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Teses / dissertações sobre o tema "Installations (Art)"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 5 de outubro de 2024

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1

Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.

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2

Fortin-Desbiens, Patrick. "Pour un art universel : le défi de Babel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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3

Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.

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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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4

Bernardini, Elena. "Interrogating installation art from India." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.

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5

Veber, Hélène. "Toi et moi aller-retour : l'installation vidéo comme reflet de l'humain /." Thèse, Chicoutimi : Montréal : Université du Québec à Chicoutimi ;. Université du Québec à Montréal, 2003. http://theses.uqac.ca.

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6

Mercado, Nicholas. "A framework for site informed light art installations." Kansas State University, 2015. http://hdl.handle.net/2097/19162.

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Master of Landscape Architecture<br>Landscape Architecture/Regional and Community Planning<br>Mary C. Kingery-Page<br>The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art. My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking? This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.
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7

Stanforth, Gregory Owen. "Turret envy /." Online version of thesis, 1991. http://hdl.handle.net/1850/11954.

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8

Bouchard, Michèle. "Objets et sons dans l'installation sculpturale : portrait d'une cacophonie humaine /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2006. http://theses.uqac.ca.

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9

King, Donald V. "(Frame) /-bridge-\ !bang! ((spill)) *sparkle* (mapping Mogadore) /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216759724.

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Thesis (M.F.A.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Oct. 19, 2009). Advisor: Paul O'Keeffe. Keywords: Sculpture, Installation Art, Video Art. Includes bibliographical references (p. 25).
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10

Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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11

Badawi, H. "The potential for installations to create new directions for Saudi Arabian art." Thesis, Coventry University, 2011. http://curve.coventry.ac.uk/open/items/0fcc12b6-5baf-4892-a1d2-f06776a58cc5/1.

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In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.
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12

Nicolaisen, Lelani. "Immersed in paint : Understanding painting installations through art practice." Mini-­Dissertation, University of Pretoria, 2017. http://hdl.handle.net/2263/65593.

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13

Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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14

Heusner, Christine. "Chiasm /." Online version of thesis, 2008. http://hdl.handle.net/1850/7793.

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15

Pinkham, Todd Alan. "Brazen idols /." Online version of thesis, 1993. http://hdl.handle.net/1850/11902.

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16

Sharek, Elizabeth. "The unsettled object." Click here to access this resource online, 2007. http://hdl.handle.net/10292/421.

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The Unsettled Object is an installational art project that considers the instability of objects in regards to their assembly, classification, and presentation, underpinned by the context of the museum and supported by Michel Foucault’s notion of the classificatory grids he discusses in The Order of Things: an archaeology of the Human Sciences. (Foucault,1970) The artefacts are being fabricated as a response to the corporeal body-on-display; its surfaces, spaces and volumes. An underlying notion of temporality and mutability is indicated in the processes of making, the objects, material responsiveness and the devices employed in the presentation of the work.
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17

Noltze, Katja. "Dialog Kunst - Raum : situative Innenrauminstallation als Wahrnehmungsangebot und Lernort /." Oberhausen : Athena, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013346201&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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18

Braddock, Christopher. "The artist will be present performing partial objects and subjects : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/441.

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19

Bartow, Paul J. "Information retrieval /." Online version of thesis, 1991. http://hdl.handle.net/1850/12169.

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20

Ryan, Bengtsson Linda. "Re-negotiating social space : Public art installations and interactive experience." Doctoral thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-11723.

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Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres.   The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today’s media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts.   The study uses three contemporary Scandinavian interactive art installations, ‘Colour by Numbers’, ‘Emotional Cities’ and ‘Climate on the Wall’, to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans’ sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans’ perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.
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21

Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Thesis, Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170/document.

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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie<br>With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular
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22

Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Electronic Thesis or Diss., Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170.

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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie<br>With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular
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23

Robertson, Josée. "Les mémoires suspendues /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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24

Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.

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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.
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25

Cappe, Maki. "La question de l'œuvre à l'épreuve des installations artistiques. De l'étendue à l'unité." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL064.pdf.

