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Dissertations / Theses on the topic 'Visual arts'
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Tanyeri, Gozde. "A visual arts center." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53428.
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The thesis idea of "A Visual Arts Center" for the Nation's Capital came to life based on my desire to visual arts and artists, exhibition and working, under the same roof, and mainly to solve the problem of appreciation and ignorance towards arts. What I have observed was that Washington, D.C. is the Capital of the superpower Nation, the Capital of the U.S. government, the Capital of politics.
"...In science, I found everything was very clear. Art? Art was always art appreciation, or reading poetry or looking at paintings to appreciate them and so on, but not making paintings, making poetry, making architecture. Art is still on the margin. It is not really absorbed or integrated into the whole. This goes away only by a deep educational system starting from the nursery on through the whole system."
Walter Gropius, On Science and Art.
The Visual Arts Center, in my vision, is a center where making, seeing, learning and touching become as one cultural activity. Appreciation of the arts literally lies at the back of learning more about the materials, ideas, styles and making things. One can only understand himself and his abilities through making things.Master of Architecture
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Ingram, Robin. "The visual arts plant." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/52053.
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The Art Department at Virginia Polytechnic Institute and State University is based in the leased space of the Armory and in the basement of Owens Hall. The Art Department also holds classes in as many as four other buildings on campus. My proposal is to consolidate the Art Department’s activities into one formal building. I call this building The Visual Arts Plant. The Visual Arts Plant contains the rooms, equipment, machinery, tools, instruments, and fixtures necessary to facilitate and promote a visual arts education. This thesis is a documentation of my ideas for The Visual Arts Plants.Master of Architecture
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Nannini, Priscilla Barranqueiros Ramos. "Ilustração : passeio pela poesia visual /." São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86984.
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Orientador: Luiza Helena da Silva ChristovResumo: O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
Abstract: The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
Mestre
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Nannini, Priscilla Barranqueiros Ramos [UNESP]. "Ilustração: passeio pela poesia visual." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86984.
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O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
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Yu, Ka-wah Janet, and 余嘉華. "Visual arts warehouses, Yau Tong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986237.
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Yu, Ka-wah Janet. "Visual arts warehouses, Yau Tong." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947825.
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Batista, Ana Luiza Dias. "Língua morta." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-20102014-101155/.
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O objeto desta tese são os trabalhos de arte da autora. Eles são agrupados segundo critérios provisórios de identidade, que se constituem e explicitam nas próprias formas dos textos e imagens que os acompanham. Buscam-se elementos comuns, simétricos ou proporcionais nos trabalhos, procedimentos comuns, confluentes ou paralelos, correspondências formais. A abordagem é descritiva. A passagem entre os trabalhos se dá diretamente, sem conexões explicativas, por acareação. Pretende-se construir, na dimensão da linguagem, lugares de coexistência, chãos comuns onde os trabalhos se possam dispor, espaços transitórios que permitam arranjá-los.The object of this thesis is the author\'s works of art. They are grouped according to contingent criteria of identity, which constitute and explicit themselves in the very forms of texts and adjoining images. The author searches among the works for common, symmetrical or proportional elements, common, confluent or parallel procedures, formal correspondences. The approach is descriptive. The transition between the works is deprived of explanatory connections; they face each other directly, in line-up confrontation. The intention is to build, in the dimension of language, sites of coexistence, common grounds where the works can lay, transitory spaces that allow to arrange them
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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Randall, Randy C. "The reformation and the visual arts." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2007. http://www.tren.com.
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McEwin, Emma. "Virginia Woolf and the visual arts /." Title page and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arm1423.pdf.
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Kirby, Lynne M. "Puppetry in the Visual Arts Classroom." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268103635.
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Mattis, Olivia. "Edgard Varèse and the visual arts /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659569x.
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Gates, Jillian Marie. "Aesthetics for Visual Arts in Hospitals." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/7354.
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The impetus for Aesthetics for Art in Hospitals emerged from my first waiting experiences in hospitals whilst being well, from my first pregnancy check ups ten years ago, accompanying my children to our doctor’s surgery, and later, sitting with my mother in palliative care; I was acutely aware of the lack of thought and organisation behind the display of visual imagery and signage in hospital waiting rooms. As an artist, I wondered who decides what images will be displayed in waiting areas of health clinics and hospitals. This idea gradually developed from 2005 when I attended the Arts Health and Humanities Conference in Newcastle, and realised that patient’s perspectives regarding aesthetics appeared to be overlooked. It was from this point that this inquiry became a research project that led me to the University of Sydney and in particular to The Sydney College of the Arts and the Medical Humanities Unit. This thesis is the outcome of this original inquiry and examines the questions, how can visual arts be received in hospitals? and how does western society represent illness and death? These questions explores how patients, their family members, and carers respond to art in hospitals, while acknowledging their discomfort experienced in hospital settings. This inquiry took the form of a comparative case study between Balmain and Wyong Hospitals, NSW, Australia. The aim of the study was to produce a reflective and empathetic response to elderly patients in waiting rooms as a mode to investigate the potential of evidence based art for hospitals. The intention was to produce a series of digital photographs that reflected the art preference of elderly patients. The outcomes of the study uncovered the patients waiting experience and recorded their levels of discomfort. It established the potential and significance of landscape photography in hospital waiting rooms to create a less threatening environment. The participants selected landscapes as their preferred subject matter for visual arts in hospitals. The study contributes to Australian arts health research by comparing Australian arts health projects to international examples. These comparisons indicate that further research is required to comprehensively understand the hospital waiting experience of Australian patients, and their family members in order to create visual arts that they can appreciate and respond to.
