Utilizing the lexicon of the French experimental thinkers Gilles Deleuze and Felix Guattari, research is engaged which indicates that their insights are compatible with and augmentative to the field of Conflict Studies. Specifically, four recognized conflict management approaches, which include the concepts of negotiation, the transformation of the conflict, narrative, and the transformation of the conflicted parties, are populated via an emerging Deleuze and Guattari inspired modus operandi. This process has resulted in an original new term, Conflict Inhabitation, which proposes that the conflicted parties recognize, to their mutual benefit, the centrality of difference to possibility and the acknowledgement of existence as dynamically becoming. This adventure is contextualized utilizing a Personal Narrative Autoethnographic Methodology which systematically engages the intensity of what it means to reside as a person in midst of the human induced Global Warming Climate Change experience during the Anthropocene Epoch. / Graduate

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text

M.A. / "Stroke is one of the leading causes of death and disability in all races in South Africa" (Fritz & Penn, 1992, p 1). It has devastating effects, and may impact on every aspect of the person's functioning. Research shows that depression is common after stroke, becoming more of a problem with time, and having a greater effect on quality of life than the actual disability (Lezak, 1995). Despite such evidence psychologists have played a very limited role in the rehabilitation of this group. Those with communication problems especially have been excluded from research and therapy, which usually require competence with language to be successful. This study attempts to find an alternative method of research and therapy in order to include this group. Following the model of learned helplessness (Seligman, in, Bleiberg, 1986), it was proposed that the unavoidable, inescapable effects of stroke lead to feelings of helplessness, which are also impossible to escape, and the person soon looses the motivation to attempt to control the situation. This then leads to depression. A method of therapy which breaks this cycle, and allows for the person to experience how their actions do have an effect on their lives is needed. In addition to this, an alternative means of self expression for those with communication difficulties needs to be provided. Art therapy was found to address the problems presented by this group (Dailey, 1984). It has proved useful with other populations that have not been able to benefit from traditional psychotherapy. It becomes an alternative means of self expression for those whose communication ability is compromised. It is accessible to most people, as it only requires the ability to make marks on paper. A theme centred, art therapy approach was therefore chosen for the study. The aims of the study were; to create a therapeutic milieu which allowed for self expression, specifically the expression of emotions, which included all the participants; to investigate the effects of introducing an opportunity for self expression on self concept and group process; and to look at the themes which emerge from the art. The participants were members of a pre-existing support group for stroke survivors. A quasiexperimental design was used. The Draw a Person Test, was administered pre and post intervention. Additional information was gathered using the Beck's Depression Inventory and a demographic questionnaire. This study uses a qualitative method, which includes information regarding the researcher's experience, and is interpreted from the researcher's perspective. It was found that art therapy had a positive effect on self concept. It influenced group process, as participants who were previously marginalised became more central. Numerous themes emerged, some which were specific to individuals, but others that were of relevance to the group as a whole. It proved rewarding for the researcher, both as a therapist and in terms of her relationship with her father who is a stroke survivor with aphasia. Art therapy therefore seems to be a useful tool to be used with this group that has traditionally been excluded from therapy and research. It is suggested that further research would be useful, and suggestions regarding future research are discussed.

The topic of my diploma thesis is connected to my previous studies at faculty of architecture. My intention is to explore very undesignable organic development of urban spaces, but for an architect it is difficult and unusual to work with because of standardized planning process of public spaces. Using art based research I am trying to find, define, and prove existence of mental space that complements material shape of urbanized areas. As a locality for experiment I chose a street I live in for five years, and simultaneously had a wretched destiny – the Křížová Street of Old Brno district. As a piece of diploma project I present a lecture and lecture noteshowing – results of abstract contemplation gained by research in the locality. The aim of lecture is to encourage audience in ability to percieve and trust in existence of mental space in a way I described it.

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Im Zentrum der vorliegenden Arbeit steht die Untersuchung der Temperamalerei in München zwischen 1850 und 1914. Die Temperamalerei entwickelte sich in diesem Zeitraum zu einem maltechnischen Trend, dem sich Vertreter unterschiedlichster Kunstrichtungen anschlossen. Die vorliegende Untersuchung ergänzt bisherige Studien zu diesem Themengebiet, die sich vorwiegend auf die Auswertung von Schriftquellen stützten, durch einen interdisziplinären Forschungsansatz, der erstmals kunsttechnologische Untersuchungen von Gemälden mit einer umfassenden Auswertung der Quellen kombiniert. Im Fokus steht die individuelle maltechnische Entwicklung von vier Künstlern, die zu den einflussreichsten Protagonisten der Münchner Kunstszene gehörten: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) sowie Wassily Kandinsky (1866–1944). Es wird beleuchtet, wie diese äußerst unterschiedlichen Künstlerpersönlichkeiten die Temperamalerei erlernten, welche Vorbilder sie hatten und wie sie ihr maltechnisches Wissen untereinander weitergaben. Ferner wird untersucht, welchen Stellenwert die Maltechnik in ihrer Malerei einnahm und inwiefern ein Zusammenhang von Bildinhalt, formaler Gestaltung und maltechnischer Umsetzung besteht. Die Untersuchung zeigt auch die zeittypische, breite Palette der Malmaterialien und ihre Kombinationen im Bildaufbau auf: Diverse selbst hergestellte Temperafarben und kommerzielle Tempera-Tubenfarbenprodukte kamen wahlweise in einer schichtenweisen Malerei oder als Primamalerei zur Anwendung. Daraus resultiert ein breites Spektrum unterschiedlicher Erscheinungsbilder, die von einer im klassischen Sinn Tempera-ansichtigen Malerei mit strichelndem Farbauftrag bis zu einer nass-in-nass modellierten Primamalerei reichen, welche üblicherweise mit der Ölmalerei in Verbindung gebracht wird. Folglich erweiterten sich im Vergleich zu klassischen Ölmalerei mithilfe der Temperafarben die individuellen, maltechnischen Ausdrucksmöglichkeiten der Künstler. Dies ist neben einer verbesserten Haltbarkeit der Gemälde und einer rationelleren Arbeitsweise der wesentliche Grund für die Faszination, die die Temperamalerei auf die untersuchten Künstler ausübte. / This study focusses on the investigation of tempera easel painting techniques in Munich between 1850 and 1914. During this period, tempera painting evolved to a trend that was joined by various artists of different art movements. This investigation complements previous studies on this topic, which mainly relied on the analysis of written sources, with an interdisciplinary approach that combines art technological examinations and a comprehensive evaluation of the written sources. The main focus is to investigate the individual painting techniques of four important protagonists of the Munich art scene at that time: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) and Wassily Kandinsky (1866–1944). The study outlines how they learned to paint in tempera, which models they had and how they passed on their practical knowledge. Furthermore, it shows up the wide range of painting materials and the various possibilities of their application: The artists could choose between various self-made tempera paints and commercially available tempera paint tubes, which they applied either alla prima or in layers. This results in a wide range of different paint appearances, ranging from a tempera-like appearance in the classical sense up to a wet-on-wet modelled alla prima painting, which is conventionally associated with the visual appearance of oil painting. Consequently, tempera painting helped them to extend their individual means of expression compared to traditional oil painting, which is – in addition to an improved durability and a more rational way of painting – the main reason for their fascination of the tempera painting technique.