Dissertations / Theses on the topic 'Space and time in art'
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Smith, Craig. "Structuring interactivity : space and time in relational art." Thesis, Goldsmiths College (University of London), 2006. http://research.gold.ac.uk/11018/.
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This thesis describes the concepts of space, time and interactivity in Relational Art. Relational Art is an interdisciplinary art practice described by the art critic and curator Nicolas Bourriaud in his book Relational Aesthetics (1998/2002). For Bourriaud, Relational Art consists of a location (space) in which viewers endure a physical encounter with the artist and artworks exhibited (time). Bourriaud describes this encounter as `interactivity; ' a term borrowed from digital aesthetics and 20'h Century performance art to describe `viewer-participation' with artworks. This thesis tests the capacity of Bourriaud's Relational Aesthetics to provide a theory of `interactivity. ' The thesis is divided into three parts. Part One includes a critical reading of Bourriaud's Relational Aesthetics and the concept of space in Relational Art practices. In Part One, Bourriaud's `space of encounter' is compared to the `Literalist' artwork described in Michael Fried's "Art and Objecthood" (1968) as well as James Meyer's concept of the 'Mobile Site' (2000). Both Fried and Meyer depict the use of `location' in contemporary artworks. Part Two of this thesis is a demonstration of Bourriaud's concept of time in Relational Aesthetics. Bourriaud describes `time' as that which is `lived through' by the artist, artwork and viewer. The thesis demonstrates this concept of time through the design and performance of an artwork produced specifically for this thesis. Entitled: PartnerWork, this performance artwork consists of two persons continuously exercising in a hotel gymnasium for an `endured' period of nine hours. In Part Three, the thesis proposes a set of criteria for recognizing 'interactivity' in Relational Art practices, including the example of PartnerWork. Interactivity is determined to be 'structured' through successive stages of participation, and is described as having the capacity to alter the formal structure of an artwork.
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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Shatava, Katsiaryna, and Katerina Shatavo. "Art is everything what people do with time and space." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_154656-72400.
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Art is everything what people do with time and space is a theoretical text, which includes some of the author’s ideas on contemporary art situation and its definition. The work could be interesting for the people working in the sphere of humanities, as much as to everybody else living in this world."Menas yra viskas, ką žmonės daro su laiko ir erdve" - teorinis tekstas, kuriame galima atrasti kai kurias autoriaus mintys apie šiandieninę situaciją su menu ir apie šio termino definiciją. Darbas gali būti įdomūs kaip žmonėms, dirbantiems humanitarinių mokslų srityje, taip pat ir visiems kitiems žmoniems gyvenantiems šiame pasaulyje.
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Mousinho, Magalhães Pacheco Maria Helena. "Space-time and creation in art : three practice-led experiments." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2313.
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This study addresses site-specific sculptural practice and examines the tensions arising from the interactive relations between site and the artworks that exist within it. It applies the concept of ‘anthropophagy’ to re-signify traditional models of representation in order to re-organize them into new contexts through practice-led research into site-specificity. Anthropophagy, a metaphorical vision of the Brazilian indigenous people, utilises cannibalistic customs “in order to legitimate their critical, selective and metabolising appropriation of European artistic tendencies” (Mosqueira 2010: 12). The use of this concept in this thesis arises from the idea of simultaneously belonging to two geographically separated cultural universes: one individual (in my case, Brazilian) and another related to the centralised European/US cultural model of influence that dominates the art world. The differences and intersections between these two universes provide a rich field for practice-led research into how artistic creation is affected by attitudes to space and time. In order to explore this, the thesis is divided into four chapters. The first develops a theoretical framework dealing with concepts of space and time and demonstrates how anthropophagy draws these concepts together. The next chapter examines walking in the UK as an art practice to expand the understanding of site-specific practice through the artworks of Richard Long and Hamish Fulton. The third chapter focuses on work, site and location in order to examine how anthropophagy can re-signify the idea of walking as related in Chapter two. The final chapter analyses site-specificity, drawing on my own practice-led research explored through three art projects implemented in Brazil and England. These projects develop ways to negotiate the complex relationship between art, place and temporal contexts, re-inscribing events within specific sites over time. To build a methodology for the research, I have developed three different projects and situations testing the spatial-temporal contexts of site. By using site-specific art practice I shape my arguments upon a creative practice ruled by concepts, materials and techniques. In my practice I have delineated some creative responses to the transformations of the contemporary world, weaving iii reflections between work/site/body as well as on my own perception regarding current ‘temporalities’. The theoretical frameworks that inform this study range from postmodernism to globalisation theories in order to draw together work, site and location under the overarching concept of anthropophagy.
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Lin, Hoi-to Maurice, and 練海濤. "Time, space and femininity in Wong Kar-wai's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953657.
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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.
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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver.
I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo.
For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.
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Nheu, Anie Art College of Fine Arts UNSW. "At the periphery of space." Awarded by:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43554.
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Ka'ili, Tēvita O. "Tauhi Vā : creating beauty through the art of sociospatial relations /." Thesis, e-Book (PDF), 2008. http://www.library.auckland.ac.nz.ezproxy.auckland.ac.nz/eproducts/ebooks/Tauhi_Va_Creating_Beauty_Final_Copy.pdf.
