Texte remanié de: Thèse de doctorat--Arts plastiques--Strasbourg 2, 2003. Titre de soutenance : Errances du regard sur les pierres : émergences-effacements. / Bibliogr. p. 279-298.

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains vi, 25 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 22).

Thesis (MA--Art and Design)--AUT University, 2009. / Includes bibliographical references. Also held in print (94 leaves : ill. ; 30 cm. + 1 DVD-ROM) in the City Campus Theses Collection (T 709.2 ENN)

No description available.

Mémoire de maîtrise--Arts plastiques--Paris I, 1993. / 1993 d'après la déclaration de dépôt légal. Bibliogr. f. 84-87.

(in English): The thesis is attempting to present theory of art by Susanne Langer. In the first phase it presents her view of perception, which is deeply intertwined with other processes of our mind. Therefore, the thesis is focusing, in her view of perception, on basic principles of human communication and expression, which are all regulated in perspective of this theory by a concept of a symbol. A symbol is presented here as an element, which we revive through perception on one hand and project it into the perceived at other. Therefore the attempt is accompanied by explanation of all aspects of the symbol as one of the basic units operating in the mind, before focusing on perception in general. The thesis then proceeds to narrow perception, to a perception of art, in distinguishing a discoursive and non-discoursive symbol, and a specific non-discoursive symbol in art. On the basis of this distinction, the aim is to explain how Langer views the art, art creation and its value in such a realm of symbolism. In parallel with this development, from the general perception to the definition of art, the term feeling will be increasingly employed in the text. The concept will be presented also as a necessary part of our actions, communication and perception, although feeling is commonly understood as...

Text in English / The present paper analyses the neuroanatomical and neuropsychological backgrounds of art reception and art creation in modern visual art and creative processes. It critically presents two models of aesthetic experience to provide a comprehensive theoretical basis for the discussion. The research purpose is to show that with increasing experience and expertise the referential frame of the aesthetic judgment is changing and that neural processes involved in object recognition provide a starting point for visual aesthetics. Thus, the investigation focuses on constructing and testing neuropsychological theories that fall in the domain called 'neuroaesthetics'. These theories, in turn, serve as a starting point to formulate neural laws of art and aesthetics and aesthetic experience. Some artistic styles, such as expressionism, reflect specific neural processes. Various studies indicate correlations between hemispheric specialisation and art or creativity and show the right hemisphere plays a particular role in it. However, studies exploring the neural correlates of aesthetic preference have yielded mixed results. Furthermore, neuroimaging studies have proved that different categories of modern artworks are processed in different areas of the brain. These diverging results will be discussed in a critical assessment of the two models of aesthetic experience. Besides, the question of identifying exclusive neural correlates of aesthetic preference will be raised. Comparing amateurs and experts has revealed the more reduced the cortical activation, the more efficiently it works. Biological and neuropsychological factors of creativity point out the meaning of the activation level, cognitive inhibition and prefrontal cortex. Divergent thinking differs from convergent thinking in terms of the neural level. Neurodegenerative processes and brain injuries sometimes influence the artistic output surprisingly or even launch it. Lesion studies contributing to understanding art experience will be explained. / Psychology / M.A. (Psychology)

The present paper analyses the neuroanatomical and neuropsychological backgrounds of art reception and art creation in modern visual art and creative processes. It critically presents two models of aesthetic experience to provide a comprehensive theoretical basis for the discussion. The research purpose is to show that with increasing experience and expertise the referential frame of the aesthetic judgment is changing and that neural processes involved in object recognition provide a starting point for visual aesthetics. Thus, the investigation focuses on constructing and testing neuropsychological theories that fall in the domain called 'neuroaesthetics'. These theories, in turn, serve as a starting point to formulate neural laws of art and aesthetics and aesthetic experience. Some artistic styles, such as expressionism, reflect specific neural processes. Various studies indicate correlations between hemispheric specialisation and art or creativity and show the right hemisphere plays a particular role in it. However, studies exploring the neural correlates of aesthetic preference have yielded mixed results. Furthermore, neuroimaging studies have proved that different categories of modern artworks are processed in different areas of the brain. These diverging results will be discussed in a critical assessment of the two models of aesthetic experience. Besides, the question of identifying exclusive neural correlates of aesthetic preference will be raised. Comparing amateurs and experts has revealed the more reduced the cortical activation, the more efficiently it works. Biological and neuropsychological factors of creativity point out the meaning of the activation level, cognitive inhibition and prefrontal cortex. Divergent thinking differs from convergent thinking in terms of the neural level. Neurodegenerative processes and brain injuries sometimes influence the artistic output surprisingly or even launch it. Lesion studies contributing to understanding art experience will be explained. / Psychology / M.A. (Psychology)

Martina Smetanová Teaching for elementary school Dissertation Abstract The dissertation is regarding the use of art education in the education of children in elementary schools. In the theoretical part of the dissertation, there are described various psychological aspects, which have an influence on the development on the children's personality, e.g. creativity, intelligence, cooperation, sample schemes, mental mapping, attention, … The practical part consists of ten art themes within one common project "City does not have to be a labyrinth". (City from a bird's eye-view, Plastic city, City paving, Modern building, Traffic intersections, City plan, We are building a city, Travelling using a bus or tram, House sign, Mystical city). I realized this project on elementary school called ZŠ Fryčovická in Prague 9 - Letňany, in third, fourth and fifth grade. During the work with children, I tried to use the knowledge I got from the theoretical part. The aim was to give the children an idea about city, in which they are living and also to focus on the experiences, cooperation with other pupil, experiences with new art techniques, connection with other subjects, evaluation, development of fantasy, etc. The dissertation shows how we, within an art education, can develop skills and abilities, which can be then used in...