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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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Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
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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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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 process of aesthetic development, the work evolved towards completion and fulfillment of the piece's goals. The result was a basket-like structure containing a close and comfortable space for decompression. Geared towards the MIT community, the piece also explored the effects of isolation and connectivity. Viewer interaction, made possible by a period of public display, remains a critical component of this artwork. There are various directions in which to move forward with the investigation, one of which is to explore the dynamics of multiple pieces in a single location.<br>by Sheila A. Longo.<br>S.B.
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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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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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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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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 local people identify. This study examines how installation works that employ this material question and revise notions of Hong Kong identity, and suggest its plurality and mutability. Works of local artists including Stanley Wong (a.k.a. Anothermountainman), Kith Tsang, Doris Wong, Siu King Chung and Tim Li are discussed in detail.
Accounts of installations that employ red-white-blue often offer a limited interpretation of such works, paying insufficient attention to formal qualities and assuming a fixed and unitary notion of Hong Kong identity. The thesis argues that this paradigmatic cliché about Hong Kong identity is also expressed in the red-white-blue works of Stanley Wong to the extent that they evoke nostalgia and neglect contemporary social reality. The prevalence of such readings of red-white-blue-inspired works of art has veiled the complexity of works that interrogate Hong Kong identity from a diversity of perspectives. The contribution of this thesis is to remedy that situation, and provide a comprehensive account of key red-white-blue installation works.
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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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Giguère, Danielle. "EMMA. Installation sonore." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24277/24277.pdf.
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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 dispositif réflexif et critique pour accompagner l’expérience esthétique de l’œuvre. Il s’agit, au fil d’une incursion parmi les images multiples de l’installation vidéo contemporaine, de chercher à saisir les modalités et les enjeux qui forgent ce lien déterminant entre le regard et l’image : une exploration de la part d’ombre de l’œuvre qui rend effectif le voyage des images lumineuses<br>At the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel
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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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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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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'écriture au sein de cette bibliothèque paradoxale, privée de classement, afin d'en déterminer la ou les construction(s). Ce qui nous permettra d'analyser les enjeux du tressage entre lieu d'exposition et non-lieu de l'écriture. Faire d'un non-lieu, un lieu, est l'enjeu initial de la Bibliothèque. En fin de compte, la Bibliothèque a lieu en tant que passage jamais accompli. Le lieu, c'est l'oeuvre toujours à faire, le seuil marqué -entre ce qui est fini et ce qui n'a pas encore eu lieu.
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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 quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle<br>Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
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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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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 interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.
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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 their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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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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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 responsiveness and the devices employed in the presentation of the work.
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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, aux noirs torréfiés de Michel Bras, comment traduire la sacralisation du goût comme expérience sensible de l’ordre du plastique et de l’esthétique au sein d’une démarche artistique ? Du concept à la pratique participative, l'espace-assiette devient espace architectural et en définitive espace gourmand. L'espace architectural étant le moteur des projets plastico-gastronomiques, c'est à partir du corps de l’espace que les installations comestibles sont créées, afin que la gourmandise, concept imaginaire et impalpable se concrétise en œuvre d'art totale. Chair d’une couleur intime, la gourmandise se révèle dans l’incorporation d’une offrande à partager<br>Introducing taste as a fine art ingredient in the artistic and gastronomic process is a way of building a free and surrealist language, by which the gustatory becomes a graphic pattern. Dots, lines, colors are given to the viewer as an aesthetic and pleasurable tasting. Eating art invites you to redefine the essence of gastronomy and the aesthetic of taste in the field of fine art. It is an artistic starter to understand culinary art, and a culinary starter to appreciate fine art. From Zurbaran dark backgrounds to Bras roasted blacks, how to translate the (sacralisation) of taste as a sensitive, aesthetic and artistic experience? From a concept to a shared practice, the space-plate becomes an architectural space and, finally, a gourmet space. The architectural space being at the start of the artistic and gastronomic projects, the edible installations are created from the (space body/structure), so that the “gourmandise”, an immaterial and imaginary concept, takes shape in a total art work
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Brunet, Paul. "Sur la peinture-installation." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25068/25068.pdf.
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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 plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art.
My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking?
This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.