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Santamas, Mihalis. "The space between : time, memory and transcendence in audio-photographic art." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29144/.
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This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.
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Lin, Hoi-to Maurice. "Time, space and femininity in Wong Kar-wai's films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262233.
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Gross, Mara Judson. "Time, Space, And Energy For Dance In Education." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218206523.
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Webb, Mark. "Inscriptions : marks in the web of space and time." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35877/1/35877_Webb_1996.pdf.
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The theory, criticism and practice of contemporary art are
subject to an increasingly intertextual, interdiscursive
environment. Traditional notions of being and
representation, history and language, space and time are
challenged by structuralist and post-structuralist concepts. Possibilities for the meaningful production of art are developed from these concepts.
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Purcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /." Connect to full text, 2007. http://hdl.handle.net/2123/2763.
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Thesis (M.V.A.)--University of Sydney, 2008.Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.
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Yau, Ka-fai. "Of graphology : notions of space & time in contemporary cultures /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21790929.
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dalton, timothy. "A Space for Absence." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1660.
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This thesis focuses on the evolution of my work created during my two years of study at Virginia Commonwealth University. Although I touch upon my influences what I am writing is a reflection after the fact that does not necessarily encompass my original intent or inspirations for these works. I find my inspiration from personal discoveries within my daily life. Light flickering through the rails of a fence as I walk by makes me more aware of my body's movement in space. Watching the steady condensation of water droplets forming on a fountain creates a moment of pause within the world. Through these discoveries preconceptions about the world are forgotten and instead I focus on my experience. The potential for translating these moments into installations for an audience fuels my work. Though everyone experiences the world differently the pursuit of a common ground creates situations for further discoveries. The process of writing this paper has helped me to find a common thread within my work. Thinking back through the experiential discoveries of each piece has furthered my understanding, just as it originally propelled my artistic productio
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Lamahewa, Tharaka Anuradha, and tharaka lamahewa@anu edu au. "Space-Time Coding and Space-Time Channel Modelling for Wireless Communications." The Australian National University. Research School of Information Sciences and Engineering, 2007. http://thesis.anu.edu.au./public/adt-ANU20070816.152647.
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In this thesis we investigate the effects of the physical
constraints such as antenna aperture size, antenna geometry and
non-isotropic scattering distribution parameters (angle of
arrival/departure and angular spread) on the performance of coherent
and non-coherent space-time coded wireless communication systems.
First, we derive analytical expressions for the exact pairwise error
probability (PEP) and PEP upper-bound of coherent and non-coherent
space-time coded systems operating over spatially correlated fading
channels using a moment-generating function-based approach. These
analytical expressions account for antenna spacing, antenna
geometries and scattering distribution models. Using these new PEP
expressions, the degree of the effect of antenna spacing, antenna
geometry and angular spread is quantified on the diversity advantage
(robustness) given by a space-time code. It is shown that the number
of antennas that can be employed in a fixed antenna aperture without
diminishing the diversity advantage of a space-time code is
determined by the size of the antenna aperture, antenna geometry and
the richness of the scattering environment.
¶
In realistic channel environments the performance of space-time
coded multiple-input multiple output (MIMO) systems is significantly
reduced due to non-ideal antenna placement and non-isotropic
scattering. In this thesis, by exploiting the spatial dimension of a
MIMO channel we introduce the novel use of linear spatial precoding
(or power-loading) based on fixed and known parameters of MIMO
channels to ameliorate the effects of non-ideal antenna placement on
the performance of coherent and non-coherent space-time codes. The
spatial precoder virtually arranges the antennas into an optimal
configuration so that the spatial correlation between all antenna
elements is minimum. With this design, the precoder is fixed for
fixed antenna placement and the transmitter does not require any
feedback of channel state information (partial or full) from the
receiver. We also derive precoding schemes to exploit non-isotropic
scattering distribution parameters of the scattering channel to
improve the performance of space-time codes applied on MIMO systems
in non-isotropic scattering environments. However, these schemes
require the receiver to estimate the non-isotropic parameters and
feed them back to the transmitter.
¶
The idea of precoding based on fixed parameters of MIMO channels is
extended to maximize the capacity of spatially constrained dense
antenna arrays. It is shown that the theoretical maximum capacity
available from a fixed region of space can be achieved by power
loading based on previously unutilized channel state information
contained in the antenna locations. We analyzed the correlation
between different modal orders generated at the transmitter region
due to spatially constrained antenna arrays in non-isotropic
scattering environments, and showed that adjacent modes contribute
to higher correlation at the transmitter region. Based on this
result, a power loading scheme is proposed which reduces the effects
of correlation between adjacent modes at the transmitter region by
nulling power onto adjacent transmit modes.
¶
Furthermore, in this thesis a general space-time channel model for
down-link transmission in a mobile multiple antenna communication
system is developed. The model incorporates deterministic
quantities such as physical antenna positions and the motion of the
mobile unit (velocity and the direction), and random quantities to
capture random scattering environment modeled using a bi-angular
power distribution and, in the simplest case, the covariance between
transmit and receive angles which captures statistical
interdependency. The Kronecker model is shown to be a special case
when the power distribution is separable and is shown to
overestimate MIMO system performance whenever there is more than one
scattering cluster. Expressions for space-time cross correlations
and space-frequency cross spectra are given for a number of
scattering distributions using Gaussian and Morgenstern's family of
multivariate distributions. These new expressions extend the
classical Jake's and Clarke's correlation models to general
non-isotropic scattering environments.
