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Altorf, Marije. "Iris Murdoch and the art of imagination : imaginative philosophy as response to secularism". Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1677/.
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This dissertation examines the work of the British philosopher and novelist Iris Murdoch. A centre concern of this work is a question Murdoch poses more than once: ‘How can we make ourselves morally better?” This question is understood to initiate a form of philosophy which is critical of much of its tradition and its understanding of reasoning and argument. It also recognises its dependence on other disciplines. Murdoch develops this form of philosophy in reply to the cultural phenomenon of secularisation. In the absence of God, she attributes tasks to philosophy formerly performed by religion. Most importantly, she advocates a concept of transcendent reality in philosophical discourse. This reality is the Good. She finds that in order to do so, she has to reconsider philosophy’s central faculty of reason. Drawing on literary, philosophical and theological sources, Murdoch develops an understanding of reason and argument in which images, imagery and imagination are central. This study has three objectives. It first aims to present Murdoch as an imaginative philosopher by exploring the role of literature in her philosophical writing. In doing so, it challenges various presuppositions about philosophy, held by both philosophers and non-philosophers. Its second aims is to reconsider these assumptions in general terms. This part draws significantly on the work of Le Doeuff. In particular, it considers the presence of imagery in philosophy as well as philosophy’s assumed neutrality, which has arisen from its long affiliation with science. Thirdly, the thesis presents a reconsideration of the notion of imagination. This notion is often involved in the interdisciplinary debate between theology, philosophy and the arts. Murdoch’s notion of imagination challenges two important assumptions. By releasing imagination from the limited corner of art, it first challenges a strict distinction between literary and systematic writing. By introducing fantasy as the bad opposite of good imagination, it secondly critically assesses unconditional ‘praises of imagination’.
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Daur, Uta Art History & Art Education College of Fine Arts UNSW. "The melodramatic imagination of Tracey Moffat's art". Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/43256.
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This thesis tracks the melodramatic imagination of Tracey Moffatt's art. Whereas many of Moffatt's photographic and filmic works employ conventions of melodrama, the critical literature on her art has barely engaged with this important aspect of her practice. The thesis redresses this gap. I argue that a particular understanding of melodrama that constructs inauthe.ntic and indeterminate realities crucially shapes Moffatt's art. Building on seminal works from literature and film studies, as well as psychoanalysis I develop a framework for the detailed examination of melodrama in Moffatt's art, and identify major themes, stylistic elements and fonnal conventions of melodrama that penneate her practice. The thesis designates and investigates three major concepts associated with melodrama as applicable to Moffatt's practice. First, I propose that her art is linked to a particular melodramatic aesthetic, the aesthetic of muteness as defined by Peter Brooks. This aesthetic uses non-verbal means of expression, such as gestures, the tableau and mise-en-scene to convey emotional and narrative meaning. It also emphasises the shortcomings of verbal language in expressing inner states of being of the modem 'Western' subject. Analyses of Moffatt's photo series Something More and her film Night Cries. A Rural Tragedy demonstrate that the aesthetic of muteness not only serves to express unspeakable traumatic experiences of characters but is also linked to the artist's aim to cross media boundaries. Second, the thesis examines Moffatt's Scarred for Life series in relation to melodrama's exposure of issues of violence and oppression in the family. I will propose that the return of the repressed and the revelation of hidden forces in melodrama may be related to Sigmund Freud's concept of the uncanny. Focussing on Scarred for Life I will examine ways in which artworks may evoke uncanny feelings in viewers. The third key thematic investigated in the thesis is elaborated in Chapter Five, which examines a consistent ambiguity found in Moffatt's art and links it to the moral impetus of melodrama. Building on writings by psychoanalytic theorist Joan Copjec I argue that - unlike early theatrical and literary melodrama, which divides the world into clear-cut binaries of good and evil - Moffatt's melodramas construct a moral ambiguity that questions unequivocal moral' judgment~. With the example of Moffatt's photographic series Laudanum I show that this moral ambiguity challenges viewers to make their own judgments instead of automatically relying on pre-given moral and political premises. By analysing the crucial part that melodrama plays in Moffatt's practice, this thesis not only develops a new way of interpreting the work of this important Australian artist, but also presents an understanding of melodrama as an aesthetic and a way of seeing the world that may be applied to other fonns of contemporary visual art.
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Miller, B. Darlene. "Playground for the imagination". Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.
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Thesis (M.F.A.)--Georgia Southern University, 2006."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
4
Harris, Alexandra. "Coming home : English art & imagination, 1930-45". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440720.
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Rosen, Aaron Matthew. "Brushes with the past : art history and Jewish imagination". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612180.
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Doyle, Denise. "Art and the imagination in avatar-mediated online space". Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536629.
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Peacock, Mary, i not supplied. "Under the Bitumen the River - Translating the Imagination". RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.150756.
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The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.
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Peterson, Megan L. "Telling Stories About Monsters Through Art". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/86.
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This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.
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Lindstrand, Jennifer. "Educating the imagination: fostering compassionate empathy through art and media". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92406.
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This work explores the concept of empathy, what empathy is and why it is important in relation to the field of education. The idea of a compassionate empathy, in which one moves from understanding to deeply caring, is examined as an essential component of creating a more just world. The ability to empathize is based on recognition and identification with another's feelings, beliefs or experience. In order to develop this type of compassionate knowing, it is important that a strong imagination be present. Simply put, without imagination empathy cannot exist. As with compassionate empathy, so too does the imagination need to be centered around care. Education can play a vital role in helping to foster a moral imagination. In this context, both the arts and media are explored as specific examples of tools for nurturing this type of imagination and empathy.Ce travail explore le concept de l'empathie, sa signification et son importance en matière d'éducation. L'idée d'une empathie compatissante, où l'on se réoriente à partir de la compréhension pour en arriver à la bienveillance, est examinée comme élément essentiel à la création d'un monde plus juste. La capacité d'empatiser est fondée sur la reconnaissance et l'identification des sentiments et croyances ainsi que sur l'expérience des autres. Pour développer ce type de savoir compatissant, il est important qu'une forte imagination soit présente. En termes simples, sans l'imagination, l'empathie ne peut pas exister. Tout comme l'empathie compatissante, l'imagination doit par le fait même être centrée sur la bienveillance. L'éducation peut avoir comme rôle vital de favoriser une imagination morale. C'est à l'intérieur de ce contexte que les arts et médias sont explorés à titre d'exemples spécifiques d'outils pour cultiver ce type d'imagination et d'empathie.
