Thèses sur le sujet « Cleaning of works of art »
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Volpi, Francesca <1984>. « Green Strategies for the Cleaning of Works of Art Setting Up of an Analytical Protocol for the Evaluation of Cleaning ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8050/1/PhD%20thesis%20FV_2017_k.pdf.
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In last decades, the safety of both artworks and restorers during cleaning operations, has been the subject of many research works, aimed at the development of gel-systems that confine the solvent action to the very surface thus preventing its absorption into the paint layers and minimizing operators’ exposure.
In this research work, a totally sustainable approach has been presented for the cleaning of artworks. In particular new organogels made of bio-compatible components, were evaluated as cleaning tool for the removal of paint varnishes. The gels consist of a polymer derived from renewable bio-materials, poly(-3hydroxybutyrrate), and different green solvents (γ-valerolactone GVL, ethyl lactate EL, dimethyl carbonate DMC). These gels, previously characterized in order to investigate thermal and mechanical properties, were tested for the removal of natural and acrylic varnishes over different binding medium (linseed oil, egg and glue).The gels were first tested on painting mock-ups, not aged and aged, then validated on real paintings. Their cleaning capabilities were compared to methods traditionally employed in restoration (e.g. dimethyl sulfoxide, benzyl alcohol acetone, carbopol-gel). A specific protocol of cleaning evaluation was designed for assessing varnish removal capability, residues releasing and solvent retention by means of Optical Microscope observations of paint cross sections in visible and ultraviolet light, µFTIR-Attenuated Total Reflection surface analyses and Head Space-Solid Phase Micro Extraction coupled with GC-MS analyses. These new totally safe and biodegradable organogels demonstrated good varnish cleaning capabilities that, in conjunction with their easy preparation, use and waste, represent a “green” and safe approach for both paintings and painting restorers.
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Pereira, Catarina Luísa Cortes. « Application of ionic liquids and enzymes for the removal of proteinaceous layers from polychrome of works of art and evaluation of the cleaning effectiveness ». Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/9062.
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Dissertação Apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Ciências da Conservação, especialização em PinturaA novel use of ionic liquids as alternative solvents for enzymes in cleaning treatments for the removal of proteinaceous materials from painted or gilded surfaces is presented. The ionic liquids are potentially green solvents to be applied in restoration treatments being also called designer solvents, because of their peculiar properties which can be adjusted by selecting different cationanion combinations. Two ionic liquids were selected: IL1)1-butyl-3-methylimidazolium tetrafluoroborate ([BMIM][BF4])and IL2) 1-ethyl-3-methylimidazolium ethylsulfate ([EMIM][EtSO4]). Formulations were prepared with these ionic liquids and two different proteases: one acid (pepsin) and one alkaline (from Aspergillus sojae). Additionally aqueous gel formulations were prepared with these enzymes for reference purpose. A third enzyme provided by the Bromatology Department at the Faculty of Pharmacy from the Porto University was tested only in gel formulation in order to assess its potential use in cleaning treatments. To understand the enzyme activity of these formulations and predict their ability as cleaning agents, analyses were performed with ultraviolet–visible (UV-Vis) spectroscopy and highperformance liquid chromatography (HPLC) prior cleaning; and with matrix-assisted laser desorption/ionization time of flight mass spectrometry (MALDI-TOF-MS) after cleaning. These formulations were tested on mock-up samples prepared in accordance with documented and historical sources of artistic techniques of egg tempera and oil painting, and gilding. A non-invasive non-destructive multi-scale analytical protocol was carried out for cleaning effectiveness evaluation and surface characterization before and after treatment. Different surface analytical techniques were adopted to this purpose: stereomicroscopy (SM), optical microscopy (OM) with visible and fluorescence light, atomic force microscopy (AFM), scanning electron microscopy (SEM) and electron dispersive spectroscopy (EDS) and colorimetry (CIE L*a*b* system). The surface analytical protocol proved to be adequate, not only, for monitoring the cleaning process but also for complete characterization of the surface, before and after treatment, including information on the presence of residues and possible surface deterioration. It was also proved that the formulations of enzymes combined with ILs can be used successfully for the removal of proteinaceous material as alternatives to gel formulations. More studies should be conducted to determine the most suitable IL or group of ILs, the main concern should focus on improving aspects such as compatibility with other surface materials, and possible long-term effects of residues after cleaning.
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Pontén, Stina. « I like it dirty ». Thesis, Konstfack, Ädellab, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6391.
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Using dirt and cleaning as a point of departure, I have examined how categorization and intentionality affects our perception of value. The work is partly performative in its nature where this performativity sets the limelight on the transition between categories: From dirt to craft, from irrational behaviour to art. In the artistic process, I have used coffee rings on table cloths, shoeprints on wallpapers and the act of mopping as a means of questioning. Through this, I also reveal and question hierarchies in society. The essay discusses and theoretically relates to the artistic work.Med utgångspunkt i smuts har jag underökt hur kategorisering och intentionalitet påverkar vår uppfattning av värde. Arbetet är delvis performativt till sin natur, där denna performativitet sätter fokus på övergången från en kategori till en annan: Från smuts till konsthantverk, från irrationellt beteende till konst. I den konstnärliga processen har jag använt mig av kafferingar på dukar, skoavtryck på tapeter och moppande av golv som medel för ifrågasättande. PÅ detta vis blottlägger och ifrågasätter jag hierarkier i samhället. I uppsatsen diskuterar jag och relaterar teoretiskt till det konstnärliga arbetet.
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Cranfield-Rose, James (Brady). « Writing about Six Sounds Works / ». Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
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Agapov, Yaroslav. « Landscape representations in Dostoevsky's works, Dostoevsky's use of works of art ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ46961.pdf.
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Williams, Stephen Eugene. « Major works : 1990-1992 ». The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382953466.
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Hepola, Jouko. « Sulfur transformations in catalytic hot-gas cleaning of gasification gas / ». Espoo [Finland] : Technical Research Centre of Finland, 2000. http://www.vtt.fi/inf/pdf/publications/2000/P425.pdf.
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D'Alconzo, Nicolo. « Works of art in ancient Greek novels ». Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa42452.
