Дисертації з теми "Materials in contemporary"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Materials in contemporary.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "Materials in contemporary".
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
White, Lauren. "The Modification of Silica Aerogel Materials for Contemporary Use." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4204.
Повний текст джерелаАнотація:
Aerogel materials have had limited utility due to their fragility, geometrical limitations, fabrication costs and protracted fabrication times. The objective of this project was to eliminate these limitations. Native, cross-linked and hybrid aerogel monoliths have been fabricated using a newly developed one-pot method without the need for solvent exchange. The key to this technique is the use of an ethanol–water azeotrope mixture, which contains 4.4% water by volume, as both a gelation and supercritical drying solvent. The small water content allows for drying at temperatures close to the supercritical temperature of the dry solvent, where reactions such as silica dissolution and polymer degradation are negligible. This improvement on conventional fabrication processes is of particular importance since it decreases the total duration of aerogel fabrication from five days to one day. Cross-linked silica aerogel monoliths were fabricated using one-pot hydrolysis-condensation wet chemistry methods as well as a rapid photogelation method. Both native silica and cross-linked aerogel components were made with a minimum dimension of up to 3.6 cm and in customizable shapes. Fabrication of homogeneous aerogels using these methods required a maximum of one day, as demonstrated in this work. Finally, LEDs and Laser irradiation were both used to selectively embed cross-linked aerogel into a larger native silica component to provide reinforcement and/or a surface which can be used for labeling or affixing the aerogel component to another surface.
2
Hopkins, Ana Rosa. "Back-story in contemporary sculptural practice : from materials to incorporation." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617733/.
Повний текст джерелаАнотація:
This ‘by practice’ research project explored the function of back-story in contemporary sculptural art. It was driven by an ongoing artistic practice and resulted in a series of new artworks accompanied by an analytical commentary. Gérard Genette’s concept of analepsis within narrative literature was taken as an initial theoretical framework to test to what extent it might be applied to sculpture. Analysis of selected works by Joseph Beuys, Felix Gonzalez-Torres and Doris Salcedo, artists who used back-story in the context of trauma, led to modifications of the theory to account for the relationship between artwork and its back-story, notably its expression in materials. The use of narrative in sculptural art to provide a storied reading acts in combination with the work’s biography, although the work remains non-narrative in form, even lacking a ‘main’ narrative. The study discusses the ways the selected artists disclosed their ‘authored’ back-story, through title, paratext, public biography and reiteration of themes within an oeuvre. Back-story invoked what Genette called retroception – compelling the viewer to look again from a different perspective. Here, the autonomy of the artwork from its back-story is upheld. However, I posit that reading the art work in conjunction with its back-story alters the viewers’ experience by offering a storied entry into the work, situating the viewer at the ‘right’ distance in terms of emotional connection, and extending the reading time allowing more complex meanings to emerge. Investigation through making was prioritised, conducted through a process of ‘improvisation’ that explored various storied connections within original glass sculptures. As a result of reflecting on the results of a traditional glass inclusion process in my work, a new approach surfaced which I call incorporation: the partial embedding of a material within another as it solidifies. This process is seen to embody the concept of retroception and signal the connection to back-story. The research contributes to knowledge by providing a framework for an understanding of back-story in contemporary sculptural practice; demonstrating how incorporation can evoke and embody back-story; and, creating a body of original work that provides material for further investigation of back-story.
3
Baiche, Bousmaha. "Contemporary rural housing built with improved earth-based materials in Algeria." Thesis, Oxford Brookes University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334407.
Повний текст джерела
4
Zahra, Samreen Mrs. "Virsa: The Contemporary Value Chain." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3833.
Повний текст джерелаАнотація:
"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community
There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.
5
McNamee, Aaron. "Some Kind of Time." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1194.
Повний текст джерелаАнотація:
This critical analysis examines the progression and trajectory of my studio practices over the final two years of my graduate career. The pinnacle of my development became a meditation on time and its overall encompassing effects. The mundane and the fantastic are all bound by time. Many archetypes have ventured to escape the clutches of time. Found objects are remnants of time, linking past to present, present to future. Scars and blemishes are also vestiges of time, marking us like scratches on a record. The detritus of our lives defines our time, as it defines us. This thesis will elaborate on my exploration of time and its implications. It will describe works and identify the evolution of concepts from one work to the next. By defining what the work is and how it operates, the analysis will explore the larger implications of that work.
6
Guo, Yi. "Communicative Learning in Teaching Materials : A Study of Speaking Tasksin Contemporary Grade-8 EnglishTextbooks in China and Sweden." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-8746.
Повний текст джерелаАнотація:
Currently, Communicative Language Teaching has been popular around the world andhas a profound effect on second language acquisition since the 1970s. ForCommunicative Language Teaching to be successful, there is a need for appropriateteaching materials.This paper analyzes speaking tasks in Chinese and Swedish textbooks for grade 8，Gofor it and Magic. The analysis presents content analysis, providing a general overviewof speaking tasks found in both textbooks. First, task description is analyzed, whichprovides the pupils with the topics of tasks in both textbooks. It will be seen if thetopics are real-life. Second, types of speaking, text type, cognitive processes, focus,classroom organization are quantitively analyzed to see if there are differentapproaches to Communicative Language Teaching between Chinese and Swedishtextbooks.Through comparison of these six aspects in different textbooks, there are three similarapproaches to Communicative Language Teaching: First, they both have real-worldtopics under which there are many real-world speaking tasks. Second, the dialoguesplay a main role in both textbooks. Third, pair and group work have dominantposition in these two books.Also there are three different approaches to Communicative Language Teaching: First,the Chinese textbook is directed towards accuracy while the Swedish textbook isdirected towards fluency. Second, the Chinese textbook focuses on form whereas theSwedish textbook focuses on meaning. Third, there is an information-gap approach inthe Chinese textbook where tasks based on information gap are obviously labeled.However, it cannot be found in the Swedish textbook.
7
Cox, Geoffrey Martin. "Largely a work of reference : a creative investigation into the use of borrowed musical materials in contemporary compositional practice." Thesis, University of Huddersfield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445068.
Повний текст джерела
8
Storozhenko, V. A., A. V. Myagkiy, and R. P. Orel. "Filtering of interference of inhomogeneous regular structure in thermal non-destructive control of cellular structures." Thesis, Eskisehir technical university, 2021. https://openarchive.nure.ua/handle/document/18954.
Повний текст джерелаАнотація:
Honeycomb constructions are the most widely used materials in contemporary aviation and space technology. They are the basis for the housings of practically all products of this sector, where reliability of all parts should meet the in-creased requirements. Special attention is paid to the quality of composite materials and to the absence of defects such as the places of adhesion failure (exfoliation) between the skin and the honeycomb filler. Therefore, increase in the efficiency and reliability of thermal flaw detection, based on in-depth analysis of the processes of detecting defects and development of the principles of optimization of both the procedure of control and subsequent processing of the obtained information, is an important and relevant task.
9
Mirtes, Christina M. "Contemporary Play: An Analysis of Preschool Discourse During Play Situations While Engaged Using Technology and While Using Traditional Play Materials." University of Toledo / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1408724754.
Повний текст джерела
10
Zambom, Renata Carvalho Oliveira. "As poéticas dos materiais na arte mato-grossense : descartes e objetos." Universidade Federal de Mato Grosso, 2013. http://ri.ufmt.br/handle/1/569.
Повний текст джерелаАнотація:
Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-12-20T20:34:54Z
No. of bitstreams: 1
DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5)Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-01-26T12:13:04Z (GMT) No. of bitstreams: 1 DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5)
Made available in DSpace on 2018-01-26T12:13:04Z (GMT). No. of bitstreams: 1 DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5) Previous issue date: 2013-08-09
Esta pesquisa realiza uma análise da atual produção artística em Mato Grosso relacionando às características do tempo presente e suas implicações no modo de fazer artístico, sobretudo aqueles que no estado apresentam em seu fazer a utilização de materiais não convencionais e novos formatos. De caráter descritivo, apresenta discussões acerca do tempo e da arte contemporânea, realiza um breve histórico da produção artística mato-grossense de sua fundação até a atualidade, apresenta os artistas que inserem em seus trabalhos a pesquisa e experimentação estética de novos modos de fazer e materiais e ainda apresenta elementos pertinentes à poética destes artistas, através de visitas aos ateliês e entrevistas realizadas com os artistas selecionados. A dinâmica da produção artística observada apresenta características e alterações em seu fazer relacionadas diretamente às alterações nos modos de vida, produção, consumo e informação da atualidade inseridas na pesquisa estética de cada artista, que à seu modo, introduz elementos retirados do contexto sócio cultural.