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Trimm, Alexandra. "The Frozen Moment: Representations of Space, Time and the Experiential in Installation Art." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/313.
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This paper examines the history of installation art and explains the concept and themes within my installation component of the studio art major. It details how readymades, site-specificity, and an emphasis on experiential work all contributed to the creation of installation art as a medium. Next, I turn to my own work, exploring the theme of representing time and altering the perceptions of the viewer. Through a web of fishing line and tempered glass, the installation visually imitates a single, frozen moment of an explosion that the viewer can walk into and explore. The paper continues with a discussion of relevant themes in the work by contemporary artists Ori Gerst, Heide Fasnacht, Cornelia Parker, E.V. Day, Lee Bontecou, and James Turrell, and concludes with ideas for the continuation of the project in the spring 2014 semester.
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Lamahewa, Tharaka Anuradha. "Space-time coding and space-time channel modelling for wireless communications /." View thesis entry in Australian Digital Theses Program, 2006. http://thesis.anu.edu.au/public/adt-ANU20070816.152647/index.html.
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Willauer, Christian 1969. "Time and space limited : community art and neighborhood development in Hudson, New York." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/70729.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2000.Includes bibliographical references (leaves 91-96).
Facing disinvestment and unemployment, many places look to culture-based strategies for revitalization. Traditional models of culture-based community revitalization, however, have been criticized for contributing to gentrification, social polarization, and cultural discrimination. Communities seeking to avoid the contradictions of market oriented culture-based revitalization strategies can look to the efforts of community based organizations for models of how culture and the arts can contribute to revitalization without being limited to defining the benefits of their efforts solely in economic terms. In this thesis, I describe the efforts of one arts organization, Time & Space Limited (TSL), as an example of this process. Through an in-depth case study, I describe the role of TSL, a community-based arts organization, in creating an alternative strategy for community revitalization through the arts in Hudson, New York.
by Christian Willauer.
M.C.P.
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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.
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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.
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Goda, Sachiyo. "An investigation into the Japanese notion of 'Ma' : practising sculpture within space-time dialogues." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/4393/.
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The ancient Japanese space-time idea of ma has many aspects, not only in philosophical and artistic pursuits, but also in everyday life. Ma is difficult to pin down because it is an entirely relational concept and the word is only intelligible within our most subjective responses to temporal and spatial discontinuities: its key characteristic being a unity of experience across two fields of aesthetic encounter usually kept apart in the West. These subtle shifts of meaning and attribution within a single spatio-temporal domain have made ma difficult to adapt for Western purposes. Whereas the cultural critic Mark C. Taylor (1997) recognizes ma as the art of ‘spacing-timing’, the art historian James Elkins (2003) confines ma to our appreciation of negative spaces in the visual arts. Both fail to note the broader field of references used by the Japanese and my doctoral project was initiated as a response to the rich spatio-temporal ambiguity of the term and the subtle forms of dialogic awareness it can introduce into the everyday routines of a creative practitioner who is, like myself, from Japan. Because ma operates at so many levels, throughout this thesis I relate my discussion to historical and contemporary artists, performers, writers, film-makers, architects, gardeners, psychologists, philosophers and theologians.
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Leung, Suet-wai Emily, and 梁雪慧. "Postmodernism: a study of films by David Lynch." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B3194999X.
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Boué, Stéphanie Stévenin James Bork Peer. "Transcripts in space and time." Strasbourg : Université Louis Pasteur, 2006. http://eprints-scd-ulp.u-strasbg.fr:8080/499/01/Boue_PhD_Transcripts_Space_Time_2006.pdf.
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Boué, Stéphanie. "Transcripts in space and time." Université Louis Pasteur (Strasbourg) (1971-2008), 2006. https://publication-theses.unistra.fr/public/theses_doctorat/2006/BOUE_Stephanie_2006.pdf.
