Rozprawy doktorskie na temat „Ontology in art”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Ontology in art”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Cooke, Kirsten Sylvia. "Art ontology value : staging the ontology of art within systems of value". Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/68583/.
Pełny tekst źródłaWeh, Michael. "Being art - a study in ontology". Thesis, St Andrews, 2007. http://hdl.handle.net/10023/213.
Pełny tekst źródłaGiombini, Lisa. "Music, restoration and ontology : a guide for the perplexed". Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0093/document.
Pełny tekst źródłaI investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to musical ontology. I begin in Chapter 1 by analyzing theories of what a classical musical work is ontologically. I focus on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is satisfactory nor able to resist objections. This leads in Chapter 2 to a discussion of the appropriate methodology for doing musical ontology. I thus propose a metametaphysical account of the ontology of art. I examine four objections against art ontology: Eliminativism, Aestheticism, Historicism and Semanticism. The second part of the thesis is devoted to the study of the cases of performance art and restoration. In Chapter 3 I investigate the concept of a work of art in general, arguing that there is no need to subsume all art under the work-concept. I claim that drawing a distinction between artworks and other art-phenomena is important to make sense of nontraditional contemporary art. In Chapter 4, I consider the notion of performance art both historically and philosophically. I contend that performances can be understood in the comparison with experiments and games. I examine the way in which performance art challenges our common understanding of art appreciation by introducing the contrasting notions of immersion and interaction. In Chapter 5, I consider the topic of art authenticity with regard to restoration. I refer to the work of Cesare Brandi to address some of the ontological problems that a philosophical analysis of restoration presents us with
Turrin, Daniela Anna. "Slippages - exploring the aesthetic encounter from the perspective of Merleau Ponty's ontology /". Connect to full text, 2004. http://hdl.handle.net/2123/698.
Pełny tekst źródłaTitle from title screen (viewed 26 May 2008). "Glass"--At the foot of t.p. Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
Davies, Shaun, of Western Sydney Nepean University i Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound". THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.
Pełny tekst źródłaMaster of Arts (Hons)
Sretenovic, Vesela Allen Beverly. "Maurice Merleau-Ponty's ontology of vision in relation to contemporary installation art". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.
Pełny tekst źródłaCharlton, James. "Catch | Bounce : towards a relational ontology of the digital in art practice". Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10377.
Pełny tekst źródłaHammer, Steven Reginald. "Writing (Dirty) New Media: Technorhetorical Opacity, Chimeras, and Dirty Ontology". Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27537.
Pełny tekst źródłaPsarologaki, Evangelia. "Beyond the physical threshold : enfolding the ontology of Immersive Experience". Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/84b3b95e-602b-47e7-8805-b69ee61b1468.
Pełny tekst źródłaLamontagne, François. "Pour une ontologie du corps /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
Pełny tekst źródłaRésumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
Tofighian, Omid. "Rethinking Plato’s Theory of Art: Aesthetics and the Timaeus". Thesis, Department of Studies in Religion, 2003. http://hdl.handle.net/2123/6103.
Pełny tekst źródłaLewis, Ryan D. "An ontology of images and painterly subjectivity : towards a Bergsonian philosophy of art". Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/2ebece1a-39f7-49ae-a282-88a8ac095b21.
Pełny tekst źródłaKnochel, Aaron D. "Seeing Non-humans: A Social Ontology of the Visual Technology Photoshop". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316451835.
Pełny tekst źródłaBaldini, Andrea. "Public Art: A Critical Approach". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/240857.
Pełny tekst źródłaPh.D.
In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance.
Temple University--Theses
Turrin, Daniela Anna. "Slippages .... exploring the aesthetic encounter from the perspective of Merleau-Ponty's ontology". Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/698.
Pełny tekst źródłaMoreira, Eliana Henriques. "A desconstrução da estética e o lugar da arte a partir do pensamento de Martin Heidegger: da vivência à existência, da formação à Bewahrung". Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8313.