This research makes an analysis of the present artistic production in Mato Grosso, relating the present time characteristics and it’s implications in the way of artistic doing, mostly those that in the State shown in its doing use of non-conventional materials and new formats. In a descriptive disposition, presents discussions about time and contemporary art, make a brief history of the mato-grossense artistic production and it’s founding to the present, introduce the artists who insert into your job the research and esthetic experimentation of new ways of doing and materials and even shown elements relevant to the poetic of these artists, through visit to the studios and interviews with those selected artists. The artistic production dynamics noted presents characteristic and alterations in its way of doing, related directly to the alterations of life-style, production, consumption and actuality information inserted in the esthetic research of each artist, that in its way, introduces elements derivated from the socio-cultural context.
11
Nurmi, Kaela L. "Challenges Surrounding the Conservation and Replication of Eva Hesse’s Sculpture." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/709.
Повний текст джерелаАнотація:
The sculpture of German-born American artist, Eva Hesse (1936-1970), presents many conservation challenges. Hesse’s experimentations with latex and fiberglass created stunningly innovative works of art in the late 1960s bringing these unorthodox materials into the world of fine art; but now these materials are creating major conservation problems. Her artwork is an extreme example of the conservation challenges of contemporary art. This thesis examines the challenges surrounding the conservation and replication of Eva Hesse’s large-scale latex and fiberglass sculptures. The latex and fiberglass materials that captivated Hesse are compromising the structural integrity of her large-scale sculptures today. Hesse’s art forces conservators to establish conservation practices specific to modern and contemporary art. Although replication pushes conservators to re-examine their usual practices and violates the standard notion of minimal intervention, the replication of Hesse’s sculptural works is necessary to represent her artistic vision.
12
Kim, Hyo Sung. "Analysis and criticism of the concept of the unity of the church in the contemporary ecumenical movement focusing on selected ecumenical materials published in the 1980s /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
Повний текст джерела
13
Alsina, Jodar Mercè. "El vídeo assaig com a pràctica artística en relació amb les teories de la globalitat (des del 1989 fins a l’actualitat)." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666372.
Повний текст джерелаАнотація:
El plantejament d’aquesta tesi és relacionar el vídeo assaig amb la globalitat com una pràctica que evoluciona d’acord amb les possibilitats tècniques i les línies de pensament del seu temps, des d’un posicionament crític al sistema. El període d’estudi que es proposa, entre l’any 1989 i l’actualitat, ve determinat per un increment de les pràctiques del vídeo assaig en aquest període, però també perquè la caiguda del mur de Berlín el 1989 i la dissolució de la URSS entre 1990 i 1991, marquen simbòlicament l' inici del procés de globalització.
Per establir aquestes relacions, en primer lloc es formula una definició del vídeo assaig, se’n descriuen les característiques i s’analitzen les estratègies que utilitza per aproximar-se a la realitat i proposar-ne lectures alternatives, les quals evidencien que aquesta pràctica manté una sèrie de tensions i una actitud crítica amb el sistema dominant global, davant del qual proposa una construcció diversa de la realitat. El vídeo assaig es presenta doncs com un territori d'experimentació estètica amb clau social i política, tot i que, per descomptat, la dimensió crítica de l'art no és només exclusiva d'aquestes pràctiques.
La constatació de les estratègies que utilitza fa pertinent considerar el vídeo assaig com una pràctica autoreflexiva, que incorpora un punt de vista personal i fa un ús lliure del llenguatge cinematogràfic. D’aquesta manera, l’autor més aviat s’entén com una entitat narrativa, una veu subjectiva, que s’emmarca en un discurs enunciat i estètic, que se situa en relació horitzontal amb el debat sobre les qüestions que tracta, per generar discurs. És important destacar que a partir del dispositiu audiovisual crític dels estudis visuals s'ha produït una revisió de la història a través de l'ús i la reedició de materials d'arxiu des de l’òptica actual, que permet reactualitzar-ne les lectures i obrir noves perspectives d’interpretació que han donat lloc a distàncies crítiques diverses.
Un altre aspecte que contextualitza el desenvolupament del vídeo assaig és la transformació de les noves relacions a escala planetària, per la qual cosa s’observa una proximitat amb les preocupacions teòriques dels pensadors de la globalitat, especialment la transformació de la díade espai/temps, que ha
donat lloc a nous règims de temporalitat i ha transformat les relacions de pertinença i la manera com habitem l’espai, i que han provocat l’aparició de nous paradigmes, com el de glocal i ciutat global o els girs de conceptes com els de centralitat o frontera, així com una intensificació dels fluxos massius de persones i informació, que han repercutit en l’aparició de fenòmens d’hibridació, entre d’altres, aspectes tots ells que el vídeo assaig aborda.
Així, s'emmarca en les manifestacions artístiques que es defineixen com a pràctiques estètiques i ètiques –de perfil dialògic–, que opten per l'enunciat com a llenguatge i aposten per una forta implicació subjectiva. Aquestes s'associen a estètiques de fragmentació, fragilitat, alteritat, disrupció o precarietat, entre d'altres, la qual cosa permet situar-les com a instruments polítics propositius i alhora subversius que contraresten el pensament únic.
En aquest sentit, si l’art és activador de la política, el vídeo assaig ha esdevingut un dels reductes de la pràctica política contrahegemònica, capaç de creuar línies de pensament i filosòfiques, i situar-se en el pla de conceptes que pertanyen a altres imaginaris. Esdevé, doncs, més que una ruptura, un potencial de canvi, una ‘possibilitat de’, perquè no es mou a través dels elements estables, sinó dels inestables, no opera transformacions sinó que opera possibilitats d’agència. En aquest sentit moltes vegades no fa, no acaba, no tanca, no concreta, és manté en els intersticis, en la zona liminal, buscant la possibilitat de noves subjectivitats i noves articulacions.This PhD research relates to video essay as an artistic practice that evolves according with the knowledge and technical capacities in its time, keeping a critical approach to the dominant system. The review covers the period from 1989 up to now, when it has been an increase of video essay practices, and symbolically marks the beginning of globalization with the fall of the Berlin Wall. To set these relations, there is a definition of video essay, describing its characteristics and strategies to approach reality and how proposes alternative readings, which indicate a series of tensions between this practice and the dominant global system. Video essay is therefore a territory of aesthetic experimentation in terms of social and political concerns. Its strategies allow to be considered as a self reflexive practice, with a personal point of view using freely cinematographic language. In so doing, the author is rather a narrative entity, a subjective voice, framed in a discourse of enunciation and aesthetic, opening new perspectives and diverse critical distances. Video essay shows particular interest for theoretical inquiries by thinkers of globalization, specially the transformation of the space/time dyad which led to new regimes of temporality and the way of inhabiting the space, that give rise to new subjectivities and paradigms such as glocal or global city, the turn of concepts such centrality or border, as well as an intensification of mass migration and flows of information, which have resulted in a phenomena of hybridization. Being related with aesthetics of disruption, precariousness, otherness or fragility, video essay is more likely to be understood as purposeful political tools, as well as subversive, challenging the one-track thought. As a trigger for policy, video essay is an appropriate place for counter-hegemonic policy practices, capable of crossing lines of knowledge and philosophy. It is, then, rather than a rupture, a potential for change, a ‘possibility for’, since doesn´t move trough stable elements but unstable, doesn’t change anything but brings capacity for action. In that sense, often neither finishes, nor ends, nor even pinpoints, but remains in the interstices, in the liminal area, searching for new subjectivities and articulations.
