Dissertations / Theses on the topic 'Practice-based arts research'
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Green, Paul. "A framework for the consideration of narrative in creative arts practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11160.
Full textWood, Toni A. "The Tornado Tree: Drawing on Stories and Storybooks." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3187.
Full textStevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
Full textKim, Min Sun. "Transformational jewellery : practice-based research on the relationship between transformation and emotional attachment." Thesis, London Metropolitan University, 2015. http://repository.londonmet.ac.uk/918/.
Full textMasing, Anna Sulan. "From the jungle : Iban performance practice, migration and identity : a practice-based PhD based on four-years of research, culminating in this thesis and a performance piece, 'From the jungle', May 2012." Thesis, London Metropolitan University, 2013. http://repository.londonmet.ac.uk/678/.
Full textSingh, Nicola. "On the 'thesis by performance' : a feminist research method for the practice-based PhD." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36132/.
Full textLloyd, Cathryn Ann. "Artful inquiry : an arts-based facilitation approach for individual and organisational learning and development." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/43940/1/Cathryn_Lloyd_Thesis.pdf.
Full textMiller, Kristina K. "Practicing a New Hospitality: The Interdependence of Partnership and Play in Theatrical Meaning-Making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563489789729287.
Full textFrancis, Bart Andrus. "Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3260.
Full textPedraza, Lynn. "An examination of the implementation of the Second step program in a public school system." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003183.
Full textTurk, Rebecca Baygents. "Costuming as Inquiry: An Exploration of Women in Gender-Bending Cosplay Through Practice & Material Culture." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1553514620815081.
Full textTereso, Susana Isabel Lopes Claro. "Novo materialismo e investigação baseada nas artes no ensino de artes visuais." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/15837.
Full textVan, Luyn Ariella. "The artful life story : the oral history interview as fiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60921/1/Ariella_Van_Luyn_Thesis.pdf.
Full textWood, Andrea. ""Wonderfully ordinary" words from a romantic archive of Elizabeth Jolley's writing for students : Creative process as a garland of fragments." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1008.
Full textKnowles, Rachelle Marie Viader. "A translocal approach to dialogue-based art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10269.
Full textLee, James Ming-Hsueh. "似藝術-art-like : problems and contradictions in developing an artistic research." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12567.
Full textSharek, Elizabeth. "The unsettled object." Click here to access this resource online, 2007. http://hdl.handle.net/10292/421.
Full textAndersson, Klara. "Det är väl bara att dansa? : en studie utifrån kön om mina upplevelser av att dansa Halling." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-603.
Full textEn video presenterades även i samband med examination av arbetet och innehas av författaren.
Beccue-Barnes, Wendy Davis. "War brides: a practice-based examination of translating women’s voices into textile art." Diss., Kansas State University, 2012. http://hdl.handle.net/2097/13632.
Full textDepartment of Apparel, Textiles, and Interior Design
Sherry J. Haar
Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.
Hope, Charlotte Sophie. "Participating in the 'wrong' way? : practice based research into cultural democracy and the commissioning of art to effect social change." Thesis, Birkbeck (University of London), 2011. http://hdl.handle.net/10059/2004.
Full textGeorge, Atim Eneida. "Generative Leadership and the Life of Aurelia Erskine Brazeal, a Trailblazing African American Female Foreign Service Officer." Antioch University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1581697056034498.
Full textOgilvie, Charles. "Outsider cosmology and studio practice." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ef82a0c5-c709-452e-8a24-a7a5ac915a69.
Full textParmar, Bharti. "A grammar of sentiment : thinking about sentimental jewellery : towards making new art about love and loss." Thesis, University of Wolverhampton, 2009. http://hdl.handle.net/2436/94259.
Full textTuxill, Wendy Patricia. "A re-conceptualisation of contemporary sculptural ceramics practice from a post-minimalist perspective." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5333.
Full textBrunner, Thalia. "Suspension of disbelief: Animating believable 3D nebula visual effects utilising real-time technology." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213208/1/Thalia_Brunner_Thesis.pdf.
Full textDavis, Darrel R. "The model-based systematic development of LOGIS online graphing instructional simulator." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002271.
Full textStockddale, Cynthia R. "A Comparison of Community-Based Centers versus University-Based Centers in Clinical Trial Performance." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002472.
Full textCharlton, James. "Catch | Bounce : towards a relational ontology of the digital in art practice." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10377.