Pełny tekst źródłaMade available in DSpace on 2016-06-29T11:32:37Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1443061 bytes, checksum: d1329030d2cfcc4ad3e927f6743aed5a (MD5) Previous issue date: 2015-07-17
his paper aims to examine the relationship established between the issue of Art and Education from the thought of Martin Heidegger. It is seeking to understand the art of ontological place and how it becomes the most proper way of human habitation on Earth, which is thought by Heidegger mainly from the influence of the poetry of Hölderlin. Heidegger criticizes the Aesthetics and his way of understanding art and aesthetic formation, coming from the metaphysical thought. Criticism attentive to the need for the aesthetic context of deconstruction as it proceeded in Being and Time with the proposed deconstruction of the history of ontology. Deconstruction not as demolition, but in order to return to the origins, the foundations of which were the concepts of aesthetics, and not to repeat the past but to enable new avenues of interpretation. Upon his recovery from Heidegger's ontology, it has to be, since its inception, the art can be seen as a foundation that contributes to the emergence of a particular way of being in the world for man, what happens when there is the establishment of belonging to their own land, the homeland. The Arts, more specifically poetry, is for Heidegger the original language through which a people can express originally, authentically. Thus, poetry gains a crucial dimension in that it is not only copy, imitation or representation of a given reality and not only seeks to express the feelings of a subject, but is a saying that originating gives rise to a new reality. Such question has that art is not just an entertainment or a treat from object to subject, but it is a foundation, which enables the union of a group on a membership (Bewährung) in common, giving rise to the sense historical community. So to think of Art and Formation in Heidegger, we must consider the idea of a historical community, to the philosopher, is not identified with the general notion of society as a set of individuals with no common bond. The Art, to build a world and enable a people to communion in his truth, enables the output under the impersonal, all that surrounds it, to its own mode of existence which unites a people in a common destiny.
Este trabalho objetiva examinar a relação que se estabelece entre a questão da Arte e a Formação a partir do pensamento de Martin Heidegger. Trata-se de buscar compreender o lugar ontológico da Arte e como ela se torna o modo mais próprio da habitação humana na Terra, o que é pensado por Heidegger principalmente a partir da influência da obra poética de Hölderlin. Heidegger faz uma crítica à Estética e ao seu modo de entender a Arte e a Formação estética, oriunda do pensamento metafísico ocidental. A crítica atenta para a necessidade de uma desconstrução do âmbito da Estética tal como se procedeu em Ser e Tempo com a proposta de desconstrução da história da ontologia. Desconstrução não como demolição, mas no sentido de voltar às origens, aos fundamentos de onde foram hauridos os conceitos da Estética, e não para repetir o passado, mas para possibilitar novas vias de interpretação. Mediante sua retomada a partir da ontologia tem-se que, desde sua origem, a Arte pode ser vista como um fundamento que contribui para o surgimento de um modo próprio de ser-no-mundo para o homem, o que acontece quando há o estabelecimento de um pertencimento a um solo próprio, a pátria. A Arte, mais especificamente a poesia, é para Heidegger a linguagem originária através da qual um povo pode se expressar originariamente, autenticamente. Sendo assim, a poesia ganha uma dimensão primordial na medida em que não é só cópia, imitação ou representação de uma realidade dada e não busca expressar somente os sentimentos de um sujeito, mas é um dizer originário que faz surgir uma realidade nova. De tal questão tem-se que a Arte não é apenas um entretenimento ou um objeto de deleite para o sujeito, mas ela é um fundamento, o que possibilita a união de um grupo em um pertencimento (Bewahrung) em comum, fazendo surgir o sentido de comunidade histórica. Portanto, para pensar a Arte e a formação em Heidegger, é preciso considerar essa ideia de comunidade histórica, que, para o filósofo, não se identifica com a noção geral de sociedade, como um conjunto de indivíduos sem elo em comum. A Arte, ao erigir um mundo e possibilitar a um povo a comunhão em sua verdade, possibilita uma saída do âmbito do impessoal, que a todos circunda, para um modo próprio de existência, que une um povo em um destino comum.
Hardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /". Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
Pełny tekst źródłaBegbie, Jeremy S. "Theology, ontology and the philosophy of art, with special reference to Paul Tillich and the Dutch Neo-Calvinists". Thesis, University of Aberdeen, 1987. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU003529.
Pełny tekst źródłaJewell, Sharon L. "Surface materials and aspects of care: A study in modes of being in a visual art practice". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/88911/56/Sharon%20Jewell%20Thesis.pdf.
Pełny tekst źródłaUrlich, 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.
Pełny tekst źródłaFurlan, Annie Simões Rozestraten. "O metafísico no olhar: a pintura na filosofia de Merleau-Ponty". Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-30072007-140242/.
Pełny tekst źródłaThe aim of this study is the research of the problem of painting in the philosophy of Merleau Ponty. Originally enrolled in the frames of an existencialistic philosophy, aferwards it was put with more prominence, in the frame of an ontology.The problem of art, especially of painting, arises as a privileged way of research of our more deaf and secret relations with Being, or wich that what Merleau Ponnty nominated the pre-reflexive layer of the sense of the world, previous to the thesis of our language. This is so because the activity of painting reveals the means of visibility that our daily look leaves behind and forgets privileging the cultural constructed world. In other words, we live in a world that forgets its premisses, and the task of the painter, especially of Cézanne, is to recover the contact of the look on this unhabitual world. In this original relation of the body with the world we may emphasize, in the work of Merleau Ponty, a new concept of depth, that is not only of space, but of the body, and also of the things. Merleau Ponty pointed to this notion in his essays about arts, trying to question again the artist?s activity as an activity that reveals the implication between the perceived world and the bodyness. He perceived in the depth the implication of the revertibility of the body: the visibility which opens itself to the beholder is also that of his visual body, which is at the same time beholder and visible object, sensing and sensible. The author states that once this intercrossing is given, all the problems of painting are here placed in the same way. In being so, the painting reveals the enigma of the body itself. My look realizes itself in the things and grasps me at the same moment in my look unfolded in front of myself, this interlinking makes possible a secret visibility or a carnal double. The philosophe develops the term \"flesh\" to denominate this \"between\" the beholder and the visible, opening one to the other, giving passage from one to the other, which defines our access to Being. We will deal with some questions: What is the activity of the artist between the perceived world and the expressive act, other then a coherence with the visibility that it causes and, therefore, what harm does come from the spectacle of the world? How the painter and the poet would express other things than their meeting with the world? And in this meeting what they are looking for other than a more true relation, without being a truth which is similar to the world, but coherent in their meeting, this is, capable to express the invisible that cheers up the relation of the gaze with the visibility or of the feeling with the realityIn this movement of thoughts, which emphasizes initially a new idea of Reason and of Truth by means of the activity of looking, one arrives, finally to the notion of desire or of the libidinal body. To perceive is to desire, a movement graved in the opening of sensitive Being, that inaugurates the exchanges between the body and the things, in whicht he looking or the visibility is a privileged element.
Mornay, Quentin. "Du manuscrit à la scène d'exposition : portrait de Johann Woyzeck en arlequin". Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLET069.
