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1
Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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2
Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.
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3
Hillard, Wonda Y. "An Art Educators' Perception of an Art Professional Development Workshop." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6578.
Testo completoAbstract (sommario):
There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's experiential theory served as the conceptual framework. A purposeful sample of 10 art educators who attended a district-sponsored professional development workshop participated in this study. After the workshop, data about educators' perceptions of the inservice were collected through a beta test and a focus group with 2 participants, 1 open-ended questionnaire with 8 participants, and a workshop observation with 20 participants. Data were analyzed using comparative analysis to identify patterns in the data. Member checking and triangulation were used to verify the data and control bias. Five themes emerged from the data: adult-centered hands-on learning, professional development experiences, grants, collaboration and networking, and best practices. This study contributes to social change by showing the importance of on-going adult-centered, research-based, hands-on professional development for educators addressing visual art standards, practice, instructional strategies, policy changes, and the facilitation of student-centered activities.
4
Sobieszczanski, Marcin. "Art et perception : essai d'esthétique cognitiviste." Paris 8, 1999. http://www.theses.fr/1999PA082101.
Testo completoAbstract (sommario):
On propose un cheminement vers une esthétique cognitiviste et une série de quatre études où cette esthétique apparaît comme méthodologie critique et clé de l'interprétation. L'art est perception car son matériau est le monde perçu, sa quête est de rendre présente l'existence de cette perception originale et son résultat est l'objet destiné à être perçu. On pratique une voie médiane entre : 1) le dualisme gnoséologique de Kant (la donation sensible d'objets assumée par l'entendement), confiné par certains aspects de la pensée de Husserl dans le solipsisme de la conscience absolue, 2) l'absolutisme de l'Esprit confondu avec le sujet des romantiques. Le sens se déduit à la fois : 1) des processus physiques et phylogénétiques de l'établissement de la conscience du monde, 2) de l'apparaître morphologique pensé par une philosophie structurant les résultats des sciences cognitives. L'art est une attitude doxo-thétique portant sur les perceptions du monde et opérant sur la base d'une ontologie du personnel, du concret et du momentané. . .
5
White, Christopher D. "A Perception of Change, A Change of Perception." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3756.
Testo completoAbstract (sommario):
Change is a constant reminder that permanence is the ultimate illusion. It is through the creation of hyper-realistic, ceramic sculpture that I explore the relationship between nature, humans, and the phenomenon of impermanence. I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them. The juxtaposition of natural and man-made features in combination with the skewing of scale, proportion, and material, creates an altered perspective – forcing the viewer to look closer. By combining both human and natural elements within my work I highlight the fact that we are not separate from nature but are, in fact, part of it.
6
Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.
Testo completoAbstract (sommario):
This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists<br>Master of Arts (Hons)
7
Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
Testo completoAbstract (sommario):
This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
8
Barber, LaMar. "Perception and reception of complexion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1541.
Testo completoAbstract (sommario):
Sankofa, a proverb from the Akan language of Ghana, is one attribute of Ghanaian culture that lives on in Black America. Sankofa, symbolically depicted as a bird reaching backwards to scoop an egg, translates into English as "reach back and get it."
As an autobiographical artist, I continue to "reach back" into black history. I research the biographies and autobiographies of other Black Americans--the stories that chronicle the lives of those who came before me. I research urban cultures and contemporary expressions of identity and courage. Through the creation of installation and performance art, I have learned to incorporate this research into my own expressions my visions of hope, discontent, healing and beauty.
9
Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
Testo completoAbstract (sommario):
Thesis (M.Visual Arts) -- La Trobe University, 2006.<br>Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
10
Landais, David. "La synesthésie, les sens et la quasi-synesthésie en art." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH187.
Testo completoAbstract (sommario):
La synesthésie est un phénomène dans lequel soit (i) la stimulation d’une modalité sensorielle A déclenche une sensation dans A de même qu’une sensation additionnelle dans A (dans le cas de la synesthésie unimodale, comme la synesthésie graphème/couleur), soit (ii) la stimulation d’une modalité sensorielle B déclenche une sensation dans B et dans une autre modalité sensorielle C (dans le cas d’une synesthésie bimodale, comme l’audition colorée). Dans cette thèse, je me propose demontrer que la synesthésie est un phénomène sui generis quasi-perceptif. À cet effet, je développe une conception sémantico-perceptive de la synesthésie, que j’appelle le maniérisme perceptif. Cette conception concerne l’expérience synesthésique et son contenu perceptif. J’introduis la synesthésie et son arrière-plan phénoménologique et empirique. Je présente six types de synesthésie et proposeplusieurs sous-distinctions pertinentes. Je montre que ces six types se réduisent finalement à trois types de base. Puis je discute quelques problèmes théoriques et méthodologiques posés par l’étude philosophique de la synesthésie, et présente quelques théories récentes de ce phénomène. Enfin, je suggère d’utiliser les termes « synesthésie » et « expérience synesthésique » avec précaution dans le domaine de l’esthétique et discute de quelques sujets relatifs à la musique visuelle, le musicalisme d’Henri Valensi et l’alphabet plastique d’Auguste Herbin<br>Synesthesia is a phenomenon in which either (i) stimulation of a sense modality A triggers a sensation in A as well as an additional sensation in A (i.e., unimodal synesthesia, like grapheme/color synesthesia) or (ii) stimulation of a sense modality B triggers a sensation in B and in another sense modality C (i.e., bimodal synesthesia, like colored-hearing). In this thesis I want to argue that synesthesia is a sui generis quasi-perceptual phenomenon. To that effect, I introduce a semantic-perceptual account of synesthesia that I call perceptual mannerism. This account is about synesthesia experience and its perceptual content. I start with some background about synesthesia, especially phenomenological and empirical data. I present six types of synesthesia and draw several sub-distinctions. I show that these six types ultimately reduce to only three basic types. And I discuss some theoretical and methodological issues concerning the philosophical study of synesthesia, and present some of the main recent theories of synesthesia. Finally, I suggest using the terms “synesthesia” and “synesthesic experience” carefully in aesthetics and discuss some issues about visual music, Henri Valensi’s musicalism and Auguste Herbin’s plastic alphabet
11
Chetboun, Jean-Luc. "La Perception juridique des réseaux du marché de l'art." Amiens, 2001. http://www.theses.fr/2001AMIE0059.