14
Alqalami, T. A. "The application of visualisation tools to enable architects to explore the dynamic characteristics of smart materials in a contemporary shanashil building design element for hot arid climates." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/44452/.
Повний текст джерелаАнотація:
Contemporary architecture has changed the features of building façades and this affects the design identity, forms and aesthetics, yet despite the advantages of modern technology, architectural elements have difficulties in fulfilling the idea of beauty that once traditional elements provided. This problem calls for an interdisciplinary design approach to deliver sustainable development solutions to protect and control against the surrounding environment, especially in hot arid climates. This research seeks to select a smart material which mimics the dynamic characteristics observed in nature, inspired from biomimetics, taking into consideration the role of sustainable development. Such qualities are found in the characteristics of smart dynamic glazing material particularly in the switchable, reversible properties of transparency and colouration efficiency. With this in mind, can a traditional window/wall/balcony design element be revived through the integration of new smart materials? This study adopts a design science methodology incorporating methods of biomimetics, analogy, and 21 semi structured interviews with a thematic analysis as the main data analysis technique. The emergent findings are then evaluated by conducting further interviews with 6 architects, where the material characteristics are attached to a digital prototype to visualise the difference between dynamic and static properties. Lumion 3D, Smart glazing VR, and Revit plugin visualization tools were used to develop a 3D digital prototype that expressed the difference between a traditional window/wall/balcony element and smart dynamic glazing element. These tools were needed not just to engage the interviewees to be part of the design process, but also to provide a clear illustration of the dynamic material characteristics and its impact on the architectural façade to improve design quality. Whilst they favoured the smart material in improving environmental control it was not favoured in its aesthetic aspects due to the transparency role and the abstraction of screen pattern details. Accordingly, the fixed image of traditional shanashil still imposes difficulties in understanding the dynamic characteristics, both aesthetically and functionally. This research concludes that the dynamic characteristics of smart glazing material are effective in delivering a multifunctional design quality. However, they still lack the potential to illustrate aesthetic aspects regarding colour, texture, order and proportion. Future research is needed to improve dynamic material characteristics in order to collectively blend in harmony with the surroundings.
15
Spranger, Katrin. "The Future of Jewellery : are there Ways and Needs to Accomplish a Change in the Development and Especially the Meaning of Contemporary Jewellery?" Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-176.
Повний текст джерелаАнотація:
This essay will deal with ideas for jewellery in the future. One approach to this issue is, to investigate the meaning of materials which might become rare or even deplete in the future. Along with science and science fiction it will focus on established scientific postulated laws of nature, although some elements might still be pure imaginative speculation. The paper will also explore about academic discourse on value with a focus on understanding jewellery material values connected to rarity as well as value of experience and the increasing need for it in society. It will draw a futuristic picture of change, meaning and development in the field of contemporary jewellery and society.
16
Roach, Catharyn. "Attitudes Toward the Contemporary Role of the Library Media Specialist in the Overall Elementary School Program in North Central Texas." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332317/.
Повний текст джерелаАнотація:
The purpose of this study, in addition to measuring and comparing attitudes of teachers, principals and library media specialists toward the role of the school library media specialist, was to identify and measure factors contributing to those attitudes. Nine factors were identified. Further path analysis revealed that the performance level of the library media specialist had the most influence on principals' and teachers' attitudes toward the Consultant, Technological and Instructional Roles. For principals and teachers, staff development had the most influence on attitudes toward the Management Role, while involvement in the school-wide program was most influential for library media specialists.
17
Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.
Повний текст джерелаАнотація:
Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.History of Art and Architecture
18
Balieiro, Cristiani Pansonato Guessi. "As novas possibilidades cromáticas dos materiais empregados na arquitetura contemporânea paulista e suas relações com a cidade. O caso da Vila Olímpia." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16132/tde-11092015-102446/.
Повний текст джерелаАнотація:
A vasta disponibilidade de materiais para revestimento de fachadas, propicia inúmeras intervenções na paisagem urbana. Esta pesquisa apresenta uma análise da aplicação destes materiais na arquitetura contemporânea paulistana, e está embasada na teoria e prática do uso das cores, tendo os atributos da cor, matiz, luminosidade e saturação e sua relação com no cenário urbano, o objetivo principal de estudo. Partindo do conhecimento dos conceitos e definições da cor, registrados por cientistas, filósofos e aplicados nas artes e na arquitetura, nos debruçamos sobre os ensinamentos de Josef Albers (1888-1976) na Bauhaus, escola de arte e design alemã, e nas reflexões de John Ruskin (1819-1900), sobre o emprego de cores através da escolha de materiais. O uso da cor nas fachadas, é de grande expressão também na arquitetura moderna, aqui representada por Le Corbusier (1887-1965) no emblemático projeto da Unidade de Habitação de Marselha. Vemos na sequência, a diversidade contemporânea nas aplicações cromáticas nos revestimentos dos edifícios, a fachada de vidros coloridos no projeto de Sauerbruch & Hutton (1989-) e os tons naturais de Herzog & de Meuron, utilizados no centro de artes CaixaForum em Madrid. Investigamos o percurso da verticalização da cidade de São Paulo, para um diagnóstico dos materiais disponíveis e utilizados em diferentes momentos de ocupação dos bairros paulistanos pelos edifícios, avançando até a transformação da Vila Olímpia, quando os espigões eclodem e preenchem as ruas, antes ocupadas por chácaras e indústrias que passam a dar lugar às edificações comerciais, atendendo à especulação imobiliária. Tomando como estudo de caso, a Rua do Rócio foi eleita como representante simbólica da arquitetura contemporânea paulistana, por conter em seus lotes, edifícios representativos desta arquitetura e por nos permitir a execução de um levantamento cromático amplo e diversificado dos seus materiais de fachada.The vast availability of materials for façade cladding provides countless interventions in urban landscaping. This research presents an analysis on the application of these materials in São Paulo\'s contemporary architecture and it is based on the theory and practice of the use of colors and the main objective os this study is color attributes, hue, luminosity, saturation and its relation with the urban scenery. With the starting point of concepts and color definitions, registered by scientists, philosophers and applied in arts and architecture, we make use of the teachings of Josef Albers (1888-1976) at Bauhaus, German art and design school, and the reflections of John Ruskin (1819-1900) on using colors through materials choice. The use of colors on façades is of great expression also in modern architecture, here represented by Le Corbusier (1887-1965) in the emblematic project of Marseille\'s Unité d\'Habitation. Following that we see the contemporary diversity in chromatic applications in buildings claddings, glasses façades in the Sauerbruch & Hutton project (1989-) and the natural tones of Herzog & de Meuron, used in the CaixaForum art center in Madrid. We researched the verticalization route in the city of São Paulo for diagnosing available materials which were used in different moments of São Paulo\'s borough\'s occupation by buildings, going towards the transformation of Vila Olímpia, when high-rises emerge and fill the streets which were previously small farms and industries; now they give way to commercial buildings, catering to real estate speculation. As a case study, the Rócio Street was chosen was a symbolic representative of São Paulo\'s contemporary architecture for having architecturally representative buildings in its lots and allowing us to perform a wide and diverse chromatic study of its façade materials.
19
Queiroz, Antonio Xavier de. "O sangue na obra de arte: como imagem, como meio de expressão e suas implicações no fazer artístico." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2049.
Повний текст джерелаАнотація:
Made available in DSpace on 2016-03-15T19:43:48Z (GMT). No. of bitstreams: 1
Antonio Xavier de Queiroz.pdf: 3828598 bytes, checksum: b4a4f127dd9bee731ba2cf317c561311 (MD5)
Previous issue date: 2010-03-18Fundo Mackenzie de Pesquisa
This research is an invitation to the act of looking, or, in other words, to an intimate "action" towards such a different organic element called Blood, which can be either represented, or materialistically presented as a significant vehicle in the artwork at different times of Art History. Such evolution of Blood as a sthetic material will be done by analyzing the works of different artists such as: Pietro Lorenzetti, Mathias Grünewald, Annibale Carracci, Caravaggio, Artemisia Gentileschi, Francisco Goya, Pedro Américo, Gustave Moreau Frida Kahlo and Candido Portinari. Hermann Nitsch, Ana Mendieta, Gina Pane, Chris Burden, Artur Barrio, Karin Lambrecht, Marc Quinn, Betina Sor, Vanessa Tiegs e Regina José Galindo are contemporary artists, most of them representative either of the so called Body Art or of other innovative styles born after the Second World War or of Vietnam War or after 1968 movements. Anyway, all of them have blood as a fundamental and meaningful element, and this is what will be focused in this work.