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This thesis is a study on the use of works of art in Greek novels, based on the idea that the novelists understood it as one of the main features of their job. I recognise a coherent pattern whereby works of art are closely connected to protagonists and plot, which started already with first-century novels and continued throughout. Chapter One explores rhetorical theory of ekphrasis in order to provide technical information on it as well as to reassess the notion that descriptions of paintings in novels were entirely dependent on rhetoric. Chapter Two starts the analysis of the feature of works of art in the genre by examining Chariton and Xenophon of Ephesus, and by making some considerations on the Ninus romance as well. It shows that works of had a relevant role before the introduction of ekphrasis of paintings, and also that novelists showed a tendency to employ, and innovate on, the ideas of their predecessors. Through close textual analysis of the relevant passages. Chapter Three details how Achilles Tatius composed the ekphraseis of paintings from literary as well as figurative models, and shows how he explored their potential by experimenting on the connection between description and narration. In an appendix, it also examines a possible connection between Achilles Tatius and Lucian. I see Achilles Tatius' descriptions as a prelude to the reflection on the nature of ekphrasis of paintings that can be found in Longus, mostly in the prologue of his novel. Chapter Four is dedicated to this, and connects it to the development of ekphrasis of paintings as an autonomous genre in the third century. Finally, Chapter Five considers Heliodorus as the recipient of this tradition, by looking closely at how he used the story of the birth of his heroine, who is born from a painting, to talk about the birth of his novel. The novelists became progressively aware that art was the expedient through which they could talk about the nature of their work.
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Pell, Sarah Jane. « Aquabatics as New Works of Live Art ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1639.
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This practice-based thesis (comprising of an exegesis, exhibition, performances
and their documentation) traces a myriad of cognitive and sub cognitive
processes that converge towards a complex practice referred to as 'Aquabatics'.
In broad terms, Aquabatics describes the research nexus of occupational diving
and contemporary performance. The purpose of this body of research has been
to explore underwater performance, behaviour and boarders, in order to both
devise new works of live art and to develop new methodologies and approaches
to art-making. Aquabatics, as a performance strategy, seeks to critique, contest
and explore the liminal natures of human performance, and the role and context
of live artists, in contemporary life.
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Tartoni, Nicole M. « ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania / ». Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.
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Bushman, Karissa Elizabeth. « Anticlericalism in Goya's works ». Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2051.
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Throughout his career, Francisco de Goya drew, etched, and painted several recurrent themes. One which began early in his career and was revisited by the artist even in the last years of his life while in exile in Bordeaux was anticlericalism. Goya lived during turbulent times in Spanish history, with the role of the Catholic Church changing as governments and kings also changed. His art reflects the many abuses of power the Church and its clerics perpetrated on the Spanish people during this period. Throughout his oeuvre, Goya critiques the clergy and the Catholic Church for misconduct such as sexual abuse, greed, acts of violence, and hypocrisy. If we consider the decades in Spanish history in which Goya lived we note that the clergy and the church were reformed under the enlightened monarchs of the Bourbon dynasty and were almost completely disbanded under French control during the War of Independence against Napoleon. We subsequently see a complete reversal with a reinvigoration of the Church and the Inquisition under the restoration of Fernando VII. It makes sense that Goya, an artist who used his art to provide us with a social critique of Spanish life, would have turned to the many wrong doings of the Church since it was one of the most important and powerful institutions in Spain during his lifetime. Goya's critiques of the Church were harsh, humorous, and many times intentionally ambiguous. My dissertation examines a still much neglected facet of Goya's art, namely his depictions of anticlericalism throughout his career. I address how the cultural, religious, social, political, and literary history of Spain help to explain why the artist denigrated members of the Catholic Church in his art. A great deal has been written on some of Goya's well-known religious paintings, yet his fierce anticlericalism that informs so much of his art has been largely overlooked.
The first chapter introduces anticlericalism and examines the historiography of Goya's works. It also explains my methodological approach and how my dissertation seeks to expand upon the scholarship that discusses Goya's complex relationship with religion. My second chapter addresses the role of religious commissions in Goya's early career from his training to his beginnings in the royal court of Madrid. I emphasize how even in his early career, Goya's religious paintings had begun to satirize the Catholic clergy as well as depart from traditional religious iconography. Subsequent chapters focus on works he created while he was becoming the most famous and sought after artist in Spain. Specifically in chapters three and four I examine anticlericalism in his print series Los Caprichos and Disasters of War as well as in his paintings and drawings completed while living in Spain.
My final two chapters examine Goya's anticlericalism in the last years of his life, first under the restored monarchy of Fernando VII and then during his self-imposed exile in Bordeaux. The late works reveal the extent to which Goya continued to meditate on and represent the abuses of the Catholic clergy in Spain, a topic that would be on his mind until his final days.
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Silva, HermÃnia Maria Lima da. « Hypertextic Intertextual Practices in Biblical Works of Art ». Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=18417.
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nÃo hÃThis research was done, in the broader sense, to review Genetteâs (2010) theoretical proposal of hyper-aesthetic intertextual practice and, in the strict sense, to propose a new theoretical and methodological framework for future analyses of such intertextual phenomenon. For this purpose a corpus composed of non-verbal texts was analyzed: thirty pairs of biblical-themed works of art created between the 15th and 21st century, from the Renaissance to Contemporaneity. This research also aimed to detect whether there were more cases of capture or subversion of meaning among the derivative works of art in comparison to the verbal biblical text source. In the belief of the possibility to define new categories to investigate hyper-aesthetic intertextual practice, in addition to those already identified by Genette (2010), justified the analysis. Therefore the Comparison Analysis Method of Art Works by Feldeman (2012) was adopted as well as the analysis scheme proposed by Barthes (1986), and the concepts of capture and subversion registered by Charaudeau and Maingueneau (2004). The analysis revealed significant findings, among them notably: 1Â) the need to change the terminology used by Genette (2010) for the intertextual occurrences; 2Â) acceptance of the idea, already pointed out by other researchers, that the allusion is a constitutive occurrence of intertextual derivational occurrences; 3Â) the definition of two new categories for the hyper-aesthetic practice, austerism and transfiguration, in addition to the three already identified by Genette (2010), transposition, parody and travesty; and 4Â) the predominance of capture occurrences among the analyzed art works and the founding biblical text. This research may likely contribute to further studies of the phenomenon of intertextuality, especially to the dialogue between non-verbal texts, which still lacks a greater in-depth study, but has been proven to be a very fertile field.