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12
Dempsey, Kaitlin. "Coloring Perception: Spencer Finch and the Art of Seeing." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193022.
Testo completoAbstract (sommario):
Art History<br>M.A.<br>Emanating from a large, gaseous star forming the center of the universe - commonly referred to as the sun - light colors the world. Light is a mystifying, transient element, a source of energy and life that has transfixed mankind for centuries. Also seduced by the wonders of light (and color) is contemporary artist, Spencer Finch. He has embarked on a quixotic mission of trying to measure, capture, and replicate the temporal qualities of light and color. His interest lies in capturing the fleetingness of the moments he experiences. To some extent Finch is successful in his impossible quest. Even in failure, his artworks become a vehicle for exploring the intricacies of human vision and perception. Mixing scientific inquiry and art, Finch utilizes remnants of the past - iconic sites and figures, famous literary texts, etc. - to reflect on personal memories and experiences. His artwork is a means of working out his own questions and ideas about vision and perception. By grounding his work in the known, Finch allows the viewer to enter and understand his works. Viewers are offered a unique chance to consider the ways in which the world is seen and understood. In the end, Finch hopes he is able to offer an almost out-of-body, or maybe just deeply insightful, experience in which vision is called into question, allowing an insight into understanding what it means to perceive.<br>Temple University--Theses
13
Birkin, Guy. "Aesthetic complexity : practice and perception in art & design." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/91/.
Testo completoAbstract (sommario):
My research investigates the aesthetics of visual complexity in the practice and perception of visual art and design. The aim is to understand visual complexity in terms of the relationship between the objective properties of images and subjective properties of perception. I take a computational and empirical approach to this subject, incorporating methods from information theory, computer graphics, complexity theory and experimental psychology. For testing, I create cellular automata programs to generate stimulus images, and borrow other types of visual material from students and professional artists, designers and craftspeople. Visual complexity is measured in two ways: Firstly, an objective measure of complexity is based on the compression of digital image files, which provides an information-based scale of order to randomness. Secondly, psychophysical techniques are employed to measure the subjective complexity of the images and other aesthetic judgements. Research in complex systems theory and experimental aesthetics suggests that we can expect an inverted ‘U’ correlation between the two measures of complexity. This project makes an original contribution to knowledge with empirical evidence for the hypothetical correlation of information-based and perceived complexity. With cellular automata images from simple to complex the results show an inverted ‘U’ correlation; the measures diverge as images approach randomness. The file compression measure fares less well with art and design images in these tests, however, perhaps because of the wide variety of visual material. Preference is more variable than judgements of complexity, and art-trained participants rated images higher than untrained participants. The implication is that although the file compression measure does not entirely correspond with human perception, the correlation we have found tells us that we can understand visual complexity as a mixture of order and chaos. A balance of complexity allows for visual exploration and pattern-finding which contributes to aesthetic value. The findings also provide a basis for creative experimentation in art and design practice.
14
Williams, Louis. "The relationship between the creation and perception of art." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/75873/.
Testo completoAbstract (sommario):
It is suggested that similar cognitive processes are involved with both the creation and perception of art. However, a lack of research examines this relationship, whether this is just from the perspective of the artist, or in relation to the artist and perceiver of the final product. To do so, we examined the experience of artists and non‐artists investigating initial stages of art‐making by examining relationships between aesthetic and drawing preferences of geometric stimuli (Experiments 1 & 2). To further understand this experience, we allowed artists and non‐artists to be involved in actual drawing activity (stippling and stroking) whilst making drawing preferences. We also examined how being involved in drawing influenced aesthetic preferences (Experiment 3), this led to conducting studies considering perceivers (artists/non‐artists) of artworks. Here, we investigated how congruent actions (simultaneously produced or learnt during pre‐training) with the artists behind the artwork influenced aesthetic responses (Experiments 4 & 5). Examination of gaze behaviour throughout these studies provides further insight into the aesthetic experience by revealing the processes behind formations of judgements. Overall, we conclude that there are similarities between experiences (gaze and judgments) involved in the creation and perception of art. We find similarities between aesthetic and drawing preferences and find gaze to be impacted in a similar manner when observing images in comparison to making a drawing choice. We do not provide support that these drawing choices are influenced by being involved with drawing but do show that the more experience a perceiver receives with these actions of the artist the more their aesthetic judgements are influenced by these, supporting the relationship between artist and perceiver depicted in the mirror model of art. We provide a foundation for future research to empirically analyse connections between the creation and perception of art and the relationships between the artist and perceiver.
15
Cornu, John. "Art contextuel et création." Paris 1, 2009. http://www.theses.fr/2009PA010567.
