Abstract not available.

Abstract not available.

Abstract not available.

Appreciation of the landscape has occurred throughout human history. Only in recent times, however, has the majority of the population, and then only in the richer "developed" countries, had the leisure time to enjoy it. Formerly the landscape was merely the hack-drop to toil except for the few individuals granted, through circumstances, time they could spend "unproductively." By contrast, today we have a situation where landscape has become the land's newest resource, eagerly sought out and argued for by increasing numbers of people. This thesis is an analysis of landscape as a resource. Recognising the comparative new-ness of the field and the consequent proliferation of exploratory studies on its many aspects, the present work does not pretend to extend the field into higher realms of learning: it is an attempt to review and correlate the more relevant areas of significance. Among them are the development of attitudes towards the landscape, the basic visual elements of the landscape and how they are perceived and subsequently modified by preconceptions, and the present-day situation where attempts are being made to accurately describe and quantify the landscape resource and evolve a discipline of visual resource management. / Forestry, Faculty of / Graduate

It is the purpose of this paper to examine the continuing manifestations of nature in Canadian art since the time of the Group of Seven. It has been the writer's endeavour to handle the available material in such a manner as to show not only the persistence of the nature theme, but also to show that the changes in the expression of this theme have followed basically the general trends in Canadian art since that time. Whenever possible, relevant comments by critics and writers of the period have been included so that works may be considered in the opinion of the acknowledged authorities of the day, as well as to a degree in retrospect. Pertinent comments by artists concerning their work and their attitude to art, as it relates to the general subject, are also included. In the past fifty years Canadian artists have responded to their environment in countless ways, and many meaningful interpretations have resulted. In addition to traditional landscape expressions which reflect our most familiar conception of nature, manifestations of responses to other aspects of nature are included. Nature is thus taken, for the purposes of this paper, in a wider meaning to include a number of conceptions of the physical world and its phenomena: a number of aspects of the world not made by man. In the opening chapter the facts concerning the establishment of the landscape tradition in Canadian art are reviewed. There is consideration also for the question that is rarely posed, as to why the strong sense of nationalistic pride of members of the Group of Seven found all but exclusive artistic outlet in interpretations of the rugged Canadian northland. During the Thirties the Canadian lanscape remained as the main theme of Canadian artists, and imitation of Group methods was rampant. However, in the works of some artists, it is noted that subject matter becomes more intimate and the statements more personal. The avant-garde Montreal painters in the Forties sought to replace the prevailing obsession with landscape, with works derived from School of Paris influence. Although these artists were to spurn the prevailing devotion to typically Canadian subject matter, the presence of nature, perhaps unconsciously revealed, is apparent in many of their works. Following the innovations in Montreal, School of Paris influences spread across Canada during the Forties and early Fifties, and many interesting landscape abstractions evolved. In many instances the French 'manner' was consciously applied to the traditional Canadian 'matter'. With the adoption of methods of the New York Abstract Expressionists, following the mid-Fifties, Canadian artists frequently expressed themselves in the form of 'gestural' landscapes. The Canadian environment is no longer the prime inspirational force in such subjective works, but there seemed to be a resistance to eliminate all suggestion of nature. There are lingering references in many works to the once all-powerful theme, but the landscape references are most frequently general and universal, rather than specific. A group of artists are considered who have turned from international influences and have maintained a commitment to 'realistic' art. This group have frequently combined landscape and figure in their work in order to express a meaningful human situation. Their vision is intense and their realistic approach to subject matter often borders on the surreal. When man is not depicted directly his presence is implied: landscape is a setting for a human situation. In a totally different vein are a number of works that would seem to realize in plastic form aspects of the 'new landscape' of our time. Due to the advancement in science and technology new orders of magnitudes, both microcosmic and macrocosmic, have become part of man's visual and mental experience and have stimulated his imagination. Artists struck by the wonder and mystery of the expanded conception of nature have enriched our experience with a wealth of imagery. In the Sixties the widening commitment towards formalism, which