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Herrera, Allison Kay. "Information Science & Visual Arts Integration." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/578933.
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While at the University of Arizona, I have learned a great deal about art education practices, such as: how to engage students and implement lesson plans. I have also had the opportunity to learn about information science topics and I have found that many of these relate directly to the typical student's life, yet there is no guarantee that students will ever study the theory behind these areas. The purpose of this thesis is to create and establish multidisciplinary and interdisciplinary lesson plans, which demonstrate how visual arts can be integrated with information science topics. Interdisciplinary approaches in art education can advance critical thinking, communication, resourcefulness, and other fundamental academic skills. I created a series of lesson plans that should be viewed as a comprehensive unit that combines art and information science topics. This paper elucidates on how visual arts have been constructively integrated into core curriculum in other subject areas and gives educators examples of how to explore the idea of integrating general education topics into art lessons. Educators will have concrete examples of lesson plans and may use these plans as finished works or as prototypes for developing their own plans that combine visual arts and information sciences.
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Camara, Del. "Visual arts: Teaching creativity from within." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.
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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.
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Batista, Ana Luiza Dias. "Um programa." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-24042009-151004/.
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Esta pesquisa envolveu a realização de um trabalho de arte o conjunto de vídeos intitulado Programa e, paralelamente, de uma reflexão teórica. A reflexão tomou o Programa como objeto, procurando compreendê-lo, mas ela também constituiu instrumento do Programa, conduzindo as formalizações. Ao dedicar-se à investigação da área de Poéticas visuais, às dificuldades da reflexão sistemática sobre uma obra em andamento e às especificidades da fala do artista sobre o próprio trabalho, enunciou, para o trabalho que então se iniciava, as condições do contexto em que ele iria se produzir. Descrevendo um procedimento geral reincidente nos meus trabalhos, a reflexão apontou-lhe um repertório de operações. Ela foi movimento interno do Programa nas considerações sobre o campo que ele elegeu como objeto: as propagandas de televisão, e sobre aqueles que surgiram de modo incidental, como o vídeo. Também o foi na discussão de cada um dos esquetes que foi esboçada antes da finalização do trabalho e orientou algumas últimas decisões. Depois do trabalho pronto, procurou-se rever e aprofundar os conceitos que vinham sendo utilizados, bem como submeter o Programa a uma apreciação mais distanciada.This research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.
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Oliveira, Jociele Lamper de. "Arte contemporânea, cultura visual e formação docente." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-19112010-092340/.
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Esta pesquisa foi desenvolvida no Programa de Pós-Graduação em Artes Visuais, na Área de Concentração Teoria, Ensino e Aprendizagem da Arte, na Linha de Pesquisa Fundamentos do Ensino e Aprendizagem da Arte, da Escola de Comunicações e Artes da Universidade de São Paulo. Objetivou investigar aspectos que decorrem das inter-relações entre Artes Visuais, cultura visual e formação docente, que compreendem a prática educativa e a prática artística. A partir destes pontos de tensões, aponta-se a imagem da moda em confluência com o ensino de arte na prática do estágio curricular supervisionado, podendo sugerir e impulsionar formas de ensino e aprendizagem autônomas e colaborativas na formação do artista/professor/pesquisador em Artes Visuais. Aborda-se uma reflexão teórica voltada para a cultura visual, bem como para as derivações sobre arte relacional e processo criativo. Desta forma a pesquisa pautou-se sobre alguns aspectos reflexivos da artografia, bem como sobre da arte relacional, entendendo um conjunto de práticas artísticas que tomam como ponto de partida (teórico e prático) as relações humanas e seu contexto social.This research was developed in the Graduation Program in Visual Arts of the Arts and Communication School of the University of Sao Paulo, concentration area of Art Theory, Teaching and Learning, and research interest The Fundamentals of Art Teaching and Learning. It aimed to investigate the aspects that elapse from the interrelations among Visual Arts, Visual Culture and Faculty Formation, which comprehend the educational and artistic practice. From these tension points, it aims the fashion image in confluence with the art teaching in the practice of the supervised internship, being able to suggest and instigate collaborative and autonomous ways of teaching and learning in the formation of the artist/teacher/researcher in the Visual Arts. It approaches a theoretical reflection about the visual culture, as well as the derivations of the relational art and the creative process. Thus, this research was based on some reflexive aspects of the artography and the relational art, comprehending a group of artistic practices that take as initial point (theoretical and practical) the human relations and their social context.
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Leaman, Bethany Marie. "Visual purple: A context for cultural understanding through the visual arts." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.
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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, she contends that this understanding manifests as a set of aesthetic principles, the knowledge of core cultural symbols, and shared interpersonal behaviors based on cooperation, watching, and learning. The data suggests that the rich symbolism of Yaqui culture aesthetically socializes the children giving them an eye for detail and the ability to pick up and readily relay visual concepts.