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GAY, MARIA EUGENIA. "OF THE ART (,) OF HISTORY: IMAGINATION AS CREATIVITY AND KNOWLEDGE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24734@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Costuma-se relacionar o problema da imaginação com o tratamento do ficcional ou do artístico, mas esta associação não foi sempre assim. Além do campo da arte, a imaginação envolve também o campo das disciplinas humanas, como a história, a antropologia, a política e inclusive a teologia. Pela sua estreita ligação com processos ditos físicos, a imaginação também intervém nas classificações das capacidades e funções físicas do cérebro. A discussão sobre a imaginação gravita entre o conhecimento do homem como ser biológico e como ser moral, entre a exterioridade da percepção e a interioridade do pensamento e do sentimento, entre a sua condição terrena e seu pertencimento ao universo divino. A abordagem da disputa sobre a imaginação no longo século XVIII, isto é, aproximadamente desde a época de Gottfried Leibniz, em que se condensa uma discussão propriamente alemã, até a época de Hegel, em que a história se torna uma espécie de necessidade da razão, começa com um problema. Por um lado, ela é acometida como estratégia para compreender em um plano profundo as condições de possibilidade da formalização disciplinar da historiografia no contexto da formalização e especialização disciplinar generalizada de todos os saberes previamente contidos nos vocábulos de ciência ou filosofia. Por outro lado, essa discussão tem sido recuperada somente a través do seu sequestro por cada uma dessas disciplinas formalizadas, e incorporada como parte de uma memória disciplinar que oblitera a sua pluralidade e produtividade iniciais. Essa produtividade contém uma noção de conhecimento muito mais ampla do que aquela que é manejada hoje em dia pelas disciplinas humanas, e aparece como muito mais conveniente para os seus objetivos. Neste trabalho se entende que a amplitude da concepção de conhecimento que convém às humanidades reside na unidade fundamental de criação e conhecimento que se verifica no pensamento anterior à discussão alemã do século XVIIIXIX sobre a imaginação, e que os termos de criação e conhecimento se tornaram antitéticos somente partir e como produto dessa discussão.
The problem of imagination is most commonly related to fictional or artistic concerns. This association, however, hasn t always been so evident. Apart from the field of art, imagination concerns the humanities, such as history, anthropology, politics and even theology. Due to its close bind to so called physical processes, imagination also intervenes in the classification of the capacities and functions of the brain. The debate over imagination thus gravitates somewhere between the knowledge of man as a biological body and as a moral being, between exterior perception and the interiority of thought and feelings, between man s earthly condition and its belonging to the divine universe. The analysis of the dispute over imagination during the long nineteenth century, that is, approximately from the times of Gottfried Leibniz, in which a properly German discussion is articulated, until Hegel s time, when history became some kind of necessity of reason, begins with a problem. For one thing it is pursued as a strategy to understand more deeply the conditions of possibility for the disciplinary formalization of historiography in the context of the generalized formalization of all knowledge previously contained in the terms science or philosophy. On the other hand, this dispute has been so far undertaken only through its kidnapping by each one of those individual formal disciplines and incorporated as part of a discipline memory which obliterates its original productivity and plurality. That productivity contains a much wider notion of knowledge than the one nowadays adopted by the humanities, and appears as a more convenient approach for their goals. This thesis works on the understanding that the generosity of the concept of knowledge that better suits the humanities lies in the fundamental unity of creation and knowledge that was overthrown during the eighteenth-nineteenth century German debate over imagination, which made the terms creation and knowledge antithetical concepts.
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Robb, Niall Angus. "The Magic Surface: Wonder, Transfromation and Imagination in Contemporary Art". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16210.
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The aim of this research paper is to interrogate the term magic and to ascertain its appropriateness as a descriptor for the captivation I feel in response to certain everyday material expression, which I explore in my own work, and observe in the artistic practice of other artists. Through engaging with the theories and writing of scientific disciplines such as mineralogy and interfacial science, along with the writings of natural philosophy and natural magic I test whether I can separate the term magic from its familiar supernatural incarnation, leading to a reconsidering and expanding of what magic might encompass, and potentially, make a case for the magical quality of surface materiality and phenomena. In my research paper I survey different aspects and cases of what I identify as ‘everyday magic’. In the first chapter I begin by concentrating on the lustre and finish of reflective surfaces and locate a linage of artists, writers and natural philosophers who are also transfixed by the wondrous quality of lustrous surfaces. In chapter two I focus on material transformations that occur at the interfacial region between surfaces, and in chapter three I look at the use of surface applications such as gilding and veneers, and the ways in which they invite a kind of imaginative perception. Throughout the paper I survey a number of contemporary artists and relate their works as well as my own to the various ideas centred around surface and magic outlined in each chapter.
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Beeston, Rob. "The intrigue of travelogue : sound and the social imagination". Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250429.
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Mamatsachvili, Atinati. "Le jaune : de l'histoire à l'évènement". Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10099.
