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Diaz, Ramos Laura. "Feminist curatorial interventions in museums and organizational change : transforming the museum from a feminist perspective". Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39450.
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This thesis examines the relationship between feminist curatorship and art institutions and explores how feminism challenges and problematizes the museum. This thesis also examines the challenges in changing the structure of institutions: art organizations often respond with resistance to feminism, containing and ghettoizing feminist artists and artworks. This research project proposes that the aim of feminist curatorship is to change institutions, and their structures and hierarchies in a fundamental way. However, feminism’s objective of reorganizing the museum on a structural level has not been sufficiently discussed in feminist scholarship; feminist scholars have not been involved in a critique of art institutions or a theoretical analysis of the museum. On the contrary, feminist scholarship has focused on the criticism of institutions for the underrepresentation of women artists, on the production and display of women’s or feminist work and on adding more women artists to the museum. Thus, in this thesis I propose a redefinition of feminist curatorial practices as a broad strategy and an intervention whose objective is the museum’s reform. I propose that feminist curatorship should not simply focus on installing feminist art and curating feminist exhibitions but rather should aim at dismantling museological authority, destabilizing power structures and challenging patriarchy and hierarchy.
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Cass, Nicholas. "Contemporary art and heritage : interventions at the Brontë Parsonage Museum". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12608/.
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In this thesis I examine the Contemporary Arts Programme at the Brontë Parsonage Museum, with a particular focus on the commissioning and installation of artwork in the period interior of the museum. Reading the work of Paula Rego, Cornelia Parker, Su Blackwell, Charlotte Cory and Catherine Bertola through the literature of heritage and dialogical aesthetics, I seek to map the unexplored liminal territory between the Brontë Parsonage Museum as 'shrine' and the contemporary art installations as 'intervention'. The purpose, through following a trajectory which has its origin in what Malinowski described as 'foreshadowed problems', has been to produce a rich account of the ways in which art and heritage practices intersect. A reflexive ethnographic stance, in which the process has developed through and in, rather than prior to, the research process, acknowledges my own position as artist, museum educator and academic, engaged with a particular site where I have used visitor comment books and semi structured interviews with artists, staff and visitors to produce this account. This stance acknowledges that writing about art is itself a creative practice and should not be seen as existing as an independent, external addition; to be so, it would remain a 'shadow' of that which it describes. Instead, it is my purpose to map the complexity of these installations as points of reference in the broader topology of heritage practice and contemporary art to demonstrate that they are not reducible to the paradigmatic arguments which are used to describe their existence within the museum space. Often characterised as 'social outreach, public relations, economic development and art tourism', I argue it is more productive to consider these 'interventions' as dialogic heritage, both in order to understand their 'affective' role in the process of interpreting the legacy of the Brontës, and to understand ways in which they address visitor experience.
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Berry, Jessica y n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Stephan, Lina Malta. "Análise das intervenções arquitetônicas nos imóveis tombados do Museu Mariano Procópio, em Juiz de Fora – MG". Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1121.
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O Museu Mariano Procópio é um dos exemplares arquitetônicos e artísticos mais importantes de Juiz de Fora, tendo também seu valor reconhecido tanto em nível estadual quanto nacional. Ao longo de sua história, foram realizadas significativas intervenções arquitetônicas nos prédios tombados, com a intenção de renovar, adequar às necessidades de cada época e solucionar problemas decorrentes das ações do tempo. Porém algumas dessas intervenções foram executadas sem embasamento técnico, chegando a comprometer a estrutura física e artística do bem tombado. Por se tratar de um bem tombado, faz-se necessário intervir de maneira a garantir a integridade física, porém, esse tipo de ação é recurso último a ser realizado, quando os procedimentos conservativos já não são suficientes para garantir a perpetuação do bem ao longo do tempo. O que se propõe com este trabalho é analisar as intervenções arquitetônicas realizadas nos prédios históricos Villa Ferreira Lage e Prédio Mariano Procópio e os projetos desenvolvidos para a restauração e recuperação de elementos estruturais, tomando como base os principais conceitos que envolvem a conservação e a restauração do patrimônio cultural; as discussões contemporâneas sobre o assunto e os principais problemas técnicos e teóricos. Pretende-se com esta pesquisa contribuir de forma crítica e histórica para futuros projetos e futuras intervenções.
The Mariano Procopio Museum is one of the most important architectural and artistic examples of Juiz de Fora, also with recognized value to both state and national level. Throughout its history were carried out significant architectural interventions in listed buildings, with the intention to renew, suit the needs of each era and solving problems resulting from time shares. But some of these interventions were performed without technical background and can affect the physical and artistic structure and tumbled. When it is a well fallen, it is necessary to intervene in order to guarantee the physical integrity, but such action is a last resort to be performed when conservative procedures are no longer sufficient to ensure the perpetuation of well over time . What is proposed in this paper is to analyze the architectural interventions in historic buildings Villa Ferreira Lage and building Mariano Procopio and the projects developed for the restoration and recovery of structural elements, based on the key concepts that involve the conservation and restoration of cultural heritage, contemporary discussions on the subject and the main technical and theoretical problems. The aim of this research contribute to critical and historical way for future projects and future interventions.
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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain". Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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Foy, Elizabeth. "Spectacle: Framing the Midwestern Art Community". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
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Johnson, Joana. "Psychosocial interventions and museums". Thesis, Canterbury Christ Church University, 2015. http://create.canterbury.ac.uk/13809/.
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Previous research has shown that people with dementia and carers derive wellbeing-related benefits from group art-viewing, and that facilitated museum object handling is effective in increasing subjective wellbeing for people with a range of health conditions. The present study aimed to compare the impact of these activities on subjective wellbeing of people with dementia and carers. A quasi-experimental crossover design was used. People with early to middle stage dementia and their respective carers (N = 66) attended a museum session in small groups where they participated in three activities: museum object handling, a refreshment break and art-viewing. Visual analogue scales were used to rate subjective wellbeing pre and post object-handling and art-viewing. Mixed-design ANOVAs indicated wellbeing significantly increased for people with dementia and carers during the museum session irrespective of the order in which they participated in object-handling and art-viewing. Analysis of pre and post-condition scores across pooled orders indicated wellbeing significantly increased from object-handling and art-viewing for carers; wellbeing for people with dementia significantly increased from object-handling; the increase from art-viewing was not statistically significant. A refreshment break did not produce significant change in wellbeing for either group. An end-of-intervention questionnaire indicated that experiences of the session were positive. Limitations and directions for future research were discussed. Results provided a rationale for partnership working between museums and healthcare professionals.
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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.
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Hanbury, Caitlin. "Defining Museum Intervention: An Analysis of James Putnam's Time Machine". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/312.
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In his 2001 publication Art and Artifact: The Museum as Medium, independent curator James Putnam coins the term ‘museum intervention’ to describe a type of artwork created by some artists as a means to critique organizing principles of the museum. Putnam’s book analyzes examples of museum interventions, including his own 1994 exhibition, Time Machine: Ancient Egypt and Contemporary Art, but fails to offer a definition for the term. This thesis analyzes the trajectory of exhibition practices leading to the publication of the new term through an examination of historical changes in museum display. The paper then analyzes examples of museum intervention included in Putnam’s book in order to develop a definition for the term. The paper examines Time Machine in relation to the new definition and, contrary to Putnam’s assertions, concludes that the exhibition is not a museum intervention.
