic "Performance art Themes, motives"
1
Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
Full textAbstract:
This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.Department of English
2
Vülser, Ingrid. "The theme of death in Italian art : the triumph of death." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.
Full textAbstract:
This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.
3
Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
Full textAbstract:
This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
4
Hall, Nancy. "Personal drawings as a political statement." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724955.
Full textAbstract:
This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist.Department of Art
5
Munson, William Donald. "Rites of passage." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.
Full textAbstract:
Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.Department of Art
6
Egan, Rachel K. "New perspectives on the quatrefoil in classic Maya iconography the center and the portal." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4759.
Full textAbstract:
The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.ID: 030646206; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 213 followed by p. 190-205.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references.
M.A.
Masters
Anthropology
Sciences
Anthropology
7
Bolgun, Oya. "A study of technology and human relations developed in a series of paintings." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.
Full textAbstract:
The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.Department of Art
8
Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
Full textAbstract:
This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
9
Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.
Full textAbstract:
Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.
10
Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.
Full textAbstract:
My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
Books on the topic "Performance art Themes, motives"
1
Milivojević, Era. Art session: Fine arts performance. Beograd: Geopoetika, 2001.
Find full text
2
Taniuchi, Tsuneko. Micro-événements. Paris?]: T. Taniuchi, 2010.
Find full text
3
Performance: Live art since 1960. New York: Harry N. Abrams Publishers, 1998.
Find full text
4
Molnar, Marijan. Akcije i ambijenti =: Actions and ambiences. Zagreb: Naklada MD, 2002.
Find full text
5
Levi, Strauss David, ed. The things you see when you don't have a grenade! Santa Monica, Calif: Smart Art Press, 1995.
Find full text
6
1961-, Pokoyski Dietmar, ed. Homework: Scores & statements & notes for akshuns, 1976-2000. Köln: Krash, 2000.
Find full text
7
Maps of city & body: Shedding light on the performances of Denise Uyehara. New York: Kaya Press, 2003.
Find full text
8
Verna, Stenke, Altman Dana, Mele Salvatore 1965-, Ray Michael B, Thiel Wolf Günter, Vucic Vedran, and VestAndPage, eds. The Fall of Faust: Considerations on contemporary art and art action. Florence: VestAndPage Press, 2010.
Find full text
9
Jillian, Carman, ed. Steven Cohen. Johannesburg, South Africa: David Krut Pub., 2003.
Find full text
10
Helme, Sirje, and Andreas Trossek. Kadunud kaheksakümnendad: Probleemid, teemad ja tähendused 1980. aastate eesti kunstis. Tallinn: Kaasaegse Kunsti Eesti Keskus, 2010.
Find full textBook chapters on the topic "Performance art Themes, motives"
1
Hambrick, Donald C., and Adam J. Wowak. "Strategic Leadership." In Strategic Management, 337–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090883.003.0019.
Full textAbstract:
Research on strategic leadership, or the study of top executives and their effects on organizational outcomes, has flourished over the past few decades. Firm strategies are the product of human endeavors, and the individuals most responsible for formulating and implementing strategic initiatives—chief executive officers (CEOs) and their top management teams—are subject to the same biases, motives, and limitations as everyone else. As a result, even though executives vary in their levels of discretion, firms tend to become reflections of those who lead them. This chapter synthesizes recent themes and trends in the strategic leadership domain while also providing suggestions on what we see as the most promising avenues for future research. The field has come a long way since its inception in the mid-1980s, but opportunities still abound for scholars seeking to shed light on the human element in firm strategy and performance.
2
Le Zotte, Jennifer. "Genderfuck and the Boyfriend Look." In From Goodwill to Grunge. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631905.003.0007.
Full textAbstract:
This chapter describes the many ways in which secondhand exchange served the gay liberation movement and helped create a broader scope of sexual identities and related imagery, through not only political activism, but by cultural routes such as glam rock, punk, underground art and film, and avant-garde performance art. Some secondhand dressers such as activist José Sarria used secondhand exchange to both financially support gay rights and to oppose homophobic public perceptions. Others, like underground filmmaker Jack Smith and Hibiscus of the psychedelic drag troupe The Cockettes, cited anticommercial motives for seeking alternative economies and for presenting "queer" appearances. Both men and women—like the Bowery-browsing punk icon Patti Smith—displayed cross-gendered appearance, yet public reception of "genderfuck" suggested that men in women’s clothing were assumed to be more politically radical than women in men’s attire. Regardless of these inconsistencies, by the end of the 1970s, a queer, "trash" self-presentation had entered the country’s visual lexicon, and was specifically associated with popular musicians and artists.