Testo completoAbstract (sommario):
Cette recherche affirme la notion d'art contextuel du point de vue de l'artiste. Il s'ensuit un premier mouvement sémiologique qui démontre que la notion même de signification ne peut pas se soustraire d'un ensemble contextuel. Le contexte est bien un opérateur à part entière du signe. C'est en partant de l'étude de la perception que nous étayerons cette proposition, et ce de la manière la plus objective possible. La compréhension de l 'oeuvre comme objet ou de l' oeuvre comme ensemble d'une situation devient donc centrale, et oriente cette recherche sur la question des modes ontologiques. Il s'agit alors de mieux comprendre les déterminations qui interviennent durant l'acte créateur et la position qu'occupe «l'artiste contextuel» dans ce paysage. Dès lors, nous tentons de dégager une sorte de mode opératoire tout en analysant le rapport à l'économique et au politique. Le mode opératoire avance dans cette étude implique des boucles récursives et des couples notionnels - présentation vs représentation / objet vs situation - qui ne sont pas pensés comme des notions antithétiques mais davantage comme autant de pôles d'un même ensemble. De même, les investigations artistiques réfléchies sur un mode plus intuitif ne peuvent réellement se couper des constructions théoriques qui les précédent. Les oeuvres seront aussi pensées - dans leur phase de création - sur ce même socle de connaissances. Ainsi, la question du contexte ne devient pas un « maniérisme » supplémentaire mais une liberté d'utiliser autrement sa situation de créateur. Dans ce cas, les oeuvres investiront aussi bien les notions de prolifération. De fiction, de dessin dans l'espace, d'architecture moderniste, de voyage, d'urbanisme ou de greffe comme pour consentir à la diversité du monde
16
Sanzay-Langlais, Julie. "Art et mal-voyance à l'épreuve : un paradoxe fertile." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30014/document.
Testo completoAbstract (sommario):
Cette thèse met en valeur une correspondance entre le système visuel humain d’un point de vue strictement scientifique et une expression plastique personnelle associant installations et photographies questionnant la mal-voyance. Comment rendre l'art accessible à tous ? Pour répondre à cette question nous avons interrogé les relations entre art et science et montré qu’ils sont tous deux concernés par la perception : l’art, car il développe une approche sensible, la science, car elle s’appuie sur une connaissance approfondie de l’œil et peut en pallier les défaillances. Nous avons étudié la perception d’un point vue théorique en nous attardant sur la théorie de la Gestalt, ainsi que les phénomènes que constituent les illusions et la synesthésie qui met en avant l’association des sens. Nous avons ensuite abordé la cécité à partir des points de vue terminologique et statistique, puis du vécu psychique et pratique du mal-voyant. Forts de cela, notre propos repère comment s’impose la figure de l’aveugle dans la culture occidentale à travers la littérature et les arts. De sa considération au cours de la Grèce antique à l’ouvrage, Les Aveugles, de Sophie Calle en passant par le Picasso mélancolique de la période bleue, nous avons pu apprécier l’évolution de son image. Il est alors temps de se pencher sur les rapports que le mal-voyant entretient avec l’art et, dans ce cadre l’intérêt que peut revêtir le braille qui infiltre la peinture, la sculpture, la photographie, la performance, etc. Comment appréhender l’art sans passer par le visuel en développant tous les autres sens ou en misant sur l’économie du visible ? L’architecture quant-à elle s’adapte aux normes juridiques tout en développant une créativité qui enrichit le vivre ensemble. Les innovations de la science en arrivent à proposer des outils révolutionnaires comme les dispositifs de substitution sensorielle, l’œil artificiel, ou encore un appareil photographie pour les mal-voyants. La perception étant la clé d’une communication entre voyant et mal-voyant<br>This dissertation focuses on the link between the human visual system – examined from a scientific point of view – and the personal plastic expression relating facilities and photographs which deal with visual impairment. How can art be made accessible to everybody? To answer this question I explored the links between art and science and I demonstrated that both deal with perception: art develops our sensitive approach whereas science relies on a deep knowledge of the eye and can alleviate its failures. I examined perception from a theoretical point of view, dwelling on the Gestalt theory as well as on the phenomena deriving from illusions and the synesthesia which emphasizes senses association. I then dealt with blindness, first with its terminology and statistics and then with the psychological and practical life experience of the visually impaired. Against this backdrop, my research led me to investigate the image of the visually impaired through literature and art in western culture. I assessed its evolution first from an analysis of its image in ancient Greece, then through a book entitled Les Aveugles by Sophie Calle and also through the Blue Period of melancholy Picasso. This led me to examine how the visually impaired connect with art in order to gauge how fundamental Braille is in painting, sculpture, photography performance etc. How can we perceive art without resorting to visual perception? By developing all other senses or by relying on visual perception economy? Architecture adapts to legal standards while developing a kind of inventiveness which enriches the “living together”. Regarding scientific innovations, revolutionary tools are being proposed such as sensory replacement devices, the artificial eye or a camera for the visually impaired. The perception being the key of a communication between clairvoyant and visually impaired
17
Brewer, Rhett. "Paint, painters and primary perception." Thesis, View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/300.
Testo completoAbstract (sommario):
This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
18
Biddle, Megan. "Depth Perception." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/68.
Testo completoAbstract (sommario):
A fingerprint can identify an individual, yet it tells us nothing specific about the person it belongs to. It is almost invisible, yet it can be traced. Hair can be both beautiful and repulsive, depending on its context--It is an element of the body that lingers, amazingly, after decay.I am inspired by my observations of natural occurring phenomena. The impermanence of all things speaks to me in a whisper. I am captivated by the traces and residue of life that lingers and will eventually dissolve. Using glass, paper, wax, and film I make objects and installations that give physical form to something fleeting. My work is a record of my process. I use imprints and textures of my body to leave a trace or mark on my surroundings--You are here. A pushpin on a giant map represents the earth and our location on it. Working with magnification and systems that generate form, my work embodies a preservation of the ephemeral with all of its unimaginable residual effects.