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Les biologistes moléculaires cherchent à comprendre comment fonctionnent les organismes au niveau moléculaire. Le but ultime de ces recherches est d’offrir la possibilité de manipuler sans risque des cellules et/ou des organismes afin de combattre des maladies génétiques, d’éradiquer les maladies contagieuses ou par exemple d’améliorer les qualités nutritives de l’alimentation. Actuellement, la manière la plus précise et pratique de comprendre le fonctionnement d’un organisme est d’étudier son transcriptome et ses variations dans l’espace et le temps. Suivant cette logique, le but de ma thèse de doctorat a été double: (1) estimer l’importance de l’épissage alternatif qui engendre une diversité des transcripts (2) étudier les transcriptomes de deux organismes modèles : Mus musculus et Drosophila melanogaster, respectivement dans l’espace et le temps. Durant ces années de recherche, j’ai rassemblé des découvertes intéressantes concernant l’expression des gènes et sa régulation. D’abord, l’épissage alternatif s’est avéré être un méchanisme important non seulement en terme de fréquence (des transcripts alternatifs sont générés pour une vaste majorité des gènes, et ce dans de multiples espèces), mais aussi en terme d’évolution (l’épissage alternatif semble permettre à un gène d’évoluer sans conséquences trop négatives pour l’organisme). Par ailleurs nous avons prouvé que le niveau d’expression de transcripts n’est pas en soi synonyme de fonction: il y a en effet une quantité non négligeable d’expression neutre, qui doit être prise en compte lors de l’assignation d’une fonction à un gène, uniquement basée sur la similarité de son profil d’expression par rapport à celui d’un gène de fonction connue. Enfin, nous avons étudié des séries de puces à ADN appliquées à l’embryogenèse de la mouche dans le temps, en utilisant une technique non conventionnelle pour ce type d’approche. Nous avons réparti les gènes en différentes classes selon leurs profils d’expression. Nous avons pu prouver que ces classes de gènes ont des critères biologiques en commun, ce qui laisse supposer que les gènes inconnus ou mal caractérisés qui tombent dans ces classes sont d’interessants points de départ pour de futures recherches. Des découvertes inestimables ont été et seront encore faites en biologie moléculaire grâce à l’étude des transcriptomes dans des organismes variés, analysés dans différentes conditions. Cependant, il est devenu clair qu’à cause de la présence de nombreuses étapes de régulation après la transcription, dont l’épissage alternatif, seule l’analyse des protéomes permettra d’obtenir une vision complète de la biologie de la cellule.
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Langille, Nicole. "Of Measure and Material." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.
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Manthei, Jennifer Judith 1963. "Art of becoming: Space, time, and place in Editora Globo Comics' representation of Brazilian national identities." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278437.
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This work investigates the ideological content of Brazilian comics created under the military dictatorship of 1964-1985. The comics promote a vision of national history and identity that corresponds to the military's focus on industrialization. Brazilian history is portrayed as a peaceful transition to a modern, urban nation of white, middle class, rigidly gendered nuclear families. Despite explicit messages of equality, social groups are implicitly subordinated in a hierarchy of social place according to region, race, ethnicity, class, and gender. Recognizing the processes through which the subordination of social groups is legitimated and protest suppressed is essential to combating inequality in contemporary Brazil.
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Kuronen, Suzanne. "Figuring space : considering the figure in the construction of space as materialist film." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0015.
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Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer
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Weathersby, Jessica. "Pyxidis echo lacuna." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2904.
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Thesis (M.F.A.)--West Virginia University, 2003.Title from document title page. Document formatted into pages; contains iv, 17 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 15).
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Pasenau, Ludwig. "Nébulisation extrasolaire : time capsule transmédia pour une exploration artistique des voyages spatiaux et de l'hyperespace." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20016.
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Cette thèse a pour objet le développement d’un écosystème d’oeuvres qui vise la génération de transformations à bord de futurs vols spatiaux de longue durée. Cet écosystème pourra concerner la transformation de l’atmosphère physique de ces voyages ainsi que la métamorphose de leur dimension humaine (tant sur le plan individuel, qu’intersubjectif et symbolique). L’hypothèse de travail considérée ici est celle des missions deep space (missions qui visent Mars, des lunes distantes, les points de Lagrange de systèmes divers ou autres destinations interplanétaires, pour des voyages ou séjours prolongés dans des vaisseaux, des bases, des stations – planétaires, lunaires, orbitales). Afin de mieux appréhender cette variété d’explorations du cosmos, son implication et son potentiel en termes d’expérience et de création artistique, cette recherche s’attache d’abord à explorer les relations des hyperobjets à l’hyperespace, avant de sonder les effets d’une circulation possible à partir d’un projet artistique proposé pour l’espace profond mais également pour des plateformes d’essais, des spaces analogues, ou encore des habitats sous-marins. Ce projet explore les passages entre les objets, les hyperobjets et l’hyperespace, ainsi que les relations possibles aux notions de dispositif, de machine abstraite, de climat, de transmédia, de dehors ou encore de Fiction Hors Science, à travers la proposition d’une time capsule pour futurs cosmonautes: Dark foam. Ce projet suggère une série d’expériences artistiques (film, exoclimat, environnement bioluminescent, lightworks, expériences sensorielles, script, log, pièces sonores) basées sur le développement d’une fiction : Swimming the rings of a gas hypergiant. Il s’agit avec cette fiction de développer une expédition commune (de la Terre à l’espace) ainsi qu’un imaginaire extrasolaire dont le contenu, les modes d’existence et d’activation, proposent de nouvelles voies de recherche en ce qui concerne l’intégration de l’art aux vols spatiaux, les échanges Terre-espace ainsi que la collaboration cosmonaute-artiste. Ce projet est destiné à augmenter (par une série de