No description available.

The written aspect of this practice-based thesis ‘collates’ a one-day event exploring the question, ‘What is dialogic art?’ into a textual account. The practical aspect threads through this account, with reference to its dissemination elsewhere made frequently. The event ‘documented’ here is a ‘barcamp’, a kind of ‘unconference’ that combines presentations with responsive discussion. This barcamp brings together practitioners of art, activism, education, philosophy, sociology, sociolinguistics, literary theory and criticism, and others to explore dialogic art through a dialogue that moves amongst their respective points of view. The barcamp’s collation tracks the contributors’ discursive struggle to co-author dialogic art as a dialogue-based approach to contemporary art practice. ‘The dialogic’ that qualifies this art accretes through the barcamp as an artistic disposition preoccupied with the constitutive agency of dialogue, understood here in an expanded sense. This disposition explores the myriad relations that preoccupy authorship qua authorship. These include the material and conceptual thresholds organising creative agents and their cultural production: participation and collaboration, process and outcome, the author and the authored. The epistemological foundation of this barcamp can be defined as dialogic because it understands knowledge as arising from social relations and enacted through intersubjective exchange. Similarly, the ontological basis for this project issues from a post-structuralist sense of subjectivity as simultaneously dispersed and multiple, distributed amongst authors. These philosophical perspectives underpin the theory of subjectivity evolved through dialogic art. This theory recommends the art’s authors as ‘responsive subjects’—artist-agents who are themselves reciprocally authored through their artistic practice. This reciprocal authorship explodes the twin myths of the independent artistauthor and the discrete artwork without abandoning the facticity of their historical existence. Always contingent, dialogic artworks and their artist-agents are presented in this project as polyphonic portraits of heterogeneous becoming achieved through dialogic exchange.

Art is one of life’s great joys, whether beautiful, ugly, sublime or shocking. Whilst neuroimaging studies using visual art as stimuli have yielded a wealth of information regarding aesthetic appreciation and beauty, few have considered a wider range of emotions or the effect of expertise and context. In order to address this three studies were conducted. The first studied the time course of visual, cognitive and emotional processes in response to visual art by investigating the event-related potentials (ERPs) elicited whilst viewing and rating the visceral affect of art, in artists and non-artists. The second, behavioural, study questioned the ecological validity of using reproductions of art. Contextual differences in arousal, aesthetic response, viewing time and memory, were explored. The final study aimed to extend the findings of the first two. Continuous EEG was recorded to explore effects of expertise and context on phase synchrony bands during the contemplation of art in a gallery. Behavioural measures and structured interviews were employed to examine the impact of contemplating art on subjective feelings, mood and memory. A number of negative environmental factors adversely affected collection and validity of the continuous EEG data, which was not considered further. There were three prominent findings. First, looking at art is interesting and rewarding, particularly for experts. It is not dependent on aesthetic preference, although expertise is important regarding the appreciation of abstract art. Second, the response to art is not isolated from the context in which it is experienced, whether the physical context of a gallery vs. laboratory, or original vs. reproduction. Finally, both the prospect of looking at art and contemplation of art, whether original or reproduced, increases calmness and contentedness and decreases alertness, irrespective of expertise. Interest and curiosity are the dominant factors eliciting positive mood and positive emotions. Looking at art is relaxing and is good for you.

No description available.