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Le jaune. De l'histoire à l'évènement représente une étude comparatiste sur la couleur jaune à travers les oeuvres littéraires suivant les différentes époques. Dans la perspective d'une étude interdisciplinaire, les études théoriques et scientifiques des peintres et des téhoriciens de l'art ainsi que les exemples picturaux cernent la couleur jaune dans l'aspect philosophique et psychologique afin de retracer son histoire de l'Antiquité jusqu'à nos jours. Une telle recherche vise à suivre le développement du concept de la couleur jaune au cours des siècles dans l'objectif de dégager une systématique à laquelle elle serait soumise. Dans cet ordre d'idée, une "indicateur de l'identité" de la couleur jaune se pose à l'amont de la recherche qui conduit à définir cette dernière dans une catégorisation déterminée et de conclure que les représentations auxquelles se réduit le jaune dans un texte littéraire et simultanément dans la conceptuatilisation théorique, ne sont pas réductibles au développement idéologique. La recherche permet de constater de quelle manière, à travers l'histoire littéraire, vacillant entre l'impact immatériel et matériel, la couleur jaune solaire et ignée acquiert l'aptitute de conduire à un évènement.
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Hahn, Monica Anke. "Go-Between Portraits and the Imperial Imagination circa 1800". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/508898.
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Art HistoryPh.D.
This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnographic studies, paintings, and prints, as well as in objects of material culture such as games, books, and toys, reveal a dislocating indigenous agency within their colonial contexts. By offering new considerations of artistic process and the role of late eighteenth- and early nineteenth-century British theatrical culture, the dissertation suggests that these Native figures were mediated by the tropes and conventions of contemporary theater through pose, gesture, and other dramaturgical allusions. In its exploration of the theatrical dimensions of imperial diplomacy and Go-Between representation, including evidence of performative mimicry by Go-Betweens themselves, my dissertation reveals an even more subtle interplay of identities in the context of colonial image-making than art historians have hitherto recognized. In addition to using theater history and performance theory to situate Go-Between images in relation to the contemporary English stage, the study also implicates the creative process and resulting artifacts themselves in the Go-Between status, affording the material object itself a hybridity that can become the site of ideological dislocation.
Temple University--Theses
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Smick, Rebekah. "Interview with Richard Kearney (Art Talks, October 13, 2012)". Institute for Christian Studies, 2012. http://hdl.handle.net/10756/294312.
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Epley, Veronica H. "MYTH, METAPHOR, AND IMAGINATION: FRAMING HOMELAND SECURITY AS ART AND ARCHETYPE". Monterey California. Naval Postgraduate School, 2013. http://hdl.handle.net/10945/32814.
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CHDS State/LocalArt, myth, metaphors and archetypes can foster divergent thinking and serve as channels for integrating imagination and evocative ambiguity into traditional analysis and problem solving. New ways of representing ideas about homeland security not only provide vehicles for communication, but also expand and improve our ability to contemplate and understand this complex, emerging discipline. Through this paper and three original artworks, I argue for admitting art, imagination and the searching attitude of humanism into the domain of homeland security. I use the myth of Perseus and Medusa to focus on the mirrored shield as a metaphor for seeing ourselves as part of the predicament and for regarding the response not simply as solution, but as creative evolution. The metaphors we choose, consciously or unconsciously, to tell the story of homeland security will frame not only what we think but how we act and how we are perceived. Art is not frivolous. It is both mirror and shield, and allows us to move, stretch, and reach to transform reality. Art is forward leaning and operates in a non-linear or supra-linear process whose edges, mass, margins, and shadows expand the universe of possibilities and pre-suppose the existence of new forms.
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Ventrella, Francesco. "The body of art history : writing, embodiment, and the connoisseurial imagination". Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.713879.
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This doctoral dissertation is concentrated around a series of primary texts by Giovanni Morelli, Bernard Berenson and Vernon Lee and, rather than articulating a monographic account of_their methods, it favours the outline of a constellation of problematics capable of interrogating the representation of the body in art historical writing by focusing on connoisseurship. Connoisseurship is based on the physical examination of paintings. Although connoisseurship is based on the reading of anatomical details (mainly) in painting, the textual accounts of the connoisseurs demonstrate that the body is always evacuated when writing is trying to make it more obvious. This study examines the theoretical and historical preconditions by means of which connoisseurship was introduced as a scientific method towards the end of the nineteenth-century and it proposes an investigation of connoisseurs' jargon of exactness under the light of the mimetic problematic of modernity as a way to undermine the patriarchal and heterononnative formations of identity
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Büscher, Monika. "Ideas in the making : talk, vision, objects and embodied action in multi media art and landscape architecture". Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289004.
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Drapalo, Kamila. "The art of imagining: Martha Nussbaum between vulnerability and autonomy". Phd thesis, Australian Catholic University, 2021. https://acuresearchbank.acu.edu.au/download/bda7ab9706e342c9809583ef0a0bae31e49458445d2eef380721267b999ef9b9/2131122/Drapa%C5%82o_2021_The_art_of_imagining_martha_nussbaum_%5BREDACTED%5D.pdf.
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Vulnerability is one of the key notions in contemporary sciences and humanities, as well as in the self-understanding of a human being. It encompasses our ontological fragility and the existential mutability and unpredictability of the world, our relationships, and ourselves. The multidimensionality of the notion is a subject of intense academic research. In this thesis, I discuss whether vulnerability should assume more importance in philosophical anthropology than autonomy, or whether they are equally important. The writings of Martha Nussbaum offer a particularly rich perspective from which to reflect upon this problem. In my thesis I set the following aims: 1) to systematise and critically evaluate the notion of vulnerability in the works of Nussbaum; 2) to examine its relation to the notion of autonomy; 3) to identify and evaluate the advantages and challenges that stem from thinking of the two together. In Nussbaum’s early writings, ontological vulnerability is a starting point for her anthropological reflections. The analysis of her later writings unveils that a profound understanding of vulnerability requires that we distinguish between various forms of vulnerability, and consider it in tandem with – and not in opposition to – the notion of autonomy. Drawing closer attention to Nussbaum’s understanding of imagination, enriched by a reflection on the relationship of imagination to autonomy, appears fruitful in addressing the challenges that stem from the intertwining of autonomy and vulnerability. Apart from imagination’s role in intersubjective understanding, it is central for an understanding of oneself as a subject who, despite his/her limitations, has agency. Imagination conditions the capacity to strive for freedom within the context of our fundamental vulnerability, to reach beyond our immediate conditioning but within the context of such conditioning. Imagination thus becomes extremely important for an ethics between vulnerability and autonomy.
