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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Acts of writing : writings on contemporary performance

Allsopp, Richard David 2000 (has links)
The work published between 1991-2000 and presented here forms a continuing meditation on, and exploration of contemporary performance. The term 'contemporary performance' is used to refer to practices and discourses in the performance arts that have occurred over the last decade. There Is a particular emphasis on those unstable, hybrid and interdisciplinary areas of performance (including performance art, installation, 'new' dance, 'experimental' theatre, 'live' art) which resist easy definition or categorisation, and which may be further characterised as postmodern in the sense of a reflexive, contextualised and knowingly problematic practice. More specifically the work builds a sustained thesis on contemporary practice and addresses in a number ways some of the central Issues surrounding the placing and practice of performance. It focuses on relationships between performance, textuality, the body, and spatiality; as well as on Issues of context, framing and the place of performance in contemporary culture. The work engages with a number key terms applied to contemporary performance Including ephemerality, displacement, equivalence and ecology, which contribute to the central thesis that contemporary performance Is an unsettled yet always contextualised practice which resists fixities and holds itself between a condition of fragmentation and integration. Contemporary performance is considered from a number of points of view: " as performance: where the events and relationships which constitute performance can be documented and mapped; " as contextuaiised practice: where the conditions that enable or disable performance can be identified; " as process : where the dynamics and media of performance can be situated; " as site : where the frames, surfaces and boundaries of performance can be examined; 7 Acts of Writing - Ric Allsopp (July zooo) Abstract " as ecology: where the Internal and external Interdependencies of performance can be Identified; " as a problematic: where the terms and assumptions that constitute a reading of performance can be Identified and analysed. Two key ideas inform the thesis that emerges from the work: firstly the recognition of an ethical stance towards performance; and secondly the search for a methodology which can disclose the dynamics of performance. The'acts of writing' are seen as an active as well as reflective methodology - an engagement with the event of performance understood as a located, contextualised practice. The published work presented here sets out some of the underlying conditions and methodologies from which my work in the field of contemporary performance proceeds. As a thesis It provides sustained evidence of a 'multiple practice' - that is a set of practices and engagements in the field of research that explore what might be termed the 'ecology' of contemporary performance from various positions. This multiple practice Is a way of locating the work and of attempting to realise an ethical stance towards performance. The recognition that the conditions of contemporary performance depend on an Interdependency of contexts and that performance situates Itself as an unstable catalyst that oscillates between these contexts has enabled me to locate my research into contemporary performance In the variety of ways evidenced by the published output collected here.

New utopia

Matsubara, Mayumi 2008 (has links)
When I observed Japan from a distance for the first time, I found a similarity between Japanese society and the idea of 'Utopia, 1 and I became interested in society as subject matter. Researching Plato and Thomas More's ideas of 'utopia 1 was the starting point of my research. When I realized Utopia is indeed a place without freedom, I became interested in the other 'possible world/ a world different from our reality. I have been obsessed with the idea, and I began making artworks related to the idea. 'Heterotopia 1 seemed to have a strong connection with the 'possible world, 1 and Michel Foucault became essential for my theoretical study. I spent a year researching on the theory, which later became the foundation of my studio practice. Along with these theoretical studies, I researched photographs of children which were related to the subject of my digital practice. By analyzing the work, I developed and understanding my practice. I improved the interdisciplinary aspects of my work by researching related artworks and films, and developed advanced techniques in digital media and collage. After studying the theory and writing the proposal for the Professional Doctorate programme, I found it difficult time for me to organize my ideas and relate these thoughts to my practice. The critical reviews helped me to reconsider my work and its presentation. While concentrating on my study and practice, I collaborated with other artists and designers in professional practice. I also curated a group exhibition, and the experience expanded my art practice in a new way.

Narrating blackness : studies in femininity, sexuality and race in European and American art of the nineteenth-century

Nelson, Charmaine Andrea 2001 (has links)
This dissertation is an exploration of the representation of black female subjects within American and European art of the nineteenth century. The popularity of Cleopatra among artists and specifically her nineteenth-century re-incarnation as a black woman, has been used as a starting point for an examination of abolitionist visual discourse and for the examination of the (im)possibility of the black female subject within western visual culture generally. The period of study includes a time of great change and upheaval in the social, symbolic and legal status of the black body, marking the shift from Trans Atlantic Slavery through abolitionism to Emancipation - which is also the transition from the enslaved to the "liberated" black body. I have chosen to focus upon neoclassical sculpture in order to explore its aesthetic and material specificity which, privileging white marble, disavowed the signification of race at the level of skin/complexion. Within neoclassicism, racial disavowal was also registered at the level of subject, symbolism and narrative where the white fear and rejection of the so-called full-blooded negro type resulted in the prevalence of the white-negro body of the inter-racial female -a miscegenated body that in its proximity to whiteness both alleviated and (em)bodied the cross-racial contact which colonial logic most abhorred. But my choices are also informed by my desire to interrogate neoclassicism's investment in the racial differencing of bodies and its relatedness to the biological construction of race within nineteenth-century human sciences. Both fields were dependant upon the paradigmatic status of the white male body as the unquestioned apex of an hierarchical arrangement of racial types and the authority of vision as a supposedly objective tool of physical observation and differentiation. Neoclassical objects have been contextualized by sculpture of other media, specifically polychromy, as well as painting and other popular cultural objects to demonstrate the representational limits and subjective possibilities of specific art forms. These different styles and types of art were governed by different material and aesthetic requirements and practices which engendered different processes of viewing. However, this is not only an exploration of identity and identification of the represented subject, but also an inquiry into how the identity of the artists/producers and viewers impacts their representation and consumption of "other" bodies. This dissertation is an intervention into the hegemonic practice of western culture which challenges the traditional disciplinarity of art history by insisting upon the importance of race to cultural practice. Using post-colonial and feminist rereadings of Freudian and Lacanian psychoanalysis which can account for both the material and the psychic, I have theorized the process through which racial identification is achieved, locating culture as a colonial field where identifications are produced, secured and deployed. The significance of a black feminist agenda is the fundamental belief in the inseparability of sex and gender identifications from race and colour in any-body, as well as an attentiveness to the multiplicity and simultaneity of marginalization. Ultimately, I am questioning the extent to which an identification is registered not only in the object of representation, but occurs within the process of viewing.