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Baker, Erin L. "Arts interventions in dementia care". Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12839/.
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Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Psychologically-informed arts and health interventions may be particularly valuable ways of improving the lives of people with a dementia and their carers. This study investigated arts-based interventions at two, London and Nottingham, art galleries where 12 people with mild to moderate dementia and their 12 carers were engaged in art-viewing and art-making. Post-intervention interviews with participants (n=12) and facilitators (n = 4), field notes and extensive written communication between the facilitators and research team was analysed using a grounded theory approach to establish how the intervention affected those involved. Three categories, a valued place, intellectual stimulation and social interaction, combined to create positive emotional and relational effects for both those with dementia and carers. In addition, there was evidence of a changed perception of dementia by facilitators. The resulting theory has potential implications for the use of arts within health and social care by applied psychologists, health, social care and museum professionals, as well as community services.
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Williams, Jamie. "Imagined Contact Intervention with an American Muslim Target". TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3152.
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Recent studies have shown that imagining contact with a member of a differing social group can reduce prejudice toward said group. This type of prejudice intervention, known as an imagined contact intervention, can be beneficial when direct contact with the outgroup is not feasible. This study adds to existing research on imagined contact interventions by replicating a simple version of the intervention by Husnu and Crisp (2010) and assessing attitudes toward an American Muslim out-group. This study extends the research of Husnu and Crisp (2010) by using American participants as opposed to British participants and also uses an online distribution for the intervention as opposed to a laboratory setting. The research question was: Will the imagined contact intervention significantly reduce prejudice toward the American Muslim out-group when compared to a control condition? Participants who reported socializing with the Muslim out-group less than three times in the past six months completed a form of the intervention online, responded to an out-group attitude index regarding the Muslim out-group, and completed demographics questions. In this study, there was no significant effect of the imagined contact intervention on out-group attitudes. Possible reasons for the intervention’s ineffectiveness, including the use of online distribution for the survey, are discussed along with directions for future research.
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Choudhry, Abida. "Exploring therapists' experiences of using therapeutic interventions from Muslim perspectives for Muslim clients : usefulness, contribution and challenges in the UK". Thesis, University of Wolverhampton, 2016. http://hdl.handle.net/2436/620562.
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Modern psychological approaches currently being used with Muslim clients in therapy have consistently been criticised for being decontextualised, Eurocentric, individualistic, reductionist and for not taking Muslim clients’ cultural and religious values into account (Amri, & Bemak, 2013; Carter & Rashidi, 2004). Hence a need for making use of models, techniques and therapeutic interventions based on Muslim perspectives for Muslim clients has repeatedly been expressed (Haque, 2004a; Helms, 2015; Inayat, 2007; Keshavarzi & Haque, 2013; Utz, 2012; Weatherhead & Daiches, 2010). Despite recommendations for using therapeutic interventions from Muslim perspectives with Muslim clients in therapy (Abu Raiya & Pargament, 2010; Haque & Kamil, 2012; Qasqas & Jerry, 2014), empirical research on these interventions has lagged behind (Abu-Raiya & Pargament, 2011). The aim of the current study is to provide more insight into how interventions from Muslim perspectives can be administered by Muslim therapists with their Muslim clients in therapy in United Kingdom. This study explored the experiences of six Muslim therapists who were all using interventions from Muslim perspectives with Muslim clients in their therapeutic practice. Semi-structured interviews were conducted, transcribed, and analysed using Interpretative Phenomenological Analysis (IPA), and from this three main themes emerged (i) Psychotherapeutic approaches, (ii) Journey of becoming a Muslim therapist (iii) Obstacles faced by Muslim clients and therapists. The implications for further research and therapeutic practice have also been considered.
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Chubb, Shirley Jane. "Intervention, location and cultural positioning : working as a contemporary artist curator in British museums". Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.
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Robins, Claire. "How did the reticent object become so obliging? : artists' interventions as interpretive strategies in galleries and museums". Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10019933/.
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This is a study about knowledge/power in galleries and museums, contested and reconfigured by a genre of artworks, referred to as Artists' Interventions. Such artworks, their intended functions, and pedagogic uses are the locus of the study. I define galleries and museums as inherently pedagogic institutions, which have historically constructed and disseminated dominant systems of value. In order to examine in what ways these values have been reconfigured through Artists' Interventions, I undertake a historiography of the role of the gallery and museum. In defining interventions, I differentiate between interventionist artworks that disrupt and contest the 'normative' or dominant discourse of galleries and museums, and artworks that support and confirm established interpretations of art and artefacts, and focus attention on the former. I propose art-historical predecessors for Artists' Interventions and situate contemporary initiatives in relation to disruptive, dialogic and parodic methodologies. These are more closely examined in a central case study, a practice-based aspect of the thesis in which I make my own intervention, An Elite Experience for Everyone, performed and exhibited at the William Morris Gallery, London (2005). Where Artists' Interventions have emerged against a backdrop of dominant regulatory and divisionary discourse their disruptive and parodic strategies re-establish the museum as a discursive forum. However, the trope of disruption and dialogue has recently been accommodated within curatorial and pedagogic initiatives. Only the trickster is allowed to evade this assimilation.
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Ledford, Christopher. "SEEDS OF SUSPICION: THE PERPETUAL CYCLE OF ANTI-MUSLIM STEREOTYPES, MIDDLE EAST INTERVENTION, AND TERRORISM". UKnowledge, 2019. https://uknowledge.uky.edu/polysci_etds/26.
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The central theory guiding my research is that interstate conflict, at least as covered in mass media, leaves residual cultural attitudes that can shape the political context in which elites formulate policy. Specifically, U.S. interventionism in the Middle East has given rise to fundamental hostilities, founded on misguided biases, that shape involvement in the region today. I focus on one step within that broader theory, to test it empirically: the hypothesis that anti-Muslim stereotypes, when activated, will shape an individual’s foreign-policy preferences. I begin by considering competing accounts that link 1) ethnocentrism or 2) targeted stereotypes with support for the use of military force in the Middle East. After careful review of the group-based and social-identity theories that undergird the two accounts, I synthesize them. My more-complete theory can be summarized as: Someone will exhibit an ethnocentric response toward an out-group when negative stereotypes about the group combine with an individual’s in-group identity to result in perceived threat. Applying the logic of that hypothesis to Muslims and American foreign policy, I argue that, for American whites, Muslims are uniquely situated to be perceived as realistic and symbolic cultural threats to their core national identity because they may differ in terms of ethnicity, culture, and religion. Mass media portray Muslims as violent and encourage Americans to evaluate them in terms of such cultural dissimilarity. On the other hand, Muslims present little identity threat to blacks, whose core in-group identity typically revolves around their status as a racial minority in the United States. Even blacks who identify with the nation will not view Islam as incompatible with their national identity because that identity is typically not predicated on looking, living, or believing a certain way. I develop these ideas into testable hypotheses and investigate how anti-Muslim attitudes shape opinion about important contemporary Middle East issues. Using survey and experimental data, I find compelling evidence linking anti-Muslim attitudes – among whites – to support for using military force (rather than diplomacy) against Iran and against Islamists. Those attitudes also predict opposition to accepting Syrian refugees. Finally, I turn from this narrative of negativity to argue that the anti-Muslim stereotypes many citizens bring to bear when forming judgments of Middle East policy can be shifted. I base this optimistic expectation on media framing theories, which suggest that issue frames can shift opinion when they emphasize strong and credible arguments. After constructing frames from debate statements during the 2016 Presidential Election, and an original frame that affirms counterstereotypes of Muslims, I expect and find evidence that strong frames emphasizing the obligations of American identity and factual counterstereotype-affirming information can shift those who oppose accepting refugees to more moderate positions. Broadly, my research offers a theoretically-grounded schematic for how stereotypes and identity construction operate together cognitively to shape public opinion. My methods offer leverage to those endeavoring to explain how these idea elements shape opinion in other issue domains. I also divulge important nuances about how specific actors (i.e., whites) propagate a cycle of anti-Muslim attitudes, warfare, and terrorism. I contribute to rivalry theory in international relations by explaining how cultural biases shape an enduring rivalry of the grandest scale: the perpetual U.S.-Middle East conflict. My framing research offers both academic and practical contributions by providing evidence on behalf of existing theory and by suggesting how media and political elites – by describing issues in unbiased ways – could knock off course the perpetual cycle of American interventionism, retaliatory terrorism, and resulting anti-Muslim stereotype generalizations.