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Iglesias, Janelle Ann. "FACTS OF THE IMAGINATION (FROM THE INSIDE OUT)". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1148.
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Growing up in a bicultural household, navigating the F train as well as mountain creeks, studying culture and then participating in its production, these are some of the idiosyncrasies that I bring to my work. My investigations are rooted in combining a rediscovery of the sensuousness of the natural world and an investigation of the poetics of everyday life. Choosing materials and situations within the realm of the everyday, I'm interested in a transformation that suggests the infinite potential and worth in all things. The resulting objects have identities as complex as my own. They are ridiculous and serious, normal and magical, and confident in their awkwardness. This document was created in Microsoft Word X for mac.
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Wiesemueller, Cornelia Francesca. "Vapour trails of imagination : the metaphysics of virtual reality : the deepest seat of creativity". Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/29234.
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In this dissertation I try to define the metaphysics of Virtual Reality, offer ideas on perception and the mind and look at philosophical notions of art and myth—making. I discuss a number of different artists (including myself) who go beyond the world of the tangible object and struggle with expression, composition, space, time and movement.
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Barth, Bernhard. "Schellings Philosophie der Kunst : göttliche Imagination und ästhetische Einbildungskraft /". Freiburg i. Br. : K. Alber, 1991. http://catalogue.bnf.fr/ark:/12148/cb356854858.
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Samet, Tehrani Mehrdad. "La philosophie de la couleur persane : du XVe siècle à nos jours". Paris 1, 2006. http://www.theses.fr/2006PA010543.
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A l'aube de la civilisation persane, la valorisation du Soleil accompagne celle de la lumière et de la vision. Dans le culte de Mehr (Mithra )l'ascension visionnaire mystique, est accompagnée de photismes colorés. Cette traduction" visuelle" des degrés ascensionnels se retrouve aussi dans la vision mystique de Najm Kobra et Semnani. Cette recherche met l'accent sur l'influence du manichéisme sur la formation et l'évolution de la miniature persane, en même temps que l'inspiration manichéenne de Sohrawardî (le concept de l'intermonde). Le cadre du XV· siècle nous procure les éléments esthétiques qui nous permettent d'établir des liens entre le concept polychrome persan, basé sur l'opposition des contraires (complémentaires) et les théories modernes de la couleur: les gris colorés obtenus par la juxtaposition des couleurs opposées.
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Golden, Lauren. "An historical enquiry concerning the imagination in philosophy, art history and evolutionary theory". Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249433.
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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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Ausperk, Ryan. "Phenomenology, Imagination, and Aesthetic Experience". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398270498.
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Ivens, de Araujo Maria. "Le peuple-artiste, cet être monstrueux : la communauté des pairs face à la communauté des génies". Paris 8, 2000. http://www.theses.fr/2000PA081725.
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Motre ambition est d'apprendre a penser l'artiste. En effet, l'individu exceptionnel traditionnellement propose par l'histoire de l'art contredit les populations d'artistes dont temoignent les documents d'archives, ainsi s'opposent deux images; celle de l'artiste ordinaire et celle du genie, or, pour autant que le caractere exceptionnel de ce dernier empeche de comprendre une communaute des pairs, il oblitere les discours sur le "peupleartiste". Le retour aux sources de la modernite artistique retablit le lien legitime entre population et exception. A partir de la, nous contournons l'aporie par une approche nonpropositionnelle qui permet le croisement des lieux communs des deux termes maintenant lexicalises, il nous faut ainsi considerer l'artiste comme une metaphore, un signifiant renvoyant a un autre signifiant (le peuple), dont il faudra exprimer la soudure, la multiplicite des petits recits permet d'assaillir le retrait de cette metaphore. Nous temoignons d'abord de 1'impossible insertion sociale de l'artiste. Dans un deuxieme moment, cette atopie pregnante dans l'histoire de l'art nous engage a preciser les representations communes et les categories philosophiques permettant de saisir l'activite artistique. La definition proposee pour le peuple renvoie a la "duplicite" d'un collectif d'etres singuliers; celle pour l'artiste a 1'affirmation d'une singularite dans un espace public ouvert. Alors, nous substituons a l'image romantique dominante de l'artiste une conception du sujet multiple et decentre dans l'approche baroque, en tant qu'elle autorise l'acces du peuple a la representation. La question de l'artiste s'inscrit ainsi dans une pensee de l'ordre du politique, par consequent notre dernier mouvement aboutit au moment originaire de l'avenement de l'artiste et du citoyen.
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Konoshima, Nanako. "Dickens and the Visual Arts: Literary Imagination and Painted Image". 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.
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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /". view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Brown, Mikell Waters. "Divine Imagination: Correlations Between the Kabbalah and the Works of William Blake". VCU Scholars Compass, 1991. http://scholarscompass.vcu.edu/etd/4500.
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The intention of this thesis is to investigate correspondences which exist between the Kabbalah and the recondite world of William Blake's imagery. Particular attention will be paid to the symbiotic relationship or word and image and the dialectical approach to salvation which is common to both Blake and the Kabbalah. The attempt will be made to locate correlations between depictions or several or Blake's characters and components or the kabbalistic Tree of Life. In doing so, this writer hopes to show that Blake's familiarity with the Kabbalah was instrumental in enabling him to give form to the visionary experience upon which his mythological system was based. Certainly, a full understanding of Blake's symbolism must acknowledge not only his indebtedness to the Kabbalah, but also the significant role that esoteric tradition as a whole played in the development or eighteenth-century English thought.