Pełny tekst źródłaIn 1878 Karl Emil Franzos affixed on the manuscript not yet named Woyzeck a solution of sulfur and ammonia. The treatment must reveal the illegible parts of the text and to make appear behind the erasures some parts necessary to the comprehension of the dramaturgy. In 1837, the sheets recovered at the death of the author were considered vulgar and did not appear in the first edition of the complete works in 1850. For the edition of 1878, Karl Emil Franzos intends to unearth this piece left unfinished. For a moment the precipitate seems to operate. The ink rises to the surface of the paper. Letters take in thick, words appear. The passages written too quickly with a feather and the remains of an inkwell are revealed. For a moment at least. Very quickly the ink raised in excess on the surface of the dry paper. Crusts of pigments are formed at the place of words. In the absence of fixative, these small piles of dust dispersed at the moment of the expiration of the reader. The first appearance of the manuscript consisted in its partial disappearance. Flies of flies and scratches there remains in place only the fold left by the tip on the paper.The character of Johann Woyzeck, as recounted in the play, occurs under the conditions of the manuscript. Georg Büchner makes a reduction of the character to his condition to appear. As the lines and abbreviations and punctuations emerge his face. The text clad him by adding flaps and debris. Like the invisible man who only becomes perceptible once dressed, Johann Woyzeck adorns himself with a costume and comes into the meshes of a patchwork language. Thus decked out in such a tunic, the character takes on the appearance of a harlequin.There is then a tunic that is a character and that is made only borrowed pieces. He is a debtor of his own skin and his mischief allows him to always thwart the conditions of his baptism. And there is a being of paper who alienates himself in the dissociations which are imposed on him until losing the possibility of saying "I". By overprinting it is to make appear here the Woyzeck like a harlequinade. The editing is as much for the story as for the form of the manuscript. The four leaflets assembled by philological research take the form of canvases, like those used by the commedia dell'arte companies and which served as a starting point for the improvisation work. Taken in this mesh the drama becomes a black joke where a harlequin, summoned to register in the civil status and to report the provenance of its pieces, is fragmented. It is all his being that the question "Who are you?" Comes to resign. The loss of the "I" then engages the language towards its dissolution in the whites of the page.This figure and this manuscript become in this research a paradigm. The sculptural, digital and photographic works work in their modes of design and in their forms this mesh. They announce themselves on an analogy between language and encoding. The setting in space then tends to stage modes of figurations of the world which represent themselves more than they represent the objects that they propose to signify. It is this tension that comes to stage the exhibition A White Puzzle which constitutes the first part of this research. The space becomes the place of a staging where the exhibition becomes a scene. The second part of this thesis is a translation of the clash in the form of a film. He documents the works and transcribes in a duration and a montage the motives and principles of work of this research. From these elements, the dissertation is a setting in text of the reading of the drama made by this research. He argues how Johann Woyzeck's character is a survival of the harlequin's figure
Jefferies, Tiana. "Tuning to thresholds: An object-oriented study of affect and contemporary art practice". Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/212528/1/Tiana_Jefferies_Thesis.pdf.
Pełny tekst źródłaLetts, Philip Edward. "Musical works : category and identity". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/musical-works-category-and-identity(ac9a8cdf-0fd2-4d20-b00d-ec2a53cec3b3).html.
Pełny tekst źródłaBuss, Elaine M. "(Attempts at) Discerning Immateriality". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529367762750928.
Pełny tekst źródłaPeacock, Eve Christine. "eARTh : the dynamics of ontological representation". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78686/1/Eve_Peacock_Thesis.pdf.
Pełny tekst źródłaHagström, Anders. "Poetically Man Dwells in Game Space : A Phenomenological Investigation of Video Games as Art". Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326132.
Pełny tekst źródłaFoster, John-Henry Edward. "Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71800.
Pełny tekst źródłaENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology.
AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.
陳, 紅星. "Entité - Identité - Identification : ce que l'art contemporain fait à la philosophie". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0138.
Pełny tekst źródłaWhat is art? What is art after and according to contemporary art? This PHD dissertation starts with the observation of a paradigmatic turn in artistic evolution, and tends to analyze the cause and the very nature of the so-called "crisis of contemporary art" in France in the 90s of the last century. All of the debates subsequently lead our research into the essential questions related to the definition of art, the existence modes of works, and the artistic function. It is an ontological approach with an analytic spirit on the identity of art and art after and according to contemporary art
Lodato, Thomas James. "A treatise on the loop as a desired form: visual feedback and relational new media". Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33880.