How do contemporary imaging devices and the forms in which images are displayed affect our perception of Mars? How are scientists and engineers visually exploring, experiencing and navigating this uninhabitable terrain? Can we better understand this virtual landscape through immersive imaging techniques, or are these simply illusions? At what point does the glitch invade these immersive spaces, throwing us back into the realm of the image? And finally, can the glitch be seen as a method towards another kind of visibility, enabling us to ‘see’ and encounter Mars in productive ways? Through the analysis of contemporary representations of the Martian terrain, Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images offers a new contribution to studies of the digital and virtual image. Specifically addressing immersive image forms used in Mars exploration the research is structured around four main case studies: life-size illusions such as panoramas; 3D imaging; false colour imaging; and the concept of a ‘Mars Yard’. The thesis offers a new understanding of human interaction with a landscape only visible through a screen, and how contemporary scientific imaging devices aim to collapse the frame and increase a sense of immersion in the image. Arguing that these representations produce inherently virtual experiences, their transportive power is questioned, highlighting the image as reconstructed – through the presence of a glitch, illusion is broken, revealing the image-as-image. This thesis takes an interdisciplinary approach in which scientific images are analysed through the prism of photography’s relationship to reality, theories of vision and perception, representations of landscape, and digital and virtual image theory. At the heart of this thesis is the act of looking; critical and speculative writing is used to convey immersive encounters with images at NASA and the Jet Propulsion Laboratory (USA); University College London’s Regional Planetary Imaging Facility; Airbus Defence and Space (UK); the photographic archive at the V&A; and the Panorama Mesdag (Netherlands). The research re-examines scientific forms of images against examples from the history of visual culture (be it art or popular culture) to draw parallels between different ways of seeing, representing and discovering the unknown. The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break. Mars, Invisible Vision and the Virtual Landscape offers a two-way impact, constituting a new approach to the relationship between real and imagined images in order to demonstrate that the real Mars, however it is represented and perceived, remains distant and detached.

An anthropological study of urban practice, this thesis contributes a nuanced understanding of the role of visual art in regeneration. Inspired by the experiential philosophy of Dewey (1934), we have traced the effects mobilised by art as part of urban transformation. The literature of cultural policy and ‘culture-led regeneration’ (Vickery, 2007), discusses art as physical artworks, in support of development; or as socially-engaged practice, in support of social renewal. Through tracing the movements of all the actors involved, our research goes beyond explanation in support of policy targets. We have described what happens in practice, on its own terms. To account for a range of professional perspectives, the research included four empirical studies at different proximities to practice: an exploratory study embedded in art practice; eighteen in-depth interviews with a range of art and regeneration professionals; sixteen in-depth interviews with practitioners of an Urban Regeneration Company (URC) case study; and a six-month ethnography of the same URC case. Accounting for the agency of humans and non-humans (Latour, 2007a), our explications took close account of the effects produced by the associations of urban relationships, between: engineers, planners, construction workers, and artists; as well as plans and drawings, objects, materials, concepts, ideas and natural elements. Through tracing actors at the ‘microscopic’ (Geertz, 1973) scale, we did not observe art as ‘works’, but the way art works as a driver for re-imagining the urban. In practice, we see regeneration not as buildings or communities, but as a continuous process of re-shaping human-physical relationships. As part of this relational network, art ‘mediates’ (Hennion, 1997) participation, collaboration and reflection on the ambitions of regeneration: producing new ideas for urban possibilities. The effects are produced through the continuous associations between ‘inner’ (human) and ‘outer’ (physical) materials. These material associations meld to create a neutral platform for professionals to shift from their usual remit; to re-consider the ‘big picture’ from a new perspective. Regeneration is an active part of the political landscape. As a catalyst for urban imagination, rather than deliver policy objectives, art re-shapes them. Through tracing practice this research contributes new understandings to the study of art and regeneration. By revealing urban networks through tracing art, rather than explaining regeneration as physical or social, we have made a contribution to urban studies by describing the micro movements of regeneration as a relational practice. As a contribution to art studies, through tracing how art works in regeneration, we have produced nuanced descriptions of how art ‘mediates’ action and reflection in and on urban practice. As a contribution to policy and practice, we have articulated the role of visual art in regeneration as: mediating emergent imaginings; re-shaping rather than delivering objectives. As a tool for the policies of the time, ‘regeneration’ has a shelf-life. As an articulation of the role of art as a catalyst for collaboration in support of positive urban transformation, the findings of this study continue to be relevant.

