<p> There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a "rhetoric of technology" that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use.</p><p> In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write <i>on</i> or <i>through</i> our technologies, but that we write in collaboration <i>with</i> them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and "glitches" as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call <i>object-oriented art.</i></p>

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaf 32).

The research aims to provide an alternative working methodology from the perspective of a contemporary Chinese artist, not a calligrapher, to answer the research question: how does one create new works of calligraphy an art so burdened with historical tradition? This is practice based research; the designed pattern of study aims to test and to exemplify the relationship, and also most importantly based on the nature of the investigation and practical necessity, the strategy of the research project is implemented in a dialectical construction as the title of the thesis suggests.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho apresenta os processos de pesquisa teórica e produção visual de forma entrelaçada, a partir da experiência em uma residência artística vivida na casa da minha bisavó onde resido. A dissertação divide-se em três capítulos: o primeiro consiste em uma construção metodológica a partir da diluição das fronteiras entre os campos da antropologia e da arte; o segundo é dedicado a tratar de algumas questões que motivaram a produção da instalação Caverna (2014) e outras suscitadas durante esse processo; e, por fim, o terceiro capítulo trata de uma mudança no modo de perceber a própria residência, estimulada pelas ideias de devir e ritornelo criadas por Deleuze e Guatarri, além de apresentar o processo de criação da instalação Escritura (2015). / This thesis presents processes of both theoretical research and visual production processes. The experience in an artistic residence that took place in the house of my great-grandmother, where I now live, is the center of its development. The text is structured in three chapters: Chapter 1 presents the methodological construction and necessary blurring of borders between the fields of anthropology and art; Chapter 2 is dedicated to address the issues that inspired the installation Caverna [Cave] (2014) as well as the questions raised during its creative process; Finally, Chapter 3 deals with a significant change of perception of the concept house/ home, stimulated by the ideas of becoming [devenir] and refrain [ritornello] as proposed by Deleuze and Guattari. The third chapter also presents the creative process of a second installation, Escritura [Writing].

Thesis (Ed.D.)--Teachers College, Columbia University, 1965. / Typescript; issued also on microfilm. Sponsor: Leland Jacobs. Dissertation Committee: Edwin Ziegfeld. Includes bibliographical references.

The topic of this dissertation is the stylistic application of Figurative Language Device in Baroque Homilie. As a material information source serves sermons focused on e.g. praise of St. John of Nepomuk. The dissertation drala with a concept of every single preacher writing in the last period of the Czech Baroque. The sermons date back to years 17271734. The opening part sum sup the basic features of historical the same as stylistic Baroque with specialization in Homilie. Furthermore, the work follows up the Figurative Language Devices in every Homilie. The goal of this work is to provide a charakteristic of Figurative Language Devices (e.g. simile, metaphor, metonymy, synecdoche, periphrasis, personification, oxymoron, allegory, symbol, allusion etc.). This dissertation aims to prove their importance and function in the Baroque Homilie in order to extend one's knowledge about Rhetorical Art of the Baroque Preachers.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho apresenta os processos de pesquisa teórica e produção visual de forma entrelaçada, a partir da experiência em uma residência artística vivida na casa da minha bisavó onde resido. A dissertação divide-se em três capítulos: o primeiro consiste em uma construção metodológica a partir da diluição das fronteiras entre os campos da antropologia e da arte; o segundo é dedicado a tratar de algumas questões que motivaram a produção da instalação Caverna (2014) e outras suscitadas durante esse processo; e, por fim, o terceiro capítulo trata de uma mudança no modo de perceber a própria residência, estimulada pelas ideias de devir e ritornelo criadas por Deleuze e Guatarri, além de apresentar o processo de criação da instalação Escritura (2015). / This thesis presents processes of both theoretical research and visual production processes. The experience in an artistic residence that took place in the house of my great-grandmother, where I now live, is the center of its development. The text is structured in three chapters: Chapter 1 presents the methodological construction and necessary blurring of borders between the fields of anthropology and art; Chapter 2 is dedicated to address the issues that inspired the installation Caverna [Cave] (2014) as well as the questions raised during its creative process; Finally, Chapter 3 deals with a significant change of perception of the concept house/ home, stimulated by the ideas of becoming [devenir] and refrain [ritornello] as proposed by Deleuze and Guattari. The third chapter also presents the creative process of a second installation, Escritura [Writing].

