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Tesis sobre el tema "Installation art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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1

Bernardini, Elena. "Interrogating installation art from India." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.

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2

Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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3

Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.

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4

Longo, Sheila A. (Sheila Ann). "Construction and installation of public comfort art : "Art as sanctuary"." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32952.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.<br>Includes bibliographical references (leaf 29).<br>This paper illustrates the construction and installation of a public piece of art, hidden within which is an enclosed and private meditation space. In making the piece, the artist was influenced by the works of others as well as by her own previous works and personal experiences. The theory of deep touch pressure can be extrapolated to associate encapsulation within small, enclosed spaces with relaxation and the relief of anxiety. Through the fluid p
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5

Shepley, W. A. "Installation art practice and the 'fluctuating frame'." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.

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6

Bishop, Claire. "The subject of installation art : a typology." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395950.

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7

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.<br>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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8

LIU, Nga Ying. "Red-white-blue and Hong Kong Installation Art." Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/2.

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The purpose of this study is to analyse the interaction between art and contested notions of Hong Kong identity by examining recent installations that employ the red, white and blue-striped plastic fabric, locally known in Hong Kong as red-white-blue (紅白藍). The red-white-blue fabric has, in recent years, become a signifier of the collective identity of Hong Kong people and of the ‘Hong Kong spirit’, with specific reference to the traits of the working class in the 1960s. The repeated articulations of this material in artworks show that there are certain qualities in this material with which lo
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9

DEGRAAF, NATHAN MARK. "MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.

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10

Giguère, Danielle. "EMMA. Installation sonore." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24277/24277.pdf.

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11

Dauget, Stéphanie. "Au seuil du visible : pour un dispositif critique de l'installation vidéo." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30060.

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L’enjeu du comment montrer et du comment voir n’a jamais été plus fascinant ni plus insolvable qu’à l’ère du totalitarisme visuel. L’image vidéo, issue de cette veine vorace et versatile, est devenue un vecteur privilégié pour réfléchir au sort du visible dans les arts actuels. La réhabilitation de cette image passe par la blessure de sa surface lissante qui en restaure la profondeur. Dans l’art vidéo, ce rôle peut être accordé au dispositif technique assurant la transmission des images. Nous verrons comment cet agencement matériel peut devenir un nouveau cadre pour l’image vidéo : un disposit
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12

King, Donald V. "(Frame) /-bridge-\ !bang! ((spill)) *sparkle* (mapping Mogadore) /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216759724.

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Thesis (M.F.A.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Oct. 19, 2009). Advisor: Paul O'Keeffe. Keywords: Sculpture, Installation Art, Video Art. Includes bibliographical references (p. 25).
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13

Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.

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14

Coiffier, Sophie. "La bibliothèque : un lieu, une installation." Paris 1, 2003. http://www.theses.fr/2003PA010560.

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Une bibliothèque est avant tout un lieu: un lieu de classement, un lieu de mémoire, un lieu de lecture. Mais au-delà de ce qui la constitue, les livres, il s'agit d'interroger ce qui peut, dans ce lieu, dans ce thème, " faire oeuvre ". C'est une perte qui donne lieu à la Bibliothèque, installation d'arts plastiques dont l'élément principal est un chariot de rangement de six livres, tous fabriqués. En effet, les six livres de La Bibliothèque ne sont pas des livres à lire car ils ne contiennent que peu ou pas de texte. Il s'agit d'interroger, au fil de l'écriture de cette thèse, la perte de l'éc
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15

Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.

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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en qua
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16

DeGraaf, Nathan Mark. "Milieu, meaning and architecture contemporary installation art gallery design /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148191782.

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Thesis (Master of Architecture)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Art Museum; Art Display; Installation Art; Includes bibliographical references.
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17

Barber, James. "Installation art and memory : a practice-as-research exploration." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/900.

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This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I int
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18

Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.

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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of thei
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19

Mondloch, Kate. "Thinking through the screen media installation, its spectator, and the screen /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1031040591&sid=32&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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20

Sharek, Elizabeth. "The unsettled object." Click here to access this resource online, 2007. http://hdl.handle.net/10292/421.

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The Unsettled Object is an installational art project that considers the instability of objects in regards to their assembly, classification, and presentation, underpinned by the context of the museum and supported by Michel Foucault’s notion of the classificatory grids he discusses in The Order of Things: an archaeology of the Human Sciences. (Foucault,1970) The artefacts are being fabricated as a response to the corporeal body-on-display; its surfaces, spaces and volumes. An underlying notion of temporality and mutability is indicated in the processes of making, the objects, material respons
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21

Barrière, Maeva. "Manger l'art : art comestible et gastronomie esthétique." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20060.