3
"The Theatricality of the Human Body in Performance Art." In Inhabiting the Meta Visual: Contemporary Performance Themes, 21–30. BRILL, 2016. http://dx.doi.org/10.1163/9781848885325_004.
Full text
4
Frood, Elizabeth. "Sensuous Experience, Performance, and Presence in Third Intermediate Period Biography." In Ancient Egyptian Literature. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265420.003.0009.
Full textAbstract:
This chapter analyses biographical motifs relating to sensory experience found in inscriptions largely belonging to one tenth-century bc priestly family in Thebes. The four statues which are the focus of discussion (CG 42225; CG 42226; CG 42227; CG 42228) were dedicated in the temple precinct of Karnak by Hor IX for himself, his ancestor, and his wife. Inscriptions on a statue of Horakhbit I (CG 42231) from Karnak are also treated. Celebration of the senses is found in these texts through the fusion of biography with themes known from harpists' songs, a genre previously associated with tombs; the use of myrrh, a pleasurable and ritual substance; and through phraseology that mobilises the sensuous geographies of sacred space. Study of how such motifs relate to other features of biography across the statues offers insights into transformations of more than one genre and developments in the function of statues in temples.
5
Bargh, John A. "The Cognitive Unconscious in Everyday Life." In The Cognitive Unconscious, 89—C5.P185. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197501573.003.0005.
Full textAbstract:
Abstract The type of unconscious influences that matter in the everyday lives of everyday people are those of which they are unaware, whether or not they are aware of the events, people, and situations that trigger them. Research across multiple domains of psychology shows that our “free” choices, preferences, motives, and social behavior are all shaped by these unconscious operations. They arise from various sources, including (1) evolved primary motives for survival and safety, (2) early childhood experiences for which there is later no explicit memory; (3) carryover (priming) effects of experiences from one situation into the next; and (4) the transformational impact of our active goals on attention, preferences, and behavior. These effects have now been demonstrated in many real-life settings, including eating and health behavior, consumer purchasing, and teamwork and individual performance in the workplace, with unconscious effects in the field significantly stronger than those in the lab.
6
Emison, Patricia. "The Machine Aesthetic." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_ch02.
Full textAbstract:
Film was allied with live performance because of its movement and also because many actors started in vaudeville. Hollywood often reproduced Broadway plays, prompting critics to try to define what might be specifically cinematographic, such as a facility for shifting from one layer of consciousness to another. Film allowed for a new kind of experience of dramatic art, more remote than theater in some ways but also endowed with new resources such as the close-up, location shooting, and a broad public sometimes apt for unaccustomed themes and treatments. Urban anonymity and the social effects of an increasingly mechanized environment were recurrent themes. The displacement of silent film by talkies was widely lamented, often on the grounds that silent film was just coming into its own as an art form, an early instance of questioning the reliability of technological progress.
7
"Synergistic Partnerships." In Partnership Motives and Ethics in Corporate Investment in Higher Education, 282–324. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4519-5.ch006.
Full textAbstract:
This chapter illuminates committed inter-organizational behavior as synergistic partnerships exhibited through enmeshed organizational functionality stemming from ingrained, holistic, jointly shared values, and interactions in collaborations. The core beliefs overlap and appear seamless. These collaborations include not only the exchange of information, but more depth to define and to create important processes and activities toward common goals, to share resources, and to provide content solutions to pressing needs and issues. Involved organizations are highly orchestrated from their DNA and culture to their performance with authenticity. These synergistic partnerships are highly functioning and sometimes create a separate birthed cause, initiative, or new organization. Discussion includes concerns of applied research in sponsored research leading to commercialization, P3s, business development, and economic development.
8
Cruz, Ariane. "Conclusion." In The Color of Kink. NYU Press, 2016. http://dx.doi.org/10.18574/nyu/9781479809288.003.0006.
Full textAbstract:
“Racist remarks” are not the only things kink.com prohibits in online comments. “Unnecessarily repetitive” posts are also prohibited, yet they are rife. If the posts are incredibly repetitive—using the same limited lexicon to describe female physicality (“hot,” “hottie,” “smokin’ hot,” “super hot,” typically followed by an inordinate number of exclamation marks)—so too are the performances. In the peculiar cacophony of human and nonhuman sounds that becomes a sort of soundtrack in fucking-machine videos—moaning, groaning, slurping, sucking, clicking, droning, buzzing—it is the somnolent humming that energizes the repetitive thrusts of the machines that is most prominent. The repetition of the machines, as tangled technologies of gender, race, sexuality, pleasure, and visuality, ignite the multiple themes of this book. In this conclusion, I use the repetition of fucking machines to illuminate the larger, if less pronounced, processes of rote at work in pornography’s performance of racialized sexuality and to recapitulate the motifs in this book. There is much repetition here: the repetition of tensions between the binaries of fantasy/reality, black/white, absence/presence, and inside/outside; the fact that BDSM and pornography both serve as platforms for the dynamic spectacle of race play; the repetition of the narratives of historical trauma and black abjection that script performances in both of these genres; and our own tenacious disciplining of the enactment of these performances....