Pełny tekst źródłaRobb, Charles. "Cloud methodology: Objects, topology and practice". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/198041/1/Charles_Robb_Thesis.pdf.
Pełny tekst źródłaSharma, Manisha. "Indian Art Education and Teacher Identity as Deleuzo-Guattarian Assemblage: Narratives in a Postcolonial Globalization Context". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339617524.
Pełny tekst źródłaGarbin, Emanuele. "Il bordo dell'Essere. L'ontologia per immagini della pittura di Gerhard Richter". Thesis, Università degli Studi di Catania, 2011. http://hdl.handle.net/10761/141.
Pełny tekst źródłaThis study has as its object the work of a contemporary painter, Gerhard Richter, but it is less an essay on the history of visual arts than the chapter of a broader phenomenology of vision. Richter's work was chosen as exemplary of a survey on the status of reality and the truth content of the images. The thesis of this research is that the entire work of the German painter is a continuous questioning about the being of things and the Being itself. Recurrent themes in his art - the dispersion of the contours, the confusion of reflections, visual agnosia, the layering of images, the suspension of the identity of objects and subjects, the intervention of the case - are all variations of the same wonder at the consistency of reality. Critical tools were found in two seemingly distant fields. Richter's painting was crossed for the first time with the thought on Being of philosophers such as Heidegger, Sartre, Merleau-Ponty, discovering amazing matches, and at the same time was considered inside a phenomenology of the visible, with reference to the entire history of projective forms. The entire work of Richter has been taken into consideration: first, the catalog of the paintings, then those of drawings, watercolors, overpainted photographs, and even that of graphic and photographic editions, and finally the collection of thousands of photos and sketches of the Atlas.
MacGilvray, Brian. "The Subversion of Neoplatonic Theory in Claude Le Jeune’s Octonaires de la vanité et inconstance du monde". Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1481567182875404.
Pełny tekst źródłaDucourneau, Emmanuel. "Vers un design de l'être : La bricologie comme savoir-faire et savoir-être de l’artisan Hermès". Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2031.
Pełny tekst źródłaThe Carré is a silk scarf printed by Hermès since 1937. Its simple appearance conceals complex technical processes. First, it is a question of mapping the creation and production process from the 1300 agents, human and non-human, previously identified and geocoded. This ethnographic strategy, called "ontography" and "onto-cartography", reveals an heterogeneous and extensive socio-technical network on a biospheric scale, from which it is possible to identify five so-called "bricological" technical modes. Indeed, the logic of bricolage applies to the historical configuration of the creative and productive apparatus of the Carré Hermès, to the frugal (low tech) and hybrid (wild tech) technical processes that drive its manufacture, to the design of the machines that automate certain tasks and to its diverted uses deployed by consumers and the company. Secondly, it is a question of studying the way the Hermès Craftsman relates to the world and the aesthetic mode of the Carré Hermès according to the bricological degree of the practices and the automation level of the crafts. The more the craftsman “bricole”, the more their attention is optimal, the more their senses and their intuition are sharpened, the more their cognition is embodied and extended, and the more the way they relate to the world is resonant. Besides that, the more the object is “bricolé”, the more imperfectly beautiful it is. In other words, this singular way of doing and being leaves traces on the surface of the object, each of them being able to be considered as the remembrance of a sensitive encounter between the craftsman and their craft, understood as a world sample. In the third part, it is about extracting from ethnography the elements capable of inspiring an innovation practice oriented towards the design of a sustainable manufacturing method and a resonant way of relating to the world. The being-oriented designer uses cartographic and ethnographic tools to orient themself among the complexity of contemporary technical processes and reveal to the consumer the innovation “landscapes”, its darker and brightest aspects, its human and non-human worlds and inhabitants. Bricology becomes the algorithm that governs all decision-making so that the actors of the project can do and be more with less
Lebreton, Mélanie. "Aporia in the work of D. H. Lawrence". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30052.