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Tal, Guy. "Witches on top : magic, power, and imagination in the art of early modern Italy /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230548.
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Thesis (Ph.D.)--Indiana University, Dept. of the History of Art, 2006.Title from PDF t.p. (viewed Dec. 4, 2008). Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2790. Adviser: Bruce Cole.
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Macintyre, Alasdair. "Spectres in the studio : Time, memory and the artist's haunted imagination". Phd thesis, Australian Catholic University, 2022. https://acuresearchbank.acu.edu.au/download/1b352559bf33109aaf78ce86abeb5bbbbbd754c375b9b3ec71fb778bd891fb4e/16278474/Macintyre_2022_Spectres_in_the_studio_time_memory.pdf.
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I spent a week in a haunted house and that is what inspired this project. I then discovered hauntology. Hauntology is a concept that was developed by French philosopher Jacques Derrida and articulated in his 1993 lecture Specters of Marx. Hauntology is a theory reliant on time, where the historical past and the envisaged future bleed in to the present moment. A concept that recognises the ghosts of the past that are bound to return again and again to haunt the mind, as well as spectres that represent expectant futures that did not eventuate. While hauntology (also known as spectral studies) has been used as a thematic device in the fields of music and literature as both a creative and a critical tool, it has not been utilised to the same degree in the visual arts. This PhD by creative project aims to correct that by using hauntology as a framework through which to explore my own visual art practice. To do this I have made a body of work that reflects my own life experience and memories as read through a hauntological sensibility. By beginning with an overview of hauntology and then reflecting on the recursive nature of memory evidenced throughout my previous artworks, I suggest in this thesis that hauntology is an interesting and revealing framework through which to better understand the nature of both my art practice and contemporary art practice in general.
In my discussion, I examine the parallel themes of memory and collapsed time, as well as motifs such as the ‘white-sheet ghost’ and abandoned domestic spaces. Inspired by this research, I have created a body of work using hauntology as my visual framework, exploring my own haunted memories and moments in time from my own past (that I have never attempted to do previously). One of my aims was to address certain incidents and moments from my own life that have stayed with me, and how my haunted imagination can inform my art practice. The creation of artworks about these past events neither dulls nor exorcises the memories but allows the artist to better comprehend the range and depth of human experience and the way it contributes to, haunts, our subjectivity both in the present and, probably, in the future. The final body of work was exhibited on the Australian Catholic University campus in Brisbane to complete this project.
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Johnston, John. "Critical visual arts education : a pedagogy of conflict transformation in search of the 'moral imagination'". Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9661/.
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The following portfolio is representative of my own artistic practice that combines the role of artist, educator, peace worker and researcher into one entity. The works are drawn from a back catalogue of fifty plus collaborative arts projects that has engaged with individuals and communities in different locations over the past twenty years. These works have been delivered within formal and informal educational settings. While each piece can be read as an individual artwork – collectively they talk to common issues related to visual art practice, public pedagogy and conflict transformation. I have identified four consistent themes present in the work Social Justice, Human Rights, Development Education, Democratic Education, Inclusion and Identity. My practice can be described as a socially engaged art practice. However, while I pay close attention to the aesthetics and artistic impression of my work, I place a primary importance on education by asking a simple question which often provides a myriad of highly complex answers. I ask - What is being learned? I have worked with children, young people and others who live in the midst of socio-political conflict or in societies affected by underdevelopment. This combination of experiences has enabled me to forge a deep understanding of the role of identity politics in the construction of division and conflict. I have developed what I choose to call a problem posing1 visual arts pedagogy that serves to expose and undermine the conditions that sustain such divisions. My work has uncovered an implicit interconnectivity among art practices, critical pedagogy and the concepts and practices of conflict transformation. This combination coupled with my experience in the field of peace building, has enabled me to develop a unique pedagogical form that is responsive to the context and needs of specific communities. Through the following commentary I posit this pedagogy firmly within the general discourse of peace building. The portfolio presents new knowledge that aims to inform innovative approaches to the role of the visual arts in conflict transformation and ultimately lead toward 1 Problem posing – drawing on Paulo Freire (1970) Pedagogy of the Oppressed: a problem posing pedagogy offers opportunities for learner and teacher to build a relationship based on critical inquiry. ii embedding such processes in the field of peace building and international diplomacy.
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Parzuchowski, Kimberley. "The Enchantment of Ethics: Empathy, Character, and the Art of Moral Living". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19722.
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My dissertation explores the role of narrative in the cultivation of empathy for ethical attitudes and behaviors. I begin by exploring an uncommon view of human nature, concluding that we are not autonomously individualistic rational deciders but ultrasocial moral intuitionists. Our intuitions are developed through our social engagements and the moral imagination. Intersubjective relations run deep in our psychology and provide the basis by which we shape the meaning of our lives as individuals in communities. It is because of this that we need to reconsider and redesign our moral cultivation programs both for the child-rearing years and throughout adult life. I look at empathy, the means of our mutual understanding, care, and help, as a key site for moral cultivation. I explicate the neurophysiological bases of empathy, both conscious and unconscious. Empathy is on the continuum with very primitive, automatic mirroring systems, which through varying levels of mimicry facilitate social cognition and moral insight and action. It is thus the ideal means of cultivating a skillful morality.
Empathy enables us to enter the worlds and feelings of others in rich and full-bodied ways and so can reveal others in their full subjectivity. Such experiences can incite empathic regard and compassionate action, but empathy, like all of our psycho-social capacities, requires cultivation to develop its skillfulness in practice. Narrative is an obvious means of cultivating empathy because it is humanity’s primary meaning-making structure, utilizing the empathic imagination to seduce us into the inner worlds of others. Through narrative dramatizations of experience, we learn to see and feel from another’s point of view, sensitizing us to their inner states and outward behavior. Such sensitivity can facilitate improving our moral attitudes and action by dislodging preoccupation with self-concern and instigating higher regard for others. In narratives we can imaginatively practice various moral actions, witnessing possible results.