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Ancrer le goût comme liant plastique dans un processus artistique et gastronomique, c’est construire la liberté d’un langage surréaliste, transposant et faisant exister le gustatif comme émotif et motif graphique. Points, lignes, couleurs sont offerts au spectateur dans la jouissance esthétique d’une dégustation. Manger l’art invite à redéfinir l'essence de la gastronomie, une esthétique du goût dans le champ des arts plastiques. Je vous propose une entrée plastique pour saisir l'art culinaire et inversement une entrée gustative pour apprécier l'art. Des fonds noirs de Francisco de Zurbarán, a
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22

Brunet, Paul. "Sur la peinture-installation." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25068/25068.pdf.

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23

Mercado, Nicholas. "A framework for site informed light art installations." Kansas State University, 2015. http://hdl.handle.net/2097/19162.

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Master of Landscape Architecture<br>Landscape Architecture/Regional and Community Planning<br>Mary C. Kingery-Page<br>The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is
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24

Han, Sonya Lei. "Improving mental wellbeing on college campuses through participatory art installation." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106406.

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Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2016.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 45-46).<br>In recent years, the mental wellbeing of the students and faculty here at MIT has generated a lot of discussion, both on campus and in the press. In response to this, a large number of student-lead and institute-lead mental health initiatives have been launched, promoting conversation and acceptance, and providing a wide range of social and medical resources. However, can we further supplement our community's me
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25

Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.

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26

Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.

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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an int
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27

Bridger, Sadie. "Sadie Bridger master's thesis : based on her installation "Inside the cook-room."." Online version of thesis, 1995. http://hdl.handle.net/1850/12197.

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28

Mercille, Catherine. "Chromatisme végétal : vers une installation picturale : ornementation et beauté." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24993/24993.pdf.

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29

Middleton, Margaret Landa. "I Am the Luchadora: Countering Exotification through Printed Installation." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1497018912616689.

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30

Venis, Jane. "Gymnauseum: 'Pimping' of Body and Machine." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366830.

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This thesis is based on my PhD studio project, Gymnauseum, which uses chindogu, a Japanese creative form for intentionally producing absurd and useless design objects (Kawakami, 1995), as a starting point. Gymnauseum is a pseudo-gym in which visitors can ride absurd and nonsensical fitness machines that question the obsession with obtaining (and retaining) an ‘ideal body’. The fitness machine sculptures in Gymnauseum are also, in a sense, ‘ideal bodies’; long, lean, and shiny, they are based on customised 1960s’ ‘low-rider’ bikes with ridiculously extended front forks. These mid-life-crisis ‘H
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31

Richardson, Jean Catherine. "And there were green tiles on the ceiling." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1179.

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In this document I shall explain my art process, and reflecting on my work, will explore the themes and emotions that evolved. I shall accompany the images of my MFA exhibition with personal poetic vignettes. These vignettes are memories and thoughts that surfaced both while making the art and while viewing the final exhibition. While the primary experience is looking at and being with my art, I hope these anecdotes and stories give some insight into my motivations and actions as an artist. In these stories I shall use my own voice; I am Scottish and will tend to use local vernacular.
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Berigny, Wall Caitilin de. "Documentary transforms into video installation via the processes of intertextuality and detournement /." Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.

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Thesis (PhD) -- University of Canberra, 2007.<br>Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.
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33

Guptabutra, Toeingam. "Giving shape to time : an investigation into mixed-media installation." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2310/.

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This research investigates ways of shaping time and identifying the characteristics of time that evolve in my art practice with reference to a synthesis of two and three-dimensional material, sound, and video. The nature of this study is a three-way material exchange between theoretical discourses, my practice, and audience response. The theoretical discourse includes a survey of the notions of time from different fields of knowledge from science, literature, anthropology, and memory studies. Additionally, an analysis of two contemporary installations, Normal & Nature by a Thai artist, Kamin L
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34

Masoura, Athina. "L’expérience immersive du spectateur dans l’art de l’installation." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080103.

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L’immersion, notion clé en sculpture contemporaine, notamment dans les installations artistiques, est une réalité complexe qui touche aussi la littérature, le cinéma ou les environnements virtuels interactifs. Cette appartenance pluridisciplinaire a nourrit de riches études mais n’a pas permis d’arriver à une définition universelle du terme. Notre ambition est de rechercher la nature particulère de l’immersion dans l’art contemporain. Cette expérience immersive, qui influence fortement l’expression artistique actuelle, s’est inscrite dans une évolution de l’œuvre d’art et une réévaluation de l
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35

Cooper, Trina Erica. "Art installation of conic sea and peculiar angels and its affordances." [College Station, Tex. : Texas A&M University, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-2605.

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36

Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.

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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distingu
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37

Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.

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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways
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38

Moreira, Maria. "Urban image and otherness : an investigation through practice of installation art." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2305/.

