Дисертації з теми "Artistic visions"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Artistic visions.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-44 дисертацій для дослідження на тему "Artistic visions".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Копинець, Валеріян Валеріянович. "Особливості оброблення відеоінформації для мультимедійних видань мистецького спрямування". Master's thesis, КПІ ім. Ігоря Сікорського, 2020. https://ela.kpi.ua/handle/123456789/39436.
Повний текст джерелаАнотація:
Пояснювальна записка до магістерської дисертації на тему «Особливості
оброблення відеоінформації для мультимедійних видань мистецького
спрямування», містить сторінок 72, рисунків 22, таблиць 24, літературних
джерел 16.
Виконано інтеграцію відеоекскурсії у форматі 360 на базі технології
доповненої реальності. Досліджено основні особливості оброблення
відеоінформації. Виготовлено електронний та фізичний примірник (сторінку)
видання для демонстрації. Наведено техніко-економічне обґрунтування
проекту. Розраховано термін окупності проекту та стартап-план.Explanatory note to the master's dissertation on "Features of video information processing for multimedia publications in the field of art", contains 72 pages, drawings 22, tables 24, literature sources 16. Integrated video tour in 360 format based on augmented reality technology. The main features of video information processing are investigated. An electronic and physical copy (page) of the publication was made for demonstration. Feasibility study of the project is given. The payback period of the project and the startup plan are calculated.
2
Bjurman, Johanna. "Communicating your artistic vision." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64809.
Повний текст джерела
3
Calderon, Eber. "Artistic Vision and Technical Minimalism. Opportunity or Paradox?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103114.
Повний текст джерелаАнотація:
The aim of this study was research how avoiding the use of modern music production tools like virtual instruments, samples, loops and amp emulations would affect my work as a songwriter and music producer in terms of creativity, artistic expression, efficiency and overall sound quality of the production. The project consisted of writing, producing and mixing four songs in different genres, using only a single, a Shure SM7b dynamic microphone and an Audient ID4 audio interface to record all of my sources. In the following step I compared the songs I created for this project to other songs I have created using unlimited tool and looked for differences and similarities. The results obtained were for the most part positive. As an effect of minimizing the number of choices available in the creative process I was able to write and produce songs faster, while exploring my limitations as a musician, songwriter and producer.
4
Lin, Jiun-Shian. "Applying sensory distortion devices in artistic production : practice-based studies of creating artefacts with perceptual devices which confuse artists' vision and kinesthesis." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3760.
Повний текст джерелаАнотація:
When I was an art school student, I was trained to pursue the likeness of subjects in all my artworks. This practice-based research explores alternative forms of self-expression in art practice. The exploration starts by questioning the relationship between perceptual devices, artists’ perceptions and artistic production. Most perceptual devices are designed to enhance artists’ sensory capabilities and facilitate the creation of art. Their success is often based on enabling artists to achieve a likeness of the subject drawn or making the creation of artefacts easier. My research focuses on investigating the consequences and artistic potential of applying sensory distortion devices that confuse, mislead and distort artists’ vision and kinesthesis, increasing the difficulty of making art, and exploring the productive potential of such devices to engender new creative forms. In this research three visual distortion devices and two kinaesthetic distortion devices are prototyped and used in experimental calligraphy, painting and drawing exercises. After analysing the artists’ experience of using these devices, the influence and artistic potential of applying them are examined. It is discovered that distorted vision and kinesthesis can greatly influence the making of art by disrupting habitual eye-hand coordination and control over producing artefacts. Besides which, the use of visual and kinaesthetic distortion devices can be a technique for new forms of artistic expression. It can also be an effective technique for creating serendipitous opportunities in the visual arts and a way of exploring and provoking reflection upon artistic methodologies. Consideration of the attributes of visual and kinaesthetic distortion devices and distorted perceptions during the process of prototyping can benefit the generation of ideas, methods of production and the contents of artworks. Some practical implications for creating art with visual and kinaesthetic distortion devices are also explored. They are discussed in relation to theories of human performance, such as flow theory, and attitudes toward the conflict between habitual and unfamiliar perceptual experience. Keeping an open and uncritical mind toward unfamiliarity, chaos and the accidents caused by distorted perceptions and reduced control of drawing instruments is suggested to working artists. Finally, this research contributes to art education by demonstrating a possible way of achieving self-exploration through art making.
5
Tatum, Simon J. "Repurposing Tourism: Visions from an Itinerant Artist." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619483698972973.
Повний текст джерела
6
James, Andrew. "Antimodels, the audience, and the evolution of Kingsley Amis's artistic vision." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551556.
Повний текст джерелаАнотація:
This thesis argues that Kingsley Amis expressed his views on the role of the artist in society through the subtext of each novel. He did this by using artistic antimodels, invoking other writers and formative influences to show his own superiority, and examining the role of the audience in the creative process. Between 1954 and 1970 his ideas on art remain somewhat dogmatic, but after 1970 his opinions soften and in many cases change as he considers the role of the audience more seriously in -allowing that there may be reasons for bad artists to create. He also began to conceive of the relationship between the . artist and his or her audience as reciprocal. If bad artists are at fault for failing to please the audience, then the audience too is to blame for tolerating or failing to improve them. Most critics have only seen the artistic antimodels as sources of comic relief, but they serve the valuable purpose of conveying Amis's thoughts on art and creation. By inverting the characteristics of the antimodels we can not only form a picture of his artistic ideal but begin to see how that ideal changes from one novel to the next. there has been a great deal of criticism published on Amis already, but the original manuscripts, unpublished letters, and personal papers held in three Amis archives have been neglected by most scholars. While the original manuscript of Lucky Jim has been examined by several scholars, important alterations made to numerous others novels in draft have been overlooked. These include Girl, 20, Stanley and the Women, The Old Devils, and The Biographer s Moustache. Major cuts and changes in these and other later works are cited as evidence of Amis's awareness of his books as statements of artistic intent.
7
McNutt, David Wayne. "Karl Barth's doctrine of creation and a reformed vision of artistic creativity." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283926.
Повний текст джерела
8
Safavi, Safoura. "The Inner Gaze In Artistic Practice." Thesis, Stockholms konstnärliga högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-934.
Повний текст джерелаАнотація:
”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?
9
Go, Karen Miao. "Artistic expression, domestic desires : Vanessa Bell's vision of modern life & modern art." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/252004.
Повний текст джерелаАнотація:
This PhD examines the life and work of a remarkable woman – a mother, lover, artist, friend, daughter and sister who did not follow the rules of any establishment and liver her life as she saw fit. Vanessa Bell was a woman who broke the rules but remained almost entirely transfixed by a world dominated by domesticity. As this PhD will show, radical choices, innovative art, and intellectual stimulation can co-exist with the domestic world and in a person devoted to domesticity. This PhD questions what it means to be a feminist and an avant-garde artist in the early 20th century. It questions how art history has treated the roles available to women and to the space they occupied. For Bell, art was not a way to live vicariously in other worlds; it was always a reflection of her world and her reality interpreted through her kaleidoscopic vision. For a painter interested in modern artistic movements, limiting one’s scope to the home would have seemed a defeat of one’s ideals since it was not in the home that most avant-garde artists saw modern life taking place. Yet it was the home and domestic life from which Bell drew inspiration and where she saw modern life taking place. This PhD examines Vanessa Bell’s relationship to domesticity in four sections. The first discusses her work in the decorative arts and its influence on her work in the fine arts. The second deals with how marriage both limited and opened up a new world to her, a world in which she would learn to develop human relationships within her own standards. The third concerns the importance she placed on being a mother and the ways that maternity impacted upon her painting. But also important is how her roles as wife, sister, lover and friend also influenced her work. And the final section discusses how she manipulated and depicted domestic space in her art.
10
Barry, Marie Porterfield. "Lesson 21: Vision and Abstraction by Female Artists." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/23.
Повний текст джерела
11
Baker, Catherine. "From vision to drawn metaphor : an artistic investigation into the relationship between eye-tracking and drawing." Thesis, University of Bedfordshire, 2012. http://hdl.handle.net/10547/265452.
Повний текст джерелаАнотація:
At its most essential drawing consists of the making of marks on a surface, however such an interpretation does not necessarily reflect the diverse practice of artists whose work seeks to challenge the conventions of drawing and establish new boundaries. This abstract documents a practice involving a new consideration for drawing which focuses on the active process of drawing as a physical and perceptual encounter. It proposes that eye movements and their associated cognitive processing can be considered as a drawing generating process. It does not seek to undermine the conventional three-way process of drawing involving eye, hand and brain but presents ideas which push against the established boundaries for drawing practice and has investigated new ways of making and new ways of considering the practice of drawing as a phenomenological contemplation. The proposition for drawing presented in this document, has been developed through a practice-led enquiry over the last eight years and involves using scientific methodologies found within the area of Active Vision. By examining artworks produced within the early part of the period of time defined within this thesis, emergent ideas relating to the act of making in-situ drawings and the recollection of such experiences brought about a series of questions regarding the process of generating a drawing. As the practice developed, using data obtained from different eye-tracking experiments, the author has explored the possibilities for drawing through using scientific methods of tracking the act of looking to investigate the relationship between the observer and the observer entity. Using the relationship between the drawn mark and visual responses to it as the basis for a practice-led period of research, this thesis presents the notion that by using technologies designed for other disciplines artists can explore the potential for drawing beyond the conventions cited above. Through the use of eye-tracking data the artist and author seeks to firmly establish the use of this scientific methodology within an artistic framework. It is a framework that responds to new ways of thinking about spatiality and the relations between sight and thought, taking into account the value of experience within the production of art; how the physical act itself becomes the manifestation of a process of drawing, understanding and knowledge of the world around us.