Pełny tekst źródłaThis work of research aims at showing how aporia and its plural voices pervade D.H Lawrence’s work, be it through his novels, his essays, his poetry, or his paintings. Despite the reader’s desire to give one singular voice and meaning to D.H Lawrence’s work, plural meanings and multiples truths come our way, leaving us facing an uncrossable impasse. The road is paved with deadlocks and places to stumble upon. Indeed, genetic aporia weaves the very fabric of D.H. Lawrence’s first drafts and sketches, and the logocentric and hermeneutic sovereignty of man is put into question. In fact, we have to cross it out as Lawrence’s work reminds us that the logos, and Being, show some resistance, the result of which is to better inscribe aporia into his corpus. The limits of language, of religion, of knowledge, and of the artistic representation of reality resonate now with an everlasting and unanswered question
Srinivasamurthy, Ajay. "A Data-driven bayesian approach to automatic rhythm analysis of indian art music". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398986.
Pełny tekst źródłaLarge and growing collections of a wide variety of music are now available on demand to music listeners, necessitating novel ways of automatically structuring these collections using different dimensions of music. Rhythm is one of the basic music dimensions and its automatic analysis, which aims to extract musically meaningful rhythm related information from music, is a core task in Music Information Research (MIR). Musical rhythm, similar to most musical dimensions, is culture-specific and hence its analysis requires culture-aware approaches. Indian art music is one of the major music traditions of the world and has complexities in rhythm that have not been addressed by the current state of the art in MIR, motivating us to choose it as the primary music tradition for study. Our intent is to address unexplored rhythm analysis problems in Indian art music to push the boundaries of the current MIR approaches by making them culture-aware and generalizable to other music traditions. The thesis aims to build data-driven signal processing and machine learning approaches for automatic analysis, description and discovery of rhythmic structures and patterns in audio music collections of Indian art music. After identifying challenges and opportunities, we present several relevant research tasks that open up the field of automatic rhythm analysis of Indian art music. Data-driven approaches require well curated data corpora for research and efforts towards creating such corpora and datasets are documented in detail. We then focus on the topics of meter analysis and percussion pattern discovery in Indian art music. Meter analysis aims to align several hierarchical metrical events with an audio recording. Meter analysis tasks such as meter inference, meter tracking and informed meter tracking are formulated for Indian art music. Different Bayesian models that can explicitly incorporate higher level metrical structure information are evaluated for the tasks and novel extensions are proposed. The proposed methods overcome the limitations of existing approaches and their performance indicate the effectiveness of informed meter analysis. Percussion in Indian art music uses onomatopoeic oral mnemonic syllables for the transmission of repertoire and technique, providing a language for percussion. We use these percussion syllables to define, represent and discover percussion patterns in audio recordings of percussion solos. We approach the problem of percussion pattern discovery using hidden Markov model based automatic transcription followed by an approximate string search using a data derived percussion pattern library. Preliminary experiments on Beijing opera percussion patterns, and on both tabla and mridangam solo recordings in Indian art music demonstrate the utility of percussion syllables, identifying further challenges to building practical discovery systems. The technologies resulting from the research in the thesis are a part of the complete set of tools being developed within the CompMusic project for a better understanding and organization of Indian art music, aimed at providing an enriched experience with listening and discovery of music. The data and tools should also be relevant for data-driven musicological studies and other MIR tasks that can benefit from automatic rhythm analysis.