nébulisations, et par la mise en place de boucles planète-espace) la sensibilité spatiale expérimentée et générée par une future mission habitée. En questionnant le rôle et le statut de l’art et des voyages spatiaux, ce projet peut amener à une reformulation de la vision de l’atmosphère et de l’espace, ainsi qu’à une possible transformation de notre relation à l’environnement cosmique. L’image de cette relation est alors définie comme sombre, produit d’une topologie spéculative – topologie de l’écume qui sous-tend le développement du projet artistique. Cette time capsule est un projet évolutif qui pourra contribuer à alimenter le design et la préparation d’une mission future, être embarquée par un cosmonaute pour une expérimentation directe, ou encore générer diverses expériences de pensée et expérimentations artistiques sur la planèteThis study develops an ecosystem of works that aims at generating transformations within the framework of future deep space missions. This ecosystem may concern the transformation of the physical atmosphere as well as the human (individual, intersubjective and symbolic) dimension of these travels. The working hypothesis considered here is based on future missions targeting Mars, distant moons, Lagrangian points or other interplanetary destinations – for extended stays in spacecrafts and planetary, lunar and orbital stations or bases. In order to better understand this variety of explorations of the cosmos, its implication as well as its potential in terms of experience and artistic creation, this research first seeks to explore the relationships between hyperobjects and hyperspace, before probing the effects of a possible loop circulation emerging from the artistic project, which is developed to interact with diverse deep-space situations, space analogues, testbeds and underwater habitats on the planet. Entitled Dark foam, this project explores through the proposal of a time capsule for future cosmonauts the transitions between objects, hyperobjects and hyperspace, as well as its possible relations to the notions of dispositif, abstract machine, climate, transmedia, outdoors and Fiction Hors Science (fiction beyond science). This time capsule suggests a series of artistic experiences (film, exoclimate, bioluminescent environment, lightworks, sensorial experiences, script, log, sonic pieces) based on an extrasolar fiction: Swimming the rings of a gas hypergiant. This fiction develops a common expedition from Earth to space, it draws on an extrasolar imaginaire whose content and modes of existence and activation could propose new directions for future art and space research and cosmonaut-artist collaboration. This project is conceived to enhance – through a series of nebulizations and by the establishment of a field of planet-space loops – the spatial sensibility both experienced and generated by a future inhabited mission.By questioning the role and status of both art and space exploration, this project could lead to the reformulation of our position in space and hyperspace, our view of the atmosphere and our relationship to the cosmic environment.The image of this relationship is defined as dark, being the product of a speculative topology – a foam topology that underlies the development of the artistic project. This time capsule is an evolving project that can contribute to foster the design and preparation of a future mission, that can be embarked by a cosmonaut for direct experimentation, that can be tested within specific space analogs and generate various thought and artistic experiments on the planet
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Leung, Suet-wai Emily. "Postmodernism : a study of films by David Lynch /." [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13054867.
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Holdar, Magdalena. "Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman." Doctoral thesis, Stockholm : Konstvetenskapliga institutionen, Stockholms universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-427.
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Tran, Le Chung. "Complex orthogonal space-time processing in wireless communications." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060726.133841/index.html.
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Bremm, Alessandra Baldissarelli. "Habitar a escola : minúcias de encontros entre arte e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170335.
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A pesquisa parte de inquietações docentes cotidianas de uma professora de Arte de escola básica da rede pública, que, ao relacionar seus processos artísticos com questões da docência e com os estudos dos conceitos de ―vida como obra de arte‖ (NIETZSCHE, 2012) e ―estética da existência‖ (FOUCAULT, 2004a), percebe a arte como um modo de pesquisar em educação. Com a realização de uma residência artística em uma escola básica da rede pública de Porto Alegre – RS, buscou-se produzir outros tempos e espaços para problematizar as emergências dos encontros entre arte e escola, a partir da seguinte problematica: De que modos uma residência artística pode vir a problematizar os tempos e os espaços da escola, a partir dos encontros entre arte e educação?. As experiências da residência artística na escola permitiram tensionar, de modo artístico, questões relacionadas ao cotidiano escolar, à docência e seus desafios no mundo contemporâneo. A arte permeou a pesquisa, em sentido expandido, a partir dos referenciais teóricos, como postura diante da vida, bem como, através de produções artísticas desenvolvidas na residência e de trabalhos de artistas que contribuem para pensar as questões emergentes neste trabalho. Os encontros entre arte e escola fizeram emergir questões relacionadas às minúcias da escola, entendidas, aqui, como potências para pensá-la nas seguintes linhas de força: a escola como espaço de alteridade, no(s) outro(s) como estrangeiro(s) e os tempos e os espaços escolares em relação aos tempos da arte Os modos de fazer pesquisa na escola são relacionados com noções de residência artística, bem como, das pesquisas educacionais baseadas em arte (PEBA), no intuito de salientar a especificidade de uma pesquisa de cunho artístico realizada no campo educativo. Também buscou-se operar na potência dos entremeios, produzindo fissuras entre as fronteiras que delimitam o que é considerado arte e o que é considerado educação. A escola foi pensada como potência de criação em sua multiplicidade de práticas, sem o intuito de realizar diagnósticos ou prescrições. O caráter de troca permeou todas as ações da residência, em que o próprio lugar da pesquisadora&professora&artista esteve em constante movimento na escola, possibilitando afirmar a potência dos espaços ―entre‖ para além de delimitações. No entrecruzamento entre as experiências vividas na residência artística e a escola, afirma-se a potência da arte como um outro tempo e espaço para pensar as relações entre escola, arte e educação no mundo contemporâneo.The