12
TAPIAS, RODRIGO LOJA. "ARTISTIC TALENTS: THE VISION OF CHANGE OF THOSE WHO CREATE, DIRECT AND ACT IN THE MEDIA INDUSTRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30710@1.
Повний текст джерелаАнотація:
O mercado de mídia e entretenimento atravessa uma fase de intensa transformação. Os hábitos dos consumidores estão mudando em ritmo acelerado, em virtude do desenvolvimento da tecnologia digital. A atitude do público, antes passiva, assistindo de forma linear à programação, agora é ativa, buscando uma oferta multifacetada de produção audiovisual, em diferentes formatos e mídias, até o ponto da co-produção, em que o consumidor passa a interagir, produzir e compartilhar o próprio conteúdo. Há pouco tempo, o ambiente competitivo das televisões abertas resumia-se à concorrência entre elas. Hoje o ecossistema da mídia passa por grandes transformações que impactam as diferentes formas de distribuição de conteúdo, com o surgimento de novos players, e o próprio modelo de negócio que vigorou até então. Isso levou as empresas a rever suas estratégias e a um forte investimento na produção de conteúdo para diversas mídias. É em resposta a esses desafios que a TV Globo, uma organização com 51 anos de história, líder de audiência no mercado de televisão aberta vem adotando medidas de caráter estratégico, a partir de mudanças organizacionais e no seu modelo de gestão, para buscar uma maior eficiência e profissionalização. Diante desse processo complexo, que afeta toda a estrutura organizacional da empresa, este estudo analisou e problematizou como os talentos artísticos - responsáveis por criar, dirigir, atuar e apresentar os programas que compõem a grade de entretenimento da programação e reconhecidos pela organização como um de seus principais ativos estratégicos - entendem e se relacionam com tais mudanças.The media and entertainment market is going through an intense phase of transformation. Consumers habits are changing in an accelerated rhythm due to digital technology development. The old passive linear way of watching TV programs has modified to an active approach in search of multifaceted audio-visual production in different formats and medias. All of these has gotten to the point of co-production in which the consumer interacts, produces and shares his own contents. It was not so long ago when the competitive environment of the open television channels was just a feud among them. Nowadays the media ecosystems pass through big transformations with impact in forms of content distribution, the entrance of new players and even the business model in use not so long ago. Enterprises have been forced to reevaluate their strategies and invest in the production of content for different medias. As an answer to these challenges, TV Globo Brazil, a record breaking ratings leader organization with a history of 51 years in the market has adopted strategic measures in changing their organizational and management models with efficiency and professionalization targets. This study intends to analyze and question how the artistic talent: responsible for the creation, direction, acting and presentation of the programs that compound the entertainment grid of the TV Schedule; who are considered by the company as one of their main strategic assets, understand and relate to these changes.
13
Owen, Jennifer Elizabeth Lyle. "Imaging dreams in the Middle Ages : the Roman de la Rose and artistic vision, c.1275-1540." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22938.
Повний текст джерелаАнотація:
This thesis constitutes an investigation into the depiction of dreams in imagery accompanying the late-medieval manuscripts and printed editions of the Roman de la Rose. It reflects on the changing approaches to depicting dreams during the 250 years of the Rose’s popularity in central France, as well as discussing the historical theoretical understanding of the concept of dreams, and its expression in a specific Rose context. It examines the representation of dreams in a number of Rose manuscripts – in particular their prominent dreamer incipits – alongside other relevant miniatures of both a secular and religious nature. Furthermore, the alteration of trends for depicting the dream space in Rose manuscripts during the fifteenth century are also considered, as well as a case-study of the luxurious Valencia manuscript, which contains a variety of dream subjects. This is followed by a discussion of the methodology of manuscript production in the medieval period, gleaned from a number of extant Roses. This chapter underscores the important role played by artistic originality and intention in the processes of manuscript making – addressing the ‘artistic vision’ indicated in the title of this thesis. An outline of the printed editions of the Rose and their resurrection of earlier tropes of dream depiction is also included. Finally, the appendix contains a Catalogue of the Rose manuscripts studied in preparation for and throughout the production of the thesis.
14
Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.
Повний текст джерелаАнотація:
The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them.
We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists.
This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.
15
Nabais, Raquel Nogueira. "Calendarização das visitas dos artistas da operação nariz vermelho aos hospitais." Master's thesis, Instituto Superior de Economia e Gestão, 2019. http://hdl.handle.net/10400.5/18452.
Повний текст джерелаАнотація:
Mestrado em Métodos Quantitativos para a Decisão Económica e EmpresarialEste trabalho final de mestrado foi desenvolvido sob a forma de projeto, em parceria com a Operação Nariz Vermelho (ONV), estando o seu tema ligado à afetação dos artistas profissionais, Doutores Palhaços, da ONV às visitas a realizar aos vários hospitais, abrangidos pelo programa de visitas desta instituição, na região da Grande Lisboa. O objetivo deste projeto é facilitar a execução desta tarefa que, nos tempos que decorrem, é uma tarefa bastante morosa e trabalhosa para os colaboradores da ONV. Assim, e de forma a atingir todos os objetivos pensados pela instituição, foi de extrema importância, numa fase inicial, fazer o levantamento de todos as especificidades da calendarização das visitas. Depois, e recorrendo a estudos já realizados, foi formulado em Programação Linear Binária Mista um modelo de otimização capaz de gerar uma solução para dar resposta ao problema do planeamento das visitas. Adicionalmente, foi também desenvolvido um programa recorrendo ao uso da linguagem Visual Basic for Applications do Excel. Este é capaz de ler os dados do problema e colocá-los como parâmetros do software OpenSolver, executar o software de forma automática, escrever e estruturar a solução gerada com o intuito de possibilitar a análise e o uso desta pelos colaboradores da ONV.
This Masters Final Work was developed in the form of a project in partnership with Operação Nariz Vermelho (ONV). This work is related to the assignment of ONV professional artists, Clown Doctors, to visits to be made to the various hospitals, covered by the visits program of this institution, in region of Lisbon. The objective of this project is to make easier the execution of this task, which, currently, is a very time consuming and laborious task for the staff of the institution. Thus, and in order to achieve all the objectives considered by the institution, it was extremely important, at an initial stage, to survey all the specific aspects of the visit schedule. Then, and basing our work on studies previously carried out, an optimization model was formulated using a Mixed Binary Linear Programming model capable of generating a solution to the problem for assignment of the visits. In addition, a program was developed using the Visual Basic for Applications language available in Excel. This software can read the data of the problem and place them as parameters of the OpenSolver software, execute the software automatically, write and structure the generated solution in order to allow the analysis and usage of this solution by ONV employees.
info:eu-repo/semantics/publishedVersion
16
Zazoun, Flavie. "Variations autour du Livre d’Esther : de la vision biblique au regard porté par la littérature et les arts sur les personnages." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040042.
Повний текст джерелаАнотація:
À partir d’une interrogation initiale sur l’Esther de Racine, cette étude repart de la Bible, analyse les sources puis suit le parcours du Livre d’Esther, son devenir religieux, littéraire et artistique au cours des siècles et à travers l’Europe. Cette démarche génétique a permis de dresser un immense tableau des créations les plus diverses. Il s’avère que cette composition biblique doit être comptée parmi les textes fondateurs ayant contribué à créer une culture commune. Rédigée quatre siècles avant notre ère, elle ne s’est pas limitée à alimenter la liturgie. Rapidement, la figure d’Esther a été vue comme un archétype de la Fidèle : on en a fait l’apologie en l’associant par analogie à Marie la médiatrice, et en reconnaissant en cette reine un exemplum édificateur. Plus largement, Esther et Assuérus représentent le modèle parfait d’un couple de souverains. Le Livre d’Esther a inspiré jusqu’à nos jours de multiples artistes et d’écrivains. Parmi l’énorme corpus de réécritures, c’est l’art dramatique qui a été privilégié, proposant des tragédies mais aussi des parodies : si Mardochée y reste digne d’éloges, Aman devient objet de blâme ou de risée. Parce qu’il abolit les frontières géographiques, historiques, politiques et sociales, ce texte appartient à la source d’une grande partie du patrimoine de l’EuropeStarting with a study of Racine's Esther, this thesis analyses the biblical story and its sources and follows its literary, artistic and religious becoming through the centuries and across Europe. This "genetic" approach results in a tableau portraying a wide variety of artistic creations. The biblical story appears to have been counted among a number of founding texts which contributed to a common (European) culture. Composed four centuries before our era, its uses and applications go beyond the religious and the liturgical. The figure of Esther quickly came to be seen as an archetype of the faithful: she is associated by analogy with Mary the mediator and recognised as an exemplary queen. More broadly, Esther and Ahasuerus represent the perfect model of the royal couple. Through the ages, the Book of Esther has inspired many artists and writers. Amidst the huge corpus of re-writings, theatrical adaptations hold a prominent place, made up of both tragedies and parodies. If Mordecai remains worthy of praise, Haman is generally portrayed as an object of rebuke or ridicule. Because it abolishes geographical, historical, political and social borders, this text is at the source of an important part of European heritage
17
Murakami, Yorimitsu. "Art et artiste : vision de l'artiste-musicien selon Zeami et Romain Rolland : l'idéalisme comparé /." Paris : [Y. Murakami], 1987. http://catalogue.bnf.fr/ark:/12148/cb35849617t.