19
Geary, James Bernard. "A defence of the study of visual perception in art." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/63885/.
Testo completoAbstract (sommario):
This thesis examines the use of the science of visual perception in the study of art. I argue that this application of perceptual psychology and physiology has been neglected in recent years, but contend that it is being revived by writers such as John Onians. I apply recent scientific research to demonstrate what can be learned about depiction from the science of perception. The thesis uses the science of perception to argue that there are four main interlinked components in depiction. It argues that each of these components can be better understood by using the science of vision. Chapter 1 examines one component, namely resemblance. It uses studies of the retina, centre-surround cells, and attentional processes to examine how a picture can vary in appearance from its subject matter, yet still represent it. Chapter 2 examines a second component, namely informativeness. It applies Biederman's psychological theory of recognition-by-components to argue that the depiction of volumetric forms depends on the depiction of the vertices of such objects, as well as that of linear perspective. From this the chapter argues that the notion of informativeness, as developed by Lopes, should be combined with a notion of resemblance to create a more complete theory. Chapter 3 examines a third component of depiction, namely that pictures can include, omit, and distort the features of their subjects. The psychological theory of scales, as developed by Oliva and Schyns, is used to explain certain kinds of depictions of fabrics, and the perception of Pointillist paintings. The chapter also examines the issue of to what extent perception and depiction are dependent on culture rather than genetics, and shows how a combination of scientific methodology, in the form of cross-cultural psychology, and historiography, in the form of Baxandall's 'period eye' approach, can be used to investigate this issue. Chapter 4 examines a fourth component of depiction, namely the organisation of pictures. It uses studies by Westphal-Fitch et al., and Võ and Wolfe to analyse the patterns of Waldalgesheim art, and the images in the Book of Kells. By using the science of visual perception, I arrive at the conclusion that a combination of theories of recognition, informativeness, and order, developed in Chapters 1, 2, and 4, together with theories of visual decomposition, processing, and recomposition, developed in Chapter 3, form a basis for understanding depiction.
20
Міщенко, Ельвіра Віталіївна. "Perception of criticism in the field of art & design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18254.
Testo completo
21
Reid, Diana. "Iris Murdoch on the role of Art in Moral Perception." Thesis, Department of Philosophy, 2017. http://hdl.handle.net/2123/18825.
Testo completoAbstract (sommario):
First lines of the Introduction (as abstract not provided): Throughout her work, Iris Murdoch often touches on the intersection between ethics and aesthetics, in particular focussing on art’s role in moral perception. As a novelist and philosopher, Murdoch asks, “What is a good man like? How can we make ourselves morally better?”1 While she looks to aesthetics to address each of these questions, the literature to date has overwhelmingly focussed on the latter. Murdoch does not limit herself to the question of whether art can make us “morally better”. She also asks how art can help us understand what it is to be moral. The literature on Murdoch concerned exclusively with the intersection of aesthetics and ethics is limited. Moreover, within this literature, there is little debate about the role that art plays in moral perception. The dominant reading is that art is a vehicle through which we can achieve moral perception. On this view, critics including Anil Gomes and Elizabeth Burns argue that art, under certain conditions, can serve a practical purpose by allowing us to perceive of its subject matter morally. Therefore, looking at art can in some circumstances allow us to actually experience moral perception. Discussions here have in particular tended towards Murdoch’s role in “philosophy’s turn to literature”.2 While I do not dispute that this is a legitimate reading of Murdoch’s aesthetics, my concern is that it is not exhaustive. Rather, Murdoch’s account of the role of art in moral perception is more complex. Murdoch also argues that art plays a useful explanatory role insofar as aesthetic and moral perceptions are analogous. That is, in identifying the similarities between aesthetic and moral perception, we can come to a better understanding of what moral perception is.
22
Williams, Holly. "The cluttered mind and the illusory nature of perception and reality." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28047.
Testo completoAbstract (sommario):
This paper is conceived of as an overview and a discussion positing that there is
inherent uncertainty in the subject, and that installation art can act as a revelatory
agent in the viewer’s understanding of this uncertainty. This - the recognition of
uncertainty - can be achieved through the inclusion of uncertainty itself as a trope in
artwork.
The self and subjectivity are open to a myriad of speculation and theory. Informing
my discussion are theories of the uncanny, the abject and Buddhist discourse of the
misapprehension of self. In this paper, I will focus on the concept of uncertainty in
relation to subjectivity and suggest the existence of the narratizing process that
determines the individual’s sense of self and perception of the world. This proposes
an idea of the ‘self’ as a fiction, and includes discussions surrounding narcissism (the
shoring up of identity), anxiety (existential fear), certainty (misguided search for
solidity of self), imagination (the fictionalising process and the amelioration of
anxiety), the interstice (breaks in the cognitive narrative).
As well as my own work, 1 am focussing on artists whoutilize elements of fantasy
and the uncanny in their work, namely Mike Nelson, et a1., Gregor Schneider, Eija-
Liisa Ahtila and Gregory Crewdson.
23
Martin, Brigitte. "Perception et expression d'espaces nouveaux issus du cube." Paris 8, 1993. http://www.theses.fr/1993PA080822.