research is based on daily teaching concerns of an art teacher from a public elementary school who, by relating her artistic processes to teaching issues and to the studies of the concepts of "life as a work of art" (NIETZSCHE, 2012) and "aesthetics of existence" (FOUCAULT, 2004a), perceives art as a way of researching in education. With the development of an artistic residence in a elemetary public school of Porto Alegre - RS, the aim was to try to produce other times and spaces to problematize the emergencies of the encounters between art and school, from the following problematic: In what ways a residence can problematize the times and spaces of the school, from the encounters between art and education?. The experiences of the artistic residence in the school allowed problematize, in an artistic way, questions related to the school routine, teaching and its challenges in the contemporary world. The art permeated the research, in an expanded sense, from the theoretical references, as an attitude to life, as well, through artistic productions developed in the residence and works of artists that contribute to think the emerging issues in this work. The encounters between art and school have raised questions related to the minutiae of the school, understood here as powers to think of it in the following lines of force: the school as a space of alterity, in the other(s) as foreign(s) and the times and the school spaces in relation to the times of art The ways of doing research in the school are related to notions of artistic residency, as well as of art-based educational research, in order to emphasize the specificity of an artistic research carried out in the educational field. At the same time, we tried to operate on the power of the interstices, producing fissures between the boundaries that delimit what is considered art and what is considered education. The school was conceived as a creative power in its multiplicity of practices, without the intention of performing diagnoses or prescriptions. The character of exchange permeated all the actions of the residence, in which the researcher & teacher & artist's place was in constant movement in the school, making it possible to affirm the potency of spaces "between" beyond delimitations. In the intersection between the experiences lived in the artistic residence and the school, the power of art is affirmed as another time and space to think the relations between school, art and education in the contemporary world.
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Chen, Yan 1965. "Parental Socialization Value Change through Time and Space." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501151/.
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Parental socialization values are compared over sixty years by using data from the Denton Parent Project collected in 1989 and from similar questions asked of parents in Middletowri in 1924 and 1978, The objectives of the study were as follows: how have parental socialization values changed through time since the 1920s; has the impact of parental social class status on parental socialization values decreased over time; compare Alwin's study on obedience and autonomy to see how trend has changed from 1978 Middletown to 1989 Denton; and, finally, look at certain family structure variables to determine their influence. Today's parents emphasize social acceptance and a sense of social responsibility in child training practice. Social class still has an impact on parental socialization values but not as great as expected.
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Ait-Idir, Tarik. "Iterative space-time processing for broadband wireless communications /." [Brest] : ENST Bretagne, 2007. http://catalogue.bnf.fr/ark:/12148/cb41099223v.
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Lin, Rui. "Hybrid ARQ Schemes for Non-orthogonal Space-time Block Codes." Thesis, University of Canterbury. Electrical and Computer Engineering, 2007. http://hdl.handle.net/10092/1183.
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Automatic Repeat-reQuest (ARQ) schemes are extensively used in communication systems and computer networks to achieve reliable transmission. Using space-time codes (STCs) with multiple input multiple output (MIMO) or multiple input single output (MISO) systems is an effective way to combat multipath fading, which is the most severe impairment for wireless communication systems. STCs are designed to use the rich scattering multipath environment provided by using multiple transmit antennas. The work done in this thesis focuses on the use of ARQ schemes with non-orthogonal space-time block codes (NOSTBCs) based on Reed Solomon codes. The truncated-selective ARQ (TS-ARQ) scheme is considered and three novel hybrid ARQ (HARQ) schemes are proposed. Simulation results reveal that, compared to using TS-ARQ with orthogonal space-time block codes (OSTBCs), using NOSTBCs with any of the three proposed HARQ schemes can provide significant gains in terms of dropped packet rate and spectral efficiency at the cost of increased decoding complexity. The performance can be further improved by using the water filling principle to adaptively allocate transmit power among transmit antennas.
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St, George Paul Angelo. "An Investigation into the aesthetic codes and strategies used within visual art to represent and construct space, time and movement." Thesis, London Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536737.
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Bučinskaitė, Dovilė. "Juslinis laiko ir erdvės interpretavimas." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_105604-20732.
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Rašto darbe nagrinėjama laiko ir erdvės kaita socialiniame, filosofiniame, psichologiniame kontekste bei žmogaus patyrimas juose. Aptariamos žmogaus juslės, jų įtaka žmogaus asmenybės formavimuisi, gebėjimui pažinti aplinkinį pasaulį bei poveikis individo emocinei būsenai. Darbo tikslas - atrasti galimą prisiminimų ryšį tarp žmonių, kurie užaugo skirtingose aplinkose, ir tai panaudoti, kaip dirgiklį sukeliant atsakomąją reakciją.The paper analyses time and space turnover in a social, philosophical, psychological contexts, also including human experience in these surroundings. The paper discuss about human’s power of sensitivity, it’s influence to evolution of human identity. Furthermore, the paper represents human’s ability to discover environment using his senses and reveals these senses has an effect on human’s emotional condition. The aim of the paper is to reveal probable memory relationship between people, who grow up in different environment, using their individual memories as stimulus to get responsive reaction.
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Ferrari, Anna. "A ressignificação do espaço na arte contemporânea. Três casos de intervenções espaciais sutis." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-18122017-162404/.