Повний текст джерела
18
Murakami, Yorimitsu. "Art et artiste : Vision de l'artiste-musicien selon Zeami et Romain Rolland : l'idéalisme comparé." Paris 4, 1987. http://www.theses.fr/1987PA040419.
Повний текст джерелаАнотація:
Le propos essentiel de la thèse est de proposer une comparaison entre les visions "orientale" et "occidentale" de ce que doit être le véritable "artiste" comme musicien et interprète selon les modèles décrits par Zeami et Romain Rolland, tous deux théoriciens et écrivains mais vivant à des époques différentes et dans une tradition et un contexte social totalement différents. L'étude sur Zeami est basée sur ses traités ("Fûshikaden "; "Shikadô"; " Yûgaku Shûdô Fûken "; textes concernant les "degrés artistiques"; lettres à Komparu-Zentchiku avec emprunts à des textes de ce dernier). L'auteur de la thèse retrace les étapes des progrès nécessaires à travers toute une vie pour devenir un "artiste parfait", d'une manière qui rappelle l'analogie entre art et nature. Zeami atteint ainsi une vision mystique, cosmique et métaphysique sur les "secrets" de l'interprétation-tradition que le vrai artiste doit transmettre à ses disciples. L'étude sur Romain Rolland est basée en partie sur ses journaux, sur ses correspondances (Strauss, Meysenbug, Bertolini), son œuvre sur Beethoven et, essentiellement, sur son roman Jean-Christophe, dans lequel R. Rolland a exposé ses idées sur le rôle de l'artiste véritable. La thèse note les idées de R. Rolland sur la musique de son temps et sur la vision imaginaire de l'artiste engagé dans une mission fraternelle et mondiale de transmission de messages, vision illustrée d'une manière romanesque dans le personnage de Jean-Christophe. Dans chacune des parties de la thèse sont examinés les points de convergence entre ces deux positions apparemment éloignéesThe basic aim of the thesis is to propose a comparison between the "oriental" and "occidental" vision of what has to be the "perfect artist" as a musician and a performer according to the visionary description proposed by Zeami and Romain Rolland, both theorist and writers but living at different times and in completely different tradition and social environment. The study on zeami's position is based on his 14 15th-century treatises ("Fûshikaden "; "Shikadô"; " Yûgaku Shûdô Fûken "; texts dealing with the "artistic degrees"; letters to Komparu-Zentchiku and fragments extracted from Zentchiku's works). The author of the thesis traces the various stages of the necessary progress throughout the life for becoming a "real artist", in a way similar to the analogy between art and nature. Zeami reaches a mystical, cosmical and metaphysical vision of the "secrets" of the tradition-performance that the artist has to convey to his disciples. The study on R. Rolland's vision is based on his Journaux, his correspondence (R. Strauss, von Meysenbug, Bertolini), his work on Beethoven and, essentially, on his novel Jean-Christophe where are focused all the basic ideas of Rolland on what must be the "artist". The thesis points out his ideas on the music of his time and on the visionary ideal of the artist engaged into a fraternal and worldwide mission, as described in the "romantic" character of Jean-Christophe. In each part of the thesis, the mutual concordances between these two visions are pointed out
19
Taylor, Lyrica. ""Exalted ideas of the arts" John Francis Rigaud's vision of the role of the artist in eighteenth-century England as seen in his portraits of fellow artists and in his self-portraits /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8462.
Повний текст джерелаАнотація:
Thesis (M.A.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
20
Darnley, Lyn. "Artist development and training in the Royal Shakespeare Company : a vision for change in British theatre culture." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594111.
Повний текст джерелаАнотація:
The thesis provides a participant observer's perspective of an ensemble training programme within a subsidised professional classical theatre company. Wherever possible, that personal perspective is tested, interrogated and critiqued. The study traces the RSC's history of artist training from its beginnings and considers the contribution made by directors and key practitioners and the major theatrical influences on training within the Company. This provides a context for the specific focus which is placed on the first three years (2003/4-2006/7) of Artistic Director Michael Boyd's Artist Development Programme. This discussion occupies the main part of the thesis and is its raison d'etre. Ongoing artist development for actors and other artists is examined as an essential element of Boyd's ensemble ethos and the RSC's degree of success in meeting the requirements of its Royal Charter and of the Arts Council Document (1996) to provide training for its artists, and to support the development of the wider profession is evaluated. The discussion alludes to the current state of classical drama training in UK conservatoires with specific reference to the teaching of text and language before documenting the RSC's attempts to establish greater links with both training and professional bodies in order to support actor and director training and the professional development of other theatre practitioners. Factors that have to date inhibited the Artist Development Programme including the impact of the redevelopment of its Stratford upon Avon theatres between 2007 and 2011 are reflected on and their impact debated. An appendix bound as a separate document for ease of access and reference alongside the thesis, provides resource material for future researchers including schedules, artist feedback, company documents, archival material and photographs. It also allows the reader to take an empirical stance from which to assess the accuracy of the judgements offered.
21
Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.
Повний текст джерелаАнотація:
This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project's community outreach component and implementation of its public programs. It closes with an analysis of short range and long term impacts. The final chapter further analyzes the project experience, inclusive of the management style of the project director, issues surrounding conflict of interest and ethics, and the degree of NOMA's commitment, or lack thereof, to long-term non-traditional audience inclusiveness.
22
Murray, Beth. "Nowhere to hide but together : a narrative case study of three classroom teachers, a drama specialist, and their supporters negotiating toward an artistic vision of teaching through drama in an urban elementary school /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907957577.
Повний текст джерела
23
Wadlow, Justin S. "Sound + Vision : scène musicale et scène artistique à New York,1967-1984." Amiens, 2014. http://www.theses.fr/2014AMIE0010.
Повний текст джерелаАнотація:
Entre le début des années 70 et la fin des années 80, New York va ainsi connaître une parenthèse enchantée (ou cauchemardesque) dans laquelle vont venir s'engouffrer les artistes attirés par les faibles loyers qu'une ville au bord du gouffre offre aux créateurs de tous horizons, et dont nous entendons ici la multiplicité des voix, dans lesquelles nous percevons la démesure d'une passion inconditionnelle. L'histoire et la géographie de New York nous amène donc à comprendre en quoi la même violence traverse aussi bien les compositions de Richard Hell, les peintures de Joe Coleman, les sculptures d'Alan Vega, les performances de Karen Finley, les concerts de G. G. Allin, les films de Nick Zedd et Richard Kern et les photographies de Lydia Lunch, en quoi les métamorphoses du corps sont au centre aussi bien de la musique flamboyante des New York Dolls que des monstrueuses poupées de Greer Lankton, des imprécations de Patti Smith que des installations de Kim Gordon, et en quoi une certaine forme d'ironie fut à la fin des années 70 une planche de salut face au chaos de la ville aussi bien pour les Ramones que pour George Condo, pour Arto Lindsay que pour les images du magazine Punk. .Starting with the mid seventies, New York City is in ruin, facing bankruptcy, at the same time this situation allows many artists to move in the abandoned lofts and give birth to what we can describe as the downtown art scene : bringing together pop art and pop music, following in the footsteps of Andy Warhol and The Velvet Underground. Our aim is therefore to answer the following questions : to what extent can Lou Reed or Patti Smith's pictures be considered as part of a wider form of expression involving music, stage and poetry ; how does David Byrne transpose Art & Language into the music of his band Talking Heads, how does Arta Lindsay manage to continue the work of Fluxus, how does Joe Coleman or GG Allin give a new meaning to happenings, how can Kim Gordon invent a form of feminist expression by putting together video, painting and rock; how does the Cinema of Transgression devised by Nick Zedd and Richard Kern influence feminist artists as Karen Finley and Lydia Lunch ? In little more than a decade, the art world in New York therefore moved from rages to riches, from the CBGB and The Lower East Side to Wall Street, before moving nowadays to Brooklyn
24
Wayne, Heather. "But This is What I See; This is What I See": Re-Imagining Gendered Subjectivity Through the Woman Artist in Phelps, Johnstone, and Woolf." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2064.
Повний текст джерелаАнотація:
Since the publication of Laura Mulvey's influential article 'Visual Pleasure and Narrative Cinema,' in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women writers of the nineteenth and twentieth centuries'including Elizabeth Stuart Phelps, Edith Johnstone, and Virginia Woolf'recognized the power of the woman artist to undermine the trope of the male gazing subject and a passive female object. Examining Phelps's The Story of Avis (1877), Johnstone's A Sunless Heart (1894), and Woolf's To the Lighthouse (1927) illustrates how the woman artist's active vision disrupts Mulvey's 'active/male and passive/female' binary of vision. Phelps's painter-heroine Avis destabilizes the power of the male gaze not only by exerting her own vision, but also by acting as an active object to manipulate the way she is seen. Johnstone uses artist Gasparine to demonstrate the dangers of vision shaped by either aesthetic or political conventions, suggesting that even feminist idealism can promote the objectification of its heroines. Finally, Woolf redefines the terms of objectification through painter Lily Briscoe, whose vision imbues material objects with subjectivity, thereby going beyond the boundaries between male and female to blur the distinction between subject and object. Through their novels, Phelps, Johnstone, and Woolf suggest that depictions of human experience need to be radically re-thought in order to adequately represent the complexity of subjectivity.M.A.
Department of English
Arts and Humanities
English MA
25
Meyer, Randy Lynn. "Student Voices, Visions, Artistry, and Identity: The Effect on Transfer of Instructor-Student Co-Inquiry and Co-Construction of Lower-Road Mindful Assessment Dispositions in a Postsecondary First-Year-Writing Course." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1626113093690807.