has been accompanied by an increasing denial of all subject matter, has taken its toll on the declining landscape tradition. In the majority of hard edge works the connection with nature is emphatically broken. On occasion, however, it is noted, that with the employment of certain elements, landscape overtones are to a degree apparent -perhaps as a result of a nostalgic tendency on the part of a romantic viewer, or as a lingering attachment towards landscape on the part of the artist. In either case the approach is subjective, stemming from a committed habit of association. A number of significant artists of the Sixties have consciously retained an association with nature. These artists are primarily involved with new attitudes and techniques, and have brought about drastic changes in the presentation of traditional landscape subject matter. Theirs is not so much 'new landscape' as landscape transformed. Frequently these statements are three-dimensional, and seemingly reflect a desire on the part of artists to achieve a more concrete form of expression in line with a present trend toward literalism in art. Essentially this group of artists have concentrated on the details of traditional landscape - interpretations of clouds, waves, earth, streams, etc. They have approached these details, however, in a universal sense as idea, rather than as specific topographical detail. It is this general, non-specific approach that would seem to hold meaning for these artists. A climax in the involvement of artist with 'actual materials', 'actual colour' and 'actual space' is seen in the current involvement on the part of some artists in Earthworks. Here the elements of the natural world provide not only the inspiration, but the media as well. In Canada this is not a major trend, but merely one further manifestation of interest in the world of nature. It is suggested that this urge to create in outdoor natural situations is surely, perhaps unconsciously, a form of reaction against the existing technologically-dominated urban society. The Canadian landscape tradition as established by the Group of Seven has not flourished since the Forties, but within the broader nature theme (of which landscape is a part), many artists have found a powerful motivating force. Undoubtedly the world of nature will continue to be a deeply influential factor for a number of artists in the future as they endeavour to come to terms with ever-changing world situations. The forms their expressions will take, however, one could not possibly predict. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This essay is a discussion of two related topics in contemporary aesthetics: the notion of aesthetic sensitivity, and the question of the objectivity of aesthetic judgements. Its point of departure is the work of Frank Sibley on "aesthetic concepts". In Chapter I intuitionism is rejected both as providing an answer to the question, "Are aesthetic judgements objective?" and as providing the basis for an account of aesthetic sensitivity. In Chapter II an account of aesthetic sensitivity based on the seeing-as notion is explored and ultimately abandoned. In Chapter III the issue of objectivity for aesthetic judgements is developed in detail, as turning on the availability of some decision procedure or other for the resolution of disputes. It is argued that relativism, the position that no such decision procedures for aesthetic judgements are available, cannot be adequately defended. An analogy between aesthetic judgement and color attribution emerges as basic to a promising strategy for a defense of aesthetic objectivism. The strategy involves the demand for an articulation of decision procedures relevant to color attribution. The promise of the strategy is defended when it is argued that standard anti-intuitionist criticisms need not undermine it. Finally, the theses and arguments of one relativist, Isabel C. Hungerland, are criticized. Part of her defense of relativism is traced to her acceptance of an analogy between aesthetic judgement and seeing-as. The results of Chapter II, in which the limits of that analogy are exposed, are employed against her. Chapter IV is an outline of a set of decision procedures for color attribution. Color decision procedures involve the selection of a reference group of observers, whose visual experiences are taken to be authoritative. Members of the reference group are selected on the basis of two principles of selection: one which selects statistically normal observers, and one which selects observers of demonstrably higher discriminatory capacity. A system of subsidiary principles, which operates when the two main are at odds in their selections, is illustrated. In Chapter V the plausibility of an aesthetic analogue of the theory of color objectivity developed in Chapter IV is defended against two major objections. The first objection is based on a point of disanalogy between colors and aesthetic features: the V-emergence" of aesthetic features, It is argued, in effect, that this is not a relevant point of disanalogy. The second objection is based on the view that the meanings of terms used to express aesthetic judgements are never twice the same. This view is criticized, and a more plausible one, which does not pose difficulties for the colors/aesthetics analogy, is considered. / Arts, Faculty of / Philosophy, Department of / Graduate