Esta pesquisa é um convite à ação , ao exercício do olhar, a um olhar atento, diferenciado sobre o elemento orgânico sangue , que ora é representado, ora é apresentado e materializado como veículo expressivo na obra de arte, em diferentes momentos da história da Arte. Serão analisadas obras de diferentes artistas, tais como Pietro Lorenzetti, Mathias Grünewald, Annibale Carracci, Michelangelo Merisi, Caravaggio, Artemisia Gentileschi, Francisco Goya, Pedro Américo, Gustave Moreau, Frida Kahlo, Hermann Nitsch, Ana Mendieta, Gina Pane, Chris Burden, Artur Barrio, Karin Lambrecht, Marc Quinn, Betina Sor, Vanessa Tiegs e Regina José Galindo, em trabalhos em que o sangue se faz presente.
20
Sehn, Magali Melleu. "A preservação de \'instalações de arte\' com ênfase no contexto brasileiro: discussões teóricas e metodológicas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21062010-100207/.
Повний текст джерелаАнотація:
A abordagem das principais discussões éticas e metodológicas no âmbito da preservação da arte contemporânea constitui o ponto de partida desta tese. O recorte procurou enfatizar a problemática da preservação de algumas modalidades artísticas denominadas atualmente de instalações de arte, evidenciando a produção artística brasileira a partir da década de 80. Tomando como referência o estudo de cinco obras de artistas vivos que, em sua maioria, ainda não estão inseridas no contexto institucional, analisa-se a relevância do registro das intenções desses artistas quanto à preservação, bem como o papel do conservador/restaurador e da comunidade artística.Tackling the major methodological and ethical issues in the preservation of contemporary art is the starting point for this thesis. The cutting sought to emphasize the issue of preservation of some artistic modalities, currently called art installations, showing the Brazilian artistic production from the 80s. Compared to the study of five works of living artists and, mostly, not yet included in the institutional context, the relevance of the intention records of these artists is examined in terms of the preservation of their works, the role of the conservator-restorer and the artistic community.
21
Crear, Katrina. "The material lives and deaths of contemporary artworks." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7199/.
Повний текст джерелаАнотація:
This study is about the active lives of contemporary artworks. They are followed across their life trajectories, from their inception to material fabrication, exchange, exhibition and maintenance. Later in life, artworks are considered as they age, are materially re- fabricated, destroyed and memorialised. The hypothesis is that a contemporary work of art is not only an art object, but an object in an assemblage with people, documentation, other material things, names, space, images, places and more. I examine art objects as actors in collectives of activity with many persons and other material things. Anthropological theories about agency and distributed persons are utilised to identify the bonds among people, artworks and specifically the material parts of artworks. I also consider 20th century art historical questions about authorship, formalism and de- materialisation with reference to these anthropological theories. A principal goal for the thesis is in the examination of the roles and extent of the materiality of art. Further to observations of how decisions are reached and negotiated in practice over fabrication, conservation, re-makes, documentation and ownership, the study offers practical implications for contemporary art collections management.
22
Hintzen, Sander. "Making Material Matter : Outlining a Contemporary Curatorial Method." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-176137.
Повний текст джерелаАнотація:
The thesis explores a multidisciplinary approach, bridging together perspectives from art-historical, philosophical and anthropological fields of knowledge to question and outline the way materiality has been thought about, and how this in turn can be informative to developing a curatorial methodology. By looking at Moderna Museet Stockholm, the thesis will demonstrate the mileage of thinking materially in the act of exhibition making and the curatorial position. In doing so, the thesis explores various discursive arenas of the institution such as the museum, the temporary exhibition and the permanent collection. Central to developing the methodology are concepts such as agency, revisionist history and cultural modernity.
23
Gordon, Rebecca Alison. "Rethinking material significance and authenticity in contemporary art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.
Повний текст джерелаАнотація:
The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attributes to the work’s identity. The artist’s voice has been a crucial source in this re-evaluation, with the voices of Scottish artists, or artists represented by a Scottish gallery or collection, building a picture of the way practitioners think about the significance of materials to their work. These contemporary primary sources have been contextualised with artists’ voices from published compendiums and international case studies. They have revealed the general pragmatism of artists’ approaches, particularly in relation to their creative processes. Therefore, this thesis has based its discussion around seemingly incongruous approaches: a conceptual framework and artists’ practices. However, these poles are reconciled by rooting the investigation at the point of the artwork’s creation. This has meant placing weight on the artist’s intentions for the work and his or her decision-making process, rather than the subsequent interpretations of curators and conservators that inevitably inform the artwork’s institutional afterlife. Doing so has led to a greater understanding of artists’ conceptions of material significance and their thoughts on the identity of their works. This inevitably bears implications for the preservation and display of contemporary art.
24
Ortega, Solano Julio César. "Nuevos materiales y proyectos en la pintura de la era digital." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/667902.
Повний текст джерелаАнотація:
Encabeza la tesis una introducción al tema que nos ocupa, además de la descripción detallada de los objetivos que se pretende alcanzar con la justificación de los mismos.
El capítulo II remarca la metodología a seguir y las líneas de investigación que constituyen las directrices básicas de la tesis. Se procede a la presentación de las cuatro artistas que fundamentan este estudio: Peter Halley, Fabián Marcaccio, Matthew Ritchie y Leonardo Drew. Artistas de los cuales se analiza tanto los materiales innovadores empleados como los procesos de trabajo y por supuesto la importancia que en ellos adquiere la tecnología digital.
El capítulo III especifica el contexto histórico en el que se sitúa nuestro estudio, aspecto que acoge la presentación de la emblemática figura de Sigmar Polke.
Los capítulos IV y V abarcan el estudio de los antecedentes matéricos que dieron lugar a una práctica artística que caracterizó sobremanera la segunda mitad de siglo XX. Capítulos que explican aspectos técnicos y valores estéticos que dieron pie al nacimiento de la pintura expandida.
Los capítulos VI, VII, VIII y IX constituyen el corpus de la tesis que se presenta en esta ocasión. Capítulos en los que se evidencia detalladamente la obra de los artistas: Peter Halley, Fabián Marcaccio, Matthew Ritchie y Leonardo Drew. Se analiza la obra de los cuatro artistas tanto a nivel conceptual y temático, como también los aportes tecnológicos que conlleva su estudio. Cada capítulo en particular profundiza en el estudio de unos procesos de trabajo innovadores, a lo cual se suma la aportación de nuevos materiales así como la intervención del medio informático como vehículo imprescindible, para la consecución de unas obras relacionadas con el mundo global y la sociedad contemporánea.
El capítulo X constituye una reseña personal sobre el concepto de “Pintura Expandida”, reflexiones apoyadas en el texto de Rosalind Krauss.
Y para finalizar la tesis aporta unas conclusiones y una breve explicación de la repercusión en el campo del arte de la intervención de los nuevos materiales y de la tecnología digital.
Acaba la tesis con una extensa bibliografía ordenada en función de cada capítulo descrito.
25
Abdrahman, Shahran. "A Study of Single Family Housing in Libya." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=106910&source=NDLTD&language=en.