Esta pesquisa vem, em sentido amplo, rever a proposta teÃrica de Genette (2010) para as prÃticas intertextuais hiperestÃticas e, em sentido estrito, propor um novo quadro teÃricometodolÃgico para futuras anÃlises desse tipo de fenÃmeno intertextual. Com este intuito, partiu-se da anÃlise de um corpus composto por textos nÃo verbais, trinta pares de obras de arte de temÃtica bÃblica produzidas entre os sÃculos XIV e XXI, do Renascimento à Contemporaneidade. à pesquisa interessou tambÃm observar se, entre as obras derivadas, ocorreram mais casos de captaÃÃo ou subversÃo de sentido em relaÃÃo ao texto-fonte verbal bÃblico. A anÃlise justifica-se pelo fato de acreditar-se na possibilidade de definiÃÃo de novas categorias para investigar as prÃticas intertextuais hiperestÃticas, alÃm daquelas jà apontadas por Genette (2010). Para tanto, adotou-se o MÃtodo de AnÃlise Comparativa entre Obras de Arte, de Feldeman (2012) e, junto a ele, invocou-se o esquema de anÃlise proposto por Barthes (1986), assim como os conceitos de captaÃÃo e subversÃo registrados em Charaudeau e Maingueneau (2004). A anÃlise revelou constataÃÃes significativas, entre as quais se destacam: 1Â) Necessidade de alteraÃÃo da terminologia utilizada por Genette (2010) para as ocorrÃncias intertextuais; 2Â) AdmissÃo da ideia jà apontada por outros pesquisadores de que a alusÃo à uma ocorrÃncia constitutiva das ocorrÃncias intertextuais derivacionais; 3Â) DefiniÃÃo de duas novas categorias para as prÃticas hiperestÃticas, austerismo e transfiguraÃÃo, alÃm das trÃs jà apontadas por Genette (2010), transposiÃÃo, parÃdia e travestimento; e 4Â) PredominÃncia de ocorrÃncias de subversÃo na relaÃÃo entre as obras analisadas e o texto bÃblico fundador. Acredita-se que a investigaÃÃo da pesquisa ora apresentada possa vir a contribuir com os estudos do fenÃmeno da intertextualidade, em especial, em um campo ainda carente de aprofundamento, o qual vem se mostrando muito fÃrtil: o diÃlogo entre textos nÃo verbais.
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Kristoff, Donna. « Wall works : painting as record and revelation / ». Online version of thesis, 1992. http://hdl.handle.net/1850/11746.
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Tolley, Rebecca. « Review of Self-Taught Art : The Culture and Aesthetic of American Vernacular Art ». Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5710.
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Weiss, Katherine. « Samuel Beckett and Contemporary Art ». Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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Tolley, Rebecca. « Review of Art Full Text ». Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5633.
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Tolley, Rebecca. « Review of Art Full Text ». Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5640.
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Wright, Allan. « Frank Zappa's orchestral works art music or "bogus pomp" ? / ». Connect to e-thesis, 2007. http://theses.gla.ac.uk/492/.
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Clunn, Rebecca. « The Global Performance Art Network : How the Net Works ». Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366836.
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As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art.
In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Business School
Griffith Business School
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Greenwood, Toby. « What Makes Art Good?A Case Study of Children’s Aesthetic Responses to Art Works ». Thesis, University of Canterbury. Educational Studies and Human Development, 2011. http://hdl.handle.net/10092/5751.
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This study explores what 10-12-year-old students say they like and value in works of visual art. As the participants talk about their own and other people‟s art works they are formulating and expressing aesthetic responses and beginning to shape their individual aesthetic awareness. Because of the age of the participants, the exploration is framed in terms of “what makes art good”.
The research was prompted by the introduction and implementation of the New Zealand Curriculum (2007), which not only positions art as a core area of learning, but also outlines values and key competencies that characterise a constructivist approach to knowledge. Such an approach requires active engagement by learners and suggests that it is important for teachers to understand their students‟ values and views. However, in the field of art education there is little published material that examines the views and reactions of students. A broadly qualitative approach to the case study was taken, drawing particularly on phenomenography and narrative.
The study found that 10-12 year-old students do actively make judgements about art works, and while there are common themes that occur repeatedly, the bases of such judgement vary from student to student. The study also found students‟ ways of approaching art-making varied, with some, for example, concerned predominantly with the technical process while others were more interested in imagery or narrative intention.
The thesis argues that it is important for teachers to be aware of how their students individually process their aesthetic responses in order to develop relevant and appropriate programmes.
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Stavropoulos, Carol Susann. « A diagnostic profile of art understandings based on verbal responses to works of art / ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487779439845133.
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Midtdal, Krister. « Self-Cleaning Glazing Products : A State-of-the-Art Review and Future Research Pathways ». Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for bygg, anlegg og transport, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18549.
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Self-cleaning technology is used in a variety of products today, with glazing products being the foremost area of application. However, there are several self-cleaning technologies in use and their self-cleaning efficiency may be unclear. This study aims to give a comprehensive state-of-the-art review of the self-cleaning glazing products available on the market today and investigate methods for measuring the self-cleaning effect. Various future research pathways and opportunities for the self-cleaning products of tomorrow are also explored within this study, with emphasis on solar energy application areas such as daylight, solar radiation transmission, electrochromism, building integrated photovoltaics (BIPV), solar cell glazing and solar cells in general. Self-cleaning products from several manufacturers that utilize two different self-cleaning technologies of either photocatalytic hydrophilic or hydrophobic capability are presented. The photocatalytic hydrophilic products in question are self-cleaning glazing products ready-to-use when purchased, whilst the presented hydrophobic products are coatings that must be applied to existing glazing products in order to yield a water-repellent and self-cleaning surface. It is stated that the self-cleaning action of the photocatalytic hydrophilic products is evident through 25 to 30 years, even during dry spills, and that they are able to maintain a cleaner surface than ordinary untreated float glass. However, the self- cleaning action of hydrophobic-coated products is limited by a relatively short life expectancy of about 3-4 years, and their self-cleaning performance is found to be feeble compared to ordinary untreated float glass. Nonetheless, the potential for future use of both self-cleaning technologies are apparent, with focus on alternative application areas such as solar cells, BIPV and information display devices, which indeed could benefit from utilizing the self- cleaning technology. Visions for future self-cleaning products are also discussed, which combine self-cleaning abilities with photovoltaism and electrochromism, whereupon the applicability of the self-cleaning technology may be greatly increased.
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Fowler, Michael Anthony. « Unsavory Sights : Cannibalism in Greek Art ». Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8908.
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Scenes involving the breaking or outright inversion of culinary and (com)mensal norms are frequent in Greek art of the Archaic and Classical periods. The most discussed group of such images involves the uncivilized act of binge drinking unmixed wine and, as a result, losing control of one’s mind and body. Far less studied from an iconographic perspective are scenes of cannibalism, the most extreme and unsettling of all Greek culinary taboos. This paper seeks to define the iconography and meaning of cannibalism in Greek art through an exploration of the individual and shared compositional features of anthropophagic scenes and their visual relationship to normative images of meat consumption. Analytical attention will also be given to the objects on which these scenes appear and the relationship between the scenes and any other decorative content. Of particular interest is the way in which the iconography reflects cannibalism’s association with other serious normative violations, for example, infanticide (e.g., Prokne slaying her son Itys) and inhospitality (e.g., the Egyptian pharaoh Bousiris attempting to sacrifice his guest-friend Herakles). [The manuscript is currently being developed into an article to be submitted for publication consideration, probably in winter 2021.]