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Rowley, Liam James. "Social intervention and visual culture : a psychosocial investigation into art education and young people's relational aesthetics in a devolved museum and gallery space". Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/75672/.
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The work carried out in this research concerns the use of Deleuze and Guattari’s philosophy in relation to learning, experience, and intervention. The research was carried out in two stages. First, by working with two groups of young people from Valleys Kids, a charity organization located in the heart of the Rhondda South Wales, the first phase consists of a psychogeographical dérive of Cardiff Museum, Wales. Based on the Situationist International approach to studying the emotional effects of place and environment, psychogeography allows young people to become attentive to their sense and emotions in relation to art and culture. This enables researchers, art educationists and those working in the area of youth arts to produce pedagogical documentation which records the processes of lived experience. The second stage of the study consists of a series of poetry workshops: informing the areas of education, micro-politics, and therapeutic intervention. By developing a complex theoretical scaffold using Deleuze, Spinoza, Peirce and Bergson, this research considers art as a relational encounter (Bourriaud, 2002) and approaches it as an unrestricted pattern and structure of experience which flows from perception to recognition (Dewey, 2005). From Deleuze and Spinoza the research sets the empirical inquiry within a bodily logic. As a constructivist approach towards subjectivity and experience, this allows us to look at young people’s encounters with cultural artefacts as produced through a multiplicity of processes and practices. Peircean semiotics permits us to explore how these processes of lived experience communicate through a variety of both signifying and a-signifying registers. In addition, Bergson’s phenomenology of minds allows researchers to detail the relation of lived experience to time and the material body. The result is a form of empirical inquiry that allows researchers to understand the meaning of empiricism in relation to what experience is. In aligning itself with the pedagogical strategies and outreach initiatives currently being deliver by the Museum of Contemporary Art of Barcelona (MACBA) Independent Studies Program (PEI) this research addresses the gap which exists between museum institution and university. Accordingly, by re-drawing its boundaries and modifying its cognitive architecture, practice-led research in the area of youth arts can transform the museum into a workshop for experimentation (Bourriaud, 1998) and challenge the curatorial hegemony of the exhibition apparatus. Indeed, by engaging in experimental practices with young people, and working at the intersection between theory and practice, we can re-evaluate our perceptions of what art is for, and how art might be treated in a devolved museum and gallery space.
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Walgren, Scott A. "Explaining intervention in Southeast Asia : a comparison of the Muslim insurgencies in Thailand and the Philippines /". Thesis, Monterey, Calif. : Naval Postgraduate School, 2007. http://bosun.nps.edu/uhtbin/hyperion-image.exe/07Dec%5FWalgren.pdf.
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Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, December 2007.Thesis Advisor(s): Malley, Michael. "December 2007." Description based on title screen as viewed on January 24, 2008. Includes bibliographical references (p. 69-75). Also available in print.
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Oweidat, Lana A. "Disrupting the Western Gaze: An Arab-Islamic Intervention in Rhetoric and Composition Studies". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1396291760.
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Sá, Rubens Pileggi. "A arte como a glória de qualquer um no museu do mundo e a gravidade do silêncio". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6487.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
From a historical problem that dates back, in Brazilian art, the Concretism and the Neoconcretismo, I develop, since 1998, an artistic trajectory that uses the street like one laboratory of actions, manifestations and artistic interventions. My work is embodied in the relationship between the "expanded field of art" with the body, object and space. It turns out that during of the development of the thesis, I notice an obvious limits of this type of production to of the dissolution of the artistic field, increasingly subsumed by the sociological discourse, making it a sort of commodity to be traded as resistance art. The problem moves then to an investigation of appropriations that can be made that field - place without place - to incorporate them and transform them, at its base, so that art can still be produced once. And if, at first, the statement of a relationship between art and life becomes a militant way, programmatic and pragmatic, in a next moment requires a reflexive deepening method and language. The solution I found, caused by the tension of the current political moment, was to turn my attention to work betting on negativity, in exploring the dimension of emptiness and silence, thinking the lack as a possibility to add an idea, through the viewer's imagination. The practical result is the creation of a glass box, designed to fill the space of a door by means of resonance sound effect and vibration speakers, revealing a small continuous motion. My intention with this is to suggest a situation of instability and the imminence of a possible tragedy, condensing the premises of the field expanded into the critique of institutional debate.
A partir de uma problemática histórica que remonta, na arte brasileira, ao Concretismo e ao Neoconcretismo, desenvolvo, desde 1998, uma trajetória artística que utiliza a rua como laboratório de ações, de manifestações e de intervenções artísticas. Meu trabalho materializa-se na relação entre o “campo ampliado da arte” com o corpo do artista e do espectador, o objeto e o espaço. Acontece que, no desenvolvimento da tese, percebo um limite evidente desse tipo de produção à medida em que se dá a dissolução do campo artístico, cada vez mais subsumido pelo discurso sociológico, tornando-o uma espécie de commodity a ser negociada como arte de resistência. O problema desloca-se, então, para uma investigação das apropriações que podem ser feitas desse campo – lugar sem lugar – no sentido de incorporá-las e transformá-las, em sua base, para que a arte possa ser produzida ainda uma vez. E se, em um primeiro momento, a afirmação de uma relação entre arte e vida se faz de modo militante, programático e pragmático, em um momento seguinte exige-se um aprofundamento reflexivo de método e de linguagem. A solução por mim encontrada, motivada pela tensão do atual momento político, foi a de voltar a atenção para trabalhos que apostam na negatividade, na exploração da dimensão do vazio e do silêncio, pensando a falta como possibilidade de complemento de uma ideia, na imaginação do espectador. O resultado prático foi a criação de uma caixa de vidro, projetada para preencher o espaço de uma porta que, por meio do efeito de ressonância sonora e vibração de alto falantes, deixando transparecer um pequeno e continuado movimento. Minha intenção, com isto, é a de sugerir uma situação de instabilidade e iminência de uma possível tragédia, condensando as premissas do campo ampliado ao debate da crítica institucional.