Повний текст джерелаАнотація:
The aim of this study is to analyze different types of traditional and contemporary homes in three different geographical areas in Libya – the coastal region (Tripoli), the mountainous region (Gharyan), and the desert region (Ghadames) – in terms of the suitability of cultural, social and climatic conditions, as well as to investigate how to take advantage of the traditional elements of single family housing in contemporary design solutions. The study includes the analyses on the impact of construction, planning guidance for building, construction materials, structure, distribution of internal arrangements and their function, roof, and openings, followed by conducting a field survey of the houses from home and abroad, and finally, taking pictures of houses and interviewing the residents of those homes.Циљ студије је да анализира различите типове традиционалних и савремених кућа у три различита географска подручја у Либији - оне на приморју (Триполи), у планинској области (Гхариан), и у пустињском терену (Гадамес) - у смислу прилагодљивости изграђених структура културним, друштвеним и климатским условвима, као и да се испита како се користе традиционални елементи породичног становања у дизајнерским решењима савремених објеката. Студијом су обухваћени и анализирани различити утицаји који делују на породичне куће почев од планирања, градње, структуре објеката, коиршћење грађевински материјала, унутрашње уређење, отворе, конструкцију и коришћење крова... Спроведено је истраживање на терену кућа из Либије и примера из иностранства, сликани су и исцртани објекти који су укључени у анализу, и разговарало се са корисницима кућа ради јаснијег сагледавања услова које пружају.
Cilj studije je da analizira različite tipove tradicionalnih i savremenih kuća u tri različita geografska područja u Libiji - one na primorju (Tripoli), u planinskoj oblasti (Gharian), i u pustinjskom terenu (Gadames) - u smislu prilagodljivosti izgrađenih struktura kulturnim, društvenim i klimatskim uslovvima, kao i da se ispita kako se koriste tradicionalni elementi porodičnog stanovanja u dizajnerskim rešenjima savremenih objekata. Studijom su obuhvaćeni i analizirani različiti uticaji koji deluju na porodične kuće počev od planiranja, gradnje, strukture objekata, koiršćenje građevinski materijala, unutrašnje uređenje, otvore, konstrukciju i korišćenje krova... Sprovedeno je istraživanje na terenu kuća iz Libije i primera iz inostranstva, slikani su i iscrtani objekti koji su uključeni u analizu, i razgovaralo se sa korisnicima kuća radi jasnijeg sagledavanja uslova koje pružaju.
26
Bayless, James D. "Digital Gothic: Integration and Material Experimentation in Contemporary Architecture." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397476805.
Повний текст джерела
27
Canton, Ursula. "The use of biographical material in contemporary British theatre." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/10292/.
Повний текст джерелаАнотація:
The thesis addresses the contrast between the popUlarity of plays with historical characters, i.e. characters that recognisably resemble historical figures, on the British stage and the lack of academic literature that deals with this issue. On the basis of such a practical observation, a working definition is established, in which the existence of such a characters, or the reflection about the process of life-writing are included, and the consequences of the use of biographical material are outlined. A crucial effect is the establishment of a very different relationship between the world of the play and the world outside the theatre in which it is produced and received. This question is discussed in the light of different theories that deal with the idea of reference and a functional approach that concentrates on the way in which different modes of reference, such as fact or fiction, are used is suggested. On this basis scripts and productions of biographical plays are analysed with regard to the way in which they present the relationship between themselves and the past lives they portray. In addition, comments by playwrights and practitioners are presented. The second section focuses on the reception of biographical theatre, establishing a theoretical model in which its particular features are described. It is then applied to the reactions of a small group of spectators who were interviewed about various biographical plays and to published reactions to life writing in the theatre. Finally the conclusions suggest that the questions that are raised in the particular context of biographical theatre go beyond this immediate field, as the relationship between performances and the world is of importance for all theatre. The theoretical and methodological framework that is established in this thesis could therefore contribute to other areas of theatrical research as well.
28
Liang, Haiyin. "Through My Window." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5505.
Повний текст джерелаАнотація:
I convey my thoughts through art jewelry; making jewelry is my language of communication and commemoration. Inspired by historical Chinese art and contemporary jewelry, my practice pays attention to bring classical Chinese aesthetics of hazy poetic and ideal arrangement into the contemporary jewelry field. The attention to detail refers to the quiet contemplation and emotional experiences encouraged by each of my works. Through my research, I use metalsmithing language to communicate with non-precious materials finding my own way of expression and meditation. Meanwhile, I build environments that display jewelry off the body in order to construct a picturesque landscape. The research that lead to my thesis work, Through My Windows, which conveys the desire for mental escape. The Jewelry pieces become the keys to open the imagination and emotionally escape into an ideal state through making and viewing them.
29
LIGHT, SANDRA J. "CONVERGING ENERGIES: A COMPARISON OF SELECTED WORKS BY JANINE ANTONI AND JOSEPH BEUYS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029514089.
Повний текст джерела
30
Zhao, Zun Yan. "An investigation of materialism in contemporary Chinese society." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1636796.
Повний текст джерела
31
Touw, Katrina. "Firmitas re-visited: Permanence in Contemporary Architecture." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2858.
Повний текст джерелаАнотація:
This thesis proposes that the concept 'permanence' is relevant at the beginning of the twenty first century. It examines why the term, while perhaps pertinent in addressing the disposability of architecture in Western society, seems anachronistic. The study reviews the seeming inaccessibility of the term in its contested and plural interpretations, and reviews problems in its definition and relevance. A close examination of definitions, interpretations and contemporary approaches is provided in order to create a conceptual framework that reveals complex implications of the term. Four strategies for understanding the concept are offered: 'realms versus modes', definitions, a distillation of four positions relating to permanence, and an inquiry into contemporary issues relating to the concept. 'Absolute' and 'relative' realms illuminate a scope for permanence, and 'static' and 'dynamic' modes are discussed. A series of definitions are reviewed that reveal nuance in implications. An analysis of four essays on permanence is included, one from the beginning of the twentieth century and three from the end. This section reveals a series of conflicts relating to the way contemporary Western society uses and understands the term.
Permanence within architecture is widely associated with the Vitruvian definition of firmitas: mass and solidity crafted to endure eternally. Vitruvius' employment of 'permanence' is used as a grounding definition and a fundamental reference for the term's evolution into contemporary usage. In observing the endurance of the original Vitruvian term today, a disconnect becomes evident: absolutism in a society defined by relativity. This thesis argues for the critical significance of the term at a pivotal point in history in addressing the problem of disposable architecture on both a cultural and ecological level. Final open-ended questions are raised that consider staggering construction and demolition waste statistics, implying that permanence could play a significant role in effective responses to a global environmental crisis.
32
Burger, Idane. "Contemporary jewellery practices and the dialogic interpretation of African material culture." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80080.
Повний текст джерелаАнотація:
Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.
33
Ramage, Michael H. (Michael Hector). "Catalan vaulting in advanced material : new approaches to contemporary compressive form." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37358.
Повний текст джерелаАнотація:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 55-57).
The translation of traditional building methods to modern construction techniques offers unexplored opportunities for material and form in architecture. Recent innovations in cellular ceramics married with traditional timbrel vaulting suggest a new approach to compressive form in structural masonry spans. Research into the history and construction of timbrel vaults and the material properties of cellular ceramic masonry shows that they are well-suited to one another. Building timbrel vaults with aerated autoclaved concrete (AAC) brings to architectural practice a new family of economically viable, expressive configurations of structural spans in masonry. The Catalan masonry technique, also referred to as timbrel or Guastavino vaulting, allows thin structural spans to be built without the use of supporting formwork. Once widely used in American construction, the technique is now little-known. This thesis documents the recent construction of two 11.3m (37') domes in England and structural research into building timbrel vaults with AAC tile. An artist's studio designed based on the information gained demonstrates the renewed feasibility of building expressive masonry structures. The techniques used to design and build structural masonry spans show that merging modern materials with traditional craft capitalizes on the significant strengths of each. These new buildings demonstrate the economic efficiency and formal viability of timbrel vaulting in contemporary architecture.
Michael H. Ramage.
M.Arch.
34
Wall, Georgia. "Consuming Italy : contemporary material culture and ethnographic approaches in modern languages." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/105141/.