An ecological paradigm shift from the "balance of nature" to the "flux of nature" will change the way we aesthetically appreciate nature if we adopt scientific cognitivism-the view that aesthetic appreciation of nature must be informed by scientific knowledge. Aesthetic judgments are subjective, though we talk about aesthetic qualities as if they were objectively inherent in objects, events, or environments. Aesthetic judgments regarding nature are correct insofar as they are part of a community consensus regarding the currently dominant scientific paradigm. Ecological science is grounded in metaphors: nature is a divine order, a machine, an organism, a community, or a cybernetic system. These metaphors stimulate and guide scientific practice, but do not exist independent of a conceptual framework. They are at most useful fictions in terms of how they reflect the values underlying a paradigm. Contemporary ecology is a science driven more by aesthetic than metaphysical considerations. I review concepts in the history of nature aesthetics such as the picturesque, the sublime, disinterestedness, and formalism. I propose an analogy: just as knowledge of art history and theory should inform aesthetic appreciation of art, knowledge of natural history and ecological theory should inform aesthetic appreciation of nature. The "framing problem," is the problem that natural environments are not discrete objects, so knowing what to focus on in an environment is difficult. The "fusion problem" is the problem of how to fuse the sensory aspect of aesthetic appreciation with highly theoretical scientific knowledge. I resolve these two problems by defending a normative version of the theory-laden observation thesis. Positive aesthetics is the view that insofar as nature is untouched by humans, it is always beautiful and never ugly. I defend an amended and updated version of positive aesthetics that is consistent with the central elements of contemporary ecology, and emphasize the heuristic, exegetical, and pedagogical roles aesthetic qualities play in ecological science.

An essential relationship between science, subjectivity, and music is evident in the work of Joseph Conrad. The origins of this interdependence can be traced back to the Romantic metaphysics of the early nineteenth century, when the aesthetics of absolute music began to defend the primacy of music as an unmotivated, autonomous form of art. Despite the influence of scientific positivism during the second half of the nineteenth century, music continued to enjoy a privileged reputation and is cited by Conrad in the Preface to The Nigger of the "Narcissus" as the highest art. Conrad's interest in music was specifically related to the alternatives that its temporality provided for new narrative forms, and in Heart of Darkness Conrad makes an explicit attempt to create a narrative voice based on the aesthetics of absolute music. This attempt proves problematic, however, and in his late novel Victory Conrad reflects on the tragic contradictions inherent in the relationship between music and the realization of subjective autonomy. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2015. / April 10, 2015. / absolute music, aesthetics, Conrad, Heart of Darkness, subjectivity, Victory / Includes bibliographical references. / Douglass Seaton, Professor Directing Thesis; Iain Quinn, Committee Member; Charles E. Brewer, Committee Member.