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Fowler, Michael Anthony. « Unsavory Sights : Cannibalism in Greek Art ». Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8911.
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Hagemeier, Nicholas E. « The Art and Science of Thriving ». Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7747.
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Tolley, Rebecca. « Review of Art Museum Image Gallery ». Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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Politowicz, Zak. « ANALYSIS AND METAPHOR SEARCH STRATEGY CONCERNING VISUAL WORKS OF ART (LANGUAGE, EDUCATION) ». Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275390.
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Frondorf, Aaron William. « Hoodoo and the law| Mostly printed works ». Thesis, Colorado State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590571.
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This paper discusses the relationship of ideas to their media, through the relationship of contents to a book and through the use of aesthetic barriers. The conceptual content of the artworks produced center around epistemological self-betterment and practical mysticism. I discuss in this paper my thought process, the work itself, and the works intended functions. I discuss the idea of the book and my rationale behind working in printmaking.
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Tryon, Denzil Jordan. « Hermeneutics and memory in selected works by Willem Boshoff ». Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004453.
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From Introduction: Willem Boshoff was born in Vereeniging, South Africa, in 1951. The son of a carpenter, Boshoff developed an early interest in art. Although never taught formally by his father, he nevertheless acquired a knowledge of the craft of carpentry, a skill which he continues to utilize in much of his art-making today. Boshoff studied at the Johannesburg College of Art, and obtained a Master's Diploma in Technology in Fine Art in 1984. He taught at that institution for twelve years, becoming a full-time art practitioner in 1996. He produced some significant works prior to and during the time of his teaching tenure, including his KykAfrikaans visual poetry in 1979-1980, Bangboek between 1977-1986, and the researching and writing of the Dictionary of Perplexing English in 1986 (ending in 1999). In this study I will discuss Willem Boshoff's careful employment of language and materials, througb which he propagates his "study of ignorance" (Williamson and Jamal 1996:148). I will investigate two major works by Boshoff, namely The Writing in the Sand and The Blind Alphabet in Chapters 1 and 2 respectively. Both of these installations are concerned fundamentally with the subversion of power relationships and elitism. As I will show, both works offer an opportunity to investigate their objectives in relation to discourses surrounding language and hermeneutics. My study includes a third chapter, in which I discuss my own work entitled The Bread of the Presence in relation to Boshoff's own methodologies. As will be demonstrated with particular reference to The Blind Alphabet and my own work, a discussion of memory proves to be of some relevance within this dialogue.
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Packard, Keiko I. « The spirit of asobi as seen in Sôtatsu's works ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894173.
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Reid, Joshua S. « Art Appreciation Lecture and Sculpture Walk Tour ». Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3167.
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Boggs, Teresa. « Adapting Art for Children with Special Needs ». Digital Commons @ East Tennessee State University, 2000. https://dc.etsu.edu/etsu-works/1515.
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Marinkova, Milena Dobrich. « Haptic Writing as Micropolitical Art in Michael Ondaatje's Narrative Works ». Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484903.
Texte intégralRésumé :
This thesis offers a reading of Michael Ondaatje's narrative works that correlates certain aesthetic choices with alternative forms of political allegiance. Starting with a discussion of what constitutes the haptic qualities of these texts, I demonstrate how synaesthesia and indexicality as aesthetic devices and thematic choices forge a more egalitarian and interactive relationship between reader, author and work. Whilst the dissolution of monologic textuality gives way to heteroglossic textural propinquity, Ondaatje's works do not simply celebrate multivalent meaning, but recurrently remind one of the disruptive potential of the haptic. For not only are these narratives postmodernist flights into imagination and experiment, but they also constitute disturbing interventions into mainstream. discourses. Furthermore, haptic writing iscapable of offering an ethicil1ly responsible narrative that disrupts normative regimes of representation without dismissing the personal and the intima~. The indexical nature of hapticity constructs the text as a trace of a material reality and real material bodies; a remainder that is itself physical and opaque. Thus, the inscrutable corporealities and untranslatable textualities enact a form of witness writing, which does not become a redemptive spectacle, nor does it offer a cure-all solution. Resisting transparent repres;ntation and absolute cognitive me'chanisms, Ondaatje's works bear just witness to the irreducibility of difference and self-reflectively acknowledge their own representational limits. Similarly to the physicality of the body,· haptic writing testifies to its own insufficiency and invites the reader in her tum to become an embodied and participatory, an agentive and vulnerable witness. The agency conferred by a haptic writing is of a microscopic rather than macro nature. Ondaatje's much criticised interest in the personal and the intimate, however,does not soar into a celebration of individualism. The haptic emphasis on the irreducibility of corporeality highlights a site where multiple allegiances can gain recognition without being subsumed into a uniform political stance. However, such immanent relationality can be romanticised or exoticised, just as multiple microscopic allegiances can be co-opted by regimes of dispersed control or of qmisi-fascistic nature. In this respect, Ondaatje's narratives not only gesture at their insufficient and constructed nature, but also outline their potential implication in and appropriation by normative discourSes.
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Peacock, Judith Ann. « Ecclesiastical vestments as works of art : intertextuality, meaning and design ». Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324165.
Texte intégral
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BONELLI, NICOLE. « Cleaning Works of Art : Tuning Hydrogels properties by Blending PVA-based Systems ». Doctoral thesis, 2015. http://hdl.handle.net/2158/981189.
Texte intégralRésumé :
The choice of the most suitable system for the cleaning of cultural heritage artifacts is a challenging issue due to the great variety of materials and textures that can be encountered during restoration. High control and selectivity are the main features that should characterize an ideal cleaning system. At present, the use of cleaning fluids confined in gelled structures is considered one of the most performing strategies to face concerns related to an excessive penetration of the liquid phase within the porous matrix of the artwork. In the last decades several gel formulations were introduced in restoration practice, most of them pertaining to class of physical gels, while, more recently, also some chemical gel formulations were adopted. Physical gels have usually a jam-like texture and permit to attain homogenous cleaning thanks to their complete adaptability and adhesion to the surface they are put in contact with. However, they present important drawbacks related to left residues after treatment. Chemical gels are characterized by strong cohesion forces, which permit their easy and complete removal and, thus, a residue-free treatment. Their cleaning performances, in terms of homogeneity, might be compromised in case that the irregularities of the surface to be treated don’t permit an appropriate adhesion of the gel. Blended PVA-based hydrogels, obtained through two different synthesis methods, are innovative systems that permit both, homogenous adhesion, thanks to their mechanical adaptability, and an easy and complete removal thanks to strong cohesion forces. Hydrogel synthesis is performed through cast-drying or repeated freezing and thawing of neat or blended PVA aqueous solutions. Gelification process involves the formation of crystalline regions that act as tie- points, contributing to formation of the three-dimensional network. A physico- chemical characterization was carried out on several formulations to investigate synthesis parameters that affect the final properties of the hydrogels. Water content and free water index (FWI) were quantified through thermal analysis (DTG, DSC). The crystallinity degree was determined by means of ATR-FTIR, DSC and XRD. Information about hydrogels porosity were obtained from SEM images, while networks structure was investigated through SAXS analysis. Finally, some preliminary application tests are presented.