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Whitacre, Brandon M. "Visual Conversations, in Tangible Poems." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338397773.
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Bryce, Leila Heather. "W. B. Yeats and the visual arts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq31280.pdf.
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Wages, Mark A. "Pattern in composition of the visual arts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.
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This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.Department of Art
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Lotz, Pedri Stefanus. "Sensory circulation : a centre for visual arts." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11242008-121355.
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Powik, Andreas Christian. "Goethe's poetic epistemology and the visual arts /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6642.
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Paim, José Fernão Bastos. "Paisagens Fílmicas: Um diálogo possível entre vídeo, corpo, tempo e espaço." Programa de Pós-Graduação em Artes visuais da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9827.
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A presente dissertação aborda o potencial poético da linguagem videográfica na influência das relações de visibilidade surgidas da percepção do espaço, em um contexto de intervenções mediadas por projeções de vídeo, na construção de paisagens fílmicas, tendo como suporte, três espaços específicos, na cidade de Salvador: o Museu de Arte Sacra -MAS, Pavilhão de Aulas da Federação -PAF e o Museu de Arte Moderna -MAM. Proponho assim, através de pesquisas práticoteoricas apresentar em abordagens híbridas de expressão artística a relação da videoarte com a paisagem em um diálogo possível entre corpo, tempo e espaço. Esses estudos a respeito do vídeo como processo artístico estão ancorados aos escritos de Gene Youngblood, que em 1970 cunhou o termo Expanded Cinema (Cinema Expandido), no que diz respeito a uma visão alternativa da linguagem audiovisual a partir do seu entendimento como um sistema aberto, junto às reflexões de outros autores como os Professores Doutores Arlindo Machado, Maria Amélia Bulhões e Christine Mello. As apresentações das ações interventivas visam analisar e discutir também as potencialidades expressivas das matrizes digitais em estruturar uma abordagem alternativa da videoarte.
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Cerutti, Lisa. "Visual grounded analysis : developing and testing a method for preliminary visual research." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1471/.
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Approaching a new design project by performing preliminary visual research is a common practice in educational and studio settings, particularly in Jewellery and Fashion Design. Collecting images around a given subject or theme - for better understanding its visual traits, or for future reference - could be seen as the counterpart, in visual terms, of a literature search. However, ‘visual research’ is an expression often used rather vaguely for indicating a spectrum of unstructured methodological approaches, whose procedures and underlying assumptions tend to remain unexplained, undisclosed or unquestioned in everyday studio practice. When creative practice becomes an integral part of academic research, though, there is an increased need for rigor and explicitness regarding every aspect about it, including all the work preliminary to it. This research aims to develop and test a systematic method for conducting and documenting visual research in the preliminary stages of the design process, contributing to new knowledge in the form of a new visual method, also applicable as a design tool. A reflection on the vagueness and implicitness of the Intuitive Approach (IA) to visual research adopted in the initial stage of this PhD motivated the search for an alternative method that could make transparent and rigorous the taken-for-granted, subjective assumptions behind the research initially conducted. The iterative and data-driven nature of the IA oriented the methodological quest towards established qualitative approaches in the Social Sciences, focusing on Emergent Methods and Grounded Theory. By translating and adapting some of their procedures to suit a visual context, a new method, Grounded Visual Analysis (GVA), has been developed and tested, revealing its suitability for achieving a higher degree of explicitness and systematicity in the process of data collection and analysis, and increasing the richness of the visual patterns elicited from the data, thus their potential for stimulating reflective practice. The development of GVA is offered as the major contribution to knowledge of this research, together with its application on a practical case as the demonstration of its double functioning, either as a reflective method for conducting visual research in the preparatory phase of the design process, and as a design tool for stimulating the generation of new ideas and design briefs.
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Soler, Masota María de la Paz. "Karesansui. Un estudio sistemático de las reglas de diseño y los valores estéticos de los jardines secos japoneses durante el periodo Muromachi. Su conceptualización como obra de arte espacial desde una perspectiva comparada con el Movimiento Land Art." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397806.
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Los jardines secos japoneses (karesansui) constituyen una obra de arte espacial, a la que atribuir un conjunto de características formales y criterios estéticos. Al efecto, se plantea un análisis comparativo mutatis mutandis con obras señeras del movimiento Land Art. El ejercicio permite categorizar a los primeros como una obra de arte artística espacial, al tiempo que aporta una lectura renovada de los orígenes y postulados propios del citado movimiento Land Art.
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Buscemi, John. "The visual arts and religion the changing relationship /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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McGann, Debra. "NAEP-Related Visual Arts Assessment in Classroom Applications." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5988.
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This action research study investigates classroom visual art assessments and their potential to improve teacher instruction and student learning. In order to examine this topic more thoroughly, a National Assessment of Educational Progress (NAEP)-related classroom assessment was designed and administered to the researcher's Drawing and AP Art History classes. Students were also asked to fill out a questionnaire that asked about their past art experiences and motivation to participate in art activities such as creating art work outside of the school setting or attending an art museum. Students observed, described, and analyzed contemporary artwork, and they created and wrote about their own original works of art. The use of contemporary art exemplars led to some of the most interesting findings; namely, that students felt free to create their artwork in a contemporary style that was less about technical elements and more about the meaning they wished to convey.
