Magistro darbų kolekcijoje „Priklausomybių anatomija grafikos darbų cikle “Juoda ugnis” kalbama apie priklausomybių pavojus. Žodžiui „priklausomybė” priskiriama daugybė įvairių reikšmių. Juo yra apibūdinami žmonės, turintys liguistų polinkių. Bendras asmenų, priklausomų nuo alkoholio, narkotikų, azartinių žaidimų, sekso, maisto ir kt., bruožas yra bejėgiškumas prieš savo ligą. Bet kokią priklausomybę galima apibūdinti kaip besikartojančią elgseną, kuri trumpam sumažina nemalonią emocinią būseną ar ją susilpnina, bet ilgainiui, toks pasikartojantis elgesys kuria tą įtampą keliančią būseną. Priklausomybę sukelia ne vartojama medžiaga ar daiktas, o tokios medžiagos ar daikto vartojimas (naudojimas), siekiant emocinės pusiausvyros. Didžioji dalis žmonių kenčiame nuo vienokio ar kitokio liguisto potraukio. Grafikos darbuose pagrindiniu akcentu tampa žmogus. Kiekviename kūrinyje atsiranda užuomina apie pagrindinį priklausomybių objektą. Vaizduojamos žmogaus kūno dalys ar jų užuominos. Darbuose iškyla geometrinių formų elementai. Tai tarsi įspėjamųjų ženklų ikonos, turinčios įspėti apie tykojančius pavojus kiekvieno žmogaus aplinkoje. Kūrybiniai darbai skatina pamąstyti, pajausti. Darbai reikalauja emocinio kontakto. Darbo aktualumas sietinas su šių dienų įvairių priklausomybių apsėsta visuomene. Apie tai byloja įvairūs elgesio modeliai, kylantys sergant priklausomybe. Žmonės nesugeba susidoroti su neigiamomis emocijomis. Dažnas renkasi lengvesnį kelią ir griebiasi greitesnį... [toliau žr. visą tekstą] / In the Master works collection "Black Fire" goes about the dangers of addiction. The word "addiction" has many different meanings. It describes people who have morbid propensity. General feature of persons, who are addicted to alcohol, drugs, gambling, sex, food, etc.., is helplessness before his illness. The man becomes the main focus of graphic works. The hint about the main object dependencies appears in each piece. The human body parts or clues are represented in this work. There are elements of geometric shapes. It's like warning signs icons, which have to warn about the risk in each human environment. Often the person does not see a risk. Creative works promote to think and feel. Works require emotional contact. Work problem - addiction. Any addiction can be defined as the recurrent behavior, which temporarily reduces unpleasant emotional state or to weaken it, but eventually, this repetitive behavior create intense status. Dependence is not caused by the substance or object is used, but the use of a substance or object (usage), for emotional balance. Most of the people suffer from some kind of addiction. Topicality of the work is related to today's society obsessed with various addictions. This is proved by a variety of behaviors that arise addiction of illness. People are not able to cope with negative emotions. Often they choose the easier way and resort to a faster impact on distribution patterns of conduct. A mental balance is attempt to keep in their lives by the... [to full text]