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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 mental wellbeing through altering our physical surroundings? This thesis draws on precedent research and case studies in the fields of psychology, biology, and art, and combines it with site-specific observational studies of student life on campus. The culmination is the proposal and implementation of a public art installation that uses properties of soil, nature, and customizable components that users can interact with. This installation aims to improve the mental wellbeing of the community at MIT and/or anyone who comes into contact with the art objects through different modes of active interaction and passive interaction. The thesis concludes with an examination of the installation and a discussion of the feedback gained from users as well as observed behaviors exhibited in relation to the objects.<br>by Sonya Lei Han.<br>S.B.
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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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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 interviewing practice. The performances are temporary and the devices ad-hoc.
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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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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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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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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 ‘Harleyesque’ exercycles reinforce the notion that that exercising on the spot on treadmills, steppers and bikes going nowhere is a metaphor for perpetually trying to make up lost ground in an effort to recapture the body of one’s youth.
In this thesis, I engage with the work of relevant critical theorists who explore how power and control are exercised over the body. For example, Michel Foucault’s notion of the docile body is pivotal for understanding how the discipline of repetitive exercise and loss of personal autonomy are linked (Foucault 1979). His analysis of Jeremy Bentham’s panopticon prison system can also be applied to the contemporary gymnasium, whereby the possibility of constant surveillance by other gym users and personal trainers creates a self-regulating system of discipline (Frew and McGillivray 2005). I present absurd ‘fitness equipment’ within a mirrored pseudo gym environment to discuss how power and control over the ‘docile body’ is also perpetuated through our relationship with the machine.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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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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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 Lertchaiprasert, and Going Forth by Day by an American artist, Bill Viola, is included. Project 1, A solo show by Toeingam Srisubut, featured three art pieces: time-scape, container site, and ... and a real TV. The first project explored the potential media that can give shape to time and make the characteristics of time explicit. My evaluation of this project focuses on analysing the characteristics of time that grow out of my three works, and examining the audience's multiple readings of time that reveal various indicators, e.g. spaces, narratives, audience's and my memories, and certain Thai social and economic elements. In Project 2, a sound and performance installation Rush Hour, narrative, space, and audience participation are considered specifically. I am testing out how effective the three indicators can give shape to time, and identifying the different characteristics of time of the installation placed in a specific environment of Koh Samui. Project 3, a mix-media installation, When I grow rich, say the bells of Shoreditch, re-tested the three indicators. This project demonstrates my personal, cultural engagements and interpretations of these indicators. The research identifies further areas for potential studies within various aspects of time as well as practical ways of giving shape to it.
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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 la place du spectateur. Dès les années soixante, nous identifions l’émergence de plusieurs mouvements artistiques qui s’opposent au dualisme séparatif entre le sujet et l’œuvre et favorisent un engagement intense du spectateur dans la proposition artistique. Afin d’analyser l’expérience immersive dans le cadre des installations contemporaines, nous avons unit des approches théoriques des champs divers, la pratique des artistes contemporains ainsi que ma conception et pratique personnelle de l’immersion en tant qu’artiste-chercheur. La coupure du milieu d’origine, l’intégration physique du sujet dans le monde fictif de l’œuvre qui se déploie en temps et en espace réel ainsi que l’absorption sensorielle et psychologique demeurent les traits principaux de l’immersion telle que nous l’analysons<br>Immersion, a key concept in contemporary sculpture, especially in installation art, is a complex reality that can also be found in others areas like literature, cinema or interactive virtual environments.This multidisciplinary identity has, one the one hand, nourished a rich study of the topic, but has also inhibited the development of an universal definition of the term. Our ambition is to search for and identify the particular connections between contemporary art and the experience of immersion. This immersive experience, a strongly influence in current artistic expression, is part of an evolution of the work of art and a re-evaluation of the place of the spectator. Since the 1960s, we identify the emergence of several artistic movements which oppose the separative dualism between subject and work, encouraging an intense engagement of the spectator in the artistic proposal. In order to analyse the immersive experience of contemporary installations, we have combined theoretical approaches from diverse fields, the various works of contemporary artists, and my own conception and personal practice of immersion as an artist-researcher. The disconnection from our usual environment, the embodied presence of the spectator in the fictional world of the work, displayed in real space and time, as well as sensory and psychological absorption, remain our main research features of immersion as we analyze it
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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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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 distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.