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Macedo, Mafalda Almeida. "Intervenção no Património Construído: O caso do Museu Nacional Soares dos Reis". Master's thesis, [s.n.], 2013. http://hdl.handle.net/10284/4237.
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Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Arquitetura e UrbanismoO Museu Nacional Soares dos Reis reabriu as suas portas em Julho de 2001, após um longo período de encerramento e isolamento da cidade e do seu público. Durante este período foram realizados vários tipos de intervenções com o intuito de melhorar as condições expositivas e disponibilizar novas instalações e serviços ao seu público, assim como à cidade a que pertence. Foram adquiridos e intervencionados imóveis, criadas instalações novas, construídos novos blocos e trabalhados os espaços já existentes, obras que até hoje permanecem total ou parcialmente desconhecidas e inexplicadas aos visitantes do Museu e até mesmo da cidade. É com a intenção de dar a conhecer os motivos e tipo de intervenções realizadas neste edifício e instituição emblemáticos da Cidade do Porto que surge o presente trabalho, inserido no âmbito da conclusão do Mestrado Integrado em Arquitetura e Urbanismo da Universidade Fernando Pessoa. Este documento procura fazer um percurso desde a origem e evolução da instituição e do edifício até aos nossos dias. Para tal está dividido em dois momentos: o primeiro corresponde à origem e evolução da instituição e do edifício até ao momento em que este encerra; o segundo inicia no momento em que se evidencia a necessidade de intervir no edifício e vai até aos nossos dias, procurando abordar os motivos e as questões inerentes às obras e expor/explicar toda a intervenção de que o Museu foi alvo ao longo do período em que esteve isolado.
The Museu Nacional Soares dos Reis reopened its doors in July 2001 after a long period of closure and isolation of the city and its public. During this period were made various types of interventions in order to improve the exhibition and provide new facilities and services to your audience as well as the city to which it belongs. Were acquired and intervened estate created new facilities, new blocks built and worked the spaces existing works that still remain totally or partially unknown and unexplained visitors of the Museum and even the city. It is with the intention of make known the reasons and types of interventions in this iconic building and institution of Oporto city that arises this study in the context of the conclusion of the Mestrado Integrado em Arquitetura e Urbanismo fa Universidade Fernando Pessoa. This document seeks to make a journey from the origin and evolution of the institution and the building to this day. For that, this work is divided into two stages: the first corresponds to the origin and evolution of the institution and the building up to the moment when this was shut down. The second starts by the time when was a necessity of intervening in the building and ends in our days, trying to explain the reasons and issues inherent in work and expose all the intervention that the Museum has received over the period in which it was isolated.
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Ferro, Velarde Gonzalo Sebastián. "Museo de Sitio Huaca Garagay". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/655923.
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El proyecto de Museo de Sitio Huaca Garagay, ubicado en el distrito de San Martín de Porres, en Lima, es una intervención arquitectónica – urbana, cuyo objetivo busca proteger y repotenciar la importancia de un espacio arqueológico abandonado, destruido e invadido durante su historia, consolidando este sector en un espacio público metropolitano. Haciendo esto, integramos este sector con la ciudad de Lima, pero también, se buscará que este proyecto genere un espacio comunitario para los vecinos de la zona, con la búsqueda de proteger el monumento arquitectónico ya existente en el lugar.
Este proyecto se sustenta en bases teóricas, las cuales son desarrolladas en base al proceso de investigación, dando importancia a los recursos que se han tomado en los últimos 20 años para intervenir de manera armónica un resto arqueológico, teniendo como resultado una propuesta que se materializa en generar un vínculo entre la Arquitectura Prehispánica y la Arquitectura Contemporánea.
La propuesta busca la mímesis entre lo existente (la Huaca Garagay) y lo nuevo (el Museo). La edificación tendrá en el primer nivel, a manera de excavación, espacios comunitarios (Biblioteca, Talleres) que permitirán la recreación y descanso en una “plaza hundida” central. El segundo nivel, que estará a nivel de la calle, tendrá como desarrollo el recorrido del Museo de Sitio y el Auditorio, y el último nivel, el restaurante. Todo conectado con un área de investigación, administración y servicios.
Finalmente, se concluye que la propuesta tiene un resultado positivo en la sociedad, la ciudad y el entorno.The Huaca Garagay Site Museum project, located in San Martín de Porres district, in Lima, is an architectural-urban intervention, whose purpose seeks to protect and reinforce the importance of an archaeological space abandoned, destroyed and invaded during its history, consolidating this sector in a metropolitan public space. By doing this, I integrate this sector with the city of Lima, but also, this project will create a community space for the residents of the area, seeking to protect the architectural monument already existing in the place. This project is based on theoretical bases, which means that have been developed on the research process, giving importance to the resources that have been taken in the last 20 years to harmoniously intervene in an archaeological site, resulting in a proposal that materializes in generating a link between Pre-Hispanic architecture and Contemporary Architecture. The proposal seeks a mimesis between what exists (the Huaca Garagay) and what is new (the Museum), generating one only building. On its first level, as an excavation, will have community spaces (library, workshops) that will allow recreation and rest in a "sunken plaza” central. The second level, which will be at street level, will have the development of the Site Museum and the Auditorium, and the last level, the restaurant. Everything connected to research, administration and services area. Finally, it is concluded that the proposal has a positive result in society, the city and the environment.
Tesis
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Lessy, Zulkipli. "The Ambon conflict and social work interventions : a critical study of reconciliation efforts between Muslim and Christian communities initiated by governmental and non-governmental organizations". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99166.
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Thus thesis focuses on the roles of social work (on the part of governments and NGOs) in dealing with Indonesia's Ambon conflict (1999 to date). The research seeks to map the roots of the conflict and the interventions made by both level of government and NGOs and to examine the strengths and weaknesses of their social work efforts in conflict resolution. Based on an analysis of these efforts of these institutions, this thesis offers some suggestions as to an enhanced role for social work in dealing with future reconciliation in Ambon especially and in Indonesia generally.
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Bessette, Anne. "Du vandalisme d’œuvres d’art. Enjeux et réceptions. Destructions, dégradations et interventions dans les musées en Europe et en Amérique du Nord depuis 1970". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA120.