9
Balzert, Silke, Thomas Burkhart, Dirk Werth, Michal Laclavík, Martin Šeleng, Nikolay Mehandjiev, Martin Carpenter, and Iain Duncan Stalker. "State of the Art Solutions in Enterprise Interoperability." In Business Information Systems, 2134–62. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-61520-969-9.ch130.
Full textAbstract:
More than 99% of European enterprises are SMEs. While collaboration with other enterprises provides potential for improving business performance, enterprise interoperability research has yet to produce results which can be used by SMEs without the need for high start-up costs (e.g. learning, infrastructure and installation costs). Therefore the Commius project (funded by the European Union) aims towards the development of such a “zero costs of entry” interoperability solution for SMEs, allowing them to reuse existing and familiar applications for electronic communication. This chapter provides an overview of the research field “Enterprise Interoperability.” Based on a four layer interoperability framework, this chapter will examine which technical, process-based and semantic solutions for enterprise interoperability are available at the moment and which strategic motives drive or prevail SMEs to engage in E-business activities.
10
Balzert, Silke, Thomas Burkhart, Dirk Werth, Michal Laclavík, Martin Šeleng, Nikolay Mehandjiev, Martin Carpenter, and Iain Duncan Stalker. "State of the Art Solutions in Enterprise Interoperability." In Advances in Business Information Systems and Analytics, 201–29. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-892-5.ch012.
Full textAbstract:
More than 99% of European enterprises are SMEs. While collaboration with other enterprises provides potential for improving business performance, enterprise interoperability research has yet to produce results which can be used by SMEs without the need for high start-up costs (e.g. learning, infrastructure and installation costs). Therefore the Commius project (funded by the European Union) aims towards the development of such a “zero costs of entry” interoperability solution for SMEs, allowing them to reuse existing and familiar applications for electronic communication. This chapter provides an overview of the research field “Enterprise Interoperability.” Based on a four layer interoperability framework, this chapter will examine which technical, process-based and semantic solutions for enterprise interoperability are available at the moment and which strategic motives drive or prevail SMEs to engage in E-business activities.
Conference papers on the topic "Performance art Themes, motives"
1
Khurshid, Aasim, Adriano Gil, Felipe Augusto Souza Guimarães, Mikhail Gadelha, and Everlandio Fernandes. "An Automatic Contrast Validation Approach for Smartphone Themes." In Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/sibgrapi.est.2020.13015.
Full textAbstract:
The smartphone themes submitted to the themestore are first evaluated by human experts to ensure a pleasant visual experience1. One of the main challenges in smartphone themes evaluation is to validate the contrast of the elements of the theme. Contrast refers to the difference in visual properties that makes an object distinguishable from other objects and the background. In this work, we propose an automatic themes evaluation approach that validates the contrast of Android smartphone themes among regular and non-regular at the element level. To localize the contrast affected regions, the proposed themes evaluation is divided into two phases: 1) Element extraction; and 2) Contrast evaluation. For element extraction, a customized framework is created that utilizes native Android frameworks. Following, these elements are analyzed by using a specifically designed Convolutional Neural Network (CNN) for smartphone theme elements contrast evaluation. The proposed approach is evaluated on two databases which are composed of using the real Android themes. Experiments suggest that our proposed contrast-detection network can obtain a better performance than the known state-of-the-art classification methods, in smartphone themes evaluation, based on evaluation measures like Accuracy, F1 score, processing time and others.
2
He, Shuai, Yongchang Zhang, Rui Xie, Dongxiang Jiang, and Anlong Ming. "Rethinking Image Aesthetics Assessment: Models, Datasets and Benchmarks." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/132.
Full textAbstract:
Challenges in image aesthetics assessment (IAA) arise from that images of different themes correspond to different evaluation criteria, and learning aesthetics directly from images while ignoring the impact of theme variations on human visual perception inhibits the further development of IAA; however, existing IAA datasets and models overlook this problem. To address this issue, we show that a theme-oriented dataset and model design are effective for IAA. Specifically, 1) we elaborately build a novel dataset, called TAD66K, that contains 66K images covering 47 popular themes, and each image is densely annotated by more than 1200 people with dedicated theme evaluation criteria. 2) We develop a baseline model, TANet, which can effectively extract theme information and adaptively establish perception rules to evaluate images with different themes. 3) We develop a large-scale benchmark (the most comprehensive thus far) by comparing 17 methods with TANet on three representative datasets: AVA, FLICKR-AES and the proposed TAD66K, TANet achieves state-of-the-art performance on all three datasets. Our work offers the community an opportunity to explore more challenging directions; the code, dataset and supplementary material are available at https://github.com/woshidandan/TANet.