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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 functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.
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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), 'emotion-value' (Barthes, 1977) and 'autopoetics closure' (Luhmann, 2000). Structured by this framework, the practice for this research addresses, on one hand, the concept of otherness - understood as the infinite learning of 'differential truths' (Ahearne, 1995, p. 192) and on the other hand, a notion of urban image - understood as fragmentary imagery able to accommodate a sense of public space over imprints of experienced time. From the analysis of this practice the research concludes that: -the employment of 'dispersal' as a defining tactic allows the work to surface into visibility as a sharing of a system of relevance; -this sharing aims to displace meaning, by pushing it away from an autonomous condition, located on the work's surface; -meaning, when presented as a sharing of a system of relevance, is relocated throughout different 'levels of immersion' inside the work; -from this new positioning, meaning will only be retrieved by the work-in-situ of a particular viewer's reading; -this condition of random retrieval implies that the work will generate meaning as 'differential truth' (Ahearne, 1995, p. 192), which exists outside 'the disease of identity' (Certeau, 1969, p. 179); -as 'differential truth', meaning becomes a function, not of the authority of a specific voice, but of the ability to respond [a response-ability], exercised by the maker in facing the world, and by the viewer in the face of the work.
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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 dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentes<br>From the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works
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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 scientifique, alors que la deuxième présente des expérimentations élaborées dans le but de valider nos hypothèses et d’approfondir la réflexion sur la relation entre le concepteur et le récepteur de l’information visuelle.Notre étude a conduit à deux observations. La première répond en partie aux deux problématiques. L’illusion optique et les technologies numériques peuvent en effet permettre de solliciter le récepteur pour l’amener à réagir face à l’information visuelle et à choisir sa position dans l’ambiance proposée par le concepteur. De surcroît, la transmission fidèle d’une information visuelle du concepteur au récepteur est possible lorsque le récepteur est incité à accomplir une partie indispensable de l’information elle-même. La deuxième observation ouvre vers de nouvelles questions : on peut se demander en effet jusqu’à quel point on peut transmettre fidèlement l’information visuelle par Internet, en s’inspirant des expériences et des approches déployées dans le domaine de l’illusion optique par exemple, et jusqu’où le concepteur doit prendre en considération la multiplicité des points de vue et adopter des médiations adaptées à ces technologies ?Ces expériences posent par ailleurs la question de la présence physique des spectateurs et fait référence à leurs contributions via Internet. Cela interroge également l’évolution de leurs rôles ?<br>This research focuses on the conception of visual information and the role of the spectator in an interactive optical illusion installation. There are two main questions that arise here: How can the creator guide the spectator and faithfully transmit to him/her visual information through optical illusion? How does the spectator’s role change in an interactive optical illusion installation? To find answers to these questions, the research has been divided in two parts. The first studies the elements of optical illusion from a theoretical and scientific point of view, while the second presents elaborated experiments to support our hypotheses and to deepen our understanding of the relation between the creator and the receiver of visual information. This study has led to two observations. The first partially addresses both issues. Optical illusion and digital technology can offer spectators the possibility to choose their position in the environment proposed by the creator. Moreover, faithful transmission of visual information from the creator to the receiver is possible when the receiver is encouraged to complete an indispensable part of the information itself. The second observation also raises new questions: How far can one faithfully transmit visual information via the internet, drawing inspiration from the experiences and approaches used in the field of optical illusion for example? And how far should the creator consider the various points of view to adopt channels that best correspond to these technologies? In addition, these experiences raise the question of the physical presence of the spectators by referring to their contributions via internet and that also questions the evolution of their roles
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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 what we do there and who we are? Is place more significant in memory for a young child or someone in a vulnerable state of being (as in the hospital setting)? Process issues, along with physical outcomes, in installations and in the hospital projects are discussed.
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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 how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.