Magistro darbo „Stigmos“ idėja kilo atkreipus dėmesį į fenomeną, kai žmogus pasižymi kokiu nors fiziniu, psichologiniu ar socialiniu nukrypimo požymiu, žyme ir ta žymė ryškiai skiriasi nuo kultūriškai nusistovėjusių normų. Darbo tikslas - atlikus religijotyrinės, menotyrinės, psichologinės ir sociologinės literatūros analizę tiriama tema, išnagrinėjus kūrybinius analogus, atsirinkus darbo temai svarbiausias idėjas bei parengus savitą jų interpretaciją, sukurti tekstilės objektų ciklą „Stigmos“. Teorinėje darbo dalyje aptariamas sąvokos „stigma“ prasmių laukas, atskirai dėmesio skiriant krikščioniškajam bei šiuolaikiniams šio reiškinio kontekstams pristatyti, analizuojamos psichologinio pažeidžiamumo ir asmens tapatumo transformacijos, aptariant tapatumo kaip socialinio identiteto procesą, bei psichologinę stigmos įtaką asmens elgsenai ir savivertei, pristatomos „stigmos“ reiškinio interpretacijos mene. Aprašomas penkių tekstilės objektų sukūrimo procesas. Darbo pabaigoje pateikiamos išvados, rekomendacijos, literatūros sąrašas, priedai. Kūrybinę darbo dalį sudaro penki tekstilės objektai, kiekvienas skirtas atskiros stigmuotų asmenų grupės patirčiai inerpretuoti. Pirmasis ir antrasis objektai perteikia priklausomybę nuo skirtingų svaiginančių medžiagų patiriančių asmenų būsenas – jos tarsi panašios, tačiau kartu ir skirtingos, tas perteikiama užkoduotomis simbolinėmis formomis. Trečiasis nusako skaudžią moteriškos prapulties istoriją. Ketvirtas pateikia užuominą... [toliau žr. visą tekstą] / An idea of the Master's Thesis 'Stigmata' has arisen upon turning the attention to a phenomenon, when a person distinguishes by some feature, the mark of physical, psychological or social irregularity and this mark is very different from the norms established culturally. The aim of the research is to create a cycle of textile objects 'Stigmata' upon the analysis of the literature of religious studies, history of art, psychology and sociology on the topic under research, examination of creative analogies, selection of the most important ideas for the topic of research and preparation of their unique interpretation. In the theoretical part of the research, we discuss the field of meanings of the concept ‘stigma’ focusing separately on presentation of Christian and contemporary contexts of the phenomenon, analyse transformations of psychological vulnerability and personal sameness by discussing the sameness as a process of social identity as well as the psychological influence of the stigma on behaviour and self-esteem of a person, and present the interpretations of the 'stigma' phenomenon in art. We have described the process of creation of five textile objects. At the end of the paper, we have presented our conclusions, recommendations, a list of references, and appendices. The creative part of the research consists of five textile objects, each intended to interpretation of the experiences of a separate stigmatized group of people. The first and the second... [to full text]

Vienatvės, vienišumo šaknis turbūt reiktų sieti ne tik su homo sapiens pradžia, bet tam tikra prasme ir su gyvybės atsiradimu apskritai. Vienišumas – tai emocinė individo būsena, o kartu ir sociumo reiškinys, kurį būtų galima įvardinti kaip gana dažną šių dienų elementą. O vienatvė – daugiau fiziologinį atspalvį turintis reiškinys, tai padėtis (situacija), kuomet vienas objektas (šiuo atveju žmogus) yra atskirtas nuo kitų tokių pat objektų (t.y. kitų žmonių). Vienatvė gali būti „padiktuota“ aplinkybių, t.y. priverstinė, taip pat ji gali būti ir pasirinktinė, kuomet tai yra sąmoningas individo sprendimas (pvz. „savęs ieškojimas“, minčių „kristalizacija“, įkvėpimo bei kūrybinio potencialo generacija). Sąvoka vienišumas gali turėti kelis interpretavimo variantus: vienišas individas (žmogus) gali jaustis aplinkinių žmonių atžvilgiu (draugų bei bendraminčių neturėjimas, individualios jo pasaulėžiūros ignoravimas ir pan.); vienišas žmogus gali būti ir vertinant jo egzistavimą pasaulio masteliu (susvetimėjimas, prasmės neturėjimas ir pan.); vienišumas gali būti padiktuotas tam tikrų situacijų (netekus artimųjų, išsiskyrimas su brangiais žmonėmis). Darbe nagrinėjama mokslinę teorinę informaciją apie fizinį ir psichologinį būvį – savarankišką dvasinį stovį, vienišiaus psichinė ir socialinė egzistencija Kurią plačiai nagrinėja mokslininkai, psichologai. Pirmame teorinės dalies skyriuje nagrinėjamos vienišumo sąvokos, susijusios su vienišumo reiškiniu. Plačiau gilinamasi į vienatvės... [toliau žr. visą tekstą] / Solitude, loneliness root probably should be associated not only with homosapiens start, but in a sense, and the origin of life in general. Loneliness - is the emotional state of the individual, and thus the socium phenomenon, which could be described as fairly often these days element. And loneliness - with a shade more physiological phenomenon, this is the position (situation), where one object (in this case the human) is separated from the others of the same object (it is, other people). Loneliness can be "dictated" circumstances, it is enforced as well as it can be custom when it is conscious decision the individual (eg "self-seeking", thoughts "crystallization", inspiration and generation of creative potential). The concept of loneliness can have several versions of interpretation: individual (person) can feel lonely in relation to the surrounding people (friends and like-minded absence, self ignoring his worldview and the like.); lonely man can be also assessing his existence in the world scale (dissociation, meaning absence, etc.); loneliness may be dictated by certain situations (bereavement, separation from loved ones). This work examines the scientific, theoretical information about the physical and psychological state - an independent spiritual condition, single mental and social existence which is widely examined by scientists and psychologists. The first chapter deals with the theoretical part of loneliness concepts related to the phenomenon of loneliness. More... [to full text]

Thesis (M.Ed. (Art/Design))--University of South Australia, 1994.