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Quand on parle d'une œuvre au sujet d'une installation artistique, que désigne-t-on au juste ? Apparue dans les années soixante, la dénomination de l'installation recouvre des productions très hétérogènes. Plus proche de la sculpture à ses débuts, elle se répand largement aujourd'hui sous la forme de l'art expérientiel et des environnements numériques immersifs. Pourtant, malgré ces disparités qui empêchent une définition de la pratique ou une reconnaissance formelle de ses caractéristiques, deux éléments concourent à l'ambition d'une approche générique : 1) elle n'est pas réductible à un objet posé devant un spectateur et 2) elle entretient une relation consubstantielle à l'espace de son exposition. L'installation est un art qui se déploie dans l'espace et son appréhension ainsi que son appréciation dépendent de l'expérience d'un spectateur mobile. Ce faisant, parler d'une installation comme d'une œuvre invite à suivre les déplacements impliqués par cette pratique et, corrélativement, cela invite à accepter que la notion d'œuvre ne puisse ni recouvrir un objet particulier (dans la mesure où c'est sa situation spatiale qui prime), ni désigner abstraitement l'espace d'exposition de l'installation, ni se superposer à la notion d'expérience qui tend d'ailleurs largement à la supplanter dans les écrits à son sujet. L'installation met à l'épreuve l'idée d'unité objective qui sous-tend la notion d'œuvre. Mais cette mise à l'épreuve permet en retour de renouveler l'opérativité conceptuelle de la notion. Notre hypothèse consiste à déplacer l'unité de l'œuvre délimitée dans un objet vers l'unité de la synthèse constituée par et dans la mémoire du sujet. L'unité n'est plus celle de quelque chose face au spectateur mais celle de l'expérience esthétique qui révèle les qualités temporelles de l'espace, condense et synthétise les différentes phases du vécu. En tant que synthèse l'œuvre n'est pas réductible à l'unique subjectivité de l'expérience mais tend à être objectivée par le sujet-spectateur lui-même<br>When we speak of a work of art in relation to an artistic installation, what exactly are we referring to? First coined in the 1960s, the term "installation" covers a wide range of different types of production. Closer to sculpture in its early days, it is now widely used in the form of experiential art and immersive digital environments. Yet despite these disparities, which prevent a definition of the practice or a formal recognition of its characteristics, two elements contribute to the ambition of a generic approach: 1) it is not reducible to an object placed in front of a viewer, and 2) it maintains a consubstantial relationship with the space of its exhibition. Installation art unfolds in space, and its apprehension and appreciation depend on the experience of a mobile spectator. In so doing, to speak of an installation as a work invites us to follow the displacements implied by this practice, and, correlatively, it invites us to accept that the notion of work can neither cover a particular object (insofar as it is its spatial situation that takes precedence), nor designate abstractly the installation's exhibition space, nor superimpose itself on the notion of experience, which, moreover, tends largely to supplant it in writings on the subject. The installation puts to the test the idea of objective unity that underpins the notion of the work. But in turn, this testing allows us to renew the conceptual operativity of the notion. Our hypothesis consists in shifting the unity of the work delimited in an object to the unity of the synthesis constituted by and in the subject's memory. The unity is no longer that of something in front of the viewer, but that of aesthetic experience, which reveals the temporal qualities of space, and condenses and synthesizes the different phases of experience. As a synthesis, the work cannot be reduced to the sole subjectivity of experience, but tends to be objectified by the subject-spectator himself
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26

Mondloch, Kate. "Thinking through the screen media installation, its spectator, and the screen /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1031040591&sid=32&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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27

James, David. "Travelling space : locating in-between : exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1365/.

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Exegesis (MA--Art and Design) -- AUT University, 2007.<br>5 DVDs contain appendices. Includes bibliographical references. Also held in print (47 leaves : col. ill. ; 30 cm. + 5 DVDs) in City Campus Collection (T 709.93 JAM)
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28

Grim, Courtney. "Beef you feel good about /." Online version of thesis, 1996. http://hdl.handle.net/1850/11956.

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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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Ebner, Bonnie M. "Many telling moments the essence of fragmented image culture /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002116.

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31

Fong, Helen. "The image as metaphor an exploration into the metaphorical and experiential operations of the installed image : this exegesis [thesis] is submitted to Auckland University of Technology in partial fulfilment of the degree of Masters of Art and Design, 2003." Full thesis. Abstract, 2003.

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Thesis (MA--Art and Design) -- Auckland University of Technology, 2003.<br>Illustrations not included in e-thesis. Also held in print (21 leaves : col. ill. ; 30 cm. + 1 CD-ROM) in Wellesley Theses Collection (T 709.93 FON)
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32

Jewesbury, Daniel. "'No higher unity' : hybridity, non-linear narratives and the mirage in the Arizona desert." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274105.

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Vaughan, Pam. "..and the rabbit." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27960.

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A small number of framed prints can be seen on approach to the exhibition. They are black and white — the predominant colours of the entire exhibition. Viewers will walk into a dimly lit room and see a frail, house-shaped structure made out of Perspex plates. The plates have images scratched into them, some with the residue of ink. Inside the house is an old iron rabbit trap as well as lighting which casts imprecise shadows into the surroundings. Around the walls are a series of charcoal drawings on paper. Most of the images are of a single object or figure. Circling around the room and weaving in and out of the viewers will be Pam on an old pushbike.
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Banyard, Kylie Jane Art College of Fine Arts UNSW. "Phantom in the corner: staging a gothic spectacle." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43082.