Testo completoAbstract (sommario):
Le but de cette these est d'etudier le developpement, au cours du vingtieme siecle, d'une nouvelle forme d'expression tridimensionnelle, la boite d'art. Dans la premiere partie, elle comprend une etude du systeme de figuration classique ayant exerce son hegemonie dans le domaine pictural depuis la renaissance jusqu'au debut de ce siecle. Puis, dans la seconde partie, elle met en lumiere la rupture engendree par les cubistes, et la volonte des artistes contemporains, determines a s'exprimer en dehors de toutes conventions, de ne plus representer l'objet mais de le presenter dans son double rapport contenant contenu, et ce alors meme que l'environnement technique, scientifique, economique et social est en pleine mutation. Dans la troisieme partie, au regard des propositions plastiques, la boite, consideree en tant qu'objet symbolique, renvoie a l'espace referentiel et originel ainsi qu'a l'idee de sacre. Constituant metaphoriquement une sorte d'enveloppe corporelle, ce contenant abritant toujours un mystere permet aux artistes d'aller a la rencontre de l'autre tendant a se replier sur lui-meme. Dans la quatrieme partie, la boite est consideree en tant que volume geometrique : les oeuvres abstraites donnent l'occasion aux spectateurs de percevoir l'espace par l'intermediaire de leur corps, et de le vivre dans un nouveau rapport. Enfin, la derniere partie est consacree au phenomene de mise en abime de la boite dans les musees, et de fetichisme de l'objet par les artistes<br>The aim of this thesis is the study of the development, along the twentieth century, of a new form of three-dimensional expression : the boxed art. The first part deals with a study of the system of the cklassical figurative art, which has imposed its hegemony in the pictoral field from the renaissance up to the beginning of this century. The second part enlightens the break generated by the cubist and the resolution of the contemporay artist to express himself with no convention, not to depict the object but to present it in its double relation contents container, when the technical, scientific, economical and social environment is changing. In the third part, when we study the works, we can see that the box - considered as a symbol object - refers to a referential and original space as well as to the idea of sacred. Metaphorically constituting a kind of corporal envelope, this container - always implying a mystery - allows the artist to meet the other who turns in on himself. In the fourth part, the box is considered as a geometric object : abstract works prompt each observer to percieve space through his body and to feel it a new way. The last part is about the phenomenon of the interlocking of different boxes in museums, of the fetichism of the object by the artist
24
Agyeman, Cynthia A. "Artists' Perception of the Use of Digital Media in Painting." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1443101832.
Testo completo
25
Jones, Danielle Lynise. "Perception of cuteness and beauty." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002538.
Testo completo
26
Amhamdi, Larbi. "La perception esthétique dans l'art pictural au Maroc." Paris 1, 2005. http://www.theses.fr/2005PA010600.
Testo completoAbstract (sommario):
La création picturale au Maroc en puisant son essence dans la tradition et la modernité est aujourd'hui source de questionnements génésiaques et esthétiques importants. Faut-il puiser exclusivement dans la tradition respectueuse des valeurs théologiques, ou au nom de la liberté qu'exige la création, opter pour la transgression? Faut-il opter pour les lois classiques ou les abandonner? Pour quelles techniques opter? Simplicité ou complexité? Quelle importance accorder à la lumière et à la couleur? La perception esthétique susceptible de nous aider à mieux comprendre ces questionnements y est effectuée à travers le réalisme, l'abstrait, le signe, le symbole et leurs variantes, mais aussi à travers la technique et la technicité, les qualités de l'œuvre, l'usage de la couleur, l'expressivité esthétique, le sentiment de plaisir, etc.
27
Rod, Françoise. "Une recherche plastique expérimentale, vers une perception élargie." Paris 8, 1993. http://www.theses.fr/1993PA080797.
Testo completoAbstract (sommario):
Cette these theorique et pratique s'interroge sur la place et la fonction qu'occupent au sein de l'univers, l'etre humain en general et l'artiste en particulier. L'analyse d'oeuvres clefs (realisees entre 1981 - 1992) suggere des reponses. L'attitude perceptive de l'artiste qui est a l'origine de l'oeuvre va definir l'attitude perceptive que le spectateur adoptera envers l'oeuvre. L'evolution de ces deux attitudes est parallele, elle est examinee selon la methode phenomenologique. Au cours de ce travail la perception visuelle de la nature se transforme en une perception corporelle interiorisee. En d'autres termes, la relation sujet objet evolue vers une correlation entre sujet percevant et sujet percu. Cette tentative d'unification a l'interieur du sujet (l'artiste) devient egalement effective au sein du spectateur lorsque celui-ci adhere et acquiesce au transfert symbolique auquel les sculptures agissantes invitent. La participation active et symbolique du spectateur est comparee a la participation existant dans l'art a caractere magique et ou therapeutique. Ce caractere operationnel de l'oeuvre d'art est decouvert egalement au sein des contradictions et des interrogations de l'art contemporain. Cette possible interaction entre art et vie remet en question la fonction de l'art et actualise les liens existant entre ethique et esthetique<br>This theoretical and practical thesis concerns the place and function, in the universe of the human being in general and the artist in particular. The analysis of my key works (created between 1981 and 1992) suggest the answers. The perceptive attitude of the artist that originates from the work will define the perceptive attitude that the viewer will adopt towards it. The evolution of these two attitudes is parallel, and is examined by phenomenological methods. During this work the visual perception of nature transforms itself into an interior corporal perception. In other words, the relation between subject and object develops into a correlation between the perceiving subject and the perceived subject. This attempt of unification inside the subject (artist) becomes equally effective inside the viewer when he adheres and complies with the symbolic transfer to which the sculptures invite. The active and symbolic participation of the viewer is compared to the one that exists in art that has magic and or therapeutic characteristics. This operational character of the work of art can be discovered within the contradictions and interrogations of contemporary art. This possible interaction between art and life once again questions the function of art and actualizes the links existing between ethics and esthetics
28
Treichel, Gillian. "Creating form : the presentation and perception of three-dimensional form." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/858.