In general, the AP Art History students' written contemporary art criticism scores were significantly higher than the scores of both of the studio drawing classes. Artwork scores of AP Art History, Drawing I, and Drawing II students showed no significant difference. Interestingly, all three groups indicated they were highly motivated to look at works of art, create art in school, and make artwork outside of the school setting. Also noteworthy was the relatively high number of students who indicated that the contemporary artwork they analyzed influenced the mother and child artwork they created. It could be surmised by this study that a NAEP-related assessment is a beneficial method for improving teacher instruction and student learning in visual arts education.Ed.D.
Doctorate
Dean's Office, Education
Education and Human Performance
Education
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Meschini, Michela. "Image and insight : Tabucchi and the visual arts." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407641.
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Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.
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Mohd, Radzi Fatin Aliana. "Inquiry-based Visual Arts Approach: A Self Study." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529623380341233.
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Leitch, Deborah Starr. "Making visual noise." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4962.
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Focusing on the combination of multi-cultural and historical influences from my personal life experiences, my creations of odd juxtapositions of space, complex pattern and new iconography in my paintings, reveal more than merely a representational image to a viewer. Although my subjects may vary from the anonymous to media celebrity, it is their relationship to me that influences the creation of my static animation and visual noise.ID: 029808799; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 7 repeats.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 20).
M.F.A.
Masters
Art
Arts and Humanities
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Severo, Márjorie Garrido. "O fio da trama: arte no currículo sergipano." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/11844.
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Este trabalho tece considerações sobre como aconteceram as propostas de Arte no currículo da Rede Municipal de Ensino de Aracaju em Sergipe, principalmente entre os anos de 2003 a 2007. Nesta dissertação a metáfora da rede foi utilizada, já que a perspectiva deste trabalho é entender o currículo como uma experiência tecida coletivamente enredada por muitos fios e nós. A metodologia teve referencial epistemológico na Hermenêutica de Paul Ricoeur, a tentativa de promover a interpretação dos textos e discursos na pesquisa fez parte da tessitura, os instrumentos utilizados nesta pesquisa qualitativa foram: observação, entrevistas semi-estruturadas, questionários e bricolagens realizadas com o grupo de professores de Arte da Rede Municipal de Aracaju. Visitas à escolas da Rede e o contato com coordenadores e professores externos também fizeram parte da abordagem. Os tópicos que fazem parte desta dissertação percorrem desde as Concepções de Currículo; Currículo na Pós-Modernidade; O Ensino de Arte no Currículo Escolar; A formação dos Arte/Educadores em Aracaju até considerar a Trama - Arte na Rede, pela Rede e para a Rede Municipal de Aracaju. Todos estes tópicos produzem fios que se entrelaçam no tecido/tecitura/texto desenvolvido. A análise possibilitou perceber a complexidade presente nas relações de produção do currículo. Como resultado foi gerado um esboço de um sistema dinâmico de unidades que perfazem a Arte no currículo e a partir dele foi esboçada ainda uma rede de evidências da Arte no currículo escolar. Pode-se considerar que situar o indivíduo no presente como nódulo numa rede de interações e possibilidades tem relevância para, a partir dessa perspectiva, rever as propostas curriculares em Arte.
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Collins, Catherine R. "Sarah Bernhardt the Visual Artist." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1211571031.
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Weber, Sarah. "Visual Exploration of Cultural Intersections." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.
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Personal exposure to, and in-depth investigations of cultural artifacts can be used to inform visual explorations that represent the universal experience of existing in a world where cultural boundaries are blurred and constantly evolving. Cross-cultural understanding and visual language are expanded throughout the research and making processes, resulting in work that has increased resonance with diverse audiences. Artifacts are not only expressions of a specific group of people, but also reflections of societal influences on one’s thinking, creating, and experiencing the world. In an increasingly global society, there is more interaction between cultures, resulting in a greater exchange of beliefs and perspectives. Through this exchange, certain aspects of a culture are retained, while new approaches to form and material are also intro-duced. When culturally-specific methodologies and aesthetics are visually or conceptually layered, work is produced that communicates relevant, meaningful narratives about the intersection of cultures.
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Olsson, Mica. "Visual composition in video games : Visual analyzation using eye-tracking." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64489.
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This thesis studies how classical fine art theory and visual structure can be applied to predict the viewers attention and use eye-tracking as a tool to gather results. Also if eye-tracking is applicable for testing game environments and how the artist can affect the player’s choices and actions. First it will go through classic art theory and visual structure principles such as image composition, working with color, line and shapes and contrasts between them. Based on the theory an experiment is made using several pictures and predict where the viewer would look and find interesting and gave the viewer a game environment to interact with and see how it also can be applied in interactive media. All data during these experiments is captured using an eye-tracker system which will register the viewer’s eye movement and placement on the monitor screen. Based on the experiment there is still a lot more to research in using eye-tracking for game analysis. Eye-tracking for still images worked very well and the result data was easy to follow and read, but in interactive environment it becomes more abstract and needs to be evaluated more how to best utilize eye-tracking there.Denna rapport undersöks hur man kan applicera teori från klassisk konst och visuell struktur till interaktiva spel-miljöer i realtid och kunna påverka en spelares val och handlingar. Först går den igenom teorin som används inom klassisk konst såsom komposition, arbeta med färger, linjer och former samt kontraster mellan dem. Baserat på teorin används olika bilder där teorin appliceras och förutspår vad tittaren ska kolla och finna intressant och vidare därifrån applicera samma metod men på interaktiv media. All data under dessa undersökningar kommer samlas in användandes av eye-tracking system vilket registrerar tittarens ögats rörelse och placering på en datorskärm. Baserat på resultaten finns det mycket mer att studera inom användning av eye-tracking för spelanalys. Eye-tracking för stillbilder fungerar väldigt bra med klar data att se och läsa, men för interaktiva miljöer blir det snabbt mer abstrakt och behöver utvärderas mer om hur Eye-tracking bäst kan användas där.