Reflective engagement can then bring the moral insights of these imaginative experiences to life in our practical worlds by attuning us to what is morally salient. Narrative engagement is thus a natural and vital part of shaping empathic moral perception for compassionate action. By reading and feeling with others reflectively, we can expand empathy for the pluralistic communities in which we live, make meaning, and grow.
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Arroyo, John C. (John Christopher). "Culture in concrete : art and the re-imagination of the Los Angeles River as civic space". Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59727.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 237-245).
The Los Angeles River is the common physical, social, and cultural thread that connects many of Los Angeles' most diverse and under-represented communities, the majority of which comprise its downstream corridor. It is a valuable resource that crosses boundaries of race, class, geography, and culture. Once a natural and alluvial river, a series of devastating floods led the Army Corps of Engineers to pave the 52-mile River with concrete in the 1930s. The River has been forgotten, abandoned, degraded, and largely misunderstood by many ever since. Artists have taken to the River as a creative venue. Their actions have re-defined the River and have allowed us (and impel us) to re-imagine the River as the civic space that Los Angeles is desperately seeking, but has yet to find, despite many unsuccessful attempts. This thesis examines the patterns, motivations, and history behind over 40 largely unheralded art projects over a 20-year period along the River's Glendale Narrows, Lower Arroyo Seco, and downtown Los Angeles segments. It illustrates why generations of artists from all disciplines have been inspired to engage with the River's concrete form and abandoned. From photography to site-specific dance, poetry to new media, these artists have reveled in the un-designed, un-planned, and the spontaneous nature of the River space. They have expressed themselves through place-based work, most of which has been independent of any formal urban planning, urban design, or public policy support or intervention. While this thesis acknowledges contemporary master planning efforts currently underway to transform the River, it makes a case for the power of under-represented groups (artists) to create value outside of traditional, formal, and normative urban planning and design interventions reliant on government support, public-private partnerships, and corporate interests. Furthermore, this thesis provides a review of popular critiques and previous interpretations of civic space in Los Angeles. It reviews Los Angeles' transition from a once mobile, accessible, and largely homogenous city to one of the world's most diverse and park-poor metropolises without a strong civic space. This thesis provides examples of the Los Angeles' recent and future attempts to create civic space in downtown Los Angeles and offers alternatives from domestic and international cases reflecting the principles of landscape urbanism, everyday urbanism, and temporary urbanism. By engaging with the River as space for critical human and cultural expression, the research in this thesis suggests that artists are offering key insights for how to plan, design, and re-imagine the Los Angeles River as civic space.
by John C. Arroyo.
M.C.P.
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Benedetto, Giuseppe. "La colonne à travers l'espace-temps et/ou l'imaginaire de la durée /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Emanuelsson, Viktor. "In the Mood for Knowledge : How We Get Knowledge from Moods Expressed in Art". Thesis, Uppsala universitet, Filosofiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-453407.
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This thesis is about moods in works of art, and how moods expressed in art can change how we view the world. Among those who speak of the value of discussing moods in philosophical aesthetics, it is normally assumed that the value of moods is in the way they are induced in the viewer of the work. In this thesis, I will argue that such an argument is not the best. Those who think moods are not relevant to aesthetics have only to argue either that being induced with emotions is not an ideal way of approaching art, or that such reactions as being induced with mood belong to the more rare cases of approaching art. Therefore, focusing on how moods are induced hinders the potential of discussing moods in art. Instead I argue that the value of moods is in the way they are expressed. I argue that moods can be understood as a form of symbolic schemas. They affect how the world appears, and how one sorts and organizes things in the world. One can therefore use moods as resources for getting knowledge about the world. Because some works of art express moods, where expression is understood as metaphorical exemplification, they make the viewer epistemically aware of the mood. Thus one can imagine being in the mood expressed. Thereby moods can lead to knowledge, also in cases where they are not literally induced. When one succesfully imagines being in an expressed mood, parts of the world are sorted and organized differently as in accordance with the mood.
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Marron, Christophe. "Masques Dan de Côte d'Ivoire et imagination symbolique : de l'idéel au matériel". Paris 8, 2004. http://www.theses.fr/2004PA082475.
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Les Dan, au nombre de 270 000 dans le nord-ouest de la Côte d'Ivoire, sont organisés en société de masques. Ces derniers régissent, avec les chefs de villages, l'ensemble de la société. Plus qu'objet“ d'art pour l'art” comme pour les Occidentaux, le masque Dan est un objet profondément religieux et symbolique. Il a pour rôle de maintenir l'équilibre idéal, voulut par les ancêtres et Zran le Dieu suprême, lorsqu'il incarne les forces du cosmos, les ancêtres et les génies. Il est alors esprit et lié au système de pensée Dan. Le masque est dépendant d'une matrice imaginaire de création et de perception qui est enracinée dans le peuple Dan et qui lui confère un statut richement symbolique. Lorsque le masque se retrouve décontextualisé sur le marché de l'Art en tant que marchandise, il perd sa valeur religieuse symbolique pour devenir un objet mort, matière inanimée. .The Dan are 270 000 in number in Ivory Coast north-west, they are organised in a society of masks. They govern, with the villages' chiefs, the whole society. More than an “art for art” artefact like for the Westerners, the Dan mask is a deeply religious and symbolic thing. Its part is to maintain the ideal balance wanted by the ancestors and Zran the supreme God, when it incarnate the cosmos forces, the ancestors and the spirits. Then, it's a spirit connected to the Dan's thought system. The mask is dependent on an imaginary creation and perception matrix, which is deep-rooted in the Dan people and which confer it a richly symbolic statute. When the mask is out of its context in the market of Art, as a merchandise, it lose its symbolic religious worth to become a dead thing, an inanimate matter. .