Повний текст джерела
26
Lareo, Fernández Eva. "Michael Snow & Cía : Visiones y revisiones. El cine reflexivo y la expansión de las artes." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/130825.
Повний текст джерелаАнотація:
El objeto de esta tesis es profundizar en los cambios y transformaciones acontecidas en el seno de las artes visuales en la década de los sesenta y setenta y, para ello, hemos partido de un caso concreto que nos ha permitido vehicular esta expansión de unas prácticas que no responden ya a la especificidad de los medios convencionales sino a una amalgama de técnicas e imágenes que incluyen el cine, la fotografía, objetos y una infinidad de nuevos soportes que obligan a una redefinición de conceptos, valores y funciones que el arte ha asumido. No obstante, el objeto de estudio no trata de abarcar la totalidad común del arte de este periodo sino simplemente las características más generales del mismo o de un fragmento del mismo. Por tanto, el caso concreto de Michael Snow, que adquiere una presencia destacada en estas páginas, se debe a que sus trabajos se sitúan es ese espacio indefinido y de transformación en el que la relación del arte para con la técnica y las nuevas tecnologías, es expresión de un nuevo sentimiento y de una nueva manera de aprehender el mundo.The objective of this thesis is to go deeper into the changes and transformations within the core of visual arts in the decades of the sixties and seventies. We have begun from a specific case which has enabled us to explore the expansion of practices which don’t respond now to the specifications of more conventional means but to a melting-pot of techniques and images including the cinema, photography and an infinite numbers of tools which compel us to redefine concepts, values and functions which art has assumed. Nevertheless, the objective of the study isn’t meant to cover the common totality of art of this period but only the most general features of it or of one fragment of it. So the specific case of Michael Snow, which acquires a relevant presence in these pages, is due to the fact that his works are located in that space between indefinition and transformation in which the relation between art and new technological techniques is an expression of a new feeling – a new way of comprehending the world.
27
Murphy, Siobhan. "Practices of tactility remembering and performance." Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4379.
Повний текст джерелаАнотація:
‘Practices of tactility, remembering and performance’ is a practice-led inquiry in which performance-making and writing are equal partners. The thesis comprises a performance folio and a dissertation. The folio comprises two performance works.the backs of things: This 35-minute work for two dancers had a public season mid-way through the candidature (September 8th – 11th 2005). A DVD documentation is submitted with the dissertation.
here, now: This 50-minute multi-modal performance was presented for assessment during a public season of six performances (March 22nd – 25th 2007). It is a solo piece in which I perform. The work was attended by the examiners and a DVD documentation is submitted with the dissertation.
The dissertation provides a ‘narrative of a practice’ focused on tactility, remembering and performance. It elucidates what has arisen through the dual modalities of performance-making and writing. The dissertation is not an exegesis of the performance folio. Rather, it is a critical and reflective account of the practice within which the performances reside.
The arc of emergent meaning in the narrative of practice comprises three phases: Precedents; Choreographic Tactility; and Intercorporeal Remembering. In the first phase, I discuss the precursors to my subsequent practice of tactility and remembering. I detail how I sought to diminish the effects of the objectifying gaze by staging a series of interventions into the visual field of the dance. In the second phase, I articulate my use of touch, naming it a practice of choreographic tactility. I outline the connectivity of touch and suggest that it fosters an understanding of the intercorporeal nature of selfhood. I posit practices of tactility as arenas for a relational ontology.
In the third phase, I take the notion of intercorporeality thus established and show how it engenders an embodied knowledge of remembering. I define a range of heuristic devices that I established so as to craft remembering in my performance practice. Finally, I draw the discussion of tactility and remembering towards what I term an ‘aesthetics of tactility’. I describe this as a performance domain where intercorporeal remembering is privileged. This is instantiated in the poetic remembering of here, now with which the dissertation closes.
28
Vicente, Mullor Pedro Joaquín. "Otros álbumes. Usos, reúsos y reciclajes del álbum de familia en las prácticas artísticas contemporáneas dentro del programa VISIONA (2012-2016)." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/163024.
Повний текст джерелаАнотація:
[ES] En esta tesis doctoral se analizan y estudian la relevancia y significación de diferentes trabajos y proyectos de artistas contemporáneos en torno al álbum de familia y la representación autobiográfica, siguiendo para ello la programación del programa de la Imagen VISIONA, formando esta la estructura de la tesis. Este trabajo parte de un estudio de los orígenes y evolución del álbum de familia desde la invención de la fotografía hasta la actualidad, al mismo tiempo que se analizan los diferentes estudios teóricos y muestras expositivas en torno al álbum de familia. Una vez contextualizado el álbum de familia, la tesis estudia el programa de la Imagen VISONA, las motivaciones y sus orígenes, así como parte de los contenidos de algunas de las diferentes actividades de VISIONA. De esta forma se analizan aspectos como el uso del álbum de familia por artistas contemporáneos, la trascendencia del álbum de familia en la construcción de nuestras identidades individuales y colectivas, o hasta qué punto el uso del álbum de familia y la autobiografía constituyen un tema de trabajo e interés en el arte contemporáneo y que constituye casi un género propio en el arte contemporáneo propio de finales del siglo XX y principios de XXI.[CA] En aquesta tesi doctoral s'analitzen i estudien la rellevància i significació de diferents treballs i projectes d'artistes contemporanis entorn de l'àlbum de família i la representació autobiogràfica, seguint per a això la programació del programa de la Imatge VISIONA, formant aquesta l'estructura de la tesi. Aquest treball parteix d'un estudi dels orígens i evolució de l'àlbum de família des de la invenció de la fotografia fins a l'actualitat, al mateix temps que s'analitzen els diferents estudis teòrics i mostres expositives entorn de l'àlbum de família. Una vegada contextualitzat l'àlbum de família, la tesi estudia el programa de la Imatge VISONA, les motivacions i els seus orígens, així com part dels continguts d'algunes de les diferents activitats de VISIONA. D'aquesta forma s'analitzen aspectes com l'ús de l'àlbum de família per artistes contemporanis, la transcendència de l'àlbum de família en la construcció de les nostres identitats individuals i col·lectives, o fins a quin punt l'ús de l'àlbum de família i l'autobiografia constitueixen un tema de treball i interés en l'art contemporani i que constitueix quasi un gènere propi en l'art contemporani propi de finals del segle XX i principis de XXI.
[EN] This PhD thesis studies and analyses the relevance and significance of different works and projects by contemporary artists around the family album and autobiographical representation, following the activities of the cultural program VISIONA, forming this the structure of this thesis. This thesis also includes a study of the origins and evolution of the family album from the invention of photography to the present, at the same time that the different theoretical studies and exhibitions around the family album are analysed. Once the family album is contextualized, the thesis studies the cultural program VISONA, the motivations and its origins, as well as part of the contents of some of the different activities at VISIONA. Regarding this, the thesis analyses and studies aspects such as the use of the family album by contemporary artists, the importance of the family album in the construction of our individual and collective identities, or to what extent the use of the family album and autobiography constitute a subject of work and interest in contemporary art and that constitutes almost its own genre in contemporary art typical of the late twentieth and early twenty-first centuries.
Vicente Mullor, PJ. (2021). Otros álbumes. Usos, reúsos y reciclajes del álbum de familia en las prácticas artísticas contemporáneas dentro del programa VISIONA (2012-2016) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/163024
TESIS
29
Olofson, Christina. "Våga gå vilse – ett sätt att upptäcka det obekanta : Filmskaparens förhållande till konst och vetenskap." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33958.