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La dégradation ou la destruction volontaire de biens symboliques est un phénomène omniprésent dans l'histoire humaine. Souvent, les œuvres ont été endommagées parce qu’elles incarnaient des divinités, des représentants du pouvoir, un imaginaire spirituel ou social. Avec l’avènement des musées et la transformation du statut des œuvres qu’ils conservent, ce phénomène adopte de nouvelles formes.Les atteintes portées intentionnellement à l’intégrité d’œuvres d’art, lorsqu’elles se produisent dans des musées, sont porteuses d’enjeux spécifiques, que cette thèse a pour objet d’analyser. Aujourd’hui, elles sont généralement désignées par le terme de vandalisme, qui véhicule des représentations qu’il s’agit d’interroger. Cette recherche, prenant appui sur l’analyse d’un corpus de cas de vandalisme perpétrés entre 1970 et 2014 sur des œuvres exposées dans des musées d’art, en Europe et en Amérique du Nord, s’attache, dans une perspective sociologique, à examiner les ressorts de ces actes, mais aussi les diverses réactions qu’ils suscitent. Celles-ci peuvent être saisies dans leur variabilité ; la confrontation de discours et de points de vue recueillis au cours d’entretiens avec divers acteurs concernés par le phénomène contribue à porter au jour des dispositions contrastées à l’égard des œuvres d’art. L’analyse de la réception sociale de ces actions constitue une voie d’accès privilégiée pour appréhender certains mécanismes de disqualification, y compris au sein du champ artistique. Certains de ces gestes sont en effet réalisés dans une optique de création ou de dialogue artistique : ils font ici l’objet d’une attention particulière en raison de ce qu’ils peuvent mettre en lumière du fonctionnement du milieu de l’artWillful degradation or destruction of symbolic goods is omnipresent in Human history. Most of the times, works were damaged because they embodied deities, symbols of power, spiritual or social constructs. With the advent of museums and the transformation of the status of the works they preserve, this phenomenon shaped into new forms.Deliberate attacks on the integrity of works of art, when they occur in museums, carry specific issues that this thesis aims to analyze. Today, they are generally referred to as vandalism, which conveys representations that are to be questioned. This research, based on the analysis of a body of cases of vandalism perpetrated between 1970 and 2014 on works exhibited in art museums in Europe and North America, focuses, from a sociological perspective, on examining the causes of these acts as well as the various reactions they generate. The confrontation of discourses and points of view gathered during interviews with various actors concerned by this topic reveals diverse dispositions towards works of art. The analysis of the social reception of these actions constitutes a privileged approach to specific processes of disqualification, including some within the artistic field. Parts of these gestures are meant to initiate an artistic dialogue or even to create; therefore, they will be looked upon with particular attention as they can highlight some of the mechanisms of the artistic scene
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Wolens, Sylvia E. (Sylvia Elaine). "The Effects of a Short-Term Videotape Training Program for Guides Conducting Older Adults on Tours in Public Spaces". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331875/.
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The problem of this study was a test of a specific videotape designed to influence the actions of tour guides for older adult groups. The purposes of the study were to observe guide performances and older adult responses before and after training in techniques for sharing information with older adults in public spaces. The hypotheses were tested. 1) Guides after training would exhibit significant differences in behaviors of pointing, repeating, pausing, questioning, conversing, facing art when talking, talking inaudibly, pacing rapidly. 2) Older adult drop-outs would decrease on tours with especially trained guides.
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Hollenbach, Julie. "Comfort/Discomfort: Allyson Mitchell's Queer Re-Crafting of the Home, the Museum, and the Nation". Thesis, 2013. http://hdl.handle.net/1974/7746.
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Through an exploration of Toronto-based artist Allyson Mitchell’s craft-art, this thesis investigates the complexities surrounding the functions and roles of public and private spaces; particularly the home and the fine art museum within Canadian society. I propose a reading of Mitchell’s art practice, activism, scholarship, and curatorial activities that focuses on a queering of both private domestic space and public social space through a conflation of the two. Mitchell’s textile installations make intimate and cozy the otherwise impersonal space of the public art museum, while Mitchell queers the heteronormative space of the family home by turning it into a public art institution, an archive and a classroom.
Mitchell’s bright textile enclosures, "Hungry Purse: The Vagina Dentata in Late Capitalism" and "Menstrual Hut, Sweet Menstrual Hut," for example, visibly disrupt the sanitized and impersonal space of the art museum, disrupting the dominant ideological framework that privileges normative assumptions of sexuality and sexual identity, and exclusionary hierarchies of class, able-bodiedness and access. While Mitchell’s theatrical textile installation, "Ladies Sasquatch," has predominantly been theorized as a queer critique of the myths of femininity, gender, sexuality, and the detrimental treatment of the female body within popular media; I present a reading of "Ladies Sasquatch" as a radical decolonizing spectacle that has the potential to interrupt larger nationalistic and colonial narratives reproduced by museums. Through these powerful interventions in public and private space, I suggest that Mitchell’s crafty installations offer playful acts of resistance that create counter narratives which function to decolonize our physical, psychic and emotional space, while also creating new imaginings that undermine the status quo.Thesis (Master, Art History) -- Queen's University, 2013-01-14 15:58:08.015
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Magalhães, Flávio Manuel Pires. "A Fábrica Metalúrgica Sarotos: do abandonado a Museu da Indústria". Master's thesis, 2021. http://hdl.handle.net/1822/74220.
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Dissertação de mestrado integrado em ArquiteturaA presente dissertação nasce da oportunidade de investigar e trabalhar o tema do abandono de edifícios industriais, exemplificado pela Fábrica Metalúrgica Sarotos, Lda (1959-2008), em Braga, Portugal. O processo inerente à intervenção arquitetónica surge como uma ferramenta de compreensão da pré-existência edificada e da sua interpretação, bem como da forma de avaliar as opções possíveis de intervenção, tendo em consideração o valor histórico do objeto arquitetónico no processo de reconversão. Através de uma análise interpretativa e propositiva criou-se uma narrativa em volta da aproximação da cidade de Braga e da Fábrica Metalúrgica Sarotos, Lda, associada a uma relação com as necessidades arquitetónicas atuais da cidade. Necessidades que determinaram os fundamentos da reconversão do caso de estudo de Fábrica Metalúrgica a Museu da Indústria. Neste processo, constata-se a sintetização de toda a informação obtida, cruzada com a observação in situ, e a ação de desenhar sobre o existente, reconhecendo o potencial de expressão construtiva sobre a obra em estudo e a sua envolvente, na procura de modos de intervenção, preservação, reforma e/ou transformação. A intervenção não visa devolver as finalidades programáticas originais ligadas à produção metalúrgica, mas sim identificar e explorar as suas qualidades espaciais, na relação com a cidade, elegendo uma abordagem de intervenção capaz de fazer a ligação entre o passado fabril, o presente abandono e o futuro museu. Esta dissertação não visa encontrar uma solução genérica de reconversão do património industrial em abandono. O seu contributo fundamenta-se na sugestão de uma abordagem arquitetónica que pode ser aplicada como uma metodologia que considera esses vazios industriais como oportunidades para intervenções socioculturais, atribuindo novos programas arquitetónicos que possam acomodar as necessidades socioculturais das cidades.