A Lama Negra de Peruíbe é utilizada em tratamentos terapêuticos, tais como, psoríase, dermatites periféricas, acne e seborreia, além de utilizações em mialgias, artrites e processos reumáticos não articulares. Assim como a demais argilas medicinais ela pode não estar isenta de possíveis efeitos danosos à saúde, sendo os principais, a ocorrência de minerais perigosos ao sistema respiratório e possíveis efeitos devido à presença de elementos tóxicos. Uma vez utilizado com finalidade terapêutica, um material deve ser completamente caracterizado e, desta forma, amostras da lama negra de Peruíbe foram analisadas para determinar suas propriedades físicas e químicas: teor de umidade, matéria orgânica e perda ao fogo; pH, granulometria, capacidade de troca catiônica e grau de inchamento; composição elementar determinada por Análise por Ativação Neutrônica, Absorção Atômica com Forno de Grafite e fluorescência de raios X e composição mineralógica determinada por difração de raios X. Outra ferramenta bastante utilizada para avaliar o comportamento de elementos traço em diversas matrizes ambientais é a extração sequencial. Sendo assim, foi feito um processo de extração sequencial para fracionar a lama em formas geoquímicas específicas e verificar como e em que quantidade os elementos estão contidos nela. Considerando os diversos procedimentos de extração seqüencial, foi utilizado o método BCR-701 (Community Bureau of Reference) por ser o mais reprodutivo entre eles bem como uma extração simples com suor artificial a fim de se avaliar quais elementos estão potencialmente disponíveis para absorção pela pelo do paciente durante um tratamento tópico. Os resultados indicaram que a lama é constituída basicamente por um material silto-argiloso, rico em matéria orgânica e com boa capacidade de troca catiônica. Não foram observadas variações significativas na composição mineralógica e elementar das formas in natura e maturada da lama. As análises por extração sequencial e extração simples indicaram que os elementos que estão eventualmente disponíveis em maior quantidade para serem absorvidos pela pele durante o tratamento são Ca, Mg, Mn e Na. / The Peruíbe Black mud is used in therapeutic treatments such as psoriasis, peripheral dermatitis, acne and seborrhoea, as well as in the treatment of myalgia, arthritis, rheumatism and non-articular processes. Likewise other medicinal clays, it may not be free from possible adverse health effects due to possible hazardous minerals leading to respiratory system occurrences and other effects, caused by the presence of toxic elements. Once used for therapeutic purposes, any given material should be fully characterized and thus samples of Peruíbe black mud were analyzed to determine physical and chemical properties: moisture content, organic matter and loss on ignition; pH, particle size, cation exchange capacity and swelling index. The elemental composition was determined by Neutron Activation Analysis, Atomic Absorption Graphite Furnace and X-ray fluorescence; the mineralogical composition was determined by X-ray diffraction. Another tool widely used to evaluate the behavior of trace elements, in various environmental matrices, is the sequential extraction. Thus, a sequential extraction procedure was applied to fractionate the mud in specific geochemical forms and verify how and how much of the elements may be contained in it. Considering the several sequential extraction procedures, BCR-701 method (Community Bureau of Reference) was used since it is considered the most reproducible among them. A simple extraction with an artificial sweat was, also, applied in order to verify which components are potentially available for absorption by the patient skin during the topical treatment. The results indicated that the mud is basically composed by a silty-clay material, rich in organic matter and with good cation exchange capacity. There were no significant variations in mineralogy and elemental composition of both, in natura and mature mud forms. The analysis by sequential extraction and by simple extraction indicated that the elements possibly available in larger quantities to be absorbed by the skin during treatment are Ca, Mg, Mn and Na.