Повний текст джерелаАнотація:
Syftet med uppsatsen är att undersöka och synliggöra filmskaparens förhållande till konst och forskning. Under åtta år i olika perioder har filmprojektet Kropparnas Arkiv, pågått som jag parallellt med uppsatsen har slutfört. Filmen väver samman konst och forskning i ett möte mellan konstnär och forskare. Såväl i samtal med filmkollegor som inför nya filmprojekt framträder frågan, hur kan man söka det man inte vet vad det är? Detta kom nu att bli min forskningsfråga. Syftet är att efterforska och reflektera över hur den konstnärliga processen kan fördjupas inom mitt filmskapande. Jag har valt att intervjua tre kvinnor, en konstnär, en skådespelare tillika regissör och en forskare. Mitt urval gör inte anspråk på att vara representativt. Att skådespelaren, regissören och konstnären har beröringspunkter med mig, filmskaparen kan kanske vara mer uppenbart än att forskaren har det. Men är det verkligen så? Målet är att få syn på om det finns likheter, olikheter, vad som skiljer eller vad som förenar de tre intervjuade, i det här sammanhanget kallade informanter, med filmskaparen. Svaren från de intervjuade har jag sorterat under teman som –val eller urskiljning–praktisk nyfikenhet eller kreativitet och slutligen att framkalla det oväntade. I min undersökning använder jag mig av kvalitativa metoder, analyserar svaren och teoretiserar kring dem. Den fenomenologiska hermeneutiken tillika toposläran har varit ryggraden i min undersökning. Det är oundvikligt att Aristoteles och hans tankegångar är fundamentet till teorier och reflektioner som jag tillämpar i uppsatsen. Min ambition är att kunna ta med mig den konstnärliga blicken in i vetenskapsvärlden, att kunna ge en dubbel blick på den vetenskapliga terrängen, ett sätt som jag menar kan förmera och bidra till att vidga mitt seende. Hur och på vilket sätt finns det beröringspunkter och likheter mellan film, konst och forskning–humanismen och naturvetenskapen? Att svara på min forskningsfråga har varit en metod för att synliggöra en process, knappt mätbar men ändå synlig för den som vill se. Frågan skapar en process som speglar de intervjuades förhållningsätt till olika problemställningar inom deras arbetsområde och hur de går vidare i sökandet. Utmärkande för alla är gränser, både att skapa och att överskrida. För att spränga gränser är det nödvändigt att bryta tankebanor och begränsningar, något som alla informanterna gör. Det bekanta behövs för att utforska det obekanta.Fear not going astray – discover the unknown A filmmaker’s take on art and science The purpose of this essay is to examine and make visible the filmmaker’s relation to art and scientific research regarding the investigation of new knowledge. Can art and science meet, and in what way do they connect? I have finished Secrets of Animal Anatomy (aka Kropparnas Arkiv), a film project I was working on for eight years. I finished it while I was writing on this essay. The film combines art and science in a meeting between an artist and a scientist. During the process, the question arose: how can you search for something when you don’t even know what it is you are searching for?. It is not wholly new, but has been implicit in discussions with colleagues and in film projects. This became my scientific question. My aim is to investigate how to make the artistic process of filmmaking and film deeper, by reflecting upon and investigating this question. I have chosen to interview three women – one artist, one actor-director, and one scientist. The selection is not meant to be representative. It may seem obvious that the actor, director and artist have more in common with each other than with the scientist, but is this necessarily true? Using this question as a starting point, I aim at finding out differences and similarities between the three interviewees and the filmmaker. I have categorised the interviewees’ answers under different themes like “Choice or distinguishing”, “Curiosity in practice or creativity”, and “To evoke the unexpected”. In my investigation, I employ qualitative methods; I analyse the answers and then theorise. Phenomenological hermeneutics, or Topos theory, has been the backbone of my study. It is undoubtedly so, that Aristotle and his thinking is the foundation of the theories and thoughts that I apply in this essay. My ambition is to bring the artistic vision to the scientific world, and to view the terrain of science with a double gaze, which I believe can contribute to an understanding both wider and deeper. Is there a strong connection and strong similarities between film, art, and science, and are these three entities prerequisites for one another – humanities and science? Answering my question has been a method to make visible a method, barely measurable yet visible for those willing to see it. The question gives rise to a process, reflecting the interviewees’ stance on different problems within the scope of their work, and how they proceed in their search. What they all have in common is boundaries, creating them and transcending them. In order to break boundaries, it is necessary to create new lines of thought and transcend limitations. This is something common to all informants. The known is necessary to examine the unknown.
30
Tavares, Cavalcanti Ana Maria. "Les artistes brésiliens et les "Prix de voyage en Europe" à la fin du XIXe siècle : vision d'ensemble et étude approfondie sur le peintre Eliseu d'Angelo Visconti (1866-1944)." Paris 1, 1999. http://www.theses.fr/1999PA010597.
Повний текст джерелаАнотація:
Cette thèse aborde le sujet des prix de voyage en Europe décernés après concours aux artistes brésiliens élevés de l'academia imperial de Belas Artes de Rio de Janeiro. Elle se compose de deux parties. La premiere présente une vision d'ensemble sur les artistes brésiliens, lauréats des concours de l'académie ou pensionnaires de l'empereur Dom Pedro II, venus perfectionner leur art à Paris ou à Rome pendant la période de 1845 à 1887. La seconde partie de la thèse est une étude approfondie sur le peintre Eliseu d'Angelo Visconti (1866-1944), lauréat du concours de prix de voyage de 1892, premier pensionnaire de l'Escola nacional de Belas Artes de Rio de Janeiro, nouvelle appellation de l'ancienne academia imperial, après la proclamation de la république au Brésil, ces parties se complètent, car l'étude sur les prix de voyage situe le peintre Eliseu Visconti dans le contexte de sa formation recue à l'Academia imperial de belas artes. De plus, l'analyse de l'oeuvre de Visconti et de l'influence qu'il a reçue de l'art francais, ainsi que l'examen des diverses interpretations critiques sur sa peinture, rendent possible un approfondissement de la réflexion sur les voyages d'études des artistes brésiliens en Europe. Parmi les contributions que cette thèse apporte à l'histoire de l'art au Brésil, il y en a deux qui doivent être signalées. D'une part, elle organise les informations sur les concours et les activités des pensionnaires brésiliens en Europe, informations jusqu'aujourd'hui dispersées dans les archives. D'autre part, elle propose une reflexion sur l'interprétation courante de cette période de l'histoire de l'art brésilien, vivement influencée par la logique moderniste qui refusa toute valeur à l'art académique. L'auteur propose un regard plus ouvert sur la production artistique brésilienne anterieure à l'avenement des modernistes en 1922.
31
Delanoy, Johanna. "Interprétation et génération de représentations artistiques : applications à la modélisation par le dessin et à la stylisation de vidéos." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR4036.
Повний текст джерелаАнотація:
Les outils digitaux ouvrent de nouvelles voies de création, aussi bien pour les artistes chevronnés que pour tout autre individu qui souhaite créer. Dans cette thèse, je m'intéresse à deux aspects complémentaires de ces outils : interpréter une création existante et générer du nouveau contenu. Dans une première partie, j'étudie comment interpréter un dessin comme un objet 3D. Nous proposons une approche basée donnée qui aborde cette problématique en entrainant des réseaux convolutifs profonds (CNN) à prédire l'occupation d'une grille de voxels à partir de dessins. Nous intégrons ces CNNs dans un système de modélisation interactif qui permet à l’utilisateur de dessiner un objet, tourner autour pour voir sa reconstruction 3D et le raffiner en redessinant depuis une nouvelle vue. Nous complémentons cette approche par une méthode géométrique qui permet d’améliorer la qualité de l'objet final. Pour cela, nous entrainons un CNN à prédire des cartes de normales à plus haute résolution depuis chaque vue d'entrée. Nous fusionnons alors ces cartes de normales avec la grille de voxel en optimisant pour la surface finale. Nous entrainons l'ensemble de ces réseaux grâce à des rendus de contours d'objets abstraits générés procéduralement. Dans une seconde partie, je présente une méthode pour générer des vidéos stylisées faisant penser à de l'animation traditionnelle. La plupart des méthodes existantes gardent le mouvement 3D originel de la vidéo, produisant un résultat ressemblant plus à une scène 3D couverte de peinture qu'à une peinture 2D de la scène. Inspirés par l'animation "cut-out", nous proposons de modifier le mouvement de la séquence afin qu'il soit composé de mouvements rigides en 2D. Pour y parvenir, notre approche segmente le mouvement et l'optimise afin d'approximer au mieux le flot optique d'entrée avec des transformations rigides par morceaux, et re-rend la vidéo de façon à ce que son contenu suive ce mouvement simplifié. En appliquant les méthodes de stylisations existantes sur notre nouvelle séquence, on obtient une vidéo stylisée plus proche d'une animation 2D. Ces deux parties reposent sur des méthodes différentes mais toutes deux s'appuient sur les techniques traditionnelles utilisées par les artistes : soit en comprenant comment ils dessinent un objet, soit en s'inspirant de leur façon de simplifier le mouvementDigital tools brings new ways of creation, for accomplished artists as well as for any individual willing to create. In this thesis, I am interested in two different aspects in helping artists: interpreting their creation and generating new content. I first study how to interpret a sketch as a 3D object. We propose a data-driven approach that tackles this challenge by training deep convolutional neural networks (CNN) to predict occupancy of a voxel grid from a line drawing. We integrate our CNNs in an interactive modeling system that allows users to seamlessly draw an object, rotate it to see its 3D reconstruction, and refine it by re-drawing from another vantage point using the 3D reconstruction as guidance. We then complement this technique with a geometric method that allows to refine the quality of the final object. To do so, we train an additional CNN to predict higher resolution normal maps from each input view. We then fuse these normal maps with the voxel grid prediction by optimizing for the final surface. We train all of these networks by rendering synthetic contour drawings from procedurally generated abstract shapes. In a second part, I present a method to generate stylized videos with a look reminiscent of traditional 2D animation. Existing stylization methods often retain the 3D motion of the original video, making the result look like a 3D scene covered in paint rather than a 2D painting of a scene. Inspired by cut-out animation, we propose to modify the motion of the sequence so that it is composed of 2D rigid motions. To achieve this goal, our approach applies motion segmentation and optimization to best approximate the input optical flow with piecewise-rigid transforms, and re-renders the video such that its content follows the simplified motion. Applying existing stylization algorithm to the new sequence produce a stylized video more similar to 2D animation. Although the two parts of my thesis lean on different methods, they both rely on traditional techniques used by artists: either by understanding how they draw objects or by taking inspiration from how they simplify the motion in 2D animation
32
Wynen, Daan. "Une représentation archétypale de style artistique : résumer et manipuler des stylesartistiques d'une façon interprétable." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALM066.