This thesis arises from the opportunity to investigate and work on the topic of abandoning industrial buildings, exemplified by Fábrica Metalúrgica Sarotos, Lda (1959-2008), in Braga, Portugal. The process inherent to architectural intervention emerges as a tool for understanding the built-up pre-existence and its interpretation, as well as the way of evaluating the possible options for intervention, taking into account the historical value of the architectural object in the reconversion process. Through an interpretive and purposeful analysis, a narrative was created around the approach of the city of Braga and Fábrica Metalúrgica Sarotos, Lda , associated with a relationship with the current architectural needs of the city. Needs that determined the fundamentals of the conversion of the case study from Metallurgical Factory to Museum of Industry. In this process, there is a synthesis of all the information obtained, crossed with the observation in situ, and the action of drawing on the existing, recognizing the potential for constructive expression on the work under study and its surroundings, in the search for ways intervention, preservation, reform and / or transformation. The intervention does not aim to return the original programmatic purposes linked to metallurgical production, but rather to identify and explore its spatial qualities, in relation to the city, choosing an intervention approach capable of making the connection between the factory past, the present abandonment and the future museum. This dissertation does not aim to find a generic solution for the conversion of abandoned industrial heritage. Its contribution is based on the suggestion of an architectural approach that can be applied as a methodology that considers these industrial voids as opportunities for socio-cultural interventions, assigning new architectural programs that can accommodate the sociocultural needs of cities.
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Johnson, Kay. "Unsettling exhibition pedagogies: troubling stories of the nation with Miss Chief". Thesis, 2019. http://hdl.handle.net/1828/11132.
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Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies.Graduate
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Gomes, Alexandra Leal. "Património e Intervenção Cívica: o caso do Futuro Museu Judaico de Alfama". Master's thesis, 2021. http://hdl.handle.net/10362/117662.
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A presente dissertação pretende reflectir e explorar o conceito de Património Participativo e de que forma se procede a intervenção cívica das comunidades nas temáticas patrimoniais, respondendo às seguintes questões da investigação: O que caracteriza a participação cívica no caso do Futuro Museu Judaico de Alfama? Que tipo de intervenções podem ser identificadas? Quem são os participantes? Foi realizado um estudo de caso sobre o Futuro Museu Judaico de Alfama, analisando-se a evolução e todas as problemáticas do processo, bem como as entidades envolvidas no mesmo. Tem como objectivos identificar caracterizar o problema patrimonial na construção deste Museu, identificar e caracterizar a acção dos actores envolvidos, analisar a participação cívica das associações envolvidas e, além disso, integrar a estratégia do Futuro Museu Judaico com a tradição Judaica em Portugal. Foram identificados os seguintes intervenientes: a Câmara Municipal de Lisboa, Associação de Turismo de Lisboa, a Comunidade Israelita de Lisboa, a Associação Amigos do Museu Judaico, a Associação Património e População de Alfama, o Fórum Cidadania Lx e o Fórum Património. Além disso é de mencionar os advogados e os tribunais, nomeadamente o Tribunal Central Administrativo Sul e o Tribunal Administrativo do Círculo de Lisboa. Foi realizada uma recolha de testemunhos (Associação de Património e População de Alfama, Fórum Cidadania Lx e Fórum LX) e uma análise cuidada à bibliografia de referência sobre a temática da intervenção cívica no património e sobre a questão judaica em Portugal. Sendo o tema desta dissertação bastante actual foi fundamental focar parte da investigação nos títulos de imprensa publicada sobre o tema e, posteriormente, efectuar um cruzamento da informação obtida com as leituras de obras científicas. Conclui-se que podemos considerar o modelo de intervenção cívica patrimonial da APPA na tipologia de participação de auto-mobilização, caracterizada pelas ações de participação nas assembleias municipais e em reuniões públicas, lançamento de um abaixo-assinado, comunicações através da imprensa nacional e internacional e pelos contactos directos com a comunidade de Alfama através da banca de rua, uma vez por semana, culminando na ação judicial que travou a construção do Museu.This dissertation intends to reflect and explore the concept of Participatory Heritage and how the communities' civic intervention in heritage themes proceeds, answering the following research questions: What characterizes civic participation in the case of the Future Jewish Museum of Alfama? What kind of interpretations can be identified? Who are the participants? A case study was carried out on the Future Jewish Museum of Alfama, analyzing the evolution and all the problems of the process, as well as the entities involved in it. Its objectives are to identify the characterization of the patrimonial problem in the construction of this Museum, to identify and characterize the action of the actors involved, to analyze the civic participation of the involved associations and, in addition, to integrate the strategy of the Future Jewish Museum with the Jewish tradition in Portugal. The following stakeholders were identified: Câmara Municipal de Lisboa, Associação de Turismo de Lisboa, Comunidade Israelita de Lisboa, Amigos do Museu Judaico, Associação População e Património de Alfama, Fórum Cidadania Lx e o Fórum Património. In addition, mention should be made of lawyers and courts, namely the Tribunal Central Administrativo Sul and Tribunal Administrativo do Círculo de Lisboa. A testimony blessing (Associação de Património e População de Alfama, Fórum Cidadania Lx e Fórum LX) and a careful analysis of the reference bibliography on civic intervention in heritage and the Jewish question in Portugal were carried out. As the subject of this dissertation is very current, it was essential to focus part of the investigation on the press titles published on the topic and, later, cross-check the information obtained with readings of scientific works. It is concluded that we can consider the APPA patrimonial civic intervention model in the typology of participation of self-mobilization, characterized by the actions of participation in municipal assemblies and public meetings, launching of a petition, communications through the national and international press and for direct contacts with the Alfama community through the street stall, once a week, culminating in the lawsuit that stopped the construction of the Museum.
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Chu, Hsin-Yi y 朱欣儀. "THE OBSERVATION AND STUDY ON ART INTERVENTION IN PUBLIC SPACE:“UNDERGROUND EXPERIMENT, CREATIVE SHOW” OF MUSEUM OF CONTEMPORARY ART, TAIPEI AS A CASE". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10522516342047986653.
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碩士元智大學
藝術與設計學系-藝術管理碩士班
101
In this study, I observe how art intervention in public space makes people and community as the subjects of art creation as well as construction of artistic circumstance in the process of city development. The case study is the art project “Underground Experience, Creative Show” sponsored by MOCA Taipei (Museum of Contemporary Art, Taipei) beginning from 2008. This project targets at providing residents of Datong District and viewers or passers-by of Zhongshan Metro Shopping Mall with a variety of art exhibits, performances, and events. With flexibly making use of space, such as temporary, permanent, and/or experimental displays of artworks or activities, the project always seeks to re-combine elements of art creation and everyday life. It coins an interactive and connected relationship between art organizations, community, and people. As a result, a new public space is constructed proposing accessible art experiences for related subjects. The focus is on how MOCA Taipei applies the concept of art invention into the site mentioned above. Through the on-site observation and in-depth interviews, the thesis tries to classify the modes of art invention in public space, and analyze the processes and viewpoints by project participants including undertakers of MOCA, artists, art groups, residents, passers-by and so on. Art intervention in public space is able to connect artists, communities and environments to be a temporary partnership. Furthermore, it may enhance the sense of aesthetic feelings permanently via the encounter, participation, or collaboration of art events. The study explores the operations of the project from three aspects: roles of art in social network, the encounter of art and life, and different modes of art intervention in public space. The outcomes show four substantial effects on the site and subjects: (1) the resident’s changed attitude to art; (2) the promotion of civil aesthetic sense; (3) the construction of micro-cluster; and (4) the organism of sustainable development. In other words, the art project successfully breaks the line between art and life, and inspires all dialogue opportunities, new experience and attitude to art for community residents and passers-by. No matter how they interact with artworks or events presented by the project, more or less, they may attain self-transformation as well as identity to the community. Furthermore, they may pay more attention to the connection between the self and circumstances. With the perception of creative expression and artistic energy around them, they eventually can become aesthetic seeds to push forward the art and culture development of the individual and the community.