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Wright, Claire Louisa. "Arts evaluation and the transformative power of the arts : a visual ethnography of transformative learning in a collaborative community (arts) film." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9831.
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Arts organisations in receipt of public funding should seek to understand the impact of their work, for a variety of reasons. Contemporary outcome-based arts evaluation practice dichotomises impact as intrinsic or instrumental with the latter perspective defining what counts. However, a widely held belief in the transformative power of the arts is apparent in both arts policy and practice. It therefore follows that if evaluation is fundamentally about discerning value then arts evaluation should recognise transformation as core. I contend that visually-based research methods offer alternative ways of seeing and knowing from the methods that dominate arts evaluation practice. As a result, I consider how these methods might help to identify what is transformative within the context of a community arts project. To explore how evaluation can better reflect the transformative power of the arts, I ask three research questions. Firstly, can participants’ experience be theorised and understood as transformative arts-based learning? Secondly, to what extent can participants’ experience of a community arts project be understood through visually-based research methods? Thirdly, what are the implications for existing practices of arts evaluation? I explore these questions in relation to a single participatory arts project. The Happy Lands, funded (primarily) by Creative Scotland, brought together communities across Fife with a professional film crew to create a feature length film based on local stories of mining culture. Employing visual ethnography my research methods included image-elicited interviews with 19 participants over a 20 month period, participant observation during the making of the film, and documentary research. The theoretical contribution I make extends Morgan’s (2010) conception of the transformative potential of travel to the transformative power of the arts, which I define in terms of inspiration, interconnection and insight. I propose a conceptual framework that views the experience of ‘sameness’ (interconnection) and ‘Otherness’ (inspiration) as conducive to the possibility of voice (insight). The interaction of self, other and artwork in the context of the participatory (community) arts project leads to the creation of shared identity (identities) and a sense of belonging manifest in the symbolic status of objects and behaviour (‘spirit of place’) associated with the arts project. Visual research methods, combining subjective meaning-making and objective (representational) qualities, offer opportunities to understand and (re)present participants’ experience. I advance a methodological contribution that suggests image elicitation offers an epistemologically appropriate approach to understanding participant experiences of an inherently visual project. The identification of sense of place and spirit of place can be viewed as indicative of a transformative environment. I contend that the creation of an outcome acknowledging the transformative environment of the arts project would respond to the needs of government but also the beliefs of arts educators effectively redressing the balance of instrumental versus intrinsic worth. Moreover, the subjective and objective possibilities afforded by visually-based research methods would enable the latter to speak creatively, in language(s) reflecting their values. As a result my findings are offered as one possible version of a humanities-inspired approach to arts evaluation (Belfiore and Bennett, 2010b).
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Sans, Paulo de Tarso Cheida. "Trajetórias e vicinalidades = entre a gravura, o objeto e a instalação." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284482.
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Orientador: Luise WeissTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa em Arte é sobre a realização de uma produção artística que permeia a gravura, o objeto e a instalação. As obras foram criadas a partir da análise da produção do autor, verificando as principais características técnicas e elementos conceituais de suas obras mais recentes. Para embasamento dos processos criativos foram escolhidos quatro artistas contemporâneos brasileiros, Antonio Henrique Amaral, Arthur Bispo do Rosário, Luise Weiss e Rubem Valentim, que apresentam distintas temáticas que serviram como sintonia para a criação das obras híbridas realizadas pelo autor. As questões teóricas e processuais são estudadas, resultando numa análise reflexiva sobre a poética visual proposta
Abstract: This Art research is about the execution of an artistic production which approaches engraving, object and instalation. The artworks had been created from the analysis of the author's production, verifying the main technical characteristics and conceptual elements from his more recent artworks. As basis for the creative processes were chosen four Brazilian contemporary artists, Antonio Henrique Amaral, Arthur Bispo do Rosário, Luise Weiss and Rubem Valentim, who presents distinct thematics which had served as linking to the creation of the hybrid artworks carried through by the author. The theoretical and procedural questions are studied, as a result of a reflexive analysis about the poetic's visual proposed
Doutorado
Doutor em Artes
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Janicke, Susan Beth. "Visual Arts and Chronic Pain: Thematic Analysis to the Artistic Statements of Visual Artists." ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1689.