Повний текст джерелаАнотація:
This thesis has two interlinked objectives. One is to explore some of the meanings projected onto ideas of Italy in the UK in relation to Italian mobility patterns. The second is to argue for the development of the study of material culture and ethnographic approaches in contemporary Modern Languages research and teaching. Taking into account a range of ‘Italian stuff’; public spaces such as cafés and bars, narrative texts and recipe books, a celebrity figure, and drawing on personal narratives as recounted in interview, the thesis critically engages with the contemporary value of images of traditional Italy from a Modern Languages perspective. The aim is to practically demonstrate how ethnography and the study of material culture can be used to complement the conventional disciplinary emphasis of Modern Languages on critical analysis of written and visual texts and on linguistic competence. Drawing on the work of a variety of ethnographic theorists of the significance of the everyday and the unexpected, of the interplay between power and selfhood, and of class and the inscription of value, the thesis explores the ideals read into notions of Italy’s authenticity across different sites in terms of the tensions between the desirability of a grounded, local identity and the simultaneous need to be able to distance oneself from it, generational class difference and its enduring memory, the diversity of rural and urban experience, and self-understanding and expression. Via case-studies of different sites and an investigation into the pertinence of an ethnographic reflexivity in the context of language learning, it places relevant contemporary anthropological, linguistic and sociological theory in dialogue with existing calls for renewal from within Modern Languages to practice an ethnographic approach to the study of language and culture.
35
Moretti, Francesco. "Musicians Can Fly : Heterogeneous material, Renaissance sources and contemporary group improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2557.
Повний текст джерела
36
Mobio, Agoh Stefan. "A la rencontre de l'oeuvre de Frédéric Bruly Bouabré : mise en espace d'une écriture contemporaine." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0490.
Повний текст джерелаАнотація:
''À la rencontre de l’œuvre de Frédéric Bruly Bouabré, mise en espace d’une écriture contemporaine’’ est le sujet de cette thèse qui nous a guidé dans nos différentes recherches. Artiste plasticien et ancien étudiant des écoles des beaux-arts d’Abidjan (Côte d’ivoire), et de Marseille (France), notre rencontre avec Frédéric Bruly Bouabré, l’autodidacte, l'artiste et l'inventeur d’une écriture dite purement africaine, a été l’occasion de questionner notre pratique artistique par l’analyse de sa démarche de création. A travers ces recherches, c’est un double hommage rendu à sa personne et à son œuvre. En effet c’est dans l’objectif de conserver les savoirs de son peuple les Bété, et de tout peuple qui ne dispose pas d’une écriture qu’il crée un syllabaire fait de pictogrammes. Partir des sons humains, de différents bruits, des contes et légendes en pays Bété, pour produire des signes graphiques, a été un procédé qui a motivé nos recherches. Il s’agit pour nous dans le questionnement de notre pratique d’une mise en abîme de nos peintures, par le passage de l’espace illusionniste du tableau à un espace tridimensionnel. Des bruits, des sons, et des syllabes qui sont immatériels, Frédéric Bruly Bouabré est arrivé à produire des signes graphiques d'un langage nouveau. Nous inspirant de cette démarche, nous déconstruisons l’œuvre picturale pour en extraire ses constituants qui sont mis en espace pour traduire cette volonté de faire cohabiter différentes techniques, la peinture, l’écriture, la sculpture, et l’installation''At the meeting of the work of Frédéric Bruly Bouabré, putting in space of a contemporary writing '' is the subject of this thesis which guided us in our various researches. Visual artist and former student of the Schools of Beaux Arts of Abidjan (Côte d'Ivoire), and Marseille (France), our meeting with Frédéric Bruly Bouabré, the self-taught artist and inventor of a so-called purely African writing was the opportunity to question our artistic practice by analyzing its approach to creation. Through this research, it is a double homage to his person and his work. Indeed, it is in the objective of preserving the knowledge of his people the Bété, and of all people who do not have a writing he creates a syllabary made of pictograms. Starting from human sounds, different sounds, stories and legends in Bété countries, to produce graphic signs, was a process that motivated our research. It is for us in the questioning of our practice making in an abyss our paintings, by the passage from the illusionist space of the painting to a three-dimensional space. Noises, sounds, and syllables that are immaterial, Frédéric Bruly Bouabré has come to produce graphic signs of a new language. Inspired by this approach, we deconstruct the pictorial work to extract its constituents which are put in space to translate this desire to make different techniques coexist.painting, writing, sculpture, and installation
37
Harrison, Ryan C. "Resonance: Collaborative Explorations of the Contemporary Percussionist." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597482410922158.
Повний текст джерела
38
Lovett, Matthew. "Outside on the inside : musical improvisation according to contemporary materialist thought." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23691/.
Повний текст джерелаАнотація:
One of the precursors to this PhD project was an awareness that a great deal of writing about music aesthetics, the practice of making music and the nature of listening to music, is often either knowingly or unknowingly grounded in a set of philosophical debates that predate (sometimes quite considerably) the music that is being written about. As such, there is a sense in which critical perspectives on improvised music practice, if they are to be relevant, need to take into account more recent developments in philosophical and theoretical thought, and one of the objectives of this study is to meet that challenge by mapping of some of the key aspects of twentieth and twenty-first century thought that have their roots in what could be described as ‘philosophies of immanence’ onto various aspects of improvisation. From the outset, this project is written from a maker’s perspective, and takes the form of a piece of extended research that takes as its starting point the idea that musical improvisation is a form of creative thinking in action. From this position, the process of improvising and an improvised piece of music, to some extent bear the traces of the thought that has given rise to both the music and the improvising itself. By grounding the research in a set of the afore-mentioned ‘philosophies of immanence’, it is therefore my intention to develop new ways of thinking about how improvisation works, new ways to describe what is happening when we hear musicians improvising, and new ways to understand what kinds of changes and innovations are brought to bear on the resources and materials – in other words the musical knowledge, the skills, the instruments, and a wider set of musical contexts and environments – that musicians have at their disposal during an improvisation.
39
Kuchenbecker, Emily E. "Lifetime." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5838.
Повний текст джерелаАнотація:
Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities.
I do not fear death.
The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am.
But what am I? Am I my body- or is it much deeper?
Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.
40
Bristow, Maxine. "Pragmatics of attachment and detachment : medium (un)specificity as material agency in contemporary art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12033/.
Повний текст джерелаАнотація:
This research arises out of my situated experience and the subsequent indeterminate positioning of my practice in-between the traditional disciplinary fields of textiles and fine art. Through a body of studio enquiry and accompanying theoretical and reflective commentary, the research questions whether a practice and knowledge base that is historically grounded in the interrogation of medium specific conventions can continue to be viable within a post medium/ postmodern contemporary art context. Implicit within this are two further considerations concerning the relationship between aesthetic and extra-aesthetic contexts and the tensions between subjective and material agency that arise in negotiating these positions. Through a sculptural and installational practice I propose a constellatory opening up of textile in conjunction with other materials, in terms of material agency and ‘productive indeterminacy’, where boundaries become blurred, meaning is unable to settle and fundamental categorical divisions between subject and object are destabilised. The processual inter-relational model of ‘attachment/detachment’ is offered as a conceptual framework and overarching practice methodology that maintains these productive tensions and opens up a complexity through which the medium specific can be mapped in a fluid and fragmentary way. Three interdisciplinary concepts; ‘camouflage’ (Neal Leach/architecture), mimetic comportment (Theodor Adorno/philosophy) and ‘complicity’ (Johanna Drucker/contemporary art) provide theoretical models which allow for assimilation and differentiation and embodied adaptive behaviour. Drawing particular reference from Adorno’s notion of mimetic comportment, the research involves a mode of behaviour that actively opens up to alterity and returns authority to the indeterminacy of the aesthetic encounter in a way that overturns the centrality of the subject. This is manifest through a range of practice strategies - ‘thingness’, ‘staging’ and the confluence of ‘sensuous immediacy and corporeal containment’ - which forge connections where distinctions remain mutable and mobilise a productive tension between subjective attachment and detachment. The research takes the ‘affective turn’, and increasing interest in the agency of material across the arts, humanities and social sciences over the course of the last decade, as contexts which mark a shift away from concerns with signification and which focus instead on the corporeal intensities of material/matter. Acknowledging the critical currency afforded to textile in terms of signifying agency, the project is notable in placing an emphasis on materially embodied experience that privileges aesthetic artifice, complicit formalism and an ambiguous abstract sculptural language over more overt strategies of representation. The research offers a reinscription of medium specificity in terms of material agency, where contrary to modernist conceptions of self-contained aesthetic autonomy there is a simultaneous concern with the distinct material properties of the medium and what they do in the social world. The research reveals that it is the ontological condition of textile as simultaneously social and material that has paradoxically accounted for its historical cultural ambivalence and its cultural significance. Moreover, it demonstrates that it is the interweaving of the sensuous and semantic so effectively mobilised through textile that gives rise to its affective indeterminacy. This affords it agential capacity as a transformative sensuous mode of knowledge production and artistic medium where boundaries between subject and object are destabilised and aesthetic considerations can be continuous with an engagement with social, historical and cultural contexts.