Повний текст джерелаАнотація:
Dans cette thèse, nous étudions les représentations utilisées pour décrire et manipuler le style artistique d'œuvres d'art. Dans la littérature sur le transfert de style, différentes représentations ont été proposées, mais ces dernières années, les représentations de style artistique qui constituent le paradigme dominant en vision par ordinateur ont été celles apprises par des réseaux de neurones profonds et qui sont entraînés avec des images naturelles. Nous nous appuyons sur ces représentations avec le double objectif de résumer les styles artistiques présents dans de grandes collections d’œuvres d’art numérisées, ainsi que la manipulation des styles d’images naturelles ou artistiques.Pour cela, nous proposons une représentation concise et intuitive basée sur l’analyse archétypale, une méthode d’apprentissage classique non supervisée avec des propriétés qui la rendent particulièrement adaptée à cette tâche. Nousmontrons comment cette représentation archétypale du style peut être utilisée pour découvrir et décrire, de manière interprétable, quels styles sont présents dans une grande collection. Cela permet d’explorer les styles présents dansune collection sous différents angles ; différentes manières de visualiser les résultats d’analyse permettent de poser différentes questions. Ceux-ci peuvent concerner un style qui a été identifié dans la collection des œuvres d’art, sur le style d’une œuvre d’art particulière, ou plus largement sur la relation entre les styles identifiés.Nous appliquons notre analyse à une collection d’œuvres d’art issues de WikiArt, un effort de collecte en ligne d’arts visuels poursuivi par des bénévoles. Cet ensemble de données comprend également des métadonnées telles que l’identité des artistes, le genre et le style des œuvres d’art. Nous utilisons ces métadonnées pour une analyse plus approfondie de la représentation de style archétypale le long des lignes biographiques des artistes. et avec une analyse des relations au sein de groupes d’artistesIn this thesis we study the representations used to describe and manipulate artistic style of visual arts.In the neural style transfer literature and related strains of research, different representations have been proposed, but in recent years the by far dominant representations of artistic style in the computer vision community have been those learned by deep neural networks, trained on natural images.We build on these representations with the dual goal of summarizing the artistic styles present in large collections of digitized artworks, as well as manipulating the styles of images both natural and artistic.To this end, we propose a concise and intuitive representation based on archetypal analysis, a classic unsupervised learning method with properties that make it especially suitable for the task. We demonstrate how this archetypal representation of style can be used to discover and describe, in an interpretable way, which styles are present in a large collection.This enables the exploration of styles present in a collection from different angles; different ways of visualizing the information allow for different questions to be asked.These can be about a style that was identified across artworks, about the style of a particular artwork, or more broadly about how the styles that were identified relate to one another.We apply our analysis to a collection of artworks obtained from WikiArt, an online collection effort of visual arts driven by volunteers. This dataset also includes metadata such as artist identies, genre, and style of the artworks. We use this metadata for further analysis of the archetypal style representation along biographic lines of artists and with an eye on the relationships within groups of artists
33
Laviole, Jérémy. "Interaction en réalité augmentée spatiale pour le dessin physique." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2013. http://tel.archives-ouvertes.fr/tel-00935602.
Повний текст джерелаАнотація:
Cette dissertation décrit le design, implémentation et évaluation de nouvelles applications en Réalité Augmentée Spatiale (RAS). Ces applications sont concentrées sur l'amélioration du dessin physique tel que les dessins au crayons ou peintures en projetant des outils numériques.Tout d'abord, nous décrivons notre système de RAS et ses possibilités. Il prend en comptes les paramètres internes et externes d'un couple caméra/projecteur pour permettre une projection précise sur des feuilles de papier. De plus, il permet la détection du toucher des feuilles et de la position de la main au dessus de celles-ci grâce à une caméra de profondeur. Par conséquent, il permet la création d'écrans tactiles interactifs sur des feuilles de papier posées sur une table.Ensuite, nous nous penchons sur la création d'art visuel, plus précisément sur les premières étapes de la création quand l'artiste créer la structure. Nous offrons la possibilité de créer et d'éditer des lignes de construction numériques (LCN) projetées sur le papier. Ces outils sont des outils de Réalité Augmentée (RA), c'est-à-dire qu'ils s'ajoutent aux outils existants: toute l'interface utilisateur est sur la table, et l'utilisateur n'utilise jamais ni une souris, ni un clavier ni un écran. En plus des simples LCN (lignes et courbes), nous proposons une spécialisation pour les dessins spécifiques tels que les dessins en perspective, les dessins de personnages ainsi que les dessins à partir d'un modèle 3D. Nous proposons de nouvelles méthodes pour afficher et interagir avec des objets 3D sur papier. Nous proposons également de créer des dessins mixtes:art visuel interactif qui tire parti à la fois des possibilités physiques et numériques.Pour finir, nous décrivons des nouveaux usages pour notre système de RAS de nombreux contextes différents à travers des démonstrations publiques. L'acceptabilité de ce genre de système a été très bonne, et "magique" par la plupart des utilisateurs. Ils ont juste vu et interagis avec des feuilles de papier sans remarquer le système de projection et suivi.
34
Sevilla, Seguí Clara María. "Forma y Consciencia: Fundamentos para una Teoría Yántrica del Dibujo." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/63259.
Повний текст джерелаАнотація:
[EN] This PhD in Fine Arts is the introduction to a Yantric Theory of Drawing as a result of researching plastic forms from the universal principles present in perceptive reality.
Based on the yantra as an active element in the drawing of a integral mandalic vision, Drawing re-presents a vision of the world based on aesthetic distance, in which the sum and multiplication of all the parts is contemplated from one point of view, a naked eye. This perspective is transdimensional, whereby co-creative man is capable of making his own vision real, enjoying the aesthetic experience through the practice of Art.
Art is the fifth element in which contact with Beauty takes place in a disinterested way.
This thesis in its Form and Consciousness explores the fundaments of these aesthetic formulations through its most yogic roots in India. We will add a metaphor to such aesthetic formulations and explain them through the voice of the artist, in which the process of transmutation of the matter, the transformation of the Nature into Art takes place. The shilpi yogi is the inspiration and aspiration of the being which indwells the imagery artist who develops images of himself, the imprints of personal consciousness transcended through transpersonal art forms. Its being, its Presence, can be modulated through plasticity, from the purest abstraction to the finest figurative art.
This thesis represents a plastic voyage to the very heart of India, in which an artist and a sadhu go hand in hand as a symbolic encounter between indosophy and the sublime plastic representative of the tragedy of duality, sunk in life under the weight of chiaroscuro. Light is the Great Symbolic Metaphor and the primordial object of the mystery of Science.
The space of the heart is the fifth plastic element on which we base our Yantric Theory of Drawing. We use this to reintegrate the coherence of Art from all times and places, reinterpreting it from an optimistic historical standpoint. Drawing gives us the power to make this real (maya-magic), through the yantric vision.
This thesis is the foundational preface to a way to make real the dream of the imagined, a function which Art, the original inoculant, has had throughout history. Such a possibility of form-function-power is endorsed by the most ancient foundations of civilization: the great symbolic potential which was crystalised in Man, the complex system of ancient times which doesn't respond to limits, but rather to constellations, the tantra, inspiration and aspiration of quantic meta-physics.[ES] Esta tesis doctoral en Bellas Artes es la introducción de una Teoría Yántrica del Dibujo como resultado de una investigación de la forma plástica desde principios universales presentes en la realidad perceptiva. Basada en el yantra como elemento activo dibujístico de una visión mandálica integral, el Dibujo viene a re-presentar una visión del mundo basada en la distancia estética, en la que la suma y multiplicación de todas las partes es contemplada desde un punto de vista y un ojo genuino, transdimensional, en el que el hombre co-creativo es capaz de realizar su propia visión y disfrutar de la experiencia estética a través de la práctica del Arte. El Arte es el quinto elemento en el que el contacto con la Belleza de modo desinteresado tiene lugar. Esta tesis, como Forma y Consciencia explora los fundamentos de estas formulaciones estéticas, a través de sus raíces más yóguicas, en India. A tales formulaciones estéticas les añadimos una metáfora y las explicamos a través de la voz del artista, en el que se da el proceso de transmutación de la materia, la transformación de la Naturaleza en Arte. El silpi yogui es la inspiración y aspiración del ser que habita en el artista imaginero, quien desarrolla sus propias imágenes o la huella de la consciencia personal que se supera a sí misma a través de la plástica de lo trans-personal. Su ser, solo Presencia, se deja modular en el vehículo plástico desde la más pura abstracción a la más fina figuración. Esta tesis representa un viaje plástico al corazón de la India, en el que van de la mano una artista y un sadhu como encuentro simbólico de la indosofía y el sublime representante plástico de la tragedia de la dualidad, sumido en la vida y el peso del claroscuro. La Luz es la Gran Metáfora simbólica y el objeto de misterio primordial de la Ciencia. El espacio del corazón es el quinto elemento plástico en el que se basa nuestra Teoría Yántrica del Dibujo para reintegrar la coherencia del Arte de todos los tiempos y lugares, desde un punto de vista histórico optimista que está en nuestras manos hacer real (magia-maya), a través de la visión yántrica para el Arte, a que da pie el Dibujo. Esta tesis es el prolegómeno fundacional de una vía de hacer real el sueño de lo imaginado, como ha venido haciendo el Arte como inóculo original a lo largo de la Historia. Tal posibilidad de forma-función-poder está avalada por los más antiguos fundamentos de la civilización, el gran potencial simbólico que fue posible cristalizar en el Hombre, el sistema complejo de la antigüedad que no responde a límites, sino a constelaciones, el tantra, inspiración y aspiración de la meta-física cuántica. CLARA M. SEVILLA SEGUÍ
[CAT] Aquesta tesi doctoral en Belles Arts és la introducció d'una Teoria Iàntrica del Dibuix com a resultat d'una investigació de la forma plàstica des de principis universals presents en la realitat perceptiva. Basada en el iantra com a element actiu del dibuix d'una visió integral del mandala, el Dibuix vindria a re-presentar una visió del món basada en la distància estètica, en què la suma i multiplicació de totes les parts és contemplada des d'un punt de vista i un ull genuí, "transdimensional", en què l'home co-creatiu és capaç de realitzar la pròpia visió i gaudir de l'experiència estètica a través de la pràctica de l'Art. L'Art és el cinquè element en què el contacte amb la Bellesa hi té lloc de forma desinteressada. Aquesta tesi, en tant que Forma i Consciència, explora els fonaments d'aquestes formulacions estètiques mitjançant unes arrels basades en sistema del ioga, pel que fa a l'Índia. A aitals formulacions estètiques els afegim una metàfora, i les expliquem per mitjà de la veu de l'artista, l'individu en qui es produeix el procés de transmutació de la matèria, la transformació de la Natura en Art. El silpi iogui és la inspiració i aspiració de l'ésser que habita en l'artista imaginer, qui desenvolupa les seves pròpies imatges o l'empremta de la consciència personal que se supera a si mateixa a través de la pràctica d'allò trans-personal. El seu ésser, tan sols Presència, es deixa modular en el vehicle plàstic des de la més pura abstracció fins a la figuració més fina. Aquesta tesi representa un viatge plàstic al cor de l'Índia, en què una artista i un sadhu, plegats, conflueixen de manera simbòlica en la indosofia i el sublim representant plàstic de la tragèdia de la dualitat, immers en la vida i el pes del clarobscur. La Llum és la Gran Metàfora simbòlica i l'objecte primordial de la ciència. L'espai del cor és el cinquè element plàstic en què es basa la nostra Teoria Iàntrica del Dibuix, el propòsit del qual consisteix a reintegrar la coherència de l'Art de tots els temps i llocs, des d'un punt de vista històric i optimista, que tenim a les nostres mans convertir en real (màgia-maia) a través de la visió iàntrica per a l'Art, a què dóna peu el Dibuix. Aquesta tesi és el prolegomen fundacional d'una via per tal de materialitzar el somni respecte d'allò imaginat, com ha vingut fent l'Art com a inòcul originari al llarg de la Història. Aquesta possibilitat de forma-funció-poder és avalada pels més antics fonaments de la civilització, el gran potencial simbòlic que fou possible cristal·litzar en la figura de l'Home, el sistema complex de l'antiguitat que no respon a límits, sinó a constel·lacions, el tantra: inspiració i aspiració de la meta-física quàntica.