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Este trabalho estuda três obras de arte contemporânea que têm como proposta intervenções espaciais sutis e a consequente ressignificação dos espaços em que estão inseridas. Partimos de uma revisão histórica da apropriação do espaço na obra de arte, desde a expansão da escultura moderna para o espaço até o formato instalação, no qual a obra trabalha o espaço de forma específica. Em seguida, discutimos a relação entre os conceitos de tempo e duração, bem como sua relação com o espaço, como embasamento para análise das obras escolhidas. A partir daí, nos dedicamos ao estudo de três obras contemporâneas: a instalação Alter Bahnhof Video Walk (2012) [Vídeo-caminhada Alter Bahnhof (2012)] de Janet Cardiff & George Bures Miller, realizada na estação central de trens de Kassel, Alemanha; a instalação I Need Some Meaning I Can Memorise (The Invisible Pull) [Eu preciso de algum significado que eu possa memorizar (A piscina invisível)] (2012) de Ryan Gander realizada no museu Friedericianum, Kassel, Alemanha - ambas apresentadas durante a 13ª Documenta de Kassel (2012); e a instalação Sem título de Fernanda Gomes, apresentada na 30ª Bienal de São Paulo (2012). O interesse deste trabalho é apontar como tais obras interferem no espaço existente, sem necessariamente alterá-lo fisicamente, desde a ideia de vazio, analisandoos criticamente em relação aos seus precedentes.This dissertation studies three works of contemporary art that have as their purpose subtle space interventions and the consequent redetermination of the spaces in which they are inserted. We start with a historical revision of the appropriation of space regarding the work of art, from the expansion of modern sculpture into space to the installation format, in which the work uses the space in a particular way. Next, we discuss the relationship between the concepts of time and duration, as well as their relationship with space, as a basis for analyzing the works selected. Hence, we study and analyze three contemporary works: Alter Bahnhof Video Walk (2012) by Janet Cardiff & George Bures Miller, designed for the central train station in Kassel, Germany; I Need Some Meaning I Can Memorize (The Invisible Pull) (2012) by Ryan Gander, at the Friedericianum Museum, Kassel, Germany - both presented during the 13th Documenta, Kassel (2012); and Untitled by Fernanda Gomes, presented at the 30th São Paulo Biennial (2012). This paper aims to point out how such works interfere in the existing space - the idea of emptiness, analyzing them critically in relation to its precedents - without necessarily changing it physically.
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Ewin, Glenda. "Being and circumstance." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/23387.
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This thesis culminates in an exhibition resulting from the artist’s investigation of the relationship between space and time, and on perception and experience of space with connections to ‘everyday’ ideas of space. A recurring link in this paper is the process of ‘being present’ in relation to spatial viewing. The artist’s studio practice focuses on the visual changes she sees within a particular space or spaces, and how these visual changes are perceived and experienced when presented to the viewer in a photographic image. The intention is to present a photographic image to the viewer that not only changes the space from which it originally came, but also highlights the beauty of the space that may be missed or overlooked. The research questions the way people see, the visual representation of the ‘void’ or ‘empty space’, and spatial representation. The paper also discusses how the artist visually perceives and experiences space. The work of other artists and writers who research space, time and perceptual consciousness are also considered.
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Femia, Angela. "'Ik ben zo blij dat ik hier ben' 'I am so glad that I am here' /." Connect to full text, 2007. http://hdl.handle.net/2123/2015.
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Thesis (M.V.A.)--University of Sydney, 2007.Title from title screen (viewed 26 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Includes a list of illustrations: leaves 5-6. Includes bibliographical references. Also available in print form.
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Jesus, Eduardo Antonio de. "Timescapes: espaço e tempo na artemídia." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-24042009-155417/.
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Este trabalho é uma reflexão sobre as relações espaço-temporais que emergem das obras de artemídia, notadamente as que operam na fronteira entre real e virtual. A pesquisa estrutura-se em torno da conceituação de um arranjo espaço-temporal, que definimos como timescape, percebido em distintos graus de intensidade. Para tanto desenvolvemos uma cartografia que associa o desenvolvimento tecnológico, suas imbricações e ligações com a contemporaneidade e as manifestações artísticas, observando como essas situações se alteram em relação ao tempo. A pesquisa também contempla um conjunto de análises de obras de artemídia de artistas como o grupo Blast Theory, Rafael Lozano-Hemmer, Jeffrey Shaw e Giselle Beiguelman, entre vários outros.This research is a reflection on spatial-temporal relationships that emerge from media art works, mainly on the border between real and virtual reality. The investigation is based on the concept of a space-time arrangement, which we define as timescapes. Therefore we developed a cartography that combines technology development, its imbrications and relations with contemporaneity and artistic events, observing how the relationships have changed In relation to the time. The research also includes a set of analyses of media artworks like Blast Theory, Rafael Lozano-Hemmer, Jeffrey Shaw, Giselle Beiguelman and from numerous others.
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Goold, Lachlan A. "Space, time, creativity, and the changing character of the recording studio: Spatiotemporal attitudes toward 'DIY' recording." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116473/1/Lachlan_Goold_Thesis.pdf.