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Baines, Lorena. "The artist's devices Illusionism and imagination in Gerrit Dou's 'Painter with a Pipe and Book' (Netherlands) /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.90 Mb, 52 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428198.
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Gramling, Glen. "MY MIND IS A HOLE IN THE UNIVERSE". Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4062.
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Today, science and creative fiction are closer than ever. The current unified theory of physics is bringing parallel worlds and infinite realities into the light of truth, proving that we have the creative power to build worlds with grandiose landscapes, uncanny characters, and miraculous events that exists throughout the vast plane of reality. My life experiences become a skewed alternate reality absorbing all of my thoughts, fears, and fascinations without control. As I glimpse into my own mind, I record the imagery of my imagined worlds and chronicle its events. I am not conceptualizing; I'm not asking what if. I am giving you a looking glass allowing you to see for yourself.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Urlich, Lennon Gabriel. "Making the Imaginary : Worldbuilders, and the Art of Ontogenous Play". Thesis, Stockholms universitet, Socialantropologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194801.
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How we imagine and the potency of alternative imaginings to socio-political concerns are vital questions for social science, and worldbuilding is a particular and understudied method of doing so. It is the creative making of fictional, imaginative worlds, offering a potential alternative method to imagine otherwise. This paper ethnographically explicates this craft through detailing how creators, known as worldbuilders, make their worlds, demonstrating how it is generative and impactful for them emotionally, intellectually, and politically. It is based of three months of online ethnographic/netnographic fieldwork across the multiple online ‘sites’ worldbuilders are active, particularly a forum and chatroom, as well as digital interviews with sixteen individual worldbuilders. I argue that worldbuilding is a process of toying with ontologies, which I call ontogenous play. I explain this through detailing what is dubbed making the imaginary – the worldbuilding process – going through the particulars of the process and the experiences of interlocutors, demonstrating how one achieves situated transcendence through it, and the generativity of that. In light of these observations, I also argue that worldbuilding is an art, attending to the ramifications of that designation. I draw upon anthropological understandings of making, processes, liminality, and ontologies to advance the argument, as well as the emergent scholarship on worldbuilding from ‘sub-creation studies’, and the erudite hypotheses of my interlocutors.
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McAdoo, Nicholas Arnold. "Aesthetic experience and education : an examination of Roger Scruton's 'Art and imagination' and its implications for aesthetic education". Thesis, University College London (University of London), 1986. http://discovery.ucl.ac.uk/10006535/.
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Bargo, Julia Robinson. "FOSTERING IMAGINATIVE EXPRESSION IN ELEMENTARY ART STUDENTS: A DESCRIPTIVE STUDY OF TEACHER STRATEGIES". VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1627.
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Vallor, Honor Penelope. "How Gothic Influences and Eidetic Imagery in Eight Color Plates and Key Poems by William Blake Figuratively Unite Body and Soul by Dramatizing the Visionary Imagination". PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4659.
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A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.
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Statulevičiūtė-Kaučikienė, Rūta. "Lietuvos architektūros ikonografija XIX a. II pusėje - XX a. I pusėje: dailės dokumentiškumo aspektas". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090316_092714-68955.
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Architektūros ikonografija – vienas svarbiausių architektūros istorijos šaltinių, atskleidžiantis miestų ir atskirų pastatų kaitą, atveriantis urbanizacijos dar nepakeistas miestų panoramas ir pristatantis nebeegzistuojančius statinius. Kiek grafikos ir tapybos technikomis sukurtuose architektūriniuose peizažuose ir pastatų „portretuose“ tiesos ir kiek pačių kūrėjų išmonės? Ar išties piešti ir tapyti atvaizdai gali būti patikimi istorijos šaltiniai? Į šiuos klausimus ir stengiamasi atsakyti analizuojant XIX a. II p.-XX a. I p. Lietuvos architektūros vaizdus.
Pirmuosiuose disertacijos skyriuose chronologiškai pateikiama vedutos raida Vakarų Europoje ir Lietuvoje, išskiriami svarbiausi kūrėjai ir esminiai architektūrinio peizažo saitai su mūsų šalies daile; apžvelgiamas vedutos atsiradimas ir išpopuliarėjimas Lietuvoje, ieškoma ideologinių ir istorinių tokios kūrybos atramų.
Darbe pateikiamos išsamios dokumentiškų ir imaginacinių ikonografinių vaizdų formaliosios, lyginamosios ir semantinės analizės. Pasitelkus šiuos įrankius stengiamasi nustatyti grafikos ir tapybos darbuose užfiksuotų vaizdų dokumentiškumą – detalumą ir atitikimą realiam architektūros vaizdui. Analizei naudojamas tyrimai natūroje, senosios fotografijos ir rašytiniai šaltiniai. Į imaginacines rekonstrukcijas žvelgiama kaip į retrospektyvines idealiojo miesto paieškas (siejama su idiliniu peizažu) ir meninius rekonstrukcinius pasiūlymus. Abiem atvejais vertinama atkurto/sukurto vaizdo galimumas, ieškoma... [toliau žr. visą tekstą]Architecture iconography is one of the most important sources of the architecture history. It shows changing of the towns and buildings, opens cities panoramas still unchanged by urbanization and presents no longer existing constructions. What percent of truth and what percent of artist imagination is in these townscapes and portraits of the buildings? In the text it is attempted to answer these questions by analyzing Lithuania architecture views of the second part of the XIXth century- the first part of the XXth century. Evolution of veduta in West Europe and Lithuania is presented in the first part of the dissertation. The most important creators of veduta and the essential bonds of the European townscapes and Lithuanian art are excluded. The birth of veduta and its popularity in Lithuania are reviewed. It is attempted to search for ideological and historical basement of this creation also. Comprehensive formal, comparative and semantic analysis of the documental and imaginative iconography ere given. It is trying to establish the documentary value, correspondence to real architectural view, of the views by requesting these instruments. Field investigation, old photography, and written sources were used for analysis. Imaginative architecture views are treating like retrospective searches of ideal city (and are linked with ideal landscape) or like artistic reconstruction suggestions. The possibilities and probabilities of these retrospective views are valuating, analogues... [to full text]
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Fiorentino, Pavel. "With everyone’s imagination atrophied, no one will ever be a threat to the world : Work in progress. An essay by Pavel Fiorentino". Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3604.