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The relief of pain is an essential element of nursing practice. Nursing has begun to successfully use art to assess and reduce pain among hospitalized children, surgical patients, and oncology patients. Structured art projects have been used to provide distraction from pain and patient drawings have allowed nurses to assess pain. This project employed grounded theory and thematic analysis to uncover significant concepts in the artists' statements. The Roy adaptation model and Saunders' total pain theory provided the project theoretical framework. The artistic statements and the art of chronic pain patients were examined using thematic analysis to identify recurrent themes. This project explored the insights to chronic pain in the adult patient as evidenced in the posted work. The project also considered how the content of the posted artistic statements informed individual nursing practice and facilitated the reduction of pain in the adult patient suffering from chronic pain. Emergent concepts were used to develop artistic nursing interventions. Suggested modification of nursing practice included drawing as a tool in pain assessment, exploring the meaning of color choices, encouraging mask making, providing distraction, and using art to identify spiritual distress. The proposed nursing actions will allow more effective communication of pain, provide meaningful distraction, intervene in spiritual distress, and encourage creation of an artistic product. Expected outcomes include more effective pain control, greater patient autonomy, and reduced healthcare costs. The application of this new knowledge and skill will make a difference in the lives of chronic pain patients and will therefore promote positive social change.
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Ozturk, Turker Anthony. "Ezra Pound and visual art." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.
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Rangel, Inês Alvim. "A geografia visual de Sophia." Master's thesis, 2011. https://repositorio-aberto.up.pt/handle/10216/67719.
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Rangel, Inês Alvim. "A geografia visual de Sophia." Dissertação, 2011. https://repositorio-aberto.up.pt/handle/10216/67719.
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Cunha, Sara Margarida Correia Ferreira da. "Poesia visual: ilustração e narrativa em suporte digital." Master's thesis, 2012. https://repositorio-aberto.up.pt/handle/10216/70345.
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Paulos, João Miguel Ferreira Pelicano. "Fotografia de Arquitetura: Um dispositivo narrativo visual singular." Master's thesis, 2019. https://hdl.handle.net/10216/123775.
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O Homem sempre procurou representar o mundo, ou com um registo capaz de documentar o real, ou como uma interpretação sensível e artística. Quer tenha sido pelo desenho, pela pintura, escultura ou até texto, a sua vontade sempre oscilou entre o documento e a obra de arte. No caso da fotografia, ela surgiu como vontade de registar uma imagem o mais verdadeira possível, um tipo de registo que, fácil e rapidamente, cria uma imagem que suscita uma ilusão de perspetiva e realidade próxima da realidade humana. A fotografia, desde os seus inícios, esteve associada à arquitetura, para um grande número de pessoas. De forma natural, as suas características físicas eram favoráveis para as primeiras capturas, reconhecidas por serem longas e demoradas.A partir do século XX, com a rápida disseminação pelos meios de comunicação, e pelo facto de se tornar numa ferramenta que se encontrava ao dispor de uma grande parte da sociedade, a fotografia torna o mundo da arquitetura acessível para um grande número de pessoas, encurtando a distancia às obras. Isso faz com que, por um lado, a experiência e o contacto direto com a arquitetura perca importância relativa, uma vez que a fotografia é capaz de registar visualmente essa realidade com uma semelhança inigualável. Por outro lado, suscitou a curiosidade de muitos para visitar as obras, bem como permitiu às pessoas estarem informadas sobre algumas dessas arquiteturas, sem que fosse necessário visitarem-nas fisicamente.Falando sobre a relação entre o fotógrafo e o arquiteto, atinge-se um paradigma onde a fotografia serve, muitas vezes, para mostrar apenas o ponto de vista do arquiteto, e a forma como este quer que a sua obra seja experienciada e vista. Esta forma de atuar acaba por tornar o uso da fotografia num trabalho de representação documental capaz de traduzir os códigos e cultura arquitetónica das obras. O foco principal deste estudo é perceber como é possível utilizar a fotografia de arquitetura para além do objeto de registar a obra, como um documento, mas ser também um tipo de registo sensível, capaz de despertar no espectador um momento de reflexão sobre um espaço de arquitetura, levando-o a questionar-se sobre ele. Ainda mais, esta ótica mais disciplinada, concede ao arquiteto a consciência de como o espaço é realmente apropriado e explorado pelos seus utilizadores.Através de uma poesia visual e crítica, os fotógrafos Iwan Baan e Nuno Cera, retratam problemas da cidade moderna através das suas fotografias. Criam uma narrativa visual que leva o observador numa viagem introspetiva sobre esses assuntos e espaços, que s�\xA3o, muitas vezes do seu conhecimento, mas que, aqui, são mostrados de um novo ponto de vista crítico e metódico que o instrui para uma nova realidade. Por isso, estes autores são casos de estudo e, junto com a revisão literária deste trabalho, são o fundamento e referências para um caso prático. Este caso de estudo constitui o objeto prático onde o autor ensaia aplicar um modelo de fotografia de arquitetura sobre as diferentes dinâmicas e transformações dos espaços de estações de metro da área metropolitana do Porto.Man has always sought to represent the world, be it with a record capable of documenting the real, or as a sensitive and artistic interpretation. Whether it was drawing, painting, sculpture or even text, his will has always fluctuated between document and work of art. In the case of photography, it arose as a desire to register an image as true as possible, a kind of recording that easily and quickly creates an image that gives rise to an illusion of perspective and reality close to human