41
Dino, Rose M. "Contemporary ties: wedding 20th-century musical theatre to opera using the same source material." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6724.
Повний текст джерела
42
Almontasheri, Ahmad Saleh A. "The transformation of calligraphy, from spirituality to materialism, in contemporary Saudi Arabian mosques." Thesis, Birmingham City University, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.753289.
Повний текст джерелаАнотація:
Contemporary discourses by both Western and Muslim scholars on the subject of Islamic philosophy and art, especially the influence of globalisation on Islamic Art in general and the art of calligraphy in particular, have drawn attention to the new architectural styles of mosques in Saudi Arabia and the representation of calligraphy in them. The present study aims to analyse the impact of globalisation on the transformation of calligraphy in Saudi Arabian mosques, and investigate the paradoxical nature of authenticity in relation to the art of calligraphy. In this study, the historical, theoretical and qualitative data were amassed as part of the methodology. A qualitative descriptive method to a case study approach was the primary approach for data collection. The main aim was to understand the historical mapping of the origin and development of calligraphy, analysing its outcomes in the context of the contemporary mosques in Saudi Arabia. The results section focuses on the answers obtained from a questionnaire directed at artists and calligraphers, and in the interviews conducted with experts in calligraphy. The discussion section focuses on the detailed analyses of the answers. The study demonstrates the process of change and the misrepresentation of calligraphy and its applications inside the mosques selected for study, including forces that have been influencing such change. Consequently, the results show that there is a remarkable transformation of calligraphy in its form and function in contemporary mosques in Saudi Arabia. This transformation has been caused by due to several dominant factors including the way of representing calligraphic patterns, the impact of the local culture, and spread of the culture of materialism and globalisation.
43
Mills, Christina Murdoch. "Materiality as the basis for the aesthetic experience in contemporary art." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06152009-094348.
Повний текст джерела
44
Oduro-Frimpong, Joseph. "Popular Media, Politics and Everyday Life in Contemporary Ghana." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/579.
Повний текст джерелаАнотація:
How do popular media genres reinforce or provide alternative perspectives to circulating official political discourses, as well as articulate issues of social concern? In what ways do such media offer insights into aspects of cultural practices that inform and represent matters of key significance in people's quotidian lives? This dissertation investigates these two general questions within four distinct Ghanaian popular visual media genres: popular video-films, political cartoons, death announcement posters, and vehicle inscriptions (`mottonyms'). Regarding the Ghanaian popular video-films, I examine how the films (re)present the issue of cyberfraud (`sakawa') in Ghana. I contrast the films' (re)presentation of this phenomenon vis-a-vis that of certain official pronouncements on the issue, and argue that a critical approach to the `sakawa film series' reveals a robust counter discourse to official denunciations. My investigation of political cartoons, examines some of the works of the artist Akosua in the Ghanaian newspaper, Daily Guide. Here I focus on how Akosua's works, utilizing popular cultural allusions, function as an alternative media discourse in contemporary Ghanaian sociopolitical debates. As regards the death-announcement posters, I investigate how, situated as they are within certain well-known Ghanaian cultural values and practices, including funerary caskets, these posters remediate these cultural mores in the context of rapid social change. Lastly, regarding the mottonyms, I explore, through interviews with vehicle owners, the interactions between specific life experiences that spurred them to coin these inscriptions and the cultural fabric within which they have done so. Conceptually, this dissertation draws not only from cultural anthropology and its subfields of visual culture, and religion, media and culture, but also significantly from global/international media studies and from emergent works on African cultural and media studies. The harnessing of interdisciplinary conceptual frameworks, such as phenomenological and social constructionist approaches, to interrogate Ghanaian popular visual media in this dissertation advances our current thinking in the above-mentioned fields in several ways. For example, the social constructionist (Lee-Hurwitz 1995; Morgan 2005) and phenomenological approaches (Langsdorf, 1994; Lanigan 1998) that guide the investigation of vehicle inscriptions and death-announcement posters reveal purposeful intentionality in human communication. Furthermore, this dissertation, with its focus on popular video-films, press cartoons, death-announcement posters and vehicle inscriptions concretely elucidates recent expansive theorizations of `media'. Here `media' is understood as practices of mediation (de Vries 2001; Meyer 2003; Zito 2008), and broadly conceived to transcend narrowly defined traditional mass media formats (Downing 1996). In the latter case, I advocate for global/international media scholars to begin to pay equal `field service' to popular media artifacts within the current ambit of the `practice paradigm' in global/international media studies (Postill 2010:4; Couldry 2004).
45
Lederer, Robert Clarke. "Rise of the curator : archiving the self in contemporary American fiction." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10667.
Повний текст джерелаАнотація:
Concurrent with a bloom of interest in the archive within academic discourse, an intense cultural fascination with museums, archives, and memorials to the past has flourished within the United States. The ascendency of digital technologies has contributed to and magnified this “turn” by popularising and habituating the archive as a personal memory tool, a key mechanism through which the self is negotiated and fashioned. This dissertation identifies a sustained exploration of the personal archive and its place in contemporary life by American novelists in the twenty-first century. Drawing on theories of the archive and the collection, this dissertation analyses the parameters of the curated self through close-readings of recent novels by five US authors. The first two chapters read Paul Auster’s Sunset Park through trauma theory and Siri Hustvedt’s What I Loved through psychoanalysis, noting that in each the system of archiving generates moments of catharsis. The two chapters argue that, for the subject shattered by trauma, archiving activates and fulfils psychoanalytic processes that facilitate the self’s reintegration and prompts a discursive revelation about the painful past. The texts, thus, discover in the archive strategies for achieving, however provisionally, a kind of stability amongst unexpected change. The next two chapters reveal the complicity of archival formations with threats posed in the digital age and articulate alternative forms of self-curation that counteract these pernicious forces. To ward off information overload, E.L. Doctorow’s Homer and Langley advocates the ethical flexibility of “blind” narration that, wending through time, accommodates a broad range of perspectives by refusing to fantasise about its own ultimate and total claim to accuracy. Jennifer Egan’s A Visit from the Goon Squad, meanwhile, diagnoses the cultural anxiety over increasingly invasive surveillance measures. While the novel situates the digital archive, or database, at the heart of this new dataveillance, it recommends investing the self in material collections, where personal meaning is rendered in the inscrutable patois of objects that disintegrate over time. For Egan, the material archive thereby skirts the assumed readability and fixity of data on which this surveillance thrives. The conclusion analyses Dana Spiotta’s Stone Arabia, observing within it and the other novels a consistent concern with archival destruction, erosion, and stagnation. Together, the texts suggest that the personal archive is persistently stalked by disintegration and failure. Yet, within this contemporary moment in which curation has become a widespread means of self-fashioning, they also show how these hazards can be creatively circumvented or actively courted, can threaten the subject or be harnessed by it.
46
Aleid, Salem E. A. "The role of traditional material culture in contemporary Saudi Arabia: the traditional courtyard house as exemplar /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487856076414284.
Повний текст джерела
47
Kirst, Adriane Cristine. "As aprendizagens do público com deficiência visual: uma experiência de diálogo com a arte contemporânea." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/775.