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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 and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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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 origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
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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’explorations esthétiques grâce auxquelles règles et formes furent remises en question de manière définitive au cours du XXe siècle, se présente sur le mode d’une pluridisciplinarité qui, aujourd’hui, fait autorité dans de nombreuses disciplines. Fruit de rencontres, d’imprégnations, elle est aux seuils, aux confins d’une infinité de frontières géographiques, sociales, politiques, culturelles, où la marge qui sépare le spectateur de l’œuvre d’art se dissout, s’obscurcit, s’estompe et s’évanouit. Cette dissolution significative des frontières entre les arts se manifeste dans de très nombreux champs : l’installation est un phénomène révélateur de cette dissolution qui, dans la Caraïbe francophone, prend une teneur spécifique.Dans l’espace archipélique, la question de la frontière est omniprésente. Elle mêle des problématiques d’ordre historique, sociologique, anthropologique, philosophique, culturel, artistique et esthétique. En effet, une frontière est une zone composite où se construisent un ensemble de relations vivaces, salvatrices ou violentes entre plusieurs individus, plusieurs peuples, plusieurs États, entre plusieurs cultures et coutumes, mais aussi entre plusieurs paysages, plusieurs textures, plusieurs mouvements et exhalaisons. Ces données constituent des variables qui se font entendre dans le travail des artistes caribéens dont l’œuvre se mesure et se confronte à plusieurs espaces historiques, identitaires, culturels ou institutionnels. Par ailleurs, le sens de ces artistes pour l’hybridation, le mélange et toutes les formes d’imprégnations constitue un fil d’Ariane puissant et constant, qui permet d’affirmer leur advertance pour une culture de la globalité, inscrite dans des espaces parcellaires<br>My research focuses on the visual artists' work who practice installation art in the French-speaking Caribbean islands. These islands, composed of the French West Indies (Martinique, Guadeloupe, Saint-Martin as well as their administrative dependencies) and the Republic of Haiti, are lands where encounter, miscegenation and Creolity strengthen the permanent relationship that people have with their different genesis, with multiple ramifications and cross-border origins.In this context, installation art, which is located at an infinity of aesthetic explorations’ confluence, through which rules and forms were definitively questioned during the twentieth century, presents itself in the mode of a multidisciplinary approach that, today, is authoritative in many disciplines. Fruit of encounters, impregnations, it is at the thresholds, at the edge of an infinity of geographical, social, political, cultural borders, where the margin that separates the spectator from the work of art dissolves, becomes darkened, fades and faints. This significant boundaries' dissolution between the arts manifests itself in many fields: installation art is a phenomenon revealing this dissolution which, in the French-speaking Caribbean islands, takes on a specific content.In the archipelago, the border question is omnipresent. It mixes historical, sociological, anthropological, philosophical, cultural, artistic and aesthetic issues. Indeed, a boundary is a composite zone where a set of perennial, life-saving or violent relationships is built between several individuals, several peoples, several states, between different cultures and customs, but also between several landscapes, several textures, several movements and exhalations. These data are variables that are heard in the Caribbean artists' work, that measured and confronts several historical, identity, cultural or institutional spaces. Moreover, the sense of these artists for hybridization, mixing and all forms of impregnation constitutes a powerful and constant breadcrumb, which allows to assert their advertence for a culture of globality, inscribed in parcel spaces
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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 objet posé devant un spectateur et 2) elle entretient une relation consubstantielle à l'espace de son exposition. L'installation est un art qui se déploie dans l'espace et son appréhension ainsi que son appréciation dépendent de l'expérience d'un spectateur mobile. Ce faisant, parler d'une installation comme d'une œuvre invite à suivre les déplacements impliqués par cette pratique et, corrélativement, cela invite à accepter que la notion d'œuvre ne puisse ni recouvrir un objet particulier (dans la mesure où c'est sa situation spatiale qui prime), ni désigner abstraitement l'espace d'exposition de l'installation, ni se superposer à la notion d'expérience qui tend d'ailleurs largement à la supplanter dans les écrits à son sujet. L'installation met à l'épreuve l'idée d'unité objective qui sous-tend la notion d'œuvre. Mais cette mise à l'épreuve permet en retour de renouveler l'opérativité conceptuelle de la notion. Notre hypothèse consiste à déplacer l'unité de l'œuvre délimitée dans un objet vers l'unité de la synthèse constituée par et dans la mémoire du sujet. L'unité n'est plus celle de quelque chose face au spectateur mais celle de l'expérience esthétique qui révèle les qualités temporelles