Full textMoreno, Hugo Macêdo Serrão. "Poética da interpretação musical: a clarineta e o clarinetista." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8651.
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Outro
The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience.
O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.
McKewen, Daniel Luke. "The art of being a fan : complicity and criticality in contemporary art and fandom." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63778/1/Daniel_Luke_McKewen_Thesis.pdf.
Full textDumont, Danielle Myriam. "Histeria: poética da interpretação na performance das cenas de loucura em ópera." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7412.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work is a practice-based research which consists in bonding a poetic-philosophical reflection about the interpretation of mad scenes in opera and the performance of the spectacle Hysteria: an operistic madness. As a method, this work intends to make poetics and interpretation as a path to performance and, therefore, as a path to artistic knowledge. Thereunto, is necessary to comprehend the interpreter as a co-creator, for while the interpreter brings the artwork to the present moment, any possible results of the interpretation are always measured by one’s senses and comprehension, by one’s manner to feel-think, by one’s body and soul. The human being’s way to feel and think is always non-transferable and authentic. The authenticity, that is, the originality of permitting to feel and think, and therefore, to be, is madness. Apart from a common-sense behavior while install authenticity of human being, madness is a call to immerse in a interpretive path, the poetical making of oneself: it is a path to life. The singer, as interpreter, installs a world. While one lends one’s voice to the muses, the singer creates, measuring oneself by the divine. Installing oneself, becoming authentically isn’t just a divine act of the human being, but also a madness act. Madness is always transgression of a pattern to a original and authentic way of being. By the way, women are the culminating figure of transgression and madness: they are the hysterical and disobedient ones, at the same time they are the loving mothers and life generators in body dimension. The feminine body is poetic. In it resounds the poetic voice, the creating voice. It is from the relation between madness, feminine, poetic voice and performance that the spectacle Histeria is born. This operistic solo spectacle, divided in two acts, tells a story of a feminine trajectory in madness and of a poetic birth of the character Lúcia. In a completely original composition of plot and vocal-scenic performance, the spectacle groups own texts??, other author’s texts and operas’ mad scenes arias from several composers: Ophelia’s mad scene (from Ambroise Thomas’ Hamlet), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; the great Lucia’s aria (from Gaetano Donizetti’s Lucia di Lammermoor), Il dolce suono... Spargi d’amaro pianto; the aria Ah! non credea mirarti (Vincenzo Bellini’s La Sonnambula); O rendetemi la speme... Vien, diletto…, from Elvira (I Puritani, also Bellini’s); Ombre légère (from Giacomo Meyerbeer’ Dinorah or Le Pardon de Ploërmel); and Glitter and be gay (Leonard Bernstein’s Candide). Hysteria is the feminine creative power flowering through voice and body.
Este trabalho é uma pesquisa artística que consiste na conjugação entre uma reflexão poético-filosófica acerca da interpretação de cenas de loucura em ópera e a performance do espetáculo Histeria: uma loucura operística. Enquanto método, procura-se fazer da poética e da interpretação um caminho para a performance e, portanto, para o saber artístico. Para isso, é preciso compreender o intérprete enquanto co-criador, pois enquanto nele a obra se apresenta, qualquer resultado possível de sua interpretação será sempre na medida de seus sentidos e de sua compreensão, de seu sentir-pensar, de seu corpo e de sua alma. O sentir e o pensar do homem são sempre intransferíveis e autênticos. A autenticidade, isto é, a originalidade de se permitir sentir e pensar, e portanto, ser, é também loucura. Enquanto é distanciamento de um padrão e um instaurar autêntico do ser humano, a loucura é convite para o caminho interpretativo, para o poetizar-se; é caminho para vida. O cantor, no papel de intérprete, é também instaurador de mundo. Enquanto empresta sua voz às musas, ele cria, mede-se com o divino. Instaurar-se a si mesmo, vir-a-ser, autenticamente, é não só um ato de divinização do próprio ser humano, mas também um ato de loucura. A loucura é sempre transgressão do padrão para um modo de ser originário e autêntico. As mulheres, por sua vez, são a figura culminante da transgressão e da loucura: elas são as histéricas e desobedientes, ao mesmo tempo que são as mães amorosas e geradoras da vida no corpo. O corpo feminino é poético. Nele ressoa a voz poética, criadora. É da relação entre a loucura, o feminino, a voz poética e a performance que nasce o espetáculo Histeria. Este espetáculo operístico solo, dividido em dois atos, conta a trajetória feminina da loucura e do vir-a-ser poético da personagem Lúcia. Numa composição de enredo e performance cênico-vocal completamente original, o espetáculo reúne textos próprios, de outros autores e árias de cenas de loucura em ópera de diversos compositores: a cena de loucura de Ofélia (da Ópera Hamlet, de Ambroise Thomas), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; a grande cena de Lucia (da Ópera Lucia di Lammermoor, de Gaetano Donizetti), Il dolce suono... Spargi d’amaro pianto; a ária Ah! non credea mirarti (La Sonnambula, de Vincenzo Bellini); O rendetemi la speme... Vien, diletto…, de Elvira (I Puritani, também de Bellini); Ombre légère (Dinorah ou Le Pardon de Ploërmel, de Giacomo Meyerbeer); e Glitter and be gay (Candide, de Leonard Bernstein). Histeria é o florescimento da potência criativa feminina, por meio da voz e do corpo.
