<p> The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection. </p><p> Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen. </p><p> This paper also examines key contemporary global artists&rsquo; work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the r&ocirc;le of both the artifact and gallery in shaping contemporary audience&rsquo;s museum experiences. </p><p> The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of &ldquo;transporter-type&rdquo; virtual-reality experiences: the ability to inhabit an art work&rsquo;s presumed original <i>in situ </i> location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called <i>a priori</i> gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron&rsquo;s appetite.</p>

<p> Research on Judy Chicago&rsquo;s <i>The Dinner Party,</i> (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago&rsquo;s curatorial framework for the entire <i>The Dinner Party</i> exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist&rsquo;s installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made <i>The Dinner Party</i> such an international phenomenon. The artist&rsquo;s curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering <i>The Dinner Party</i>&rsquo;s current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago&rsquo;s successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago&rsquo;s curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects.</p>

<p> <i>Hot House</i> highlights the current evolution of <i>The ManShed</i>, an ongoing solo project that takes the form of a multi-screen video installation and accompanying film set. Beginning in summer 2013, <i>The ManShed</i> refers to an enclosed, two-roomed meeting place built from conjoined panels that plays host to a series of sexual encounters between myself and other men. Under its roof, an infrastructure of hidden cameras documents these interactions between my body, a stranger&rsquo;s, and material forms that interest me. The participating men were solicited through online services used to locate partners for casual sex, like Craigslist and Adam4Adam, as well as through my involvement with the San Diego Fetish Men and the San Diego Gay Pride event. </p><p> In its first iteration, the resulting video and sculptural elements are organized in a minimal, highly staged environment set in adjacent galleries in the University of California, San Diego&rsquo;s Visual Art Department. Presented in flux, this work represents an ongoing investigation of alter kinships that spring up within gay male communities and the unexpected conditions in which they flourish. Modeled artificially in my project, <i>The ManShed </i> acts as a metaphorical &lsquo;hot house&rsquo; of queer experimentation, breeding a &ldquo;rare species&rdquo; of feeling, exchange, and desire, rooted in the sculptural environment. </p><p> Outside the conceptual formations of project, this exhibition unifies my sculptural and performance-based production under the umbrella of a single work and represents my current direction toward constructed, theatrical environments combined with video display.</p>

Tikslas - išanalizavus įvairių autorių skirtingus Prancūziškus knygų įrišimus jų technologijas, tradicijas bei šiuolaikinių autorių interpretacijas, suprojektuoti ir įgyvendinti Prancūziškojo įrišimo „Tradicija ir dabartis“ knygų grupę kartu su dėklais. Bakalauro darbą sudaro: kūrybinė dalis, teorinis aprašas, projektinė dalis, verslo planas. Teorinėje diplominio darbo dalyje analizuojama knygos ir rašto atsiradimas, aptariami susiformavę knygų įrišimai, šiuolaikinė knygrišyba, knygos amatas Lietuvoje, analizuojami įvairių knygų įrišimų pavyzdžiai, pateikiama technologinė seniausio Prancūziškojo knygų įrišimo darbo eiga. Taip pat prie bakalauro darbo pridedamas knygrišyklos – galerijos „Odos Gija“ verslo planas. Knygų komplektas „Tradicija ir dabartis“ - tai Prancūziškuoju įrišimu rištos, vieno iš žymiausių prancūzų rašytojo, klasiko, Aleksandro Diuma knygos: „ Grafienė de Monsaro“, „Jėhaus pasekėjai“ (pirma ir antra dalys), „ Po dvidešimties metų“ ( pirmas ir antras tomas vienoje knygoje). Tai istorine tematika paremti kūriniai, kurie atspindi XIV – XVI a. Prancūzijos gyvenimą. Vienas iš svarbiausių įrišimo tikslų – sudominti žmones ne tik gražia knygos išvaizda, bet ir knygos turiniu, suteikti knygai naują „gyvenimą“, kartu paskatinti žmones dažniau skaityti knygas. Tokie meno kūriniai, įgauna didesnę vertę, knygos tampa labiau vertinamos. Knygoms suprojektuoti dėklai, kurie saugo knygą, pratęsia jos meninį sprendimą. Jie kartu su knygomis tarnauja kaip... [toliau žr. visą tekstą] / The purpose – to analyze the various authors of different books about the French Binding of technology, tradition and contemporary interpretations, to design and implementat of the book group with trays French bookbinding „Tradition and the Present“. Bachelor's work includes: the creative part, the theoretical description, the design part, and the business plan. The theoretical thesis contains an analysis of the book and the appearance of the letter is addressed through a transformation of books, bindings, modern books, Paper Crafts Lithuania, the analysis of various samples of bookbinding, the oldest technological the French bookbinding workflow. Also attached to the undergraduate business - gallery „Odos Gija“ business plan. Book Set „Tradition and the Present" – is French Binding , one of the most famous French writer, classic, Alexander Diuma book: „The Countess de Monsaro“, „Jėhaus followers“ (first and second parts),“ After the Twenty Years“ (first and second part in one s book). It is based on a historical theme pieces that reflect XIV - XVI centuries the French life. One of the major binding targets - toget interested people in the book, not only with beautiful appearance, but contents of the book, give the book a „life“, while encouraging more people to read books. These works of art become more valuable, the book becomes more valued. Cases of books designed to keep the book extends its artistic decision. They, together with the... [to full text]