Повний текст джерелаАнотація:
Made available in DSpace on 2016-12-08T16:19:07Z (GMT). No. of bitstreams: 1
bibliotecaDISS.pdf: 37142 bytes, checksum: 083aa1c735cca8e75432a7af14e6f682 (MD5)
Previous issue date: 2010-10-10Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The purpose of this study is to analyze a research experience involving a group of visually impaired people in an inclusion process through contemporary art, with emphasis on these students learning process. In order to achieve this purpose, data from the Oficina de Arte: reflexões contemporâneas ( Art Workshop: contemporary reflections ) were collected and analyzed. a total of eight people participated in the ten meetings of this three-month workshop. This analysis is the result of reflections that came up during the period as an undergraduate student in a university extension project with a visually impaired group of people. This project entailed some mediation in an art museum, where it was possible to verify the non-presence of this audience in such places. To carry this study, a participative research of qualitative nature was applied. Therefore, data collected from the subjects researched; an investigation of contemporary art and its materials, poetics, contexts and works accessible to the visually impaired, and a pedagogical approach were all taken into consideration. The basic tools and materials used in contemporary art were adapted and analyzed as knowledge mediators in the workshop. For the investigation of the accessibility and inclusion of this audience, the participation of sighted people was requested in the same workshop. Thus, it was possible to establish relationships in the investigation with what concerns the learning process through contemporary art. This data analysis verified the following aspects: visually impaired people are able to appreciate contemporary art through multisensory learning and artwork that requires little or no adaptation; the inclusion may take place in art classes in formal and non-formal learning, with approaches that engage both visually impaired and sighted people
O objeto deste estudo é a análise de uma experiência de pesquisa com público com deficiência visual e sua inclusão por meio da arte contemporânea, com foco nas aprendizagens realizadas pelos estudantes. Foram, para tanto, coletados e analisados dados a partir da Oficina de Arte: reflexões contemporâneas , que contou com a participação de oito pessoas, em dez encontros, em um período de três meses. O presente estudo originou-se de inquietações surgidas no período de estudante de licenciatura e no trabalho em extensão universitária em um projeto com público deficiente visual, no qual ocorreram mediações em um museu de arte, possibilitando constatar a não frequência deste público nestes espaços. Para o desenvolvimento do estudo adotou-se a pesquisa participante, de natureza qualitativa. Assim sendo, organizaram-se os dados a partir do contexto dos pesquisados; investigou-se a arte contemporânea, seus materiais, poéticas, contextos e propostas que fossem acessíveis ao público com deficiência visual; teve-se como foco uma abordagem pedagógica em Arte. Os objetos do cotidiano presente na arte contemporânea foram adaptados e analisados, como mediadores de conhecimentos na oficina. Para que a acessibilidade e inclusão deste público fossem investigadas, na oficina de coleta de dados, optou-se pela participação de pessoas videntes, também. O que permitiu, estabelecer relações, no que diz respeito as aprendizagens por meio da arte contemporânea. Na análise de dados constatou-se, entre outros resultados, que os deficientes visuais podem conhecer a arte contemporânea por meio de aprendizagens multissensoriais e obras que necessitem de pouca ou nenhuma adaptação; que a inclusão pode acontecer nas aulas de Arte no ensino formal e não formal, utilizando-se abordagens que envolvam tanto os deficientes visuais quanto os videntes
48
Hamalwa, Beata. "Beadwork and its impact on contemporary fashion in South Africa." Thesis, Cape Peninsula University of Technology, 2012. http://hdl.handle.net/20.500.11838/2273.
Повний текст джерелаАнотація:
Thesis (MTech (Design))--Cape Peninsula University of Technology, 2012.Judging from the market growth of African-style designs, including beadwork, it is clear that beadwork continues to recur in contemporary fashion, both locally and internationally. This thesis addresses the role traditional South African beadwork plays in contemporary fashion, in an attempt to determine its impact on fashion trends over time. It explores the history of beadwork in South Africa: its development from the pre-colonial era, under colonial rule, and during apartheid. The beadwork of the Ndebele, Zulu and Xhosa are looked at specifically, since beadwork forms a vibrant part of their cultures. The research examines the history of South African beads, as far back as 75 000 years ago, when beads were first made, used and traded. This research is underpinned by the way in which beads contribute to a cultural identity in society. The research considers how South Africa's colonial and apartheid past inhibited the development of beadwork in South African fashion. This thesis describes the process and dynamics of traditional beadwork in contemporary fashion; the way in which beadwork has been infused into fashion; and the reasons for these trends. It also investigates the way in which African designs, patterns, colours and techniques began to playa role in negotiating fashion designers' identities during the African renaissance and at present. This is a qualitative study that through in-depth interviews, analyses the relationship and balance between beadwork and fashion trends. Lastly, the research indicates whether South African fashion consciously affirms beadwork and beading techniques in contemporary fashion design.
49
Parks, Stephen R. "Consuming Digital Debris in the Plasticene." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5438.
Повний текст джерелаАнотація:
Claims of customization and control by socio-technical industries are altering the role of consumer and producer. These narratives are often misleading attempts to engage consumers with new forms of technology. By addressing capitalist intent, material, and the reproduction limits of 3-D printed objects’, I observe the aspirational promise of becoming a producer of my own belongings through new networks of production. I am interested in gaining a better understanding of the data consumed that perpetuates hyper-consumptive tendencies for new technological apparatuses. My role as a designer focuses on the resolution of not only the surface of the object through 3-D printing, but the social implications to acknowledge consequential conditions of new forms of consumer technology.
50
Kapelusz, Anyssa. "Usages du dispositif au théâtre. Fabrique et expérience d'un art contemporain." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030170.
Повний текст джерелаАнотація:
Cette recherche est consacrée à l’évolution de la représentation théâtrale immédiatement contemporaine, à l’aune de mutations induites par un ensemble de croisements interartistiques, intermédiaux et, plus largement, interdisciplinaires. Elle est fondée sur l’analyse d’un corpus de créations mixtes et récentes, qui opèrent un recentrement sur leurs dispositifs, c'est-à-dire un agencement matériel, spatialement installé et multimédiatique. Généralement immersifs, ces derniers provoquent, chez le spectateur, une expérience esthétique individualisée de l’ordre de l’activation physique, de la participation ou de la mise en jeu. Par tropisme langagier, ces créations sont fréquemment désignées comme des "dispositifs", terme qui émerge dès lors que les spécificités théâtrales se voient déplacées, sous l’effet d’hybridations multiples. La thèse s’élabore dans un double mouvement : elle distingue différents usages du "dispositif", dans les discours théâtraux, qui traduisent, à plusieurs niveaux, une mise en tension du dispositif théâtral, alors considéré comme un cadre de référence ; conjointement, la recherche examine ce qui "fait dispositif" au sein de ces pratiques, observant l’articulation entre organisation matérielle et expérience esthétique, au cours de l’évènement. Mêlant étude des discours et approche esthétique, la thèse considère le dispositif sous l’angle d’une dynamique de la variation, et comme le signe d’un repositionnement théorique, focalisé sur enjeux relationnels à l’oeuvre dans ces propositions artistiquesThis Ph.D. dissertation examines the evolution of the theatrical performance – in its most immediately contemporary state – in light of the mutations engendered by a variety of inter-artistic, intermediary and interdisciplinary exchanges. The study is founded on the analysis of a corpus of recent productions that effectuate a conscious re-centering of their own dispositif: namely through establishing a multi-media and spatially-installed material layout. Often immersive, these productions provoke an individualized aesthetic experience in the spectator, materializing in different kinds of physical activation, participation, or direct involvement. By tropism, these creations are frequently designated as "dispositifs", a term that is often applied when the theatrical specificities of a production are displaced, especially after having undergone multiple hybridations. The dissertation proceeds in a double trajectory. First, it distinguishes different uses of "dispositif" in theatrical discourses, which translates on multiple levels into placing the theatrical apparatus under question – much in contrast to theater as a frame of reference. In parallel, the study examines what at the heart of these creative practices actually constructs "dispositif", thus observing the articulation between material organization and aesthetic experience that occurs during the course of the theater event. Mixing the study of discourses and aesthetic approaches, this dissertation considers the dispositif as a dynamic of variation and as the sign of a theoretical repositioning, focusing on the relational positions highlighted in the art work by these different artistic propositions