de l'espace, condense et synthétise les différentes phases du vécu. En tant que synthèse l'œuvre n'est pas réductible à l'unique subjectivité de l'expérience mais tend à être objectivée par le sujet-spectateur lui-même<br>When we speak of a work of art in relation to an artistic installation, what exactly are we referring to? First coined in the 1960s, the term "installation" covers a wide range of different types of production. Closer to sculpture in its early days, it is now widely used in the form of experiential art and immersive digital environments. Yet despite these disparities, which prevent a definition of the practice or a formal recognition of its characteristics, two elements contribute to the ambition of a generic approach: 1) it is not reducible to an object placed in front of a viewer, and 2) it maintains a consubstantial relationship with the space of its exhibition. Installation art unfolds in space, and its apprehension and appreciation depend on the experience of a mobile spectator. In so doing, to speak of an installation as a work invites us to follow the displacements implied by this practice, and, correlatively, it invites us to accept that the notion of work can neither cover a particular object (insofar as it is its spatial situation that takes precedence), nor designate abstractly the installation's exhibition space, nor superimpose itself on the notion of experience, which, moreover, tends largely to supplant it in writings on the subject. The installation puts to the test the idea of objective unity that underpins the notion of the work. But in turn, this testing allows us to renew the conceptual operativity of the notion. Our hypothesis consists in shifting the unity of the work delimited in an object to the unity of the synthesis constituted by and in the subject's memory. The unity is no longer that of something in front of the viewer, but that of aesthetic experience, which reveals the temporal qualities of space, and condenses and synthesizes the different phases of experience. As a synthesis, the work cannot be reduced to the sole subjectivity of experience, but tends to be objectified by the subject-spectator himself
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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
includes digital and electronic media. However, such works focus mainly on the
more dominant distal senses of sight and sound and fail to consider the
multimodality of natural sensory perception in the experience of art, and many of
these works are performed in settings where artists are separated from audience by
physical and psychological barriers. In Scheherazade’s Sea, I shall address the
limitations of prevalent approaches, by including the proximal senses, removing the
traditional physical barriers and encouraging audience participation.
On another level, Scheherazade’s Sea serves as a vehicle for exploration and
reflection of the inherent sensory and cognitive peculiarities associated with
Asperger’s Syndrome, and their possible influences upon creativity and artistic
expression. Sensory and cognitive idiosyncrasy is a common feature in Asperger’s
Syndrome. Individuals suffer from extremes of either heightened sensitivity or low
arousal to external sensory stimuli, and their innate cognitive patterns differ from that
of the typical majority. As a result, the sensory and cognitive world of a person with
Autistic Spectrum Disorder can be fragmented, disjointed and confusing. While there
exists substantial literature about famous artists with Asperger’s Syndrome and
various aspects of their creativity, there is, to date, limited documentation from the
perspective of the artist with Asperger’s Syndrome, using an original
interdisciplinary work to illustrate the possible ways in which sensory and cognitive
differences may affect and influence creative choices and outcomes. By charting and
examining the features and various processes in the creation of Scheherazade’s Sea, I
hope to discover and contribute more insights into this area of interdisciplinary study.
The purpose of this examination is not to add to the already vast body of
programmes aimed at social rehabilitation and adaptation to the neurotypical world,
but rather to open more avenues for the identification and development of innate
abilities in autistic individuals. My intention is not to ‘fix what is broken’, but to
discover and empower beauty in the unusual and the different.<br>published_or_final_version<br>Music<br>Master<br>Master of Philosophy
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Dracoulis, Wendy Fay, and wdracoulis@gmail com. "Coloured light." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.
Texto completoResumen
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 Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.
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Kean, Richard David Valentine. "The resonant room." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12864.
Texto completoResumen
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 aural string installation that are then applied to the specific context of Sydney, Australia. This strategy is undertaken through research that also entails making art with a reflective and speculative practice within the context in which it is made. This thesis then looks at strategies of experiential participation with aural string installation as a speculative critical and observational practice that concerns itself with both human artifice and Nature within the context of Sydney as a post-Fordist post-colonial country.