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This research examines the hypothesis that installation art: -is not a medium but a mode of address, addressing the world as a multiplicity; -uses tactics of 'dispersal', which as perceptual gesture is in affinity with notions of multiplicity. The explanatory framework, which legitimates 'dispersal' as installation's defining tactic, is introduced step by step, through the articulation of certain concepts such as: 'field of activities' (Kaye, 2000), 'intervening screen', (Deleuze, 1968), 'dilation' (Ahearne, 1995), afterwardness' (Laplanche, 1992), 'the knowing not to know' (Derrida, 1992), 'e
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39

Sadeghi, Seyedeh Tara. "De la violence dans l'art contemporain à partir des oeuvres de Valie Export, Marie-Jo Lafontaine, Ana Mendieta et quelques autres." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0670.

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A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps da
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Ali, Ahmad. "La conception de l’information visuelle et le rôle du spectateur dans une installation d’illusion optique interactive." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080088.

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Cette recherche porte sur la conception de l’information visuelle et le rôle du spectateur dans une installation d’illusion optique interactive. Deux questions principales sont posées. Comment le concepteur peut-il guider le spectateur et lui transmettre fidèlement une information visuelle au moyen de l’illusion optique ? Comment le rôle du spectateur se modifie dans une installation d’illusion optique interactive ? Pour trouver des réponses à ces questions, nous avons organisé notre recherche en deux parties. La première étudie les éléments de l’illusion optique d’un point de vue théorique et
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Fowler, Smith Juliet. "Inhabiting space and place : from installation to the clinical setting /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.102256/index.html.

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Fowler, Smith Juliet. "Inhabiting space and place : from installation to the clinical setting." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/25608.

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This paper explores the relationship between place in installation art and its relevance to the practice of placemaking in a hospital setting. The discussion draws on phenomenology, psychodynamic theory and contemporary art, in particular the author's art experience of places, their formal qualities and potential meanings, along with, an examination of what creates an embodied sense of being contained at home ( emotionally and physically). Some of the questions posed for discussion include; what is it about places that becomes inherent to memory and shapes its form? How do places impact on wha
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Badawi, H. "The potential for installations to create new directions for Saudi Arabian art." Thesis, Coventry University, 2011. http://curve.coventry.ac.uk/open/items/0fcc12b6-5baf-4892-a1d2-f06776a58cc5/1.

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In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing ho
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44

Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.

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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism
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45

Kosovac, Ena. "Awkward formalism the role of objects in contemporary painting installation : this exegesis is submitted to Auckland University of Technology in partial fulfilment for the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/799.

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I am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common ori
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46

Berthon, Olivia. "Pratiques de l'installation dans les îles francophones de la Caraïbe." Thesis, Antilles, 2020. http://www.theses.fr/2020ANTI0604.

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Mes recherches se concentrent sur le travail des artistes plasticiens qui pratiquent l'installation dans les îles francophones de la Caraïbe. Ces îles composées des Antilles (Martinique, Guadeloupe, Saint-Martin ainsi que leurs dépendances administratives) et de la République d’Haïti, sont des terres où la rencontre, le métissage et la Créolité consolident la relation permanente que les populations entretiennent avec leurs différentes genèses, aux ramifications multiples et aux origines transfrontalières.Dans ce contexte, l’installation artistique, qui est située au confluent d’une infinité d’
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Cappe, Maki. "La question de l'œuvre à l'épreuve des installations artistiques. De l'étendue à l'unité." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL064.pdf.

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Quand on parle d'une œuvre au sujet d'une installation artistique, que désigne-t-on au juste ? Apparue dans les années soixante, la dénomination de l'installation recouvre des productions très hétérogènes. Plus proche de la sculpture à ses débuts, elle se répand largement aujourd'hui sous la forme de l'art expérientiel et des environnements numériques immersifs. Pourtant, malgré ces disparités qui empêchent une définition de la pratique ou une reconnaissance formelle de ses caractéristiques, deux éléments concourent à l'ambition d'une approche générique : 1) elle n'est pas réductible à un obje
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Leong, Sau Mun Dawn-joy. "Scheherazade's sea: a mixed media, multi-sensory installation and performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47295909.

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Scheherazade’s Sea is an interdisciplinary creative work, which brings together music, visual art, literary text, digital media, and performance art. Interdisciplinary creativity has existed for centuries in history. In fact, the ancients of different civilisations viewed the disciplines of science and art as inseparable. The late nineteenth century and early twentieth century saw a resurgence of interdisciplinary interest in the form of artistic collaborations among proponents of the different arts forms, mainly music, visual art, theatre and dance. Today, this coalescence now include
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49

Dracoulis, Wendy Fay, and wdracoulis@gmail com. "Coloured light." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.

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This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's C
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Kean, Richard David Valentine. "The resonant room." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12864.

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This thesis looks at aural string installation as a medium and uses it to implement research within an Australian context. The title of this thesis, The Resonant Room, implies an intertextual strategy in developing this research that is situated within the ethos of aural string installation. Aural string installation as a medium is especially particular to several artists who live and work in Australia and the Netherlands, respectively. While this thesis does explore the work of all known aural string artists, its concern follows this into an intertextual account of the main themes inherent to
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