Sevilla Seguí, CM. (2016). Forma y Consciencia: Fundamentos para una Teoría Yántrica del Dibujo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63259
TESIS
35
Hua, Sheu Fang, and 許芳樺. "Founded on the visions of Kuo Hsi、Claude Lorraine And William Turner come explore my artistic creations." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/77267902150222467747.
Повний текст джерелаАнотація:
碩士中國文化大學
藝術研究所美術組碩士在職專班
91
Founded on the visions of Kuo Hsi、Claude Lorraine And William Turner come explore my artistic creations Abstract： Kuo Hsi is the most outstanding painter after four greatest painters of North Sung Dynasty and what he stresses is : to see all things , to be erudite , then to make self unique . Lorraine and Turner detailedly observe nature and create vivid works. Not only their scene but also structure correspond to Chinese landscape painting . This thesis wants to create the new painting of integrated modern technology through the application of computer software to melt the essence of Chinese and Western painting , to listen to Chinese and Western classic music , then to correspond . Moreover , the paintings are transformed into multi-media webpages and slides to make art creation more vital . This research of integrating traditional Chinese and Western painting discovers that computer technology is the big challenge of today’s creation and give us painting help. To try how to communicate with Chinese and Western painting and to research how to apply this modern tool on painting are the new issues and these tries help the application of the renewal technology. This thesis is devided into seven chapters. The first one, the landscape painting of Kuo Hsi , briefly narrates the development of Chinese landscape painting and Kuo Hsi’s landscape Painting and painting theory . The second one , the skill of landscape painting of Lorraine and Turner, introduces Lorraine and Turner’s life and characteristics of painting creation. The third chapter , Kuo Hsi’s landscape painting and Lorraine and Turner’s scenery paintings , discusses their differences of representing space.The fourth chapter, my painting creation elaborates my painting attitude and spirit , through the application of computer technology , through the inspiration activated by music , and using the skill of oil painting to arrange the frame to form the creative ideas of integrated technology .The fifth chapter is the process of creation and analysis. My works are the art creations of combining Lorraine and Turner’s nature and Kuo Hsi’s painting .The sixth chapter , the application of multi-media research , explains how to transform creations into webpages and slides . The last conclusion is the brief summary of the whole thesis and the future hope . Keywords : Landscape Painting , Computer , Correspond .
36
HSU, SHU-HONG, and 許淑紅. "A Study of Behavior Intention for Lukang Artist Village Visitors." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/55598469203483648022.
Повний текст джерелаАнотація:
碩士南華大學
文化創意事業管理學系文創行銷碩士班
105
Tourism industry is one of the booming industries around the world. “Cultural tourism” is the global trend in the last two decades. Following this trend, artist communities, museums, art galleries and the like become the essential resources of cultural tourism development. The topic of making these facilities attractive becomes more and more important to the corresponding management departments. This study employed the theory of planned behavior to investigate the factors that affected people’s intention to visit Lukang Artist Village, and we attempted to promote such intention eventually. Participants of this study were primary school teachers in Changhua County of Taiwan. We used the survey research method and retrieved 374 valid survey questionnaires. The results were analyzed and hypotheses were examined with the assistance of SPSS and LISREL. The results showed that: 1. Most of the participants received the information about Lukang Artist Village from their relatives, friends, the internet and TV broadcast. Most of the participants visited there with their relatives and friends. Participants of different age groups had different frequency of visiting Lukang Artist Village: Participants of 21-30 years old mostly visited it for 1-2 times; whereas participants of 50 or above mostly visited it for more than five times. 2. The results consisted with the hypotheses that attitude and perceived behavioral control would positively predict the intention to visit Lukang Artist Village. However, the results did not support the hypothesis that subjective norm would positively predict such intention. 3. According to the “Importance – Performance Analysis”, street artist performance, Lukang historic building guided tour, cultural and creative market and Lukang old photo guide were the four activities with most competitive advantages. Other activities had less priority to improve.
37
Yang, Cheng-Tzu, and 楊正字. "Ecology, Art and Indigene: Explore eco-vision of indigenous artist in Kang-Kou tribe." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/80664128016755755482.
Повний текст джерелаАнотація:
碩士國立東華大學
民族藝術研究所
97
Taiwan embraces the Capitalism and the development of environment actively. However, the cost for the money is the ruin of ecological balance and the disappearing of biodiversity. Due to the over-pursuing in advanced civilization, Taiwan forgets the value of other organic lives’ existence; hence, the “Ecological Art” forms to express the ecological concern and environmental protection in the way of art. There are some Amis artists in Kang-Kou tribe in the eastern shore of Hualien. They continue to create works with the view of tribe, using traditional ecological knowledge to feel the harmonious air between environment and human beings. They respect the mother earth, collecting and hunting food from nature at the right time and at a reasonable quantity. Also, they combine life experiences with their cultural background into the works that they create. Although most of the people group their works under the types of “Indigenous Art”, their works already have had abundant contents and brand-new styles which exceed the capabilities of most civilized people’s sensation in “aesthetic experiences”, especially those who still hold the stereotype knowledge toward the aboriginals. This study makes use of the concepts and styles both in the Ecological Art and the Indigenous Art, trying to arouse human to see the close connection between the mother earth and human beings; showing the gaps between modern society and natural environment; digging out the traditional wisdom from the indigenous culture; and most important of all, bringing the dying indigenous knowledge and memories back with values to be discussed . Ecological Art has educational functions and criticizing spirits that give sensational works strong rational bases . The researcher of this study bases on the environmental ethics and common sense of ecology to analyze dates by the method of deep interviews and field observations, attempting to explore the eco-vision of indigenous artists in Kang-Kou tribe with a view of aesthetics.
38
Beaulieu, Marie. "Panorama d'une compagnie de ballet (Les Grands Ballets Canadiens, 1957-1977) : la concrétisation d'une vision." Thèse, 2008. http://hdl.handle.net/1866/6474.
Повний текст джерела
39
Gomez, Mila Marie. "The motif of the spirit in the art of Cher Shaffer a self-taught artist's exploration of her visions, rural Southern environment, and Native American heritage /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/32283817.html.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of Wisconsin--Madison, 1994.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 93-96).
40
Rebelo, Bárbara Joana Rodrigues Lourenço de Almeida. "Visitas de estudo: uma estratégia de aprendizagem." Master's thesis, 2014. http://hdl.handle.net/10437/5908.
Повний текст джерелаАнотація:
Orientação: Maria Odete Emygdio da SilvaA educação através da arte contribui para que os indivíduos tenham uma maior sensibilidade, contribuindo para um melhor entendimento crítico do mundo. No entanto, a realidade do ensino actual é caracterizada por uma mudança do paradigma do ensino artístico. O programa de competências essenciais foi substituído pelas metas curriculares de Educação Visual, retirando-se o estudo da obra de arte do currículo nacional de educação. Encarando a Arte como a forma de expressão individual por excelência e cabendo ao professor a responsabilidade pela consciência do estar a lidar com seres humanos capazes de se destacarem pela sua individualidade, o nosso estudo teve como objetivos: perceber se as visitas de estudo, no âmbito da Educação Artística, contribuem para o ensino e a aprendizagem de competências académicas fundamentais; saber se estratégias como o Ensino Crítico e a Aprendizagem Cooperativa contribuem para o ensino e a aprendizagem de competências académicas fundamentais ao nível da Educação Artística. De natureza qualitativa, utilizámos como instrumentos, a pesquisa documental e a entrevista semi-estruturada. Os dados obtidos confirmam a importância da educação através da arte, bem como da aprendizagem contextualizada pelas visitas de estudo, organizadas de acordo com estratégias que fomentam a cooperação entre os alunos e desenvolvem a sua capacidade crítica.
