The Instruments installation represents the superimposition of two systems. The marketed elements that comprise the hegemony exerted by commodity culture are placed on top of the occult qabalistic Tree of Life. This overlaying makes the commentary that the pursuit of identity through commodified objects usurps and drowns out the natural fundamental components of the human psyche. The artist accomplishes this by creating various expressive multimedia sculptures out of actual objects. Each one is given a title that references a particular sphere on the Tree of Life glyph, for each piece is meant to represent that sphere’s aspect of the human entity as it is expressed in the commodity realm. The artist begins by introducing the reader to the artistic contexts and the various conceptual structures that serve to inform and describe his mode of working and its results. Subsequently, a detailed description of each work is given, simultaneously functioning as a necessarily brief survey of the spheres on the qabalistic glyph.

The Instruments installation represents the superimposition of two systems. The marketed elements that comprise the hegemony exerted by commodity culture are placed on top of the occult qabalistic Tree of Life. This overlaying makes the commentary that the pursuit of identity through commodified objects usurps and drowns out the natural fundamental components of the human psyche. The artist accomplishes this by creating various expressive multimedia sculptures out of actual objects. Each one is given a title that references a particular sphere on the Tree of Life glyph, for each piece is meant to represent that sphere’s aspect of the human entity as it is expressed in the commodity realm. The artist begins by introducing the reader to the artistic contexts and the various conceptual structures that serve to inform and describe his mode of working and its results. Subsequently, a detailed description of each work is given, simultaneously functioning as a necessarily brief survey of the spheres on the qabalistic glyph.

should one react against the laziness of railway tracks between the passage of two trains investigates the everyday as experienced in the post-industrial landscape. Through the activities of walking and mapping, fieldwork is conducted during treks that follow the route of the railroad in the Kitchener-Waterloo region. I examine detritus as post-readymade artifacts of the industrial economy that has abandoned the area. Interventions of minimal gestures engage the inherent narratives of these discarded materials. Improvised assembled sculptures mark my route as a form of wayfinding that re-appropriates the neglected urban space of the railroad right of way. Online maps document these treks as open works of art to be completed by participants as self-guided walks. The activity of walking and assembling sculptures in these marginal landscapes is a playful strategy that resists the alienation of immaterial labour in our contemporary economic context.

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This thesis analyzes technical and stylistic aspects of Mark di Suvero's nineteen sixties found-object works, and his monumental I-beam sculptures of the nineteen seventies and eighties to demonstrate their consistency despite the apparent contrasts in form, materials, and process. Primary data, sculpture of Mark di Suvero. Secondary data obtained from major art periodicals, newspapers, and exhibition catalogs. The artist was interviewed by author at the retrospective exhibition in Nice, France, Septermber, 17, 1991. Examination of primary and secondary data reveals a strong continuity by the artist in his approach to his work despite obvious external changes in materials and process.

L’écriture de Francis Ponge est celle de la reprise : le corpus textuel est essentiellement formé par les dossiers des manuscrits et des pages dactylographiées réunissant les phases successives de la production du même fragment dites variations ou variantes. Les réécritures pongiennes s’articulent autour du même