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My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.
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35

Hare, Richard Paul. "Craft art practice [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2003]." Full thesis. Abstract, 2003.

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36

Steer, Laurie. "A fatal cycle this exegesis is submitted to Auckland University of Technology in partial fulfillment of the requirements for the degree of Master of Art and Design, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/177.

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Exegesis (MA--Art and Design) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (53 leaves : col. ill. ; 21 x 30 cm. + 1 DVD) in the Archive at the City Campus (T 709.05 STE)
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37

Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.

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Martin, Ariya. "In search of delicious /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1109.

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Alberganti, Alain. "Esthétique de la spatialité immersive dans l'art de l'installation." Paris 8, 2009. http://www.theses.fr/2009PA083257.

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L’art de l’installation sous sa forme immersive constitue un évènement majeur dans l’histoire de l’art et dans la société. Il représente l’avènement d’un nouvel espace plastique à la frontière entre l’art et le réel. Cette frontière est le moteur d’un dispositif artistique immersif par lequel le visiteur d’une installation expérimente une perception autre de l’espace. La réception de l’oeuvre n’est plus fondée sur une opposition sujet / objet mais sur un projet qui génère une spatialité à partir des perceptions du visiteur. Cette spatialité de l’installation se situe au croisement des arts plastiques, des arts du spectacle et de l’architecture. Après l’espace-limite de l’art classique qui a rendu le visible de l’espace, l’espace-milieu de l’art moderne qui a rendu le sensible de la spatialité, l’art contemporain, avec l’installation, théâtralise la limite de l’œuvre d’art et fait de la frontière entre l’art et la vie un espace à vivre. L’évolution de la distance entre la forme plastique et le fond sur lequel elle se situe raconte l’histoire de l’homme occidental qui, de maître et de juge devant les choses du monde, peu à peu, s’y immerge. Notre travail envisage la notion d’immersion comme le paradigme de la relation esthétique de l’homme contemporain à l’espace de l’art et à l’espace urbain<br>Installation art in his immersive form represents a main event in the history of art and in the society. It means the advent of a new visual space on the borderline between art and reality. The frontier is the driving force of an immersive artistic device by which the visitor of the installation experiments a new perception of the space. The reception of the work of art is not any more based on the opposition subject / object but on a plan which generates the spatility from the visitor’s perceptions. This spatiality takes place at the junction of visual arts, performing arts and architecture. After the “border-space’’ of the classical art that capture which is visible in the space, after the “environment-space” of modern art that capture the sensitive of the spatiality, the contemporary art, through installation, dramatizes the border between art and life of the work of art to create a space-to-be-lived. The evolution of the distance between form and background tells the story of the western man. It was master and judge in front of the world and gradually dives there. Our work understands the notion of penetration as a paradigm of aesthetic relationship of the contemporary man to art space and urban space
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Cosentino, Daniel. "Cosentinoworks /." Online version of thesis, 2009. http://hdl.handle.net/1850/9603.

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Victor, Suzann. "The image stammers /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.163129/index.html.

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Thesis (MA (Hons.))--University of Western Sydney, Nepean, 1999.<br>"Submitted in part fulfillment for the degree of Master of Arts Honours in Visual Arts, University of Western Sydney Nepean, 1999." Includes bibliographical references (leaves 59-61, 62-63).
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42

Martin, Jacques. "Lieu commun." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1991.<br>Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Lamontagne, François. "Pour une ontologie du corps /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.<br>Résumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
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44

Johnston, Amber. "In memory of trauma /." Online version of thesis, 2009. http://hdl.handle.net/1850/11248.

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Kosovac, Ena. "Awkward formalism the role of objects in contemporary painting installation : this exegesis is submitted to Auckland University of Technology in partial fulfilment for the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/799.

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I am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
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Schmiedel, Dean. "The other mother : an artist's conception /." Online version of thesis, 2007. http://hdl.handle.net/1850/4486.

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Cunniffe, Paula Marie. "Locating interiority text, image, identity, and the domestic : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art & Design), 2007." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1364/.

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Findlay, Jules. "Mrs Gallagher, Acts of disobedience : performance and installation in rural New Zealand : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1366/.

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Exegesis (MA--Art and Design) -- AUT University, 2007.<br>Appendix 4 contains 2 DVDs. Includes bibliographical references. Also held in print (55 leaves : col. ill. ; 22 x 30 cm. + 2 DVDs) in City Campus Collection (T 709.93 FIN)
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49

Hong, Misun. "Between the sky and the earth /." Online version of thesis, 1990. http://hdl.handle.net/1850/11079.

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Baasch, Rachel Mary. "The eyes of the wall : space, narrative and perspective." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001578.

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The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.
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