reality. Photography, from its inception, has been associated with architecture for a large number of people. Naturally, its physical characteristics were favorable for the first catches, recognized for being long and time consuming.From the twentieth century, with the rapid spread through the media, and because it became a tool that was available to a large part of society, photography makes the world of architecture accessible to a large number of people, shortening the distance to the oeuvre. On one hand, experience and direct contact with architecture lose relative importance, since photography is able to visually register this reality with unparalleled similarity. On the other hand, it aroused the curiosity of many to visit the works, as well as allowing people to be informed about some of these architectures without having to physically visit them.About the relationship between the photographer and the architect, a paradigm is reached where photography often serves only to show the architect's point of view, and the way he wants his work to be experienced and seen. This way of acting turns the use of photography into a work of documentary representation capable of translating the codes and architectural culture of the works. The main focus of this study is to understand how it is possible to use architectural photography beyond the object of registering the work, as a document, but also as a kind of sensitive register, capable of awakening in the viewer a moment of reflection on an architectural space, leading him to wonder about it. Moreover, this more disciplined perspective gives the architect an awareness of how space is really appropriated and explored by its users.Through a visual and critical poetry, photographers Iwan Baan and Nuno Cera portray problems of the modern city through their photographs. They create a visual narrative that takes the viewer on an introspective journey into these subjects and spaces, which are often of his knowledge, but which are shown from a new critical and methodical point of view that instructs him to a new reality. Therefore, these authors are case studies and, together with the literary review of this work, they are the foundation and references for a practical case. This case study is the practical object where the author tries to apply an architectural photography model on the different dynamics and transformations of the metro station spaces of the Porto metropolitan area.
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Cunha, Sara Margarida Correia Ferreira da. "Poesia visual: ilustração e narrativa em suporte digital." Dissertação, 2012. https://repositorio-aberto.up.pt/handle/10216/70345.
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Paulos, João Miguel Ferreira Pelicano. "Fotografia de Arquitetura: Um dispositivo narrativo visual singular." Dissertação, 2019. https://hdl.handle.net/10216/123775.
Full textAbstract:
O Homem sempre procurou representar o mundo, ou com um registo capaz de documentar o real, ou como uma interpretação sensível e artística. Quer tenha sido pelo desenho, pela pintura, escultura ou até texto, a sua vontade sempre oscilou entre o documento e a obra de arte. No caso da fotografia, ela surgiu como vontade de registar uma imagem o mais verdadeira possível, um tipo de registo que, fácil e rapidamente, cria uma imagem que suscita uma ilusão de perspetiva e realidade próxima da realidade humana. A fotografia, desde os seus inícios, esteve associada à arquitetura, para um grande número de pessoas. De forma natural, as suas características físicas eram favoráveis para as primeiras capturas, reconhecidas por serem longas e demoradas.A partir do século XX, com a rápida disseminação pelos meios de comunicação, e pelo facto de se tornar numa ferramenta que se encontrava ao dispor de uma grande parte da sociedade, a fotografia torna o mundo da arquitetura acessível para um grande número de pessoas, encurtando a distancia às obras. Isso faz com que, por um lado, a experiência e o contacto direto com a arquitetura perca importância relativa, uma vez que a fotografia é capaz de registar visualmente essa realidade com uma semelhança inigualável. Por outro lado, suscitou a curiosidade de muitos para visitar as obras, bem como permitiu às pessoas estarem informadas sobre algumas dessas arquiteturas, sem que fosse necessário visitarem-nas fisicamente.Falando sobre a relação entre o fotógrafo e o arquiteto, atinge-se um paradigma onde a fotografia serve, muitas vezes, para mostrar apenas o ponto de vista do arquiteto, e a forma como este quer que a sua obra seja experienciada e vista. Esta forma de atuar acaba por tornar o uso da fotografia num trabalho de representação documental capaz de traduzir os códigos e cultura arquitetónica das obras. O foco principal deste estudo é perceber como é possível utilizar a fotografia de arquitetura para além do objeto de registar a obra, como um documento, mas ser também um tipo de registo sensível, capaz de despertar no espectador um momento de reflexão sobre um espaço de arquitetura, levando-o a questionar-se sobre ele. Ainda mais, esta ótica mais disciplinada, concede ao arquiteto a consciência de como o espaço é realmente apropriado e explorado pelos seus utilizadores.Através de uma poesia visual e crítica, os fotógrafos Iwan Baan e Nuno Cera, retratam problemas da cidade moderna através das suas fotografias. Criam uma narrativa visual que leva o observador numa viagem introspetiva sobre esses assuntos e espaços, que s�\xA3o, muitas vezes do seu conhecimento, mas que, aqui, são mostrados de um novo ponto de vista crítico e metódico que o instrui para uma nova realidade. Por isso, estes autores são casos de estudo e, junto com a revisão literária deste trabalho, são o fundamento e referências para um caso prático. Este caso de estudo constitui o objeto prático onde o autor ensaia aplicar um modelo de fotografia de arquitetura sobre as diferentes dinâmicas e transformações dos espaços de estações de metro da área metropolitana do Porto.Man has always sought to represent the world, be it with a record capable of documenting the real, or as a sensitive and artistic interpretation. Whether it was drawing, painting, sculpture or even text, his will has always fluctuated between document and work of art. In the case of photography, it arose as a desire to register an image as true as possible, a kind of recording that easily and quickly creates