The thesis addresses a mode of visual art criticism that it characterizes as “antipodal”. Antipodality is a false image of the world, a phantasm. An antipodal simulacrum could be described by what Jurgis Baltrusaitus has called a “depraved perspective”, which is a procedure of investigation dominated by the passion to objectify the empirical sign in a conceit of perverse logic. A perspective rendering taken to literalist excess (comparable to the literalising of figurative language) causes anomalies in and corruptions of what is depicted. The invention of the antipodes by cartographers of early modern Europe—a “logical” necessity of mapping that then required discovery of the antipodal land as a lost object—might be such an instance of a depraved perspective. In Baltrusaitus’s terms, we could say such depravity produces an “aberration” in the manner of the optical phenomenon in which a celestial body is apparently displaced and viewed as if it were elsewhere. Such an aberration forms the thematic content of this thesis; content which is the proposition of an aberrant critical conceit of “antipodality” as a simulacrum. This was a formative concept for my own activity of art criticism, in that it allowed a defining moment for an Australian postmodernism (notably in the 1980s) as an evacuated sign-system of art, a styling of art as pseudo-art. But it has acquired a trajectory for art criticism beyond the definition of Australian postmodern style. An antipodal art criticism is likewise a pseudo-criticism, that’s to say, it is a performative enunciation of falseness: it addresses a pseudo-object. Like the antipodes, art is a necessary fiction for criticism, a lost object that needs to be discovered. The most potent pseudo-art for Australian postmodernism was kitsch, and its style was camp. For contemporary art criticism, however, in a digital era, the most potent pseudo-art is pornography, notably digital pornography. Kitsch is the simulacrum of aesthetic form. Pornography is the simulacrum of eroticism. The thesis develops a critical discussion of works of art through the perverse logic of pornography as a depraved perspective. In this respect, “antipodality” provides the conceptual structure of this thesis, which polemically reflects on art criticism and the simulacrum through the media of visual art, film and literature. In a specific Australian context, the thesis discusses the work of Imants Tillers and Lindy Lee as oeuvres that have dealt with the false identity of the artist as originator of their performative but empty signature styles. The pornographic impulse of antipodality is dealt with through other modes of self-portraiture and performativity, notably in three generations of photographic technique and genre: Diane Arbus, Merry Alpern and Natacha Merritt. The performative nature of a pseudo-art is correlative to the performativity of pornography as pseudo-eroticism: both render dubious any authenticity of the desire motivating the performances. The thesis examines in detail three instances of falsely performative identities in film: the alluring and haunted figure of Madeleine in Alfred Hitchcock’s Vertigo; the ingenue, picaresque protagonist of Roger Vadim’s sci-fi fantasy Barbarella; and Gough Lewis’s humanistic documentary on a porn star whose notoriety derived from subjecting herself to “the world’s largest gang bang”, Sex: The Annabel Chong Story. Each of these cinematic portraits operates, with varying degrees and moments of artifice, a metafictional transgression of figural borders. This strategy as a type of erotic theatricality is considered in detail with, among other passing examples, two celebrated short works of libertine literature (by Vivant Denon and Jean-François de Bastide); two paintings—one by nineteenth-century French academic artist Jules-Joseph Lefebvre, the other by the quite un-academic painter Pierre Bonnard; and with an erotic, theatrical innovation called the “Attitude”, introduced by Emma Hamilton as an amateur drawing room entertainment in the late eighteenth century. Hamilton’s captivating tableaux are discussed in terms of the phantasm, and the thesis is inspired by two literary exemplars of phantasmic portraiture: Edgar Allan Poe’s figure of “the man of the crowd” and Guy de Maupassant’s “Horla”. The latter, in particular, is presented as an analogy for the performative effect of antipodal simulacrum of art criticism.

Thesis (Ph. D.)--University of North Texas, Aug., 2007. / Title from title page display. Includes bibliographical references.

Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991. / Source: Masters Abstracts International, Volume: 45-06, page: 2751. Abstract precedes thesis as [3] preliminary leaves. Typescript. Includes bibliographical references (leaves 39-45).

Undergraduate honors paper--Mount Holyoke College, 2009. Dept. of Art. / Includes bibliographical references (leaves 121-126).

Thesis (Ph. D.)--Stanford University, 1982. / Includes bibliographical references (p. 478-491).

Thesis--Paris IV, 1977. / Includes bibliographical references (p. 1451-1507) and index.