Testo completoAbstract (sommario):
This Creative Arts Project is an investigation of form within the ceramic tradition -how three-dimensional forms are created, presented and perceived. It addresses this topic by focusing on how form can be implied without actually creating the form itself. The project consists of an exhibition of selected art-work produced during the investigative process and is supported by this exegesis which documents the investigation. It also explains the theoretical basis for the body of work and the conceptual development of it. Major landmarks in the creative process and the significance of these for teaching and learning in visual arts education are highlighted. The submission includes further documentation in the forms of visual diaries. notebooks, photographs_ and other material produced in the process of exploration. The significant questions that have been explored in the Creative Arts Project are related to the perception of form in three-dimensional art-works. “How are three dimensional forms represented by the artist and perceived by an audience and what are the Implications for art education?” Embedded in a ceramic tradition, the bottle is both the subject of investigation and the vehicle for exploring the influence of different contexts on the perception of form. Gestalt Theory, and in particular the work of Rudolph Amheim, provide the theoretical basis for this study. The making of art-works, the responses to the work and the provision for aesthetic experience enhances knowledge and understanding of the teaching and learning process. A described in the Curriculum Framework: "Artistic works can inform, teach, persuade and provoke thought. They can reproduce and reinforce existing ideas and values, challenge them, or offer new ways of thinking and feeling (1998, p.51). In particular, the teaching of ceramics to undergraduate student teachers and the way in which this may develop visual understandings is examined.
29
Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.
Testo completoAbstract (sommario):
La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de discussió els joves comentaven que les cartel·les i les converses eren un punt de partida per entendre i apreciar l'art, per la gent gran no van ser tan útils. L'estudi 3 va mostrar que no només hi havia diferències entre la sala d’art contemporani i tradicional -la comprensió de l'art contemporani va ser major en la galeria d'art contemporani-, sinó també entre els grups d'edat -els joves van declarar que els agradava més l'art contemporani i la gent gran van gaudir més de l’experiència de visitar el museu-. Vam arribar a la conclusió que no només les diferències d'edat, sinó també les diferències relacionades amb l'educació i la freqüentació de les visites als museus contribueixen a l'apreciació de l'art. Aquesta investigació és important per demostrar com la gent aprecia i entén l'art contemporani. Per tant, aquests resultats tenen implicacions rellevants per dissenyar programes d’activitats en els museus que involucrin diferents grups de visitants.<br>La Psicología del Arte estudia las experiencias estéticas y las preferencias de los individuos mientras miran el arte. El objetivo de esta investigación es analizar la apreciación del arte contemporáneo de jóvenes y gente mayor en el MFA de Boston. Se llevaron a cabo análisis cuantitativos y cualitativos. El estudio 1 mostró que los jóvenes, más que la gente mayor, encontraron que las cartelas y conversaciones contribuyeron a apreciar el arte contemporáneo, y más en el contexto del museo que en el del laboratorio. El estudio 2 mostró que el contexto del museo contribuyó a la apreciación del arte. También, las discusiones en el grupo de jóvenes confirmaron que las cartelas y las conversaciones forman un punto de partida para entender y apreciar el arte, para la gente mayor no eran tan útiles. El estudio 3 mostró que no sólo existían diferencias entre la sala de arte contemporáneo y tradicional -la comprensión del arte contemporáneo fue mayor en la sala de arte contemporáneo-, sino también entre los grupos de edad -los jóvenes declararon que les gustaba más el arte contemporáneo y la gente mayor disfrutó más de la experiencia en el museo-. Llegamos a la conclusión de que no sólo las diferencias de edad, sino también las diferencias relacionadas con la educación y la frecuentación de visitas contribuyeron a la apreciación del arte. Esta investigación es importante para demostrar cómo la gente aprecia y entiende el arte contemporáneo. Por lo tanto, estos resultados tienen implicaciones relevantes para diseñar programas en los museos que involucren diferentes grupos.<br>Psychology of Art studies aesthetic experiences and individuals’ preferences while looking at art. The aim of this research is to analyze contemporary art appreciation in younger and older adults at the Museum of Fine Arts, Boston. Quantitative and qualitative analyses were conducted. Study 1 showed that younger more than older adults found that labels and conversations contributed to liking contemporary art, more in a museum setting rather than in a lab setting. Study 2 showed that the museum context contributed to appreciating the art. Also, group discussion of younger adults confirmed labels and conversations in the museum to be a starting point to understand and appreciate art; for older adults, these were not so helpful. Study 3 showed that not only were there differences between a contemporary and a traditional art gallery -participants understanding of contemporary art was greater in the contemporary art gallery-, but also between age groups -younger adults stated that they liked contemporary art more and older adults enjoyed their museum experience more. We conclude that not only age differences, but also differences related to education and museum visitation frequency contributed to art appreciation. This research is important to demonstrate how people appreciate contemporary art and how they understand it. Therefore, these findings have relevant implications for the design of museum programs about contemporary art to engage different groups of visitors.
30
King, Victoria School of Art History & Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.
Testo completoAbstract (sommario):
This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.
31
Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.
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Lyons, David. "Double vision : a practice-based investigation of art and differential perception." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/5f6b6957-a920-4dd8-a81c-476328cfa784.