Combrink, Anneretha. "Die rol van oraliteit en identiteit in die bevordering van gemeenskapseie woordkuns in Suid–Afrika / A. Combrink." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4819.
Full textThesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.
Norris, Jessica R. "FOOD LANDSCAPES: A CASE STUDY OF A COOKING AND ART- FOCUSED PROGRAM FOR TEENS LIVING IN A FOOD DESERT." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3575.
Full textVerban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textVerban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textCrum, Melissa R. "Creating Inviting and Self-Affirming Learning Spaces: African American Women's Narratives of School and Lessons Learned from Homeschooling." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397824234.
Full textNoordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
Full textFenollosa, Artés Felip. "Contribució a l'estudi de la impressió 3D per a la fabricació de models per facilitar l'assaig d'operacions quirúrgiques de tumors." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667421.
Full textLa presente tesis doctoral se ha centrado en el reto de conseguir, mediante Fabricación Aditiva (FA), modelos para ensayo quirúrgico, bajo la premisa que los equipos para obtenerlos tendrían que ser accesibles al ámbito hospitalario. El objetivo es facilitar la extensión del uso de modelos como herramienta de preparación de operaciones quirúrgicas, transformando la práctica médica actual de la misma manera que, en su momento, lo hicieron tecnologías como las que facilitaron el uso de radiografías. El motivo de utilizar FA, en lugar de tecnologías más tradicionales, es su capacidad de materializar de forma directa los datos digitales obtenidos de la anatomía del paciente mediante sistemas de escaneado tridimensional, haciendo posible la obtención de modelos personalizados. Los resultados se centran en la generación de nuevo conocimiento para conseguir equipamientos de impresión 3D multimateriales accesibles que permitan la obtención de modelos miméticos respecto a los tejidos vivos. Para facilitar la buscada extensión de la tecnología, se ha focalizado en las tecnologías de código abierto como la Fabricación por Hilo Fundido (FFF) y similares basadas en líquidos catalizables. Esta investigación se alinea dentro de la actividad de desarrollo de la FA en el CIM UPC, y en este ámbito concreto con la colaboración con el Hospital Sant Joan de Déu de Barcelona (HSJD). El primer bloque de la tesis incluye la descripción del estado del arte, detallando las tecnologías existentes y su aplicación al entorno médico. Se han establecido por primera vez unas bases de caracterización de los tejidos vivos – principalmente blandos – para dar apoyo a la selección de materiales que los puedan mimetizar en un proceso de FA, a efectos de mejorar la experiencia de ensayo de los cirujanos. El carácter rígido de los materiales mayoritariamente usados en impresión 3D los hace poco útiles para simular tumores y otras referencias anatómicas. De forma sucesiva, se tratan parámetros como la densidad, la viscoelasticidad, la caracterización de materiales blandos en la industria, el estudio del módulo elástico de tejidos blandos y vasos, la dureza de los mismos, y requerimientos como la esterilización de los modelos. El segundo bloque empieza explorando la impresión 3D mediante FFF. Se clasifican las variantes del proceso desde el punto de vista de la multimaterialidad, esencial para hacer modelos de ensayo quirúrgico, diferenciando entre soluciones multiboquilla y de mezcla en el cabezal. Se ha incluido el estudio de materiales (filamentos y líquidos) que serían más útiles para mimetizar tejidos blandos. Se constata como en los líquidos, en comparación con los filamentos, la complejidad del trabajo en procesos de FA es más elevada, y se determinan formas de imprimir materiales muy blandos. Para acabar, se exponen seis casos reales de colaboración con el HJSD, una selección de aquellos en los que el doctorando ha intervenido en los últimos años. El origen se encuentra en la dificultad del abordaje de operaciones de resección de tumores infantiles como el neuroblastoma, y en la iniciativa del Dr. Lucas Krauel. Finalmente, el Bloque 3 desarrolla numerosos conceptos (hasta 8), actividad completada a lo largo de los últimos cinco años con el apoyo de los medios del CIM UPC y de la actividad asociada a trabajos finales de estudios de estudiantes de la UPC, llegándose a materializar equipamientos experimentales para validarlos. La investigación amplia y sistemática al respecto hace que se esté más cerca de disponer de una solución de impresión 3D multimaterial de sobremesa. Se determina que la mejor vía de progreso es la de disponer de una pluralidad de cabezales independientes, a fin de capacitar la impresora 3D para integrar diversos conceptos estudiados, materializándose una posible solución. Para cerrar la tesis, se plantea cómo sería un equipamiento de impresión 3D para modelos de ensayo quirúrgico, a fin de servir de base para futuros desarrollos.