Les col·leccions de música són cada vegada més grans i variades, fet que fa necessari buscar noves fórmules per a organitzar automàticament aquestes col·leccions. El ritme és una de les dimensions bàsiques de la música, i el seu anàlisi automàtic és una de les principals àrees d'investigació en la disciplina de l'recuperació de la informació musical (MIR, acrònim de la traducció a l'anglès). El ritme, com la majoria de les dimensions musicals, és específic per a cada cultura i per tant, el seu anàlisi requereix de mètodes que incloguin el context cultural. La complexitat rítmica de la música clàssica de l'Índia, una de les tradicions musicals més grans al món, no ha estat encara treballada en el camp d'investigació de MIR - motiu pel qual l'escollim com a principal material d'estudi. La nostra intenció és abordar les problemàtiques que presenta l'anàlisi rítmic de la música clàssica de l'Índia, encara no tractades en MIR, amb la finalitat de contribuir en la disciplina amb nous models sensibles al context cultural i generalitzables a altres tradicions musicals. L'objectiu de la tesi consisteix en desenvolupar tècniques de processament de senyal i d'aprenentatge automàtic per a l'anàlisi, descripció i descobriment automàtic d'estructures i patrons rítmics en col·leccions de música clàssica de l'Índia. Després d'identificar els reptes i les oportunitats, així com les diverses tasques d'investigació rellevants per a aquest objectiu, detallem el procés d'elaboració del corpus de dades, fonamentals per als mètodes basats en dades. A continuació, ens centrem en les tasques d'anàlisis mètric i descobriment de patrons de percussió. L'anàlisi mètric consisteix en alinear els diversos esdeveniments mètrics -a diferents nivells- que es produeixen en una gravació d'àudio. En aquesta tesi formulem les tasques de deducció, seguiment i seguiment informat de la mètrica. D'acord amb la tradició musical estudiada, s'avaluen diferents models bayesians que poden incorporar explícitament estructures mètriques d'alt nivell i es proposen noves extensions per al mètode. Els mètodes proposats superen les limitacions dels mètodes ja existents i el seu rendiment indica l'efectivitat dels mètodes informats d'anàlisis mètric. La percussió en la música clàssica de l'Índia utilitza onomatopeies per a la transmissió del repertori i de la tècnica, fet que construeix un llenguatge per a la percussió. Utilitzem aquestes síl·labes percussives per a definir, representar i descobrir patrons en enregistraments de solos de percussió. Enfoquem el problema del descobriment de patrons percussius amb un model de transcripció automàtica basat en models ocults de Markov, seguida d'una recerca aproximada de strings utilitzant una llibreria de patrons de percussions derivada de dades. Experiments preliminars amb patrons de percussió d'òpera de Pequín, i amb gravacions de solos de tabla i mridangam, demostren la utilitat de les síl·labes percussives. Identificant, així, nous horitzons per al desenvolupament de sistemes pràctics de descobriment. Les tecnologies resultants d'aquesta recerca són part de les eines desenvolupades dins el projecte de CompMusic, que té com a objectiu millorar l'experiència d'escoltar i descobrir música per a la millor comprensió i organització de la música clàssica de l'Índia, entre d'altres. Aquestes dades i eines poden ser rellevants per a estudis musicològics basats en dades i, també, altres tasques MIR poden beneficiar-se de l'anàlisi automàtic del ritme.
Julião, Luanda Gomes dos Santos [UNIFESP]. "Bergson: a presença da arte na ontologia e no método filosófico". Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39260.
Pełny tekst źródłaApproved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T13:29:07Z (GMT) No. of bitstreams: 1 dissertacao-luanda-gomes-dos-santos-juliao.pdf: 1648356 bytes, checksum: 81c1a3de56e0243dfd03b3f8a24d956c (MD5)
Made available in DSpace on 2016-06-22T13:29:07Z (GMT). No. of bitstreams: 1 dissertacao-luanda-gomes-dos-santos-juliao.pdf: 1648356 bytes, checksum: 81c1a3de56e0243dfd03b3f8a24d956c (MD5) Previous issue date: 2014-10-15
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Cette recherche a l’intention de reconnaître la singularité et l’importance, en plus des hésitations et des controverses, que l’activité artistique se situe dans la philosophie de Bergson. En parcourant ses oeuvres, nous avons verifié que ses allusions à l’activité artistique nous montrent que par rapport à ses différences, l’art et la philosophie s’approchent (chacune à sa manière) en dépassant les conventions necessaires et quotidiennes de la vie, en reformulant la manière comme nous apprenons l’ordre des choses et à nous mêmes. Les allusions artistiques formulées par Bergson, nous font penser que, se il n’existe pas, par lui, la nécessité categorique d’une théorisation sur l’arte, c’est possible de regarder une décription de l’activité artistique que se construit simultanément avec la decription de la durée et 5 5 du méthode philosofique. Ça se passe grace à l’art, que selon l’auteur, elle nous insère aussi dans une expérience de connaissance.