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Arte como Religião é um convite à reflexão sobre religião por meio de trabalhos artísticos. A pesquisa artística, poética e filosófica sobre a relação fronteiriça entre arte e religião teve seu ponto de partida na minha história pessoal e foi desenvolvida relacionando as ideias de separação e alteridade como essenciais para a religião, e as ideias de transgressão e linguagem como essenciais para a observação da arte. O conceito poético foi delimitado pelos trabalhos artísticos Relicários de Santos Vivos e Canonizador AcSeita Coletivo, que partindo da ideia da separação busca isolar a figura dos santos como os seres autorizados à busca religiosa e à prática de lidar com o sagrado, passando-se a observar, por meio dos objetos utilizados pelos mesmos, as mudanças de valores sociais / Art as Religion is an invitation to reflect on religion through artwork. The artistic, poetic and philosophical research on the border relationship between art and religion had its starting point in my personal history and was developed relating the separation of ideas and diversity as essential to religion, and the transgression of ideas and language as essential to the observation of art. The poetic concept was defined by artwork Reliquary of Saints Alive and Canonizador AcSeita Collective, which on the idea of separation seeking to isolate the figure of the 'saints' as being authorized to the religious quest and the practice of dealing with the sacred, going-to observe, through the objects used by them, changes in social values

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Arte como Religião é um convite à reflexão sobre religião por meio de trabalhos artísticos. A pesquisa artística, poética e filosófica sobre a relação fronteiriça entre arte e religião teve seu ponto de partida na minha história pessoal e foi desenvolvida relacionando as ideias de separação e alteridade como essenciais para a religião, e as ideias de transgressão e linguagem como essenciais para a observação da arte. O conceito poético foi delimitado pelos trabalhos artísticos Relicários de Santos Vivos e Canonizador AcSeita Coletivo, que partindo da ideia da separação busca isolar a figura dos santos como os seres autorizados à busca religiosa e à prática de lidar com o sagrado, passando-se a observar, por meio dos objetos utilizados pelos mesmos, as mudanças de valores sociais / Art as Religion is an invitation to reflect on religion through artwork. The artistic, poetic and philosophical research on the border relationship between art and religion had its starting point in my personal history and was developed relating the separation of ideas and diversity as essential to religion, and the transgression of ideas and language as essential to the observation of art. The poetic concept was defined by artwork Reliquary of Saints Alive and Canonizador AcSeita Collective, which on the idea of separation seeking to isolate the figure of the 'saints' as being authorized to the religious quest and the practice of dealing with the sacred, going-to observe, through the objects used by them, changes in social values

The dissertation thesis deals with the relation of a person towards the physical public space from the point of view of an artist/teacher in the academic milieu. The frequently discussed subject of public space is not limited to purely artistic sphere or artistic gesture. It also implies a simple transgression to everyday life related to education and cultivation. An essential part of the research is the case study at the Department of Art Education of the Faculty of Education of the Charles University, which inquires into the perception of the future pedagogues of the physical public space and how they gtranslate it into the art language. The cornerstone stimulus for the research lies in the premise that future teachers will, through the prism of their view of the worl and by their vocation influence the education of the young generation. This fact of transgression is given by the existence of the subject of Art Education where the 3D design itself plays a certain role. The research is focused on what lies behind the phenomena in the process of the creation and inception of "something new" in the physical public space. The concept of a gesture represents a metaphor of material introduction into a space that, at some point, becomes a part o it .The integration is called actualization and the issue of the...