Background: Female aesthetic athletes strive to attain an ideal body image for their sports. Dancers in particular pose an addition issue in that they are performing artists and are often not considered athletes. The physical demands placed on dancers from choreography and performance schedules make their body composition, physiology and optimal fitness just as important as their technique development. Body composition, specifically fat mass (FM) and lean mass (LM), has shown positive changes in response to increased protein intake in lean populations (119, 200). A diet higher in protein may be a simple way to optimize body composition and dance performance without dramatically changing or adding to classical dance training. Improvements in body composition from supplemental protein alone may improve aesthetics of dance performance. To date, no studies have investigated the impact of increased protein intake on body composition and performance in a dance population. Purpose: To determine the extent to which supplemental whey protein (PRO) consumed three times daily (75g total/day) for 12 weeks will optimize body composition and dance performance in female collegiate dancers when compared to an isocaloric placebo (PLA). Methods: Twenty-one (19.6 ± 1.4 years) female collegiate dancers from Florida State University’s School of Dance completed this randomized, double-blind, placebo controlled study. Participants were randomly assigned a PLA or PRO supplement (25g, 3x/day) and were instructed to consume one scoop (25g protein) with water between major meals of breakfast, lunch, and dinner. Following familiarization, participants completed laboratory testing at baseline, mid, and post-testing of the 12-week intervention. Laboratory testing included, 24-hour urine collection, body composition assessment (dual x-ray absorptiometry; DXA), resting metabolic rate (indirect calorimetry), venous blood draw, whole body circumferences scan, performance tests, and a functional dance performance assessment. Additionally, participants completed weekly 3-day food logs and satiety questionnaires to assess dietary changes throughout the study. Data were reported as mean ± SD. Dependent variables were analyzed by two-way (group x time) analysis of variance (ANOVA). Post hoc test were used to compare group or time differences. Significance was accepted at p<0.05. Results: There were no significant differences in participant demographics, body composition, or diet at baseline. PLA consumed significantly lower protein (g/kg/day) than PRO every week of the study (p<0.001). Body weight, FM, and LM did not change between groups or over time. LM (%) at post-testing trended toward significance between PLA and PRO (+0.5 ± 3.0%, -2.7 ± 5.2%, respectively; p=0.057). Lean mass index (LMI= (LMpost-LMpre)+(FMpre-FMpost)) was significantly lower in PLA (-1.8 ± 3.1) compared to PRO (+0.6 ± 1.9; p=0.048) at post-testing. PLA achieved a higher hamstrings-to-quadriceps ratio at mid (63.4 ± 9.2% vs. 54.7 ± 7.8%; p=0.031) compared to PRO and significantly increased absolute (746.4 ± 92.9 W, 856.3 ± 51.6 W; p=0.005) and relative (12.7 ± 1.4 W, 14.6 ± 1.4 W; p=0.004) peak power during the Wingate anaerobic power test from baseline to post-testing. Although not significant, PLA completed the study in negative nitrogen balance whereas PRO was in positive nitrogen balance. Differences detected in aesthetic presentation from baseline to post-testing were significantly lower in PLA (1.9 ± 0.5, on a 1.0-5.0 scale) compared to PRO (2.6 ± 0.8, on a 1.0 to 5.0 scale; p=0.048). Conclusion: Protein supplementation for 12 weeks was well tolerated and significantly improved LMI as well as aesthetic presentation during dance performance. Although overall body composition was more optimal in PRO, individual measures (FM and LM) were not significantly different between groups. PRO supplementation did not significantly impact laboratory testing. Protein supplementation has no adverse side effects on a dance population and improves LMI and aesthetics in dance performance. In addition, protein supplementation provides a simple way to improve the diet as well as LMI in a group of dance athletes that need more nutritional attention. / A Dissertation submitted to the Department of Nutrition, Food and Exercise Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2016. / June 30, 2016. / Aesthetics, Body composition, Dance, Performance, Protein / Includes bibliographical references. / Michael J. Ormsbee, Professor Directing Dissertation; Tom Welsh, University Representative; Lynn B. Panton, Committee Member; Robert J. Moffatt, Committee Member.

The following thesis explores the complexities of visual representation in relation to women’s experiences of sexual trauma, focusing on Gita Hashemi’s durational performance, Grounding: States of Gender (2017). Specifically, I look at the prolonged psychic pain that stems from the infinite negotiating of traumatic memory and the simultaneous struggle to have these experiences be seen, heard, and validated. With reference to theorizations of mourning (Butler, 2004; Fitzpatrick, 2013) and feminist approaches to psychotherapy (Herman, 1992; Magnet, 2017) my study of Grounding responds to a contemporary turn towards embodied and autobiographical feminist research methods. Using critical methodologies of visual analysis and narrative inquiry, I seek to explore the therapeutic value of the aesthetic or, what I refer to as an aesthetic of healing. Acknowledging how subjectivity functions as both a site of knowledge and as a record of lived experience, I ask how Hashemi’s forms of narrative embodiment work strategically, revealing traumatic realties while simultaneously orienting the viewer towards a position of reflexive engagement within broader sociocultural contexts.