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Wreford, Liz. "Field works: explorations in the tall grass prairie landscape". 2007. http://hdl.handle.net/1993/324.
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‘FIELD WORKS’ explores landscape experiences that were once common to the tall grass prairie region of Manitoba. The route through this project winds in and out of urban surfaces to reveal memories embedded in the land. It documents forgotten and dormant prairie events so that they might be woven back into the fabric of the city.
The purpose of this project is to transfer explored and speculative experience into a physical route through the urban prairie landscape. It is an effort to expose the layers clinging to physical memories rooted in the prairie.May 2007
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Lin, Wen-Ling y 林玟伶. "The Intervention of Instrumental Cultural Policy: A Comparative Study between Local Cultural Museum Project in Taiwan and Renaissance in the Regions in the UK". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/c4pesb.
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博士國立臺灣藝術大學
藝術管理與文化政策研究所
101
Over recent years, instrumental cultural policy has become the major concern of policy development and operation as well as an increasingly influence in the arts and museum sectors all over the world. Given this trend, the debates about the potential tensions may arise when instrumental cultural policy is a threat to the intrinsic value of culture. The research explores the practice and influence in which instrumental cultural policy may affect the governance of local museum and discusses the policy practice between Local Cultural Museum Project in Taiwan and Renaissance in the Regions in the UK. The aims of this research are to analyze the historical context of instrumentalism in policy agenda and influence in the development of cultural policy and museum, then to compare and discuss the situations between local museum in Taiwan and the UK. The qualitative approach is used to address the questions, and the research methods have included in-depth qualitative interviews and a secondary data analysis. A total of forty-one interviews were conducted in Taiwan and the UK in order to explore the perspectives of the stakeholders. The interviewees have included the stakeholders in governments, local museums and consulting groups. The research concludes five types of instrumental cultural policies, including economic, politic, social, aesthetic and educational instrumentality. There is a huge influence in economic and social instrumentality both in Taiwan and the UK. The research finds the instrumental reason and intrinsic reason are in the relationship of inter-subjectivity. The advocacy of instrumental cultural policy has increased the instrumental value of museum and has put museums in the better position in terms of policy making. However, there are indeed conflicts and contradictions between instrumental cultural policy and the intrinsic value of museums. Moreover, the instrumental objectives cannot be applied in all types of museums. In terms of governance relationship, both of programmes are the model of multi-level governance and the intermediary sectors play an important role. In the progress of programmes, however, the order reason took power over the communicative reason. Regarding to evaluation, both of programmes have adopted the approach of mixed quantity and quality evaluation method but the truly outcomes and outputs are difficult to be evaluated. Besides, if there are no benefits of instrumental cultural policy, the instrumental objectives will not be valued by museums. In doing so, there may be some limitations of the outcomes and outputs of policy. The research suggests there are needs to find balance between four reasons this research have mentioned above. The results may help the development of “positive instrumentalism.”
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Jesus, Carla Susana Vieira de. "Educar públicos adultos e seniores no museu: um projeto inclusivo e de promoção do envelhecimento ativo". Master's thesis, 2016. http://hdl.handle.net/1822/45171.
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Relatório de estágio de mestrado em Educação (área de especialização em Educação de Adultos e Intervenção Comunitária)Vivemos em sociedades carentes de espírito comunitário, onde a partilha de valores e afetos constitui uma dimensão que urge potenciar. As contingências da vida moderna relevam para segundo plano as relações interpessoais e o trabalho comunitário. O trabalho deste projeto pretende contrariar essa ideia. O museu em causa, tem vindo a reinventar-se, prestando serviços educativos e formativos através de uma diversidade de atividades, entre elas, exposições, ações de formação, oficinas, visitas, apresentação de livros, conferências. A sua missão centra-se na promoção de boas práticas e procedimentos museológicos, contribuindo para a sua divulgação junto de entidades terceiras e para a afirmação do museu como agente de desenvolvimento cultural e social da comunidade em que se insere. O projeto nasce no seio deste museu em Braga, um local interativo, flexível e interveniente com a comunidade. No âmbito da Educação de Adultos e Intervenção Comunitária, este projeto apresenta às pessoas um museu enquanto espaço de reflexão e discussão e partilha de conhecimentos, tendo em conta as necessidades e interesses culturais e sociais da população. Assim, o público-alvo são adultos e idosos de Instituições Particulares de Solidariedade Social de Braga. A metodologia utilizada é investigação-acção participativa. Ela permite-nos recolher os dados junto da realidade social com o propósito de promover/induzir mudanças nessa mesma realidade. Posto isto, foram aplicados questionários de diagnósticos de necessidades e interesses e entrevistas semiestruturadas com questões abertas que permitissem uma melhor narrativa das rotinas, hábitos e práticas de lazer dos indivíduos. Dos resultados obtidos, foi possível averiguar que estas pessoas estavam interessadas em participar e ocupar os seus tempos livres. A prática e o desenvolvimento de atividades de lazer têm-se revelado na vida das pessoas como um fator de crucial importância. E dessa forma, contribui para um melhor estado de espírito dos indivíduos.
We live in societies lacking in community spirit, where shared values and affections is a dimension which needs to be developed. The contingencies of modern life leave behind interpersonal relationships and community work. The work of this project aims to counteract this idea. The museum in question has been reinventing itself, providing education and training services through a variety of activities, including, exhibitions, training sessions, workshops, tours, book presentations, conferences. Its mission focuses on promoting best practices and museums procedures, contributing to its dissemination close to the local authorities and to the museum's statement as cultural and social development agent of the community in which it operates. This project is created through a museum in Braga, who is an interactive, flexible and a space interventional with the community. Within this master specialization, Adult Education and Community Intervention, this project presents people a museum as a space for reflection and discussion and knowledge sharing, taking into accounts the needs and cultural and social interests of the population. Therefore, the target audiences are adults and seniors of Private Institutions of Social Solidarity of Braga. The methodology used is participatory action research. And it allows us to collect data inside of the social reality in order to cause changes in the same reality. That said, we applied questionnaires of needs assessment and interests and semi-structured interviews with open-ended questions that allowed a better narrative routines, habits and people leisure activities. From the results, it was possible to ascertain that these people were interested in participating and occupy their leisure time. The practice and the development of leisure activities have proved in people's lives as a factor of crucial importance. And thus contributes to a better state of mind of the population.
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Pinho, Jacqueline Lira Vianna. "Método e intervenção no edificado existente. A Casa do Pintor Carlos Reis". Master's thesis, 2021. http://hdl.handle.net/10316/97972.