Morey, Connie Michele. "Resonance, ecology and imagination: a practice-based enactment of imagining as an eco-ontological process." Thesis, 2016. http://hdl.handle.net/1828/7600.
Full textGraduate
Palmiter, Erica Maria. "The artist as researcher : a narrative case study of Lead Pencil Studio." 2013. http://hdl.handle.net/2152/21404.
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Truman, Sarah E. "Writing Affect: Aesthetic Space, Contemplative Practice and the Self." Thesis, 2013. http://hdl.handle.net/1807/42652.
Full textWodak, Josh. "Interrogating Interactive Interfaces: On balance in the evocation of environmental responsibility in the creation of Responsive Environments." Phd thesis, 2010. http://hdl.handle.net/1885/9231.
Full textHickey, Kelly Lee. "Tender places: unsettling settler-colonial relationship to land through place-based, creative, and pedagogical practice." Thesis, 2022. https://vuir.vu.edu.au/44409/.
Full textMoore, Brett. "Situated Learning in a School–University Partnership: Integrating Partnership-Based Teacher Education With School-Based Educational Change." Thesis, 2021. https://vuir.vu.edu.au/42970/.
Full textRansbeeck, Samuel Van. "Composition with complex data : a contribution on the mapping problem through practice-based research." Doctoral thesis, 2015. http://hdl.handle.net/10400.14/20510.
Full textNesta dissertação, abordo o tema da sonificação em contexto artístico. Sonificação, a tradução de dados en sons, é um largo campo de investigação e existe todo o interesse na exploração deste domínio num contexto artístico. Esse projecto visa contribuir para a criação de um ramo teórico para a arte da sonificação e, em simultâneo, apresentar uma aplicação que facilite o uso de sonificação em contexto artístico. Com efeito, actualmente, existem poucas aplicações que permitam usar sonificação na composição musical de uma forma acessível. Por esta razão, um compositor pode ter que aplicar um tempo considerável no desenvolvimento de uma aplicação própria o que muitas vezes, pode ter um efeito prejudicial na criação da obra em si. Se o compositor tem que aplicar demasiado tempo no desenvolvimento tecnológico pode correr o risco de considerar a aplicação como sendo a obra em si, o que não é o caso: pode ser uma parte mas nunca a obra. Para combater o pequeno leque de aplicações acessíveis criei uma caixa de ferramentas, DataScapR, desenvolvido em Max, e disponibilizada para o público em geral. DataScapR é um projecto aberto: o utilizador pode estendê-lo livremente e adaptá-lo às suas necessidades. Todos os patches são comentados extensivamente para facilitar a sua edição e extensão. O uso prático de DataScapR é exemplificado através de Através de estudos de caso demonstrando que a sonificação pode ser uma prática interessante integrada num contexto artístico. Nesse projecto de doutoramento foco um tipo de dados especifico: dados da bolsa das acções. Isso vem dum interesse pessoal e no dinamismo inerente à bolsa. Sempre considerei a bolsa fascinante e penso que pode ser interessante para usar os dados para sonificação. A dissertação consiste em quatro partes. A primeira parte aborda questões teóricos: procuramos uma definição de arte de sonificação e integramos essa prática no contexto da composição. Tratamos da questão da natureza e definição de dados e como eles podem ser aplicados na música. Depois de construída uma base teórica, descrevemos o estado da arte. Nesse segundo capítulo descrevemos obras que usam sonificação como componente importante da própria existência e discutimos os diferentes métodos de mapping. Seguidamente, discuto o software existente bem como a necessidade duma nova aplicação. No terceiro capítulo apresento DataScapR, um dos componentes práticos do doutoramento. DataScapR é uma caixa de ferramentas para sonificação de dados da bolsa de acções. Assim, apresento os três módulos que permitem usar dados em tempo real e dados históricos. Os métodos de mapping são explicados e a estrutura interna dos patches é apresentada. Finalmente, no quarto capítulo apresento as obras realizadas usando DataScapR: For A Fistful Of Data (flauta de bisel), 4D Brokers (instalação), Vapourwaves (instalação), Mirage (obra sobre suporte). Para cada caso, apresento a obra, discuto a sua estrutura, os mappings utilizados e as questões técnicas e termino com uma avaliação da obra. No final do capítulo concluo com uma avaliação geral das peças. Na discussão final realizo uma avaliação do trabalho feito e aponto direcções para trabalho futuro. A dissertação é da caixa de ferramentas DataScapR, de quatro estudos de caso e dois blogs: datascapr.wordpress.com onde o DataScapR está disponível e sonifcationart.wordpress.com onde discuto vários projectos de sonificação. Esse projecto de doutoramento mostra apenas uma das posições possíveis em arte de sonificação e, por esta razão, deve ser considerado como uma abertura para novos caminhos a explorar.