3
Keuning, J. A., R. Onnink, and A. Damman. "The Effect of Bow Steepness and Flare on the Resistance of Sailing Yachts in Calm Water and Waves." In SNAME 15th Chesapeake Sailing Yacht Symposium. SNAME, 2001. http://dx.doi.org/10.5957/csys-2001-006.
Full textAbstract:
In this paper some results are presented of two studies carried out at the Ship hydromechanics Department of the Delft University of Technology: one, on the influence of an increase of stem steepness of a sailing yacht, and another, which was largely carried out by T.J.E. Tincelin as part of his master thesis at Delft University of Technology, on the effect of above waterline bow flare are presented. To investigate the influence of bow steepness a model of the Delft Systematic Yacht Hull Series (DSYHS) has been used as a parent model of a new small subseries with two additional derivatives each with increased bow steepness. The influence on both the calm water resistance and the added resistance in head waves has been investigated. To investigate the influence of bow flare, two models of a typical "Open 60" design have been used: one "normal" and one with almost no flare in the bowsections. These have been tested in calm water and in both head- and followingwaves to investigate the effects of this difference in bow shape on the calm water resistance, on added resistance in waves, and on the relative motions at the bow. The results are presented and some comparisons with calculations made. Also some general conclusions with respect to resistance, performance and safety are drawn.
4
Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
Full textAbstract:
“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
Reports on the topic "Performance art Themes, motives"
1
Gunay, Selim, Fan Hu, Khalid Mosalam, Arpit Nema, Jose Restrepo, Adam Zsarnoczay, and Jack Baker. Blind Prediction of Shaking Table Tests of a New Bridge Bent Design. Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/svks9397.
Full textAbstract:
Considering the importance of the transportation network and bridge structures, the associated seismic design philosophy is shifting from the basic collapse prevention objective to maintaining functionality on the community scale in the aftermath of moderate to strong earthquakes (i.e., resiliency). In addition to performance, the associated construction philosophy is also being modernized, with the utilization of accelerated bridge construction (ABC) techniques to reduce impacts of construction work on traffic, society, economy, and on-site safety during construction. Recent years have seen several developments towards the design of low-damage bridges and ABC. According to the results of conducted tests, these systems have significant potential to achieve the intended community resiliency objectives. Taking advantage of such potential in the standard design and analysis processes requires proper modeling that adequately characterizes the behavior and response of these bridge systems. To evaluate the current practices and abilities of the structural engineering community to model this type of resiliency-oriented bridges, the Pacific Earthquake Engineering Research Center (PEER) organized a blind prediction contest of a two-column bridge bent consisting of columns with enhanced response characteristics achieved by a well-balanced contribution of self-centering, rocking, and energy dissipation. The parameters of this blind prediction competition are described in this report, and the predictions submitted by different teams are analyzed. In general, forces are predicted better than displacements. The post-tension bar forces and residual displacements are predicted with the best and least accuracy, respectively. Some of the predicted quantities are observed to have coefficient of variation (COV) values larger than 50%; however, in general, the scatter in the predictions amongst different teams is not significantly large. Applied ground motions (GM) in shaking table tests consisted of a series of naturally recorded earthquake acceleration signals, where GM1 is found to be the largest contributor to the displacement error for most of the teams, and GM7 is the largest contributor to the force (hence, the acceleration) error. The large contribution of GM1 to the displacement error is due to the elastic response in GM1 and the errors stemming from the incorrect estimation of the period and damping ratio. The contribution of GM7 to the force error is due to the errors in the estimation of the base-shear capacity. Several teams were able to predict forces and accelerations with only moderate bias. Displacements, however, were systematically underestimated by almost every team. This suggests that there is a general problem either in the assumptions made or the models used to simulate the response of this type of bridge bent with enhanced response characteristics. Predictions of the best-performing teams were consistently and substantially better than average in all response quantities. The engineering community would benefit from learning details of the approach of the best teams and the factors that caused the models of other teams to fail to produce similarly good results. Blind prediction contests provide: (1) very useful information regarding areas where current numerical models might be improved; and (2) quantitative data regarding the uncertainty of analytical models for use in performance-based earthquake engineering evaluations. Such blind prediction contests should be encouraged for other experimental research activities and are planned to be conducted annually by PEER.