Skins\screens\circuits : how technology remade the body

Kinsey, C. E. C. 2012 (has links)
This thesis is an analysis of the social, political and historical inter-relationships between moving image technologies, constructions of gender and sexuality, and theories of science and technology. Presented as a series of case-studies on film, video, medical imaging and computer technology in the work of five women artists, this thesis looks at the way in which artistic practice overturns traditional theories of technology as purely ‘instrumental’, theories of the subject in which identity is tied to the body, and the assumption that women do not access technology in a sophisticated way. It considers the various ways in which women artists have engaged with, and subverted, the explicit body in representation through deploying new moving image technologies at the historical moment of their widespread distribution across domestic, artistic, pornographic and medical spheres. It ends by asking what is the political potential in challenging the anthropomorphic and destabilizing the figurative through abstraction? Beginning with an investigation into the way in which Carolee Schneemann uses the material properties of film to establish a haptic encounter, in which female and feline bodies are caught up in a sexual economy of touch (pet/petting), this thesis then looks at the work of Kate Craig and the mutual expansion of pornography and home-video technology, questioning the emergence of the ‘amateur’ in relation to theories of power and gender; offers a technological and philosophical modeling of medical imaging technology (taking endoscopy in the work of Mona Hatoum as a case study); and re-evaluates the use of binary in information systems beyond a limiting analogy with ‘Western binaries’ through the work of Nell Tenhaaf. Using the languages of art history together with science & technology studies, medical discourse and feminism, this research theorises gender, technology and medicine as systems of representation that are all deeply inter-connected.

The Leopard Men of the Eastern Congo (ca. 1890-1940) : history and colonial representation

Van Bockhaven, Vicky 2013 (has links)
The research begins with a sculpture representing a “Leopard Man”, threatening to attack a sleeping victim, at the Royal Museum for Central Africa, Belgium. Recently this colonial icon was criticised for presenting a racist image. Leopard men killed on behalf of chiefs in the east of Congo (ca. 1890-1940). The emergence of a mythology of leopard men is analysed in relation to its suppression as an anti-colonial movement in the colony. This research highlights the distinctive potency of ethnographic objects as proof, shaping experiences of the colonised in the colonial museum, in relation to the text-focused study of the colonial discourse. The history of leopard men is reconstructed to break away from an exotic and de-historicised understanding. Two eastern Congolese varieties, anioto and vihokohoko, are studied, from which the RMCA display was derived. The micro-histories of conflict clusters are considered in the context of the Zanzibari slave trade and the Belgian colonisation as forms of empowerment. Anioto and vihokohoko are further studied in their cultural history. They are regarded as institutional developments in the context of political competition. Mythologisation in colonial sources is regarded as a process of structuration underlying all expressions of human experience. While rooted in reality, such expressions are also shaped by what people desire to believe. This occurs in line with a cultural logic and the rhetoric of rumour with the most potent elements being singled out to support the colonial discourse, leaping into fiction. Leopard men accounts are structured after culturally effective traditions of narration, presenting the civilising project as a moral victory of good over bad. Leopard men became an epistemological category, a morally inferior, animal-like opponent threatening the colonial order. The use of costumes and claws for the killings was falsely exaggerated, because their form objectifies the colonial logic.

Awakening a higher ambition : the influence of travel upon the early career of Owen Jones

Ferry, Kathryn Rachel 2004 (has links)
No description available.

The public face of German expressionism : a study of the Brücke artists' interior designs

Soika, Aya Ricarda 2001 (has links)
No description available.

Immaculate conception : Richard Hamilton's digital prints

Singer, Fanny Louise 2013 (has links)
No description available.

Coding the image : ugliness and the development of Victorian photographic portraiture

Tribe, Vivien 2003 (has links)
No description available.

System, Control and Sustainability : A Concept of Control in the Local Environment System

Nabih, Wael Mohamed Ezzat Said 1999 (has links)
No description available.

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