Este estudo procura reconhecer a singularidade e a importância, para além das hesitações e das controvérsias existentes, que a atividade artística ocupa na filosofia do Bergson. Ao percorrermos as obras do filósofo, constatamos que suas alusões à atividade artística nos mostram, que a despeito de suas diferenças, arte e filosofia se aproximam na medida de que ambas, cada uma a sua maneira, se propõem de algum modo a ultrapassar as convenções necessárias e cotidianas da vida, reconfigurando o modo pelo qual apreendemos a ordem das coisas e a nós mesmos. As alusões artísticas apresentadas por Bergson nos induzem a conjeturar que, se não há, para esse filósofo, necessidade categórica de uma teorização sobre a arte, é possível vislumbrar uma descrição da atividade artística que se erige em concomitância com a descrição da duração e do método filosófico. Isso porque a arte, como sustenta o autor, nos insere também numa experiência de conhecimento.
HUNG, Jenny. "What are we? The ontology of subjects of experience". Digital Commons @ Lingnan University, 2018. https://commons.ln.edu.hk/otd/27.
Pełny tekst źródłaBaltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
Pełny tekst źródłaThe philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
Krajewski, Pascal. "Les appareils à l'oeuvre : L’art au risque de la technologie". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3034/document.
Pełny tekst źródłaDuring the second half of the 20th century, the world of devices and their technological ground have tremendously spread. Art, also, has been impacted by this invasion, and some artworks have become equipped-artworks. Those specific artworks are : unstable, dynamic, algorithmic, unseen, interactive. We will try here to follow this technological invasion in the three different places of the artistic regime : how the artist creates his piece of work, how this object appears and exists, and how the spectator receives it. Thus, might appear a new form for a genuine « technological art »… Finally, we will be able to ask the core question and to tackle the main issue : are art and technology compatible ?
Martel, Marie D. "L'oeuvre comme interaction : anti-textualisme, actionnalisme et ontologie écologique". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85187.
Pełny tekst źródłaLi, Li, i llI@it swin edu au. "Agent-based ontology management towards interoperability". Swinburne University of Technology, 2005. http://adt.lib.swin.edu.au./public/adt-VSWT20060504.153959.
Pełny tekst źródłaYu, Jonathan, i Jonathan Yu@csiro au. "Requirements-Oriented Methodology for Evaluating Ontologies". RMIT University. Computer Science and Information Technology, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090514.142724.
Pełny tekst źródłaIkebude, Chukwuemeka M. "Identity in Igbo Architecture: Ekwuru, Obi, and the African Continental Bank Building". Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1250885407.
Pełny tekst źródłaKarlsson, Tony. "Spiritualitet genom Objektsorienterad Ontologi: Mötet är Konsten Heal The World(s)". Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6105.
Pełny tekst źródłaRouhi, Outil Katayoun. "Ontologie du lieu : voyage au pays du "non-où"". Paris 1, 2003. http://www.theses.fr/2003PA010553.
Pełny tekst źródłaRoeder, Shashi. "Ouvertures retrouvées : le jeu et l'ontologie de l'art dans l'herméneutique de H.-G. Gadamer". Sherbrooke : Université de Sherbrooke, 2001.
Znajdź pełny tekst źródłaNordling, Cherith Fee. "'The way things truly are' : the methodology and relational ontology of Elizabeth A. Johnson". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/13524.
Pełny tekst źródłaRosinski, Milosz Paul. "Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture". Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269409.
Pełny tekst źródła