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This thesis investigates new spatial relationships in music production triggered by the proliferation of low-cost digital music production tools and how they have changed factors of time and creativity for the record producer and recording artist. Research methods combine creative practice with participant observation through a comparative set of music production projects that compare recordings done in large-format recording studios with those done in DIY contexts, and with a hybrid approach combining both. The findings indicate a new recording paradigm in which DIY spaces have become a domesticated form of a once industrialised production process.
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Brehme, Kate [Verfasser], Stefanie [Akademischer Betreuer] Bürkle, Jennifer [Akademischer Betreuer] Jenkins, Stefanie [Gutachter] Bürkle, and Jennifer [Gutachter] Jenkins. "Time after time: a history of the Berlin Biennale for contemporary art and its relationship with urban space / Kate Brehme ; Gutachter: Stefanie Bürkle, Jennifer Jenkins ; Stefanie Bürkle, Jennifer Jenkins." Berlin : Technische Universität Berlin, 2020. http://d-nb.info/1216945101/34.
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Santana, Mariana Pereira da Cruz Rodrigues. "Para além do museu : o espaço da arte, dos artistas e arquitectura na cidade contemporânea." Master's thesis, Faculdade de Arquitectura de Lisboa, 2012. http://hdl.handle.net/10400.5/5462.
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Selig, Sandra. "The rhythmic disfiguration of vision : re-thinking subjectivity and art after minimalism." Thesis, Queensland University of Technology, 1999.
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Ewin, Glenda. "Being and circumstance /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031112.143328/index.html.
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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003."Submitted in part fulfillment of the degree of Master of Arts (Honours) by Research, School of Contemporary Arts, University of Western Sydney" Bibliography : leaves 104-110.
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Grabner, Mitchell J. "A Cognitive MIMO OFDM Detector Design for Computationally Efficient Space-Time Decoding." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538696/.
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In this dissertation a computationally efficient cognitive multiple-input multiple-output (MIMO) orthogonal frequency division duplexing (OFDM) detector is designed to decode perfect space-time coded signals which are able maximize the diversity and multiplexing properties of a rich fading MIMO channel. The adaptive nature of the cognitive detector allows a MIMO OFDM communication system to better meet to needs of future wireless communication networks which require both high reliability and low run-time complexity depending on the propagation environment. The cognitive detector in conjunction with perfect space-time coding is able to achieve up to a 2 dB bit-error rate (BER) improvement at low signal-to-noise ratio (SNR) while also achieving comparable runtime complexity in high SNR scenarios.
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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
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Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
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Jaireth, Subhash, and Subhash Jaireth@ga gov au. "Theatre of the times of Socrates, Lunin and Nero : Time and space in Edvard Radzinskiis trilogy Theatre of the Times ." The Australian National University. Faculty of Arts, 1996. http://thesis.anu.edu.au./public/adt-ANU20091027.093131.
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Between 1969 and 1980 Edvard Radzinskii wrote three historico-political plays which were later published as a trilogy entitled Theatre of the Times
. This thesis attempts to unravel the nature of time in the trilogy and invokes Mikhail Bakhtins notion about the forms of time and the chronotope in literary narratives to do that. Bakhtinian concept of the chronotope provides a suitable strategy for reading a trilogy that aims to re-present real time, place and human beings. The concept also provides a vantage point from where the trilogy can be read both from within the time-space of its main protagonists and from that of its author, readers, performers and spectators.
¶
Both Dialogues with Socrates' and 'Lunin
are structured around the chronotope of the prison which is associated with the chronotope of the acropolis in Dialogues with Socrates and with the chronotope of the masked-ball in Lunin
. In Theatre of the Times of Nero and Seneca the circus-theatre functions as the main chronotope. All these chronotopes serve as plot-constitutive devices and provide appropriate space in which the lives and times of the main protagonists can be adequately re-presented. However, the use of the concept of the chronotope in reading the trilogy does not imply that it can be read meaningfully only from within the time-space of its protagonists. The trilogy reconstructs the historical time-space but also engages in a substantial way with contemporary Soviet reality. This is achieved through an interaction between literary and real chronotopes. There is little doubt that most Soviet readers, performers and spectators negotiatied the chronotopes of the prison and the circus-theatre and the motifs of show-trial and execution from within their own time-space, their own historical experience. The thesis discusses a large number of reviews published in Soviet media to show that most critics read the trilogy from within the discourses about positive hero and socialist realism, because of which Socrates and Lunin were also turned into positive heroes.
¶
One of the most intriguing aspect of the three plays is the play within a play structure which achieves its maximum potential in the final play of the trilogy where it is combined with the theme of metamorphoses and multiple role playing. The trilogy, like Pirandellos trilogy about theatre, is able to foreground its own theatricality and explore the role of theatricality and role playing in and outside theatre. In Theatre of the Times of Nero and Seneca the boundary between role playing in life and in theatre becomes so blurred that history begins to resemble the writing and staging of a play.
¶
Apart from exploring the nature of theatricality, the trilogy also questions the conventions of its genre. The three plays do not follow the conventional framing devices employed by dramatic texts and foreground the presence of a mediating narrator. This novelisation, is more evident in Lunin
in which the frequent use of verbs in the past tense in the extra-dialogic text can be linked to the presence of a mediating narrator.