Education through art helps individuals to have greater sensitivity, contributing to a better understanding of the world. However, the current portuguese Education is characterized by a change in the paradigm of artistic Education. The essential ski lls program was replaced by the curricular goals of Visual Education and the study of the work of art was removed from the national education curriculum. Taking Art as the form of individual expression par excellence and being the teacher responsable to kn ow how to deal with human beings able to stand out for their individuality, our study aimed to: • realize if the field trips under the Arts Education, contribute to the education and learning of basic academic skills; • whether strategies such as Active L earning and Cooperative Learning contribute to teaching and the learning of basic academic skills at the level of Art Education. As instruments of qualitative nature, we used documentary research and semi - structured interviews. The data confirms the import ance of education through art, as well as contextualized learning through field trips, organized according to strategies that foster cooperation among students and develop their critical skills.
41
Antunes, Beatriz Kol de Carvalho Eiras. "Arts entrepreneurship : how to become a successful visual arts entrepreneur?" Master's thesis, 2017. http://hdl.handle.net/10400.14/25382.
Повний текст джерелаАнотація:
Arts entrepreneurship is an emergent subject of study, which definition is still not consensual.
However, the context of action for artistic professions is commonly understood as challenging.
To face the obstacles of arts entrepreneurs, literature already includes supportive frameworks for
the independent activities. Nonetheless, research papers and models about the subject are still
scarce, due to the recency of Creative and Cultural Industries. Moreover, there is a lack of studies
approaching specific subsegments of the artistic field.
Considering the relevance of the visual arts segment, for creative and modern economies, the
following study aims to provide additional research and develop guidance to support visual arts
entrepreneurship. Thus, by reviewing the already existent guiding models for arts entrepreneurship,
and by drawing a multiple case research on successful visual artists, a new conceptual model arises
to support forced or aspiring visual arts ventures.
The new framework results from a cross-case analysis of semi-structured interviews, conducted to
nine sustainable visual arts entrepreneurs. The data collected allowed to assess the main challenges,
motivations and strategies behind the artists’ success. Thus, considering the gathered information,
a new supportive framing for visual arts entrepreneurship identifies a set of key helpful mechanisms
for success: from specific entrepreneurial actions (within Creativity, Network and Business
elements) to required entrepreneurial mindset.
This study advances theoretical understanding on arts entrepreneurship and provides helpful tools
to assist future generations of visual arts entrepreneurs.O empreendorismo artístico é um tema de estudo recente, cuja definição ainda não é consensual. Contudo, o contexto de ação de artistas profissionais e empreendedores é comumente entendido como desafiante. Para responder aos obstáculos dos artistas empreendedores, a literatura já reúne modelos de apoio para as atividades independentes. Não obstante, o número de estudos e modelos desenvolvidos é reduzido, devido à recência das Indústrias Culturais e Criativas. Adicionalmente, existe uma escassez na pesquisa e estudos sobre os subsegmentos do campo artístico. Tendo em conta a relevância do segmento das artes visuais para as economias modernas e criativa, esta tese pretender desenvolver um sistema para ajudar artistas visuais, forçados ou aspirantes empreendedores. Com base na observação de modelos auxiliares existentes na literatura, e através da investigação de múltiplos casos de artistas visuais empreendedores bem-sucedidos, um novo modelo de apoio é desenvolvido. O novo modelo conceptual é resultado da observação de nove casos de artistas visuais empreendedores e bem-sucedidos, possibilitada por meio de entrevistas semiestruturadas. Os dados recolhidos permitiram compreender os maiores desafios, motivações e estratégias responsáveis pelo sucesso dos artistas. Assim, com base na informação recolhida, uma nova estrutura de suporte para as artes visuais identifica uma série de mecanismos chave para o sucesso: desde especificas ações empreendedoras (relacionadas com criatividade, rede e gestão) à definição da atitude necessária a ter para o sucesso. Este estudo pretende aprofundar o entendimento sobre o empreendorismo artístico e proporcionar ferramentas úteis para auxiliar futuras gerações de artistas visuais.
42
Кузина, Т. А., та T. A. Kuzina. "Репрезентация в изобразительном искусстве как эстетическая проблема : магистерская диссертация". Master's thesis, 2015. http://hdl.handle.net/10995/36048.
Повний текст джерелаАнотація:
Работа посвящена проблеме репрезентации в изобразительном искусстве. Феномен репрезентации, традиционно связанный с классической парадигмой, рассматривается в качестве более широкой категории, применимой к изобразительному искусству также на протяжении неклассического этапа его развития. Предметом исследования выступают способы функционирования механизма репрезентации в изобразительном искусстве классической, модернистской и постмодернистской парадигм. Работа построена на анализе философско-эстетических представлений, касающихся сферы изобразительного искусства, а также эстетических и историко-культурных исследований, которые касаются вопросов, раскрывающих проблему репрезентации в изобразительном искусстве различных эпох.The master's thesis is devoted to the problem of representation in fine art. The phenomenon of representation is traditionally connected with classical paradigm but in this research it is considered as superior category applicable to non-classical period of fine art’s development. The object of research is concerned with ways of functioning of the representation mechanism in fine art of classical, modernist and post-modernist paradigms. The research work is constructed on the analysis of the philosophical and esthetic ideas concerning the sphere of fine art, and also historical and cultural researches concerning the problem of representation in fine art of various cultural periods.
43
Полежаєва, Вікторія Олександрівна. "Художньо-естетична реальність роману В. Лиса «Країна гіркої ніжності»". Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/1748.
Повний текст джерелаАнотація:
Полежаєва В. О. Художньо-естетична реальність роману В. Лиса «Країна гіркої ніжності» : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник В. М. Ніколаєнко. Запоріжжя : ЗНУ, 2020. 77 с.UA : Кваліфікаційна робота магістра «Художньо-естетична реальність роману В. Лиса «Країна гіркої ніжності» містить 77 сторінок. Для виконання роботи опрацьовано 82 наукових джерела. Мета роботи: з'ясування особливостей творення художньо-естетичної реальності в романі В. Лиса «Країна гіркої ніжності». У процесі дослідження вирішено такі завдання: - на підставі досягнень теорії літературознавства слов'янських та зарубіжних науковців з'ясовано специфіку відображення художньо-естетичної реальності в літературі; - проаналізовано специфіку фукціонування субсистем художнього світу в романі В. Лиса «Країна гіркої ніжності»: художній час, художній простір і персоносферу; - визначено модель художнього простору у творі; - висвітлено час як формотворчу модель художньої реальності в романі; - з'ясовано роль персоносфери у творенні художньої реальності; - узагальнено сутність дослідження. Об'єкт дослідження: роман В. Лиса «Країна гіркої ніжності». Предмет дослідження: способи творення художньо-естетичної реальності в романі В. Лиса «Країна гіркої ніжності». Методи дослідження: історико-літературний, порівняльно-типологічний, аналітико-описовий, структурний, компаративний, біографічний. Наукова новизна полягає в тому, що це комплексна робота, в якій здійснено багатоаспектне дослідження специфіки зображення художньо-естетичної реальності в романі В. Лиса «Країна гіркої ніжності». Сфера застосування: основні положення дослідження можуть бути використані в подальшій розробці літературознавчих проблем з обраної теми, при викладанні української літератури ХХІ ст. (спецкурси та спецсемінари) у вишах, при написанні курсових робіт, рефератів, а також на факультативних заняттях з української літератури у школах із поглибленим вивченням гуманітарних дисциплін.
EN : Diploma work for the degree of master «The Artistic and Aesthetic Reality of the Novel «Country of Bitter Tenderness» by V. Lys» consists of 77 pages. To compete thesis for degree of master 82 of scientific sources were learnt. Purpose: to find out the peculiarities of creating of the artistic and aesthetic reality in the novel «Country of Bitter Tenderness» by V. Lys». In the course of the research the following tasks were solved: - was clarified the specificity of the reflection of artistic and aesthetic reality in the literature on the basis of the investigations by the Slavic and foreign scholars in the field of the theory of literature ; - were exposed the subsystems of the artistic world in the novel «Country of Bitter Tenderness» by V. Lys»; - was clarified the model of the artistic space in the novel; - time was shown as a formative model of the artistic reality in the novel; - was determined the role of the personal sphere in the creating of the artistic reality; - was summarized the content of the research; Study object: the novel «Country of Bitter Tenderness» by V. Lys». Study subject: the ways of creating of the artistic and aesthetic reality in the novel «Country of Bitter Tenderness» by V. Lys». Study methods: historical-literary, comparative-typological, analytic-descriptive, structured, comparative, biographical. Scientific novelty is the analysis of the peculiarities of the artistic and aesthetic reality in the novel «Country of Bitter Tenderness» by V. Lys». Sphere of implementing: the main points of the study can be used in the further developing of the literary issues on the selected topic; while teaching the history of the Ukrainian literature of XXI century (special courses and seminars) at the universities; while writing course papers, abstracts, as well as in optional Ukrainian literature classes at schools with advanced learning of languages.
44
Nevanti, Kirsi. "In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilm." Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-262.
Повний текст джерелаАнотація:
Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.