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1	Émergences-effacements : errances du regard sur les pierres / Braun-Stanesco, Martine, January 1900 (has links) 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. Empreinte (art) Perception des images.
2	Ersatz Horton, George M. January 2003 (has links) 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). Minimal art. Perception.
3	Can spectators become co-authors in the process of a story narrative? an exploration of the relationship between perceptions of spectators and narratives of authors in moving images [thesis/dissertation submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2009] / Enning, Tang. January 2009 (has links) 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)
4	Crisis and transformation : French opera, politics and the press 1897-1903 Ross, James Magnus January 1998 (has links) No description available. 900
5	Images doubles-figures duelles / Hodges-Cousinard, Vanina. January 1900 (has links) Mémoire de maîtrise--Arts plastiques--Paris I, 1993. / 1993 d'après la déclaration de dépôt légal. Bibliogr. f. 84-87.
6	Symbol a pocit v estetice Susanne K. Langerové / Symbol and Feeling in Aesthetics of Susanne K. Langer Brom, Pavel January 2017 (has links) (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...
7	A critical analysis of the present neuropsychological and neuroanatomical theories and knowledge of art perception and artistic production taking creativity into account Romp, Andreas Johannes 01 1900 (has links) 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) Neuroaesthetics Art perception Aesthetic experience Art expertise Visual aesthetics Creativity Neurodegenerative processes Frontotemporal dementia Lewy-body dementia Alzheimer disease 111.85019 Neurosciences and the arts Aesthetics -- Physiological aspects Arts -- Psychological aspects Art -- Psychology
8	A critical analysis of the present neuropsychological and neuroanatomical theories and knowledge of art perception and artistic production taking creativity into account Romp, Andreas Johannes 01 1900 (has links) 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) Neuroaesthetics Art perception Aesthetic experience Art expertise Visual aesthetics Creativity Neurodegenerative processes Frontotemporal dementia Lewy-body dementia Alzheimer disease 111.85019 Neurosciences and the arts Aesthetics -- Physiological aspects Arts -- Psychological aspects Art -- Psychology
9	Město nemusí být bludiště. Výtvarný projekt pro 1. stupeň ZŠ / City does not have to be a labyrinth. Art project for first school Smetanová, Martina January 2011 (has links) 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...
10	Tacita Deans JG. Autorinnenfilm zwischen New Wave Science-Fiction und Land Art Rosen, Susanne 06 February 2025 (has links) Durch die Entwicklungen der Digitalisierung scheint 2013 die Obsoleszenz des analogen Filmmediums besiegelt. Während ein Großteil der Filmindustrie über die Flexibilität digitaler Filmaufnahmen erleichtert ist, betrauern KünsterInnen wie Tacita Dean den drohenden Verlust des analogen Mediums. Dem Anliegen, analogen Film in seinen intrinsischen Qualitäten zu erkennen, zu würdigen und zu erhalten, widmet die Künstlerin Arbeiten wie Kodak (2006) oder FILM (2011). Auch in Deans Film JG (2013) setzt sich die Künstlerin mit dem drohenden Ende des Mediums auseinander. Aufgrund seiner Rätselhaftigkeit und gesteigerten Polysemie nimmt der Film allerdings eine Sonderstellung in Deans Werk ein. Die vorliegende Arbeit sucht die Rätsel zu entziffern und zeigt auf, wie in JG dem Untergang des ‚Universums Film‘ über die Figur eines allegorischen Dramas Gestalt verliehen wird und wie über Fragmente des analogen Films ein Erinnerungsbild an die technischen und chemischen Bedingungen sowie strukturellen Eigenheiten des Mediums geschaffen wird, das allein für diejenigen in JG erkennbar wird, die mit dem Wissen um diese Bedingungen vertraut sind. In einem zweiten Schritt widmet sich die Untersuchung den Werken des britischen Science-Fiction-Schriftstellers J.G. Ballard und des US-amerikanischen Land-Art-Künstlers Robert Smithson, auf die sich Dean in JG bezieht. Über ‚close-reading‘-Analysen von Ballards The Voices of Time (1960) und Prisoner of the Coral Deep (1964) sowie Roberts Smithsons Spiral Jetty (1970) lässt sich zeigen, dass die Künstlerin Strategien zur Anwendung bringt, mit denen sie JG in unmittelbare Nähe zum Science-Fiction-Genre und zu Smithsons Land Art rückt, worüber es ihr gelingt, neben der zeitlichen auch die räumliche Dimension des Films, seine skulpturale Dimension, auf eindrückliche Weise auszustellen. / By 2013, the obsolescence of analog film seemed to be sealed as a result of progress in digitalization. While much of the film industry rejoiced in the greater flexibility provided by digital film, artists such as Tacita Dean mourned the impending loss of their analog medium. Tacita Dean had already dedicated works such as Kodak (2006) and FILM (2011) to the recognition, appreciation, and preservation of film in its intrinsic qualities. In her film JG (2013) the artist continues to deal with the impending end of the medium. JG’s enigmatic nature and heightened polysemy lends it a unique position in Dean’s œuvre. The Dissertation seeks to decipher the enigma JG and tries to show how the artist in JG confronts the impending loss of her medium. It is argued that she does this in two ways: through the figure of an allegorical drama reflecting the end of the 'universe of film’; and, secondly, through a collection of analog film fragments that, to those with the requisite knowledge, become recognizable as a commemorative picture of the technical and chemical conditions and structural characteristics of the medium. In a second step, the study is dedicated to works of British science fiction writer J.G. Ballard and American Land Art artist Robert Smithson on which Dean draws in JG. Through close-reading analyses of Ballard’s The Voices of Time (1960) and Prisoner of the Coral Deep (1964) as well as Robert Smithson’s Spiral Jetty (1970), it becomes clear that Dean employs strategies that bring JG into close proximity with the genre of Science Fiction and with Smithson’s Land Art. By these means she achieves an impressive demonstration not merely of film’s temporal but of its spatial, sculptural dimension. Kunst Kunstgeschichte Bildwissenschaft Film Filmchemie analoger Film Land Art New Wave Science-Fiction Kunstrezeption Kunstwahrnehmung 20. Jahrhundert 21. Jahrhundert Drama Allegorie LSD Salz USA Utah Kalifornien Großer Salzsee Geographie Geologie Paläontologie Tacita Dean Robert Smithson J.G. Ballard Nancy Holt Aldous Huxley JG Spiral Jetty Mono Lake The Voices of Time Prisoner of the Coral Deep art art history image science film analogue film image science film chemistry Land Art New Wave Science Fiction art reception art perception 20th century 21st century drama allegory LSD salt USA Utah California Great Salt Lake geography geology paleontology Tacita Dean Robert Smithson J.G. Ballard Nancy Holt Aldous Huxley JG Spiral Jetty Mono Lake The Voices of Time Prisoner of the Coral Deep 700 Künste AP 51400 AP 53900 AP 53970 ddc:700

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