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ARROYO, MARCIA CAROLINA. « Development of innovative nanostructured systems for the cleaning of works of art ». Doctoral thesis, 2011. http://hdl.handle.net/2158/612785.
Texte intégral
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Yu, Chung-Yen, et 游忠諺. « Cleaning the Soul : Aquarium Graves- Yu Chung-Yen’s Art Works in Watercolor Painting ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/v5f774.
Texte intégralRésumé :
碩士國立清華大學
藝術與設計學系所
106
This thesis is based on the life and death of aquarium, using watercolor as a drawing material and explore the possibility of completing. In order to relieve the pressure in my life, I started planting aquatic plants in aquariums. Planting aquatic plants and feeding fishes just like building a water garden as though enjoying sky where birds flew. It provided me the value of watching and feeding studies. However, I was confused by the death of aquatic plants in the creating process, and I was curious and mournful about the place where the soul went after the death. It made me realize that aquarium scene was artificial. In this mixed scene of nature and aesthetics, life is not as tough as its appearance. Error during taking care process, will lead to the collapse of the entire circulatory system in the small and confined environment. I felt overwhelmed when I saw the death of plants and fishes. What kind of mentality should I have for dealing with their death? This was a difficult problem for me. Then I pondered whether I can provide a visual platform for them. Therefore, I explored watercolor painting in the process, which is from realizing the scenery of the aquarium to exploring the skill of watercolor scrubbing treat as a ceremony to recall the soul. After scrubbing, the appearing color is a symbol of the soul, depicting the world after death. In the first chapter, “Introduction”, I’ll explain the research motivation, purpose, research content and methods. In the second chapter, “Aquarium Realm”, I’ll analyze the culture of aquarium, including the experience of contacting with the aquarium and the transfer of my mood. I was inspired by Thanatology then analyzed the artists who made watercolor paintings by scrubbing method. In the third chapter, “Graveyard: the landscape of Death”, I’ll explain the meaning and form of grave and make the experimental document about the process through the scrubbing process. In the fourth chapter, “Analysis of Series Paintings”, I’ll interpret the series of works: “Aquarium Landscape” series will be the depiction of the scenery in the water; “The Aquarium Graveyard” series will be the depiction of the souls in the aquarium; “Aquarium Farewell” will be the farewell ceremony for the souls of the aquarium. In final chapter, “Conclusion”, I’ll make a conclusion about this research paper and explain the possible development in the future.
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MATARRESE, CATERINA. « Co-solvents and chelating agents confined in complex fluids for the cleaning of surfaces of works of art ». Doctoral thesis, 2015. http://hdl.handle.net/2158/984618.
Texte intégralRésumé :
In a modern society that is always more and more sensitive to the respect and the preservation of the environment and its living beings, and where the research of sustainable resources and ecological solutions is continuous, also in the field of the Cultural Heritage conservation, in the last decades, the developing of innovative technologies has been inspired by those principles.
It’s in this context that in the laboratories of the chemistry department of the University of Florence and CSGI Consortium, a new family of Highly Viscous Polymeric Dispersions (HVPDs) for the cleaning of artistic, fragile surfaces was formulated and studied. They are 95% aqueous systems obtained from poly(vinyl alcohol) (PVA) or poly(vinyl acetate)s (PVAc) via complexation and crosslinking between the side-chain hydroxyl groups of the polymer and borate ions.
Due to the low toxicity of the formulations these HVPDs are very attractive eco-friendly cleaning tools for the conservation of painted surfaces. They can incorporate a wide range of organic liquids, with particular reference to the less toxic ones, and thank to their high viscosity and thickness, the significant retention of the solvent reduces the potential damages to the original materials of the work of art but also the intoxication risk for the operators and the environmental impact. Their cleaning action is effective, confined to the desired area, controllable and gradual, parameters that are greatly appreciated by restorers.
Their viscoelastic properties ensure a good adhesion onto the surface (even the molded, irregular or vertical ones) and easiness of removal in one piece through lifting with tweezers; thereby, the potential for residues is minimized and the clearance step with neat solvents often is not necessary.
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Ferrari, Pamela. « Organic solvents confined in poly (ethyl methacrylate) based organogels for the removal of unwanted materials from works of art ». Doctoral thesis, 2019. http://hdl.handle.net/2158/1152559.
Texte intégralRésumé :
Aged pressure sensitive tapes (PSTs) are widespread on paper artefacts due to their large use for mending, mounting, and framing operations. Their removal is mandatory due to associated degradation processes, but all common restoration techniques involve some drawbacks. In this work a new methodology is proposed: the embedment of proper solvents into gels that can be directly applied on PSTs surfaces. The tape detachment is achieved by solvents penetration in the backing and the later swelling of the underlying adhesive; in this way controlled solvent-artwork contact and decreased solvents evaporation are ensured. According to solubility parameters of PSTs compounds, we focused on diethyl carbonate (DEC) as cleaning fluid, a green solvent inert towards most common dyes. Its affinity to acrylic polymers addressed us to test DEC confinement in poly (ethyl methacrylate) networks: cross-linked chemical gels were synthesized since their mechanical strength prevents from residues left on substrates; blended systems, realized by embedding poly (ethylene glycol) chains, allowed significant improvements in gels flexibility. Physicochemical characterization on selected formulations was carried out by gravimetric measures, calorimetry, rheology, and IR spectroscopy. The ability of gels in retaining other solvents useful in the restoration practice was also tested. Gels applicative features were evidenced by testing representative samples: Confocal Microscopy, IR spectroscopy, pH measures, and thermogravimetry were performed. The developed gels were finally used in real case study: the interventions on drawings by Fellini, Haring, and Vedova, on a XIX century Divina Commedia, and on photographic and cinematographic films are here presented.
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Berlangieri, Chiara. « Nanostructured gels and sensors for preventive and sustainable conservation of works of art ». Doctoral thesis, 2018. http://hdl.handle.net/2158/1130733.