Testo completoAbstract (sommario):
<i>Double Vision: A practice- led investigation of art and differential perception</i> is a series of five interrelated practice-led research studies into artistic expression controlling perceptual experiences between audiences of varying visual acuities. Significant refinements occurred between the first and second, and second and third studies. The last four studies were conducted with the aim of understanding vision’s influence on perception. <i>Double Vision’s</i> lead methodological approach was artistic practice. Other methods were employed according to the needs of that practice. They included iteration, collaboration, exhibition and testing. The research questions of <i>Double Vision</i> were refined in response to the results of artistic practice. That evolution resulted in two interrelated questions: <i>Can artwork be intentionally created to be experienced differently dependent on one’s visual abilities? </i>and<i> If so, can those experiences be shared?</i> A further question, <i>‘Can an analogy to colour deficient vision be created that engages both those with colour vision deficiency and the typically sighted?’, </i>concludes the investigations. Artwork was realized through printmaking, animation and multimedia formats. Its context and content derived from many forms, notably the Ishihara <i>Test for Colour Deficiency</i>, writings of William Blake, contemporary music and philosophy. Augmented reality was employed to facilitate the translation of visual perceptions between targeted audiences. A number of exhibitions were held exploring these themes.
33
Robinson, Susan Rebecca. "Expression out of expressive physiognomy : physiognomic perception, aesthetic attribution, and art." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/21498.
Testo completoAbstract (sommario):
This thesis accepts the assumption underlying most theories of expression in art and music in recent decades, that the problem of expression in art is one most adequately handled as a problem of expressive attribution. However, the thesis rejects another assumption these same theories make, that the problem of accounting for descriptions of the form 'the music is sad' forms an isolated study. Instead, the thesis tackles the problem of accounting for expressive qualities attributed to art as part of a wider problem of aesthetic attribution. Chapters One and Two use Fank Sibley's classic distinction between aesthetic and nonaesthetic concepts as the departure point for a wider discussion of aesthetic attribution. Chapter One gives Sibley's discussion an unusually sympathetic reading, defending Sibley against an argument Roger Scruton raises against Sibley's view in the early part of Art and Imagination. Having made the most sympathetic case possible for Sibley's theory, Chapters Two through Five launch into a wider enquiry into the nature of aesthetic perception and aesthetic judgement. In Chapter Two, a final concession is made to Sibley's views when it is suggested that aesthetic judgements employing Sibley's taste concepts constitute strongly perceptual judgements: judgements formed in the course of perception as opposed to judgements reflecting upon the data of perception. Chapter Three continues the enquiry into the nature of aesthetic perception by examining the view expressed sometimes in the writings of Virgil C. Aldrich, that aesthetic awareness amounts to the operation of a distinctive mode of perception, one excluding a physical object awareness of things. The evidence Aldrich provides for his view is examined, and Aldrich's account of representational perception is compared and contrasted with Richard Wollheim's better-known view.
34
Fagan, Lynn Maxey. "Elementary School Teachers' Perception of Art Integration to Improve Student Learning." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1191.
Testo completoAbstract (sommario):
Teachers are seeking effective teaching strategies to support an array of student learning needs. The arts hold the potential to transform the learning experience for students; however, the use of art integration is limited and unknown to many educators. The purpose of this qualitative case study was to interview and observe 8 elementary school teachers who were identified by the school administration as successfully having integrated art into the curricula, defined by teaching with and through the arts across all content areas. The intent of this study was to explore the participants' perceptions about the use of art integration in the classroom, effective practices for integrating art into the curricula, and the way art integration supports student learning and provides focus for student learning. Constructivist theory and the theory of multiple intelligence served as conceptual frameworks for this study by relating to the need for students to build learning from social engagement and experience, and to learn from different perspectives which can be facilitated through arts integration. Data collected from the 8 teacher participant pool through 8 interviews and 4 classroom observations were analyzed with open coding followed by axial coding to determine emergent themes. Results suggest that art integration enriches the entire learning experience. Teachers used art to make the curriculum visible to students. Students interacted with the curriculum through art making, and finally demonstrated understanding in an art form. Teachers credited the use of art integration for higher levels of learning due to increased student engagement through hands on activities, real life connections, document-based inquiry, and collaborative learning. The findings of this study suggest the expanded use of art integration may lead to social change in the classroom that will improve student learning.
35
Brandse, Simone. "Preconscious perception and persuasion: the physiology of visual art and advertising." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27604.
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36
Horton, George M. "Ersatz." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3267.
Testo completoAbstract (sommario):
Thesis (M.F.A.)--West Virginia University, 2003.<br>Title from document title page. Document formatted into pages; contains vi, 25 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 22).
37
Molyneaux, Brian Leigh. "Perception and situation in the analysis of representations." Thesis, University of Southampton, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314941.
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Lamontagne, François. "Pour une ontologie du corps /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
Testo completoAbstract (sommario):
Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.<br>Résumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
39
Johnston, Jennene, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice." THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.
Testo completoAbstract (sommario):
This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works.<br>Master of Arts (Hons)
40
Cunniffe, Paula Marie. "Locating interiority text, image, identity, and the domestic : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art & Design), 2007." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1364/.
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Powell, Amy L. "Erica and I: A Photographic Battle with Perception." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285059415.
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42
Schlagbauer, Marlene, and Lutz Leonard Schuppener. "The Art of Leadership : A contemporary perception of leadership in postmodern societies." Thesis, Linnaeus University, Linnaeus School of Business and Economics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5759.
Testo completoAbstract (sommario):
<p>The 21st century imposes totally new challenges on businesses, different from anything they have experienced before, due to a very high degree of complexity and uncertainty. These transformations, in eco-political as well as in social spheres, imply a new conceptualization of leadership. We provide an understanding of leadership based on art, since we regard art as a medium incorporating unaccountable aspects of human life. This unaccountable dimension moreover, is of crucial importance in organizations nowadays, in order to provide the working atmosphere people need in order to excel at work. Thus, leaders have to become aware of the quality of relationship they create based on social interaction with the people they lead. What might be crucial elements composing the art of leadership in this relationship is well researched by a number of qualitative dialogues with experts in the domain of leadership, grounded in specific deepening literature study and thoroughly depicted in this thesis.</p>
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Carroll, Jerome. "Art at the limits of perception : the aesthetic theory of Wolfgang Welsch." Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/13281/.