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Knoe, Victor M. "Art in the light of knowing a cognitive approach to the creative process". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/451.
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Art can be an elusive concept. Neither an outsider nor a professional artist is immune to abstractions in the attempt to describe it. Every individual must necessarily come from their own, unique perspective. The obstacles that we experience in defining the essence of art can be better understood if we see them as a gauge for our historical period. Given the limits of our contemporary conditions, it seems impossible that we may ever overcome the vast chasms that imprison us. We are discouraged to build bridges, at almost every turn, by the suggestive hopelessness of the abysmal distances between us. The series of work that I have developed for this thesis is a reflection on limitations. Whether we find them in the creative process or within the simple contemplations of our life experiences, thinking on our limits can lead us to a heightened cognition where we may find a lofty expression of human freedom. If art is to have a proper role in human culture, human individuals must begin to solve the problems of our limitations through the freedom that cognition affords us. We can begin by thinking imaginatively. Although difficult, it is quite possible to imagine reality. Beyond the mere production of beautiful objects, art is the very current that warms human beings to the reality that surrounds us. Artists can become involved by attempting to immerse their life in a new light of knowledge. With this sentiment, inspiration can begin offering us flight towards unreachable heights. The path that leads us, then, to an authentic concept of art will also take us into the world of another just as elusive: spirit.B.F.A.
Bachelors
Arts and Humanities
Fine Art
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Rabier, Amandine. "Henry Fuseli ou le spectacle de la peinture d’histoire (1768-1825)". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100164.
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L’enjeu de cette thèse sur Henry Fuseli est de tenter de montrer la façon dont cet artiste a conçu sa pratique de la peinture d’histoire comme un véritable spectacle. En nous appuyant notamment sur l’analyse du corpus d’œuvres shakespeariennes peintes, dessinées et gravées par l’artiste entre 1768 et 1825, nous avons essayé de mettre au jour les processus de « spectacularisation » à l’œuvre chez Fuseli. L’étude de la participation de l’artiste à la société anglaise et à ses divertissements - spectacles privés, fréquentation des théâtres publics et d’attractions plus populaires - a permis de mesurer en quoi une culture visuelle bien plus large que celle issue de la simple production théâtrale informe la production de l’artiste. Le spectacle populaire, véritable modèle caché du peintre, a nourri la réflexion de Fuseli sur la recherche de l’effet en peinture, dans sa relation avec la mémoire du spectateur. Contre l’idée commune faisant de Fuseli un peintre visionnaire, ancrant son œuvre dans sa seule imagination, cette thèse a pour ambition de montrer la nature du rapport éminemment matériel que l’artiste entretint avec les spectacles de son temps. La mise au jour du rôle des réminiscences de la scène de théâtre dans la création picturale et l’étude du transfert d’un certains nombre de « signes matériels » de la scène au tableau (tels que le cadre, les portes, le rideau…), nous ont permis de mettre en évidence l’esthétique en acte dans la peinture d’histoire de Fuseli. C’est la question de la relation que cette peinture instaure avec son spectateur qui clôt notre étude : une forme de pacte au sein duquel celui qui peint et celui qui regarde s’accordent, le temps du regard, pour croire à ce qui est donné à voir, afin d’en éprouver l’effetTrying to demonstrate how Henry Fuseli’s practice of history painting was truly conceived as a show is what is the challenge of this thesis. By basing ourselves mainly on the analysis of the corpus of Shakespearian paintings, drawings and engravings made by the artist between 1768 and 1825, we have tried to highlight the processes of spectacularisation (theatrical devices) within Fuseli’s work. The study of the artist’s involvement in the english society – his attendance to various entertainments such as privates shows, public theatres or even more popular scenes – enabled us to measure that the artist’s production is the result not only of the mere theater scene but accounts for a much broader visual culture. Hidden model for the painter, the popular scene nourished Fuseli’s thoughts in the search for painting effects and the induced relationship with the spectator’s memory. Despite the common belief of Fuseli being a visionary painter who’s work sets roots solely in his imagination, this thesis ambition is to show the very concrete and material links of the artist with the scenes of his time. Highlighting reminiscences of the theatre scene in the pictorial creation and the moving from the scene to the painting of a number of “material signs” (such as the frame, the doors, the curtain…) have enabled us to show the aesthetics performing within Fuseli’ history paintings. Our study ends with the relationship that these paintings generate with their spectator : a kind of pact in which for the time of a glance painter and spectator agree to believe in what is given to see so as to experi-ence its effects
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Bonney, Geoffrey, i Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making.
Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups.
Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution.
If you engage with children in a community, you engage the extended family at some point.
The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years.
The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms.
The school is a better place to be. This has been acknowledged by the children, teachers and the community
The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community.
Art needs to be taken from the margins and put to work at the centre.
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Dowd, Ron. "An inquiry into an imaginal landscape". Thesis, View thesis View thesis, 2001. http://handle.uws.edu.au:8081/1959.7/25791.
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This thesis describes an inquiry taken into the nature and genesis of landscapes experienced imaginally. The inquiry proceeds by introspection, by art making, and by exploring related writings. The terms pre-conceptual and pre-imaginal are used to refer to an unknowable dimension from which the conceptual and the imaginal rise, and attempts are made to confirm the conceptual and the imaginal as expressions and effects of this dimension. The possibilities of a continual interplay between the imaginal and the pre-imaginal in the inner life of writers and artists are explored.