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

<p> There is a peculiar method in the area of procedural narrative called <i> emergent narrative:</i> instead of automatically inventing stories or deploying authored narrative content, a system simulates a storyworld out of which narrative may emerge from the happenstance of character activity in that world. It is the approach taken by some of the most successful works in the history of computational media (<i>The Sims, Dwarf Fortress</i>), but curiously also some of its most famous failures (Sheldon Klein's automatic novel writer, <i>Tale-Spin</i>). How has this been the case? To understand the successes, we might ask this essential question: what is the pleasure of emergent narrative? I contend that the form works more like nonfiction than fiction&mdash;emergent stories actually happen&mdash;and this produces a peculiar aesthetics that undergirds the appeal of its successful works. What then is the pain of emergent narrative? There is a ubiquitous tendency to misconstrue the raw transpiring of a simulation (or a trace of that unfolding) as being a narrative artifact, but such material will almost always lack story structure. </p><p> So, how can the pain of emergent narrative be alleviated while simultaneously maintaining the pleasure? This dissertation introduces a refined approach to the form, called <i>curationist emergent narrative</i> (or just <i> curationism</i>), that aims to provide an answer to this question. Instead of treating the raw material of simulation as a story, in curationism that material is <i>curated</i> to construct an actual narrative artifact that is then mounted in a full-fledged media experience (to enable human encounter with the artifact). This recasts story generation as an act of recounting, rather than invention. I believe that curationism can also explain how both wild successes and phenomenal failures have entered the oeuvre of emergent narrative: in successful works, humans have taken on the burden of curating an ongoing simulation to construct a storied understanding of what has happened, while in the failures humans have not been willing to do the necessary curation. Without curation, actual stories cannot obtain in emergent narrative. </p><p> But what if a storyworld could curate itself? That is, can we build systems that <i>automatically</i> recount what has happened in simulated worlds? In the second half of this dissertation, I provide an autoethnography and a collection of case studies that recount my own personal (and collaborative) exploration of automatic curation over the course of the last six years. Here, I report the technical, intellectual, and media-centric contributions made by three simulation engines (<i>World, Talk of the Town, Hennepin</i>) and three second-order media experiences that are respectively driven by those engines (<i>Diol/Diel/Dial, Bad News, Sheldon County</i>). In total, this dissertation provides a loose history of emergent narrative, an apologetics of the form, a polemic against it, a holistic refinement (maintaining the pleasure while killing the pain), and reports on a series of artifacts that represent a gradual instantiation of that refinement. To my knowledge, this is the most extensive treatment of emergent narrative to yet appear. </p><p>

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism. / Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model. / Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.

This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism. / Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model. / Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.

Persistence of vision| Hamaya Hiroshi's Yukiguni and Kuwabara Kineo's Tokyo Showa 11-nen in the transwar era