陳薇嬌 = A study of Li Po's poems of parting / Chan Mei Kew. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部,1995. / 參考文獻: leaves 286-300. / Chen Weijiao = A study of Li Po's poems of parting / Chan Mei Kew. / Chapter 第壹章 --- 緖言 --- p.1 / Chapter 第貳章 --- 送別詩淵源 --- p.10 / Chapter 一、 --- 先秦至盛唐送別詩概述 (10) / Chapter 二、 --- 中國送别詩共同特徵 (19) / Chapter 第叁章 --- 李白送別詩簡述 --- p.33 / Chapter 一、 --- 定義與數量 （33) / Chapter 二、 --- 體裁 (35) / Chapter 三、 --- 對象 （37) / Chapter 四、 --- 去處 （44) / Chapter 五、 --- 季節 (46) / Chapter 第肆章 --- 李白送別詩的主題內涵´ؤ´ؤ --- p.52 / Chapter 一、 --- 惜別深情（52) / Chapter 二、 --- 人生嗟嘆 （72) / Chapter 三、 --- 事功祝福 （77) / Chapter 四、 --- 失意寬慰 (83) / Chapter 五、 --- 逐臣怨憤 (89) / Chapter 六、 --- 歸隱企慕 (98) / Chapter 七、 --- 山水描繪 （107) / Chapter 八、 --- 人物勾勒 (116) / Chapter 第伍章 --- 李白送别詩的藝術手法´ؤ´ؤ --- p.136 / Chapter 一、 --- 送別環境氣氛之醞釀 (136) / Chapter 1. --- 選擇風景（137) / Chapter 2. --- 點染色彩（145) / Chapter 3. --- 調配音聲（152) / Chapter 4. --- 設計畫面（158) / Chapter 二、 --- 行子居人情緖之抒發 (163) / Chapter 1. --- 營造意象（164) / Chapter 2. --- 運用典故(188) / Chapter 3. --- 直抒胸臆（202) / Chapter 4. --- 駕馭想象（205) / Chapter 5. --- 遺措字句（212) / Chapter 第陸章 --- 結語-李白送別詩的 特色、成就與評價 --- p.255 / Chapter 一、 --- 李白送別詩的特色與成就 （255) / Chapter 二、 --- 李白送別詩的評價 (266) / 附錄一：李白送別詩總目 --- p.275 / 附錄二 ：主要參考書目 --- p.286 / Chapter 甲： --- 專書 (286) / Chapter 乙： --- 論文 （296)

A Lama Negra de Peruíbe é utilizada em tratamentos terapêuticos, tais como, psoríase, dermatites periféricas, acne e seborreia, além de utilizações em mialgias, artrites e processos reumáticos não articulares. Assim como a demais argilas medicinais ela pode não estar isenta de possíveis efeitos danosos à saúde, sendo os principais, a ocorrência de minerais perigosos ao sistema respiratório e possíveis efeitos devido à presença de elementos tóxicos. Uma vez utilizado com finalidade terapêutica, um material deve ser completamente caracterizado e, desta forma, amostras da lama negra de Peruíbe foram analisadas para determinar suas propriedades físicas e químicas: teor de umidade, matéria orgânica e perda ao fogo; pH, granulometria, capacidade de troca catiônica e grau de inchamento; composição elementar determinada por Análise por Ativação Neutrônica, Absorção Atômica com Forno de Grafite e fluorescência de raios X e composição mineralógica determinada por difração de raios X. Outra ferramenta bastante utilizada para avaliar o comportamento de elementos traço em diversas matrizes ambientais é a extração sequencial. Sendo assim, foi feito um processo de extração sequencial para fracionar a lama em formas geoquímicas específicas e verificar como e em que quantidade os elementos estão contidos nela. Considerando os diversos procedimentos de extração seqüencial, foi utilizado o método BCR-701 (Community Bureau of Reference) por ser o mais reprodutivo entre eles bem como uma extração simples com suor artificial a fim de se avaliar quais elementos estão potencialmente disponíveis para absorção pela pelo do paciente durante um tratamento tópico. Os resultados indicaram que a lama é constituída basicamente por um material silto-argiloso, rico em matéria orgânica e com boa capacidade de troca catiônica. Não foram observadas variações significativas na composição mineralógica e elementar das formas in natura e maturada da lama. As análises por extração sequencial e extração simples indicaram que os elementos que estão eventualmente disponíveis em maior quantidade para serem absorvidos pela pele durante o tratamento são Ca, Mg, Mn e Na. / The Peruíbe Black mud is used in therapeutic treatments such as psoriasis, peripheral dermatitis, acne and seborrhoea, as well as in the treatment of myalgia, arthritis, rheumatism and non-articular processes. Likewise other medicinal clays, it may not be free from possible adverse health effects due to possible hazardous minerals leading to respiratory system occurrences and other effects, caused by the presence of toxic elements. Once used for therapeutic purposes, any given material should be fully characterized and thus samples of Peruíbe black mud were analyzed to determine physical and chemical properties: moisture content, organic matter and loss on ignition; pH, particle size, cation exchange capacity and swelling index. The elemental composition was determined by Neutron Activation Analysis, Atomic Absorption Graphite Furnace and X-ray fluorescence; the mineralogical composition was determined by X-ray diffraction. Another tool widely used to evaluate the behavior of trace elements, in various environmental matrices, is the sequential extraction. Thus, a sequential extraction procedure was applied to fractionate the mud in specific geochemical forms and verify how and how much of the elements may be contained in it. Considering the several sequential extraction procedures, BCR-701 method (Community Bureau of Reference) was used since it is considered the most reproducible among them. A simple extraction with an artificial sweat was, also, applied in order to verify which components are potentially available for absorption by the patient skin during the topical treatment. The results indicated that the mud is basically composed by a silty-clay material, rich in organic matter and with good cation exchange capacity. There were no significant variations in mineralogy and elemental composition of both, in natura and mature mud forms. The analysis by sequential extraction and by simple extraction indicated that the elements possibly available in larger quantities to be absorbed by the skin during treatment are Ca, Mg, Mn and Na.