Testo completoAbstract (sommario):
This thesis presents and critically assesses the aesthetic theory of the contemporary German philosopher Wolfgang Welsch, in particular his ideas of the intersection of philosophical aesthetics and contemporary culture. The three aspects of his ideas which frame this discussion and which I present in the first chapter are his project for reconfiguring aesthetics as a study of sensory perception, his characterisation of postmodern culture as aestheticised, and his conception of a new focus for aesthetics, the anaesthetic or imperceptible. Welsch's ideas intersect with several key issues in philosophical aesthetics which I outline in the second chapter, namely the status of the sensory and its relationship to the quality of indeterminacy, the subjective and cognitive nature of the aesthetic experience, the idea of the aesthetic as an epistemological ground that is in some way distinct from rational or conceptual knowledge, and finally the aesthetic characterised as an essentially modernist quality of defamiliarisation. The interlocutors here are Alexander Baumgarten, Kant and the Russian Formalists. This is followed in the third chapter by a more focussed discussion of Welsch's ideas on the sublime, a crucial aesthetic category which offers a theoretical background to his ideas on anaesthetics. Welsch reads the sublime as pivotal to the aesthetics of Adorno and the aesthetic thinking of Lyotard, and the main argument in this chapter compares the postmodern fascination with diversity or heterogeneity as values in themselves with a more ideologically informed conception of the cognitive and social function of modern and postmodern art as challenging existing modes of perception. I also read the limit experience of the sublime as a model for the modernist aesthetic of defamiliarisation. A critical discussion of Welsch's own variant of the sublime, the anaesthetic, follows in chapter four. The key issues here are the tensions between Welsch's disparate uses of the term, the ideological implications of each variant, and to what extent each allows a re-engagement of indeterminacy with everyday culture, or tends towards a more autonomous aesthetic. The final two chapters apply Welsch's ideas and the issues raised to examples of art, specifically drama, that operates at the limits of perception. The aim here is to assess whether Welsch's sensory terms offer the articulation of art and contemporary culture, or whether with some modifications they might. An overarching concern of the thesis is to distinguish between the transcendental significance of the aesthetic and its more marginal validity as cultural intervention.
44
Robinson, David Wayne. "Landscape, taskscape, and indigenous perception : the rock-art of South-Central California." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/284062.
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45
Sosnowska, Emilia. "Ways of sensing multisensory approaches to interactive media art practice and perception." Thesis, University of the West of Scotland, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736954.
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46
Boyer, Marie-Monique. "L'Organisation spatiale des formes dans l'oeuvre plastique de l'enfant au Japon et en France." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37603408z.
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47
Zhao, Yue Qu. "Emptiness as a visual strategy an exploration of visual absence in contemporary art practice : Master of Arts in Art & Design, AUT University, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/483.
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48
Haley, Stephen John. "Mirror as metasign : contemporary culture as mirror world /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001650.
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49
Puccini, Marlène. "Point de vue, point de voir." Paris 8, 2004. http://www.theses.fr/2004PA082502.
Testo completoAbstract (sommario):
Cette thèse débute par la question de la représentation et de la mobilité de ses seuils, elle évolue vers celle de la perception du déséquilibre. Une analyse de la Tavoletta de Brunelleschi, - par laquelle le monde s'offre à voir dans une représentation à l'exactitude qui fait écran sur le réel -, intègre le corps du regardeur qui ajuste entre ses mains le représenté au réel. La représentation est un dispositif au sein duquel le corps est impliqué. Les Délocaliser confrontent inscription et représentation du lieu et retracent des expérimentations sur des matériaux non représentationnels. L'inscription sous l'image que permet le dispositif ordinateur change entièrement les données liées à la représentation et procède d'un langage manipulable. La forme peut être, dès lors, considérée comme un simple " échangeur ", espace de réélaboration entre langage et image. Un dispositif-image. Dans la Tentation de voir, le visiteur est invité à pénétrer dans une chambre blanche aux déplacements imperceptibles afin d'explorer la frontière polyesthésique d'un doute, d'une incertitude qui surgit entre stabilité et instabilité, entre égomotion et allomotion et ouvre la voie vers de nouvelles perceptions exquises. Une étude de l'Atelier Brouillard-Précis, lieu d'expérimentation et de réflexion dans lequel de nombreuses œuvres ont été créées, constitue la dernière partie de cette thèse<br>This thesis opens with the question of representation and its thresholds' mobility, it evolves towards the question of perception, of desequilibrium. An analysis of Brunelleschi's Tavoletta, — through which the world is to be seen within a representation at the exactness, that makes screen upon the real —, embodies the the viewer who adjusts between his hands the represented to the real. Representation is an apparatus within which the body is involved. The" delocalisings ", confront inscription et representation of the locus and recall experimentations upon non representationnal matters. The inscription beneath the image that the computer apparatus allows changes completely the datas linked to representation, and arises from a handelable language. The shape can be then considered as a mere " exchanger ", reelaboration space between langage and image. An image apparatus. In la Tentation de voir, the visitor is invited to step into a white room (the moves of which are unperceivable) so as to explore the polyaesthésic border of a doubt, of an uncertainty that arises from between stability and unstability, between égomotion and allomotion ; opens the way towards new exquisit perceptions. A study of Brouillard-Précis' workshop, an experimentation and reflection place where numerus works have been created, form the last part of this thesis
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Wages, Mark A. "Pattern in composition of the visual arts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.
Testo completoAbstract (sommario):
This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.<br>Department of Art