Texte intégralRésumé :
The aim of this project is to study, from different points of view, the potentiality of new technologies in the field of the diagnostic, restoration and conservation of cultural heritage. In particular soft matters and LSPR sensing are the main topics of this work. The objectives of this work can be summarized as follow:
1. Development and characterization of an aqueous soft system containing hydroxypropyl guar crosslinked by borax, with the addition of glycerol as plasticizer, having potential applications in the cleaning of artistic surfaces;
2. Assessment of the efficacy of recently developed highly viscous dispersions in the removal of a gypsum degradation patina from carbonatic stones, after the embedding with chelating agents;
3. Development of a smart and cheap LSPR sensor, exploring the tunability of gold nanostructures at a PDMS surface through a double-growth approach.
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rosciardi, vanessa. « "Green" Poly(vinyl alcohol)/Starch based cryogels for the cleaning of works of art : Application, characterization, and investigation of the Amylose/Amylopectin structural role ». Doctoral thesis, 2022. https://hdl.handle.net/2158/1291291.
Texte intégralRésumé :
Cultural Heritage assets are crucial to mankind, as they are drivers of welfare and economic
improvement. If properly preserved, this patrimony can boost job creation, social inclusion, and
cultural identity. Unfortunately, degradation processes inevitably threaten works of art.
Colloids and material science have been providing effective solutions to preserve works of art in
the last decades. In the specific case of cleaning of painted artworks, excellent results have been
obtained using highly performing gels based on synthetic polymers like poly (vinyl pyrrolidone)
(PVP) and poly (hydroxyethyl methacrylate) (pHEMA).
However, there is still large room for the formulation of polymer networks that retain optimal
cleaning ability but have higher eco-compatibility. In this perspective, we have developed and
studied different biocomposite hydrogels based on poly(vinyl alcohol) (PVA) and rice starch (RS)
obtained via freeze-thawing, with water as the only used solvent.
The PVA/RS hydrogels have been extensively characterized from a morphological, rheological,
and structural point of view and have been tested as cleaning tools on painted mock-ups with
excellent outcomes, showing performances comparable with their state-of-the-art synthetic
counterparts. Furthermore, the introduction of a biopolymer in the synthetic path improved the
sustainability of the art cleaning formulations, while maintaining optimal and tunable mechanical
behavior.
Besides, the reduction of usage and disposal of materials based on synthetic polymers is an urgent
and transversal need, and biocomposite PVA/starch-based systems could meet the requirements
that different applications demand., being broadly tunable by simply varying the PVA:starch ratio
in their formulation.
Nevertheless, starch as a raw product comes with a high variety of features, especially regarding
the composition of its polymeric portion (i.e., the amylose to amylopectin ratio), which is cardinal
in determining the properties of the biocomposite systems.
The investigation of the fundamental interactions between PVA, amylose, and amylopectin has
therefore been deemed necessary to set a reliable base from which to start developing state-of-
the-art materials, drastically reducing the usage of synthetic reagents without compromises in
terms of performances.
Said mutual interactions and their consequences have been investigated by means of direct laser
imaging of fluorescently labeled systems, thermal analysis, and Small-Angle X-ray Scattering,
coupling the results with rheological measurements and gel fraction trends to provide a
preliminary theoretical framework, the aim of which is to support future developments of highly
performing eco-sustainable materials.
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Loureiro, Mafalda Silva. « Processo artístico desde que o Museu d’Art Contemporani de Barcelona seleciona um artista até à montagem e manutenção de exposições temporárias : juízos práticos e conduta no caso de estudo da exposição temporária de Fina Miralles ». Master's thesis, 2020. http://hdl.handle.net/10400.14/33609.
Texte intégralRésumé :
O projeto de estágio decorreu no Museu d’Art Contemporani de Barcelona, em Espanha, no âmbito do qual se acompanhou as problemáticas no dia-a-dia do museu. O trabalho de estágio incidiu na intervenção de conservação e restauro, sobretudo nas obras de pintura, da exposição Soc totes les que he sigut [Sou todas as que fui] da artista catalã Fina Miralles, cronologicamente datada entre 1973 e 2020. A intervenção prática enquadrou-se nos princípios do Código da Ética do conservador-restaurador, adotando se a intervenção mínima com respeito pelo original e em concordância com as indicações da artista. A intervenção permitiu devolver a leitura original à obra, restituindo a harmonia e o equilíbrio pretendidos. As problemáticas dominantes na exposição traduziram-se na necessidade de, em telas cruas sem preparação, adotar um tratamento de limpeza a seco, um método aquoso com gel de agar e um método por ação de impregnação, absorção e calor. Para além disso, a exposição permitiu entender a realidade da reprodução de uma obra artística, uma vez que em determinados casos foi necessário, substituir elementos originais devido ao seu estado de conservação. Desta forma, esta exposição revelou-se um exemplo de diversas problemáticas universais que pedem, indispensavelmente, critérios e ética de conservação e restauro.This internship project was carried out at the Museu d’Art Contemporani de Barcelona, Spain, whence the day-to-day problem of the museum were monitored. The internship focused on the intervention of art conservation and restoration, especially in painting, in terms of the exhibition Soc totes les que he sigut [I am all those I was] of the Catalan artist Fina Miralles, chronologically dated between 1973 and 2020. The practical intervention followed the principles underlying the Code of Ethics of the conservative restorer, adopting minimum intervention so as to respect the original work of art, and in agreement with the indications of the artist. This intervention further enabled restoring the original reading to the work, and the intended harmony and balance. The main conservation and restoration problems identified for this exhibition led to the need to adopt a dry cleaning treatment, a aqueous method with agar gel and a method by the action of impregnation, absorption and heat. Furthermore, this exhibition allowed for the understanding of the reality involved in the overall production of the artistic work since it was sometimes necessary to replace original components because of their state of conservation. Thus, this exhibition proved to be an example of several widespread problems that unquestionably require conservation and restoration ethics and criteria.
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Tang, Wei-Fang, et 唐薇芳. « The Concerto of Flower Field:An Act Research from Cleaning Work to Character EducationThe Concerto of Flower Field:An Act Research from Cleaning Work to Character EducationThe Concerto of Flower Field:An Action Research from Cleaning Work to Charact ». Thesis, 2005. http://ndltd.ncl.edu.tw/handle/97986917002604784289.