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Dissertação de Mestrado em Reabilitação de Edifícios apresentada à Faculdade de Ciências e TecnologiaCurrently in Portugal there is an increasing concern about the rehabilitation of old buildings of current architecture, as it has been happening in other countries for a longer time. Although they are not emblematic buildings, the rehabilitation of current buildings is important to safeguard their values and for the aspect of sustainability whose relevance is so evident in our days. The interventions in the pre-existence are important in the valorisation of the relationship of the present with the past and assume great responsibility for the need to understand the best way to intervene in the existing architectural object. For this, a set of intervention strategies and thoughtful constructive actions are necessary to preserve its identity and integrity. In this context, the dissertation deals with an intervention in the former residence of the painter Carlos Reis in Lousã. The artist had an affective connection with the city and decided to build his studio there in 1918, later expanded to include his holiday residence. The house has cultural relevance and valuable architectural features, but is inactive and degraded inside. In order for the building to resume its function in society it was proposed in this study to change the use of the building to a house-museum.The main objective of this work was to rehearse, develop and make explicit an intervention method in which all the steps considered in this kind of action were considered in a sequential way. The second focus was the definition of a consistent programme capable of bringing the house back to the community. This programme started from a discussion and investigation of what a house-museum is today, which was done through the analysis of case studies. The aim was also to develop a foreshadowing of the intervention proposal, based on the information gathered, which was used to draw up a master plan with the intervention actions for the house.
Atualmente em Portugal observa-se um aumento na preocupação com a reabilitação de edifícios antigos de arquitetura corrente como já ocorre em outros países há mais tempo. Apesar de não se tratar de edifícios emblemáticos, a reabilitação do edificado corrente é importante para salvaguardar seus valores e pelo aspeto da sustentabilidade cuja relevância é tão evidente em nossos dias. As intervenções na pré-existência são importantes na valorização da relação do presente com o passado e assumem grande responsabilidade pela necessidade de perceber a melhor maneira de intervir no objeto arquitetónico existente. Para isso faz-se necessário um conjunto de estratégias de intervenção e ações construtivas ponderadas para preservar a sua identidade e integridade. Nesse contexto, a dissertação trata de uma intervenção na antiga residência do pintor Carlos Reis na Lousã. O artista tinha uma ligação afetiva com a cidade e decidiu ali construir o seu atelier em 1918, posteriormente ampliado para incluir sua residência de férias. A casa apresenta relevância cultural e características arquitetónicas de valor, mas encontra-se inativa e degradada no seu interior. Para que o edifício retome a sua função na sociedade foi proposto neste estudo a mudança de uso do edifício para casa-museu.O principal objetivo deste trabalho foi ensaiar, desenvolver e explicitar um método de intervenção em que foram consideradas de forma sequencial todas as etapas consideradas neste tipo de ação. O segundo foco foi a definição de um programa consistente capaz de trazer de volta a casa para a comunidade. Esse programa partiu de uma discussão e investigação do que hoje é uma casa-museu, o que foi feito por meio da análise de estudos de casos. Foi objetivo também desenvolver uma prefiguração da proposta de intervenção, a partir do conjunto de informações reunidas que serviu para a elaboração de um plano diretor com as ações de intervenções para a casa.
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Gonçalves, Carlos da Silveira. "Adriano de Sousa Lopes (1879-1944). Um pintor na Grande Guerra". Doctoral thesis, 2016. http://hdl.handle.net/10362/18445.
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A presente tese estuda o período dedicado à Grande Guerra na vida e obra de Adriano de Sousa Lopes. Foi o único artista oficial do Corpo Expedicionário Português, em França, nomeado em Agosto de 1917, e por isso se discute as suas motivações, os objectivos que propôs ao ministro Norton de Matos e a sua experiência singular na frente de guerra da Flandres. Centrando a análise nas obras de arte e documentação inédita, a tese examina as múltiplas facetas e realizações do artista de guerra – o capitão equiparado e chefe do Serviço Artístico do CEP, o desenhador, o água-fortista, o pintor – e propõe uma interpretação crítica dos seus projectos mais ambiciosos: a representação portuguesa na Sala dos Aliados do Musée de l’Armée, em Paris e, o mais decisivo, a concepção das Salas da Grande Guerra no Museu Militar de Lisboa, para onde pintou sete telas monumentais. A tese revela pela primeira vez a prolongada disputa sobre essas Salas, entre o artista e a direcção do Museu Militar, e as suas consequências determinantes. Estuda ainda a colaboração desconhecida de Sousa Lopes na decoração dos cemitérios de guerra e no Panthéon de la Guerre, um panorama colossal em pintura inaugurado em Paris em 1918.
Contudo, a tese não se limita a analisar um período específico de um artista. Procura contextualizá-lo no plano nacional e internacional. Um novo entendimento do conjunto da obra de Sousa Lopes foi por isso necessário, assim como das suas ideias estéticas e recepção crítica. Explorou-se de seguida o impacto internacional da Grande Guerra na pintura, na ilustração e noutras artes visuais, e discute-se a acção dos governos beligerantes no patrocínio dos artistas e sua relação com a propaganda. Em Portugal foi analisado o debate ideológico em torno da intervenção, na esfera cultural, e as respostas mais significativas dos artistas portugueses ao conflito. Uma das descobertas centrais da presente tese é a colaboração próxima de Sousa Lopes com figuras capitais da intervenção na Flandres, como Vitorino Godinho, Américo Olavo, Jaime Cortesão e outros, que legitimaram e promoveram a sua obra. Mas discute-se também o seu impacto na sociedade portuguesa do pós-guerra, através das exposições e da recepção crítica, seja na comunidade de combatentes e na esfera institucional, seja na imprensa contemporânea ou na historiografia de arte até ao presente.This thesis studies the period of the Great War and his aftermath in the life and work of Portuguese painter Adriano de Sousa Lopes. He was the only official war artist of the Portuguese Expeditionary Corps (CEP) in France, appointed in August 1917. First we discuss his motivations, the objectives he proposed to the War Minister Norton de Matos and his unique experience at the front. Focusing on the works of art and unpublished documents, this study examines the many facets of the war artist – the captain and chief of CEP’s Artistic Service, the draughtsman, the etcher, the painter – and proposes an interpretation of his most ambitious projects: the Portuguese section in the Allied Room at the Musée de l’Armée, in Paris and, most crucial, the conception of the Great War Rooms at the Military Museum of Lisbon, where seven of his monumental canvases were installed. This research reveals for the first time the dispute over the Lisbon rooms between the artist and the museum’s direction and its problematic results. It analyzes also the unknown collaboration of Sousa Lopes in decorating the war cemeteries in France and in the Panthéon de la Guerre, a colossal panorama painting premiered in Paris in October 1918. However, this study is not limited to a specific period of Sousa Lopes. It provides a context for it at the national and international level. A new understanding of the whole of Sousa Lopes’s carrer was needed, as well as his aesthetic ideas and critical reception. Then I explore the international impact of the Great War in painting, illustration and other visual arts, discussing the governments’ patronage of artists and its relation to propaganda. Next I consider the ideological debate in Portugal about the country’s intervention in the war, mainly in the cultural sphere, and the most relevant responses of Portuguese artists to the conflict. One of the central findings of this thesis is Sousa Lopes’s close collaboration with crucial combatants in Flanders, such as Vitorino Godinho, Américo Olavo, Jaime Cortesão and others, who legitimized and promoted his work. But it is also discussed the impact of Sousa Lopes’s works in the postwar years, through his exhibitions and critical reception, whether in the community of combatants or at the institucional level, in the contemporay press or in the history of art up to the present.