The main purpose of this research is to examine artistic thinking processes from my practical experience as an artist. This thinking process is discussed through my term: 似藝術-art-like in the context of 'practice-based research'. '似藝術-art-like' is an amalgamated form of Mandarin characters with English words; it is both a picture and a word that serves as a temporary conceptual framework that aims to keep possibility open and meaning mobile.' Significantly,似藝術-art-like is addressed through language and artworks together with an attempt to reinterpret the relation between thinking, outcomes of thinking, and the complexity of meaning in relation to art. 似藝術-art-like operates as a temporary conceptual framework for discussing the thinking process and demonstrating the problems and contradictions in art research. This is a practice-based study so that visual and written elements and the structure of the thesis are each approached as a form of 'practice'. In addressing 似藝術-art-like in the written elements of the thesis, a series of stratagems or gambits are employed that attempt to explain or find formulation for the developing thinking process in art research. Each gambit is a form of artifice that serves to demonstrate the pursuit of addressing thinking through language as an impossible task, and functions as a manoeuvre for opening a conversation in understanding the thinking process in art. To facilitate my understanding, I explore my questioning of thinking in relation to Jacques Derrida's supplement and différance, Gilles Deleuze and Félix Guattari's rhizome, Mieke Bal's, framing, Susanne Langer's distinction between art and language, and Immanuel Kant's disinterestedness and aesthetic idea. It becomes apparent that no one theory satisfactorily explains what happens; it is too complex. Presentation of the inadequateness and contradictions in my developing process provides an examination of there being no specific answer. As a result, I conclude that utilising written words and artworks in my thinking processes and demonstrating them as physical outcomes is a process of constant confrontation with contradictions. It is a provocation that makes an artist-based researcher/research-based artist, re-think, re-disturb, re-articulate, and re-consider the conceptual frameworks in relation to developing artistic research. Ultimately, this research responds to the problems surrounding the relationship between thinking and the outcomes of thinking and meaning in relation to art. It demonstrates the difficulties and complications for seeking mobile thinking and for exploring the possibilities of artistic research. As a whole, the research points out the complexity of the process in terms of employing thinking through artworks and written words together. This invites a suspension of preconceived concepts and questions what knowledge mightbe in the context of an art enquiry.