an image that gives rise to an illusion of perspective and reality close to human reality. Photography, from its inception, has been associated with architecture for a large number of people. Naturally, its physical characteristics were favorable for the first catches, recognized for being long and time consuming.From the twentieth century, with the rapid spread through the media, and because it became a tool that was available to a large part of society, photography makes the world of architecture accessible to a large number of people, shortening the distance to the oeuvre. On one hand, experience and direct contact with architecture lose relative importance, since photography is able to visually register this reality with unparalleled similarity. On the other hand, it aroused the curiosity of many to visit the works, as well as allowing people to be informed about some of these architectures without having to physically visit them.About the relationship between the photographer and the architect, a paradigm is reached where photography often serves only to show the architect's point of view, and the way he wants his work to be experienced and seen. This way of acting turns the use of photography into a work of documentary representation capable of translating the codes and architectural culture of the works. The main focus of this study is to understand how it is possible to use architectural photography beyond the object of registering the work, as a document, but also as a kind of sensitive register, capable of awakening in the viewer a moment of reflection on an architectural space, leading him to wonder about it. Moreover, this more disciplined perspective gives the architect an awareness of how space is really appropriated and explored by its users.Through a visual and critical poetry, photographers Iwan Baan and Nuno Cera portray problems of the modern city through their photographs. They create a visual narrative that takes the viewer on an introspective journey into these subjects and spaces, which are often of his knowledge, but which are shown from a new critical and methodical point of view that instructs him to a new reality. Therefore, these authors are case studies and, together with the literary review of this work, they are the foundation and references for a practical case. This case study is the practical object where the author tries to apply an architectural photography model on the different dynamics and transformations of the metro station spaces of the Porto metropolitan area.
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Antunes, Beatriz Kol de Carvalho Eiras. "Arts entrepreneurship : how to become a successful visual arts entrepreneur?" Master's thesis, 2017. http://hdl.handle.net/10400.14/25382.
Full textAbstract:
Arts entrepreneurship is an emergent subject of study, which definition is still not consensual.
However, the context of action for artistic professions is commonly understood as challenging.
To face the obstacles of arts entrepreneurs, literature already includes supportive frameworks for
the independent activities. Nonetheless, research papers and models about the subject are still
scarce, due to the recency of Creative and Cultural Industries. Moreover, there is a lack of studies
approaching specific subsegments of the artistic field.
Considering the relevance of the visual arts segment, for creative and modern economies, the
following study aims to provide additional research and develop guidance to support visual arts
entrepreneurship. Thus, by reviewing the already existent guiding models for arts entrepreneurship,
and by drawing a multiple case research on successful visual artists, a new conceptual model arises
to support forced or aspiring visual arts ventures.
The new framework results from a cross-case analysis of semi-structured interviews, conducted to
nine sustainable visual arts entrepreneurs. The data collected allowed to assess the main challenges,
motivations and strategies behind the artists’ success. Thus, considering the gathered information,
a new supportive framing for visual arts entrepreneurship identifies a set of key helpful mechanisms
for success: from specific entrepreneurial actions (within Creativity, Network and Business
elements) to required entrepreneurial mindset.
This study advances theoretical understanding on arts entrepreneurship and provides helpful tools
to assist future generations of visual arts entrepreneurs.O empreendorismo artístico é um tema de estudo recente, cuja definição ainda não é consensual. Contudo, o contexto de ação de artistas profissionais e empreendedores é comumente entendido como desafiante. Para responder aos obstáculos dos artistas empreendedores, a literatura já reúne modelos de apoio para as atividades independentes. Não obstante, o número de estudos e modelos desenvolvidos é reduzido, devido à recência das Indústrias Culturais e Criativas. Adicionalmente, existe uma escassez na pesquisa e estudos sobre os subsegmentos do campo artístico. Tendo em conta a relevância do segmento das artes visuais para as economias modernas e criativa, esta tese pretender desenvolver um sistema para ajudar artistas visuais, forçados ou aspirantes empreendedores. Com base na observação de modelos auxiliares existentes na literatura, e através da investigação de múltiplos casos de artistas visuais empreendedores bem-sucedidos, um novo modelo de apoio é desenvolvido. O novo modelo conceptual é resultado da observação de nove casos de artistas visuais empreendedores e bem-sucedidos, possibilitada por meio de entrevistas semiestruturadas. Os dados recolhidos permitiram compreender os maiores desafios, motivações e estratégias responsáveis pelo sucesso dos artistas. Assim, com base na informação recolhida, uma nova estrutura de suporte para as artes visuais identifica uma série de mecanismos chave para o sucesso: desde especificas ações empreendedoras (relacionadas com criatividade, rede e gestão) à definição da atitude necessária a ter para o sucesso. Este estudo pretende aprofundar o entendimento sobre o empreendorismo artístico e proporcionar ferramentas úteis para auxiliar futuras gerações de artistas visuais.
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Dias, Tales Frey. ""Discursos críticos através da poética visual de Marcia X"." Dissertação, 2010. http://hdl.handle.net/10216/74810.
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