Smith, Lindsey Scott. "The student-artist based tour: determining gallery teaching practice beneficial for an art museum tour centered on students as artists." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1213.
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Clark, Vanessa Sophia. "Gathering: an A/R/Tographic practice for teaching in early childhood care and education." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8927.
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Tilse, Julianne. "Riparian life: a visual navigation of the Hunter River Estuary." Thesis, 2016. http://hdl.handle.net/1959.13/1317449.
Full textThe Hunter River Estuary is defined as the intertidal zone of river that stretches from the Newcastle delta to the Oakhampton floodplains at Maitland Vale in New South Wales. This research of the Hunter River Estuary is unique in its integration of both objective and subjective research. The environmental history and science of the river brings to light many examples of pre-colonial riparian life and colonial antecedents. However, there has been no previous research that visually documents the dynamic nature of the estuary or that investigates this riparian environment in a creative exchange across empirical known and subjective unknown components of research. This riparian landscape has previously not been examined in the context of interdisciplinary creative practice. This interdisciplinary research project examines components of empirical knowledge that interconnect with the less known encounters of a practice-based researcher, shifting beyond traditional disciplinary models of research. The project builds awareness of the dynamic natural history and changing ecology of the Hunter River Estuary. New and less recognized aspects of knowledge and fresh perceptions of the river emerge with creative arts praxis and practical encounters of being in and moving through this specific riparian landscape. The liminal nature of the riparian environment is experienced from within and upon the river, across times and tides. In spite of the specificity of observed riparian sites, the contents often transcend the known and become windows into subliminal unknowns. This study has addressed these issues through art, as art is able to bring things forward, raise concerns and initiate new ways to think about and respond to some of the complexities of nature and being. The author puts forward a liminal dynamic position where the objective and subjective are not opposed and the qualities of both are realized and interwoven. This non-linear approach is attuned to the riparian environment and is uninhibited by disciplines or linear hierarchy, as the unknown is embraced along with the known and multiple components of knowledge co-emerge synchronously. Research outcomes provide a visual navigation of the dynamic nature of the Hunter River Estuary.
Neto, Werther Teixeira de Azevedo. "Blendwave: uma ferramenta de sound design para autores audiovisuais." Master's thesis, 2018. http://hdl.handle.net/10400.2/7890.
Full textThis document presents Blendwave, a creativity support tool (CST), product of a practice-based research focused on demystifying and democratizing the sound design process among authors of audiovisual works. Starting from the hypothesis that sound creation has become inaccessible to non-specialized users due to the inadequacy and/or complexity of available digital tooling, the research starts with a state of the art analysis of the current sound design toolset, identifying possible points of friction for inexperienced users. Following the presentation of the methodological approach, we report on the process of designing and building a digital artifact for the rapid prototyping of sound, grounded on the simplicity of similar popular tools. At last, by following an iterative development approach, the software system is tested and evaluated, both qualitatively and quantitatively, in terms of usability and its capacity to support the creative act of designing new sounds.
Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
Full textThis doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
Art and Music
Ph. D. (Art)