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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.

The life and work of Sir Frank Mears : planning with a cultural perspective

Purves, Graeme A. S. 1987 (has links)
No description available.

The inner limits to sustainable development : Collor's environmental programme and the lessons of a failed experiment

Amparo, Paulo Pitanga do 1995 (has links)
No description available.

Reconstruction policy and implementation in war disaster areas : the case of Khorramshahr, Iran

Motawef, Sharif 1996 (has links)
No description available.

Planning, conservation and tourism : a comparison of capacity analysis in Edinburgh and Prague

Simpson, Fiona R. 1997 (has links)
No description available.

National and international shelter policy initiatives in Mozambique : housing the urban poor at the periphery

Jenkins, Paul 1998 (has links)
No description available.

Planning for regeneration in a situation of port retreat : approaches in Europe and lessons to Japan

Ozawa, Ryoichi 2000 (has links)
No description available.

Caspar David Friedrich, Christian Friedrich and the woodcut in Germany in the Romantic period

Kuhlemann, U. C. 2010 (has links)
This thesis investigates the German artist Caspar David Friedrich and his involvement in the woodcut production of his brother, the carpenter and furniture maker Christian Friedrich. An analysis of published correspondence and other, previously unpublished material reveals that the collaboration of the Friedrich brothers lasted circa 25 years and encompassed the production of at least twelve, probably fourteen woodcuts. During this period, Caspar David Friedrich's role changed significantly, from initial designer to later agent and general advisor. It also becomes apparent that this collaboration was not without tensions, which can be related to the brothers' different backgrounds and respective expectations from the woodcut technique. The Friedrich brothers' various woodcut activities are further investigated in the print-historical context of woodcut making in early nineteenth-century Germany. This includes a discussion of the woodcut practitioners Johann Friedrich Unger and Friedrich Wilhelm Gubitz and the emergence of the English wood-engraving technique, popularised by Thomas Bewick and his pupils. Particular attention is paid to the reproductive applications of the woodcut technique which ranged from ephemeral printmaking, textile-printing, book decorations to fine art reproduction. The thesis concludes with a discussion of the Romantic movement and the discovery of the woodcut's potential as symbol of cultural identity. Within this context, the Friedrich brothers' early woodcuts are re-evaluated as illustrative work for a possible publication of poems and texts by Caspar David Friedrich.

What art and science want : disciplines and cultures in contention

Stones, A. 2011 (has links)
Art and science cannot 'want' anything, but artists can be interested in disciplinary outcomes other than those authenticated within their own field, and scientists can want a greater sense of cultural agency than is allowed within a strictly-ruled discipline. The pursuit of such aspirations puts into contention the integrity of arts and sciences as disciplines (for knowing and making a world), and the effectiveness of their cultures in transmitting their selectivist disciplinary gains, or opening them to participation and scrutiny. This inquiry uses Pierre Bourdieu's formulation of the social fields of art and science critically within a self-reflexive (artist's) discourse. It asks whether aspirations to extend art and science in the ways summarized above are mutually-enhancing, or part of a struggle for disciplinary dominance and the control of normative culture. The aim is a better understanding of what is at stake for an ambiguously-defined contemporary art when artists and scientists extend their interests to each other's fields – given that their aspirations ('wants') can be disciplinary or cultural, and either intrinsic or extrinsic, conventionally speaking, to their home fields. Conventionally, art as a discipline modulates between the aesthetic and the intellectual, the wild and the rational, remaining ambiguous about its precise gains. Within the extended field of art, this ambiguity is resolved opportunistically, among mutuallydependent agents: artists, curators, academics, collectors (etc.). Explicitly scienceengaged art is a special case within this art world, and, conversely, art-world conventions are rejected by some prominent art-science practitioners. Such selective authentications and disavowals raise the stakes around science-engaged art. On the one hand it seems, at best, to be merely indexical of the ongoing scientification of everything; on the other, it particularizes the idea of art as a vector of rational agency, inviting a new necessity and progressivity in art.

Play as evolving process in the work of Eduardo Paolozzi, Philip Guston and Tony Oursler

Thomas, E. 2013 (has links)
This practice-related study uses a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler. All three artists express a need to create a semblance of life. Drawing on the work of D.W. Winnicott, Jean Piaget and Brian Sutton-Smith, the desire to animate matter is explored as the persistence of animistic play during adulthood. For Paolozzi, this desire is articulated as an attempt at “going beyond the Thing, and trying to make some kind of presence”;1 for Guston, it is expressed as a need to create “an organic thing that can lead its own life”2 and for Oursler, this manifests through a fascination with videoʼs ability to transform the “inanimate to animate”.3 By concentrating on the artistsʼ processes, the thesis explores the productive potential of moving away from a retrospective approach to childhood play. The particular form of play examined in this thesis is defined as a group of activities, objectives and perceptions that evolve. This enables the focus of the study to shift from the interpretation of a final image onto a potential toolkit of methods. The thesis uses this supposed ʻtoolkitʼ to activate the work in order to keep process alive in an object or image. The artistsʼ processes are seen to engage with the unforeseen and the unresolved. The repeated presence of stacking and piling in the work of Paolozzi and Guston is explored as a responsive process, whilst a notion of emergent narrative is proposed to place works by all three artists within change. Finally, the artistsʼ processes are discussed in relation to definitions of absurdity. In this context the artistsʼ uses of contradiction and incongruity are seen as means to suspend finality.

The 'mirror with a memory' : vision, technology, and landscape in the United States, 1830-1880

Leonardi, N. 2012 (has links)
This dissertation analyses the social, cultural, and material construction of the landscape observer in the United States in mid-nineteenth century. Based on the aesthetic ideal of a perfect union between technology and nature, the reception of landscape entailed the notion of the artist/observer as a hybrid figure that comprised the human and the machine. This quasi-mechanical gaze, individual and corporate at the same time, played a determining role in the construction and diffusion of a nationalist model of democratic spectatorship embedded within pastoral ideology. In this cultural climate, the photographic apparatus, defined by Oliver Wendell Holmes as a ‘mirror with a memory,’ was adopted as a model for the landscape observer. Contrary to previous studies on the relationship among vision, technology, and modernity, in which modern visuality is considered as an abstract, totalizing, and homogeneous phenomenon based on a francocentric model, this dissertation emphasizes the ‘plurality’ of modern vision by situating visual practices and technologies within their specific local and material contexts. First, I discuss how the nineteenth-century enthusiasm for technology shaped the representation and reception of landscape within the visual arts, constituting the American spectator as a performative and collective cohabitation of the visual and the political. The analysis moves on to show how ‘high’ and popular culture embraced the model of the ‘mirror with a memory.’ Transforming landscape experience into a personal and collective ritual of nation formation, this model informed the paintings hanging in the homes of the élites, the large canvases by famous artists shown to the wide public as ‘Great Pictures Exhibitions,’ panorama and diorama spectacles, stereoscopic photography. Lastly, I investigate the relationships among scientific culture, survey photography, and landscape painting. Rather than questioning photography’s ‘artisticity,’ I look at the commercial and debased manifestations of painting and their relation with popular culture at the time of industrialization, media explosion, and the commodification of images.

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