Texte intégralRésumé :
碩士國立花蓮師範學院
輔導碩士班
93
The Concerto of Flower Field: An Act Research from Cleaning Work to Character Education Adviser: Dr. May-Chu Lin & Yu-Chun Ku Student: Wei-Fang Tang ABSTRACT The beginning of this study was to focus on the cleaning work by cooperative learning strategy for the third and the fourth graders in the elementary school. Following the practicing process of action research and spiral circles, the direction of this research was gradually toward the development of character education. Through the modeling of school environment, communication between parents and teacher, and cohesion of interactions between teacher and students, the teacher and the kids of this study were both empowered. Not only the pupils experienced the benefits of cooperative learning, but the teacher also get much help from special education teacher by cross-school collaboration teaching team, and regular meeting with professor and basic teacher team. Therefore, the whole process of action research was always inspected and narrated. There were many suggestions and nutrition provided to my action research by looking inward repeatedly. This action research lasted for almost two years. The first year divided into three stages for spiral exploration circle of cleaning work. The researcher used classroom observation, teacher’s diary, student self statement, checking list, article writing, reflection journal, students’work diary, interviews, and pictures to collect qualitative materials. The first semester of the second year, several programs which based on the habit of cleaning work were designed to rebuild the virtues of responsibility, attentiveness, and honest. The second semester of the second year, researcher continued to promote the works of class managing and character establishing. The researcher used the qualitative methods like anecdotal records to estimate the change of pupils. Gradually, this researcher found the students always do their best faithfully under the atmosphere of team cooperation. The class had expressed the rebirth of virtues. Main results and suggestions of this study were summarized as follows: 1. The strategies of cooperative learning, competitions among groups, and the spiral exploration circle of action research, students’cooperative attitudes such as controlled order and habit of cleaning were aroused. 2. The training of moral characters should begin with the most neglectful easily, contacting frequently but the most basic affairs. It was found this action research was exactly belonged to part of moral characters. To discipline the cleaning work was practically to reestablish the virtues and characters. 3. No matter cleaning work, virtue rebuilding or classroom management, “work analysis” was basically regarded as the main strategy. To the pupils in the third and fourth grades, given steps, structural behaviors and shouting slogans were helpful to attain the effects. 4. It was useful by narrating or having a dialogue with self to see the blind dot. Try to slow down the speed, add the resilience of teaching, continually reflect in the practicing process lead to the production of class-managing plan. 5. There were three steps for the plan of classroom management. They were establishing family, maintaining cleaning and building virtues. The principles of classroom management were that appreciation and encouragement both employed under the atmosphere of respect and acceptance. 6. Draw up the local teaching materials of character educations suitable for oneself. Families, classes, schools and society should all come together to make great efforts. The good virtues would appear again.
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Lin, MingHuang, et 林明皇. « Metaphor—The Art Works of MingHuang LinMetaphor—The Art Works of MingHuang LinMetaphor—The Art Works of MingHuang LinMetaphor—The Art Works of MingHuang LinMetaphor—The Art Works of MingHuang LinMetaphor—The Art Works of M ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/j565u3.
Texte intégralRésumé :
碩士大葉大學
設計暨藝術學院碩士在職專班
98
The main purpose of this creation lies in the exploration of each kind of change in modern western world drawing art and learning the wonderful skills in the drawing. And then seeking the suitable self-drawing language to present the oneself between “the tradition” “the modern age” “'real” and ”unreal”. This creation attempt to internalize and make uniform in the modern art tidal current , and to construct the self-drawing world in “real” and “hypothesized”. The author of this creation use “the principles of the nature” and “the heart of the creation”; however,the key point is how these two faces utilizing mutually. It means that the two principles—“west” and “china” are mutually essential. Grasping the reality in outside during the exchange, and also displaying the Artist's innermost feelings.to change into the image ,union ideas and expresse oneself by using the visual mark and the visual language. At last, the author use three rows-- “wants to fly”, “the illusion “ and “the light shade” ,altogether ten works to analyze the self-creation the inner world, and he hopes to ruminate all kinds of stytles, and to train each kind of technique. On the other hand, he hopes the absorption can promote his own ability to create and construct self-work.
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Kuo, Ching-Yi, et 郭靜宜. « RYDER, HIS LIFE, WORKS AND ART ». Thesis, 2012. http://ndltd.ncl.edu.tw/handle/98399392212907618294.
Texte intégralRésumé :
碩士高雄師範大學
美術學系
100
Albert Pinkham Ryder who lived in United States all his life is a typical and native artist of United States in the middle and the end of 19th century. He had not followed the trend to learn arts in Europe, and also had never been affected by the academy’s tradition of America. However, his creativity and the concept of painting had never been limited; on the contrary, those differences made his works have the notably unique character. In Ryder’s art life from 1870s, the subject of landscape was a theme that ran through his life of creation. No matter the pastoral or marine, he not only presented the depiction of the nature, but also built up his personal feature to express the nature through transforming the objects. Except the landscape, after 1880s, he obtained his inspiration from literature, religion and mythology. This showed Ryder’s diversity of themes and the gradual maturity of his personal inwardness and the skill of expression. The text or the traditional iconology did not restrict the content of these works that always presented artist’s deep emotion under them and the imagination of visual true. Although Ryder spent his whole life to create paintings in United States; his variety and particularity that did not stiff in any tradition of expression of Europe and America made him surmount the hedge of the space-time and region. Therefore, his works had not only the unconfined feelings of Romanticism, but also the spiritual and symbolic intimation like the painting of Symbolism. Because of his unique character and initiation, he was regarded as a laudable role by the artists of new generation, and successfully acted an important and native artist to lead the development of United States’ modern art between the late 19th and the early 20th century.
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HSU, SHU-MEI, et 徐淑美. « Effects of Video Modeling on Cleaning Works for Adult With Moderate Intellectual Disabilities ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w4p6tm.
Texte intégralRésumé :
碩士國立臺中教育大學
特殊教育學系碩士在職專班
107
The main purpose of this study was to investigate the effects of video modeling on cleaning works for adults with moderate intellectual disabilities. . Three subjects with moderate intellectual disabilities were chosen from private Enlightenment Training Center in Taichung City. The single-subject research across subjects with multiple probe design was used. The independent variable was video modeling instructions and dependent variables was the percent of cleaning work skills.Data were collected on the three subjects during baseline,intervention,and maintenance phases.Instructional effects were assessed by analyzing quantitative and qualitative data.Quantitative data were collected and analyzed by visual and Tryons C statistic methods. Results of this study were summarized as follows:: 1. Video modeling is effective on the acquisition of cleaning work skills for adult with moderate intellectual disabilities. 2. The use of " video modeling " for teaching can improve the quality of cleaning work for adult with moderate intellectual disabilities , while also extending their cleaning time.
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Liu, Chia-Heng, et 劉家亨. « Private Dreams : Art and Healing-Liu,Chia Heng’s Art Works ». Thesis, 2016. http://ndltd.ncl.edu.tw/handle/wt3yk7.
Texte intégralRésumé :
碩士國立新竹教育大學
藝術教育與創作碩士班
104
I see dream as a fable that give me positive meanings. It becomes an alternative life and growing experiences, beside the reality. In this article, I will appropriate the concept of Carl Gustav Jung, combining with my thought and vision creations. In chapter 1, “Introduction”, I will describe what I’ve found from dreams, it has the power to heal the soul and could be the cure of a tired mind. In this chapter, I’m trying to understand how Jung use the dream to accomplish the balance of soul. In my graduate study, I looked into and integrated my dreams. Through the learning from Jung’s theory and the books about dream analysis, I will clarify my creation of dream paintings step by step. In Chapter 2, “Dreamland”, I’ll treat myself as a self-analysis case, and analyze the relevant conditions and the purposes of dreaming. In comparison with Jung’s theory, I’ll reveal how I’ve dreamed and the steps of dreaming, to confront the reality of dreamland, to make the dreams as a belief, to trust that dream could give me positive impacts. And furthermore, I’m going to recognize more details, to deeply explore the dreamland, to keep a record of dreaming through making art, and to share my personal experiences with readers. Creating art works helps me to recall the memory from dreamland, it emphasizes the reality and clarity of dreamland. Eventualy, I’ll nalyses my dreamland, to make its existence with high values. The implication analyzed from the dream could help me exam my soul, and this is exactly what Jung explained and he would be glad to see it happen, and this is also his aim. In Chapter 3, “Analyzing the Thought”, I’ll describe the features I discovered from the recorded dreams. Through these features, I look up some literature and sort out what is best for my experiment. Using Jung’s analysis, I’ll accomplish my own dreamland experiences and self-impacts from them. In Chapter 4, “Analysis of the works”, I’ll record my creation approaches as I see creating as recordings. The main creation approaches is Mandala. In the creation approach of recording dreamland, I use different materials recording my dreamland. I use ink painting, potter’s clay and ball pen to carve on a kraft board to reserve the process with special techniques. In Chapter 5, “Conclusion”, I’ll describe the power of healing while creating “Dreamland Recordings.” It turns the negative emotion around and satisfied me on the spiritual platform. In my dream, I have the power to stay awake, to manipulate the dreamland and to create it in artworks. After understanding the dreamland, I am able to solve negative emotions.
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Chang, Ya-Chi, et 張雅琦. « Effects of Structured Teaching in Cleaning Works for Students in Special Education Vocational Schools ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d4sn8c.
Texte intégralRésumé :
碩士臺北市立大學
身心障礙者轉銜及休閒教育研究所
106
The purpose of this study is to investigate the effect of structured teaching learning of students in special education vocational schools. The researcher adopted the experimental design method and selected the second grade mentally and physically handicapped students in special education vocational schools as the subjects, that are divided into two groups including 10 students in the experimental group and 10 students in the control group, totally 20. Trying to prove that after eight weeks of experimental intervention, teaching effectiveness of structured teaching group will be better than that of working analysis teaching method. Learning effectiveness is measured by using self-made questionnaires including "Working schedule", "Workflow system", "Learning effectiveness evaluation form". The learning outcomes of the subjects before the experiment, the fourth week of the experiment, the eighth week and the second week after the intervention were measured respectively, and the statistical analysis was made by the mixed two-factor ANOVA. Analysis results show that: 1.First, the effects of the structural teaching for clean work are better than that of working analysis teaching method. 2.Second, the learning transfer effects of the structural teaching are better than that of working analysis teaching method. The results show that the structural teaching are better than the working analysis teaching method on the students' skill learning of cleaning work; the results support that the visual cueing are important for students’ learning in special education vocational schools.
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Kao, Shiu-Min, et 高修民. « "Smile" children's art works documentary portrait photography ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/81184839502636175622.
Texte intégralRésumé :
碩士國立臺灣藝術大學
視覺傳達設計學系碩士班
102
Abstract This work "Smile" children's art works documentary portrait photography is my discussion of photographic works from 2007 to 2011. The contents include academic references, the context of the subject evolvement, and the thought of my creation. I tried to analyze the creation through formations and contents of my photographic works. The following is the structure of this work. Chapter one is a preface to describe the motive and the purpose of this research. I want to record faces of era in Taiwan and preserve history by portrait photography. Chapter two is the review of references. I tried to discuss the context of portrait photography and the social meaning of portrait. I discussed the text of portrait photography with the conception of Walter Benjamin’s “aura” and “ritual,” Roland Barthes’s “Punctum" and “Studium,” and Susan Sontag’s “Humanitarianism.” In addition, I referred to works and ideas of August Sander, a German photographer, for a base of this thesis. Chapter three is about the subject and practice of the creation. My creation can divide into three series including “The represention of Aura,” “Smile” and “The Documentary of 319.” I described the combination of subject and my experience to explain and analyze my works comprehensively. Chapter four is the conclusion. I summed my discussion up and reflected the evolvement of creation right now. National Museum of Taiwan History has reserved the portrait inside this thesis in 2012. I was aware that the aura in traditional portrait photos has gone in the digital era and affected the sense and direction of image. I wish to take portrait photographs full of humor and story that can touch heart deeply piece by piece on this familiar land, then, become the record of era.
50
Hey-Ting，Yang et 楊慧婷. « Representation－Art Works by Hey-Ting，Yang ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/37560651637082072524.
Texte intégralRésumé :
碩士國立新竹教育大學
人資處美勞教學碩士班
99
This research put the focus on the representation of the reality. A set of still lives corresponding to this research were accomplished from 2005 to 2009. Through gazing at common objects in daily life carefully and intently, observing the relationships among the shape, color and space, and pouring in the feeling and thoughts, the author’s mental world was connected to the real world by a series of still live art works with oil paints. The author also did a lot of introspection and self-healing during this process and discovered the meaning of existence and life in depth. That is the practice of “looking into the objects microscopically and exploring the mind macroscopically”. In the paper, the author’s dream fulfillment motivation, the adopted framework and processes, as well as the used methodologies including literature study, theory synthesis, quality analysis and experienced practice for this research are first introduced. Then, the transformation of art view of realistic painting and its difference with photography are discussed. After that, how to layout and construct the picture, how to make use of the painting skill to convey the object image and its connotation, and how to apply the essences and the functions of colors to still lives are elaborated. Moreover, the belief of that tradition and modern arts are mutually complementary and both are important to creation of art works is mentioned. In addition, each accomplished art work of this research is illustrated in detail by explaining how to choose the topic, how to construct the layout, how to use colors, and how to manipulate the painting skills to express the internal idea and feeling. As a summary, the author broke the frame of external appearance of realistic painting and successfully conveyed her passion and emotions by instilling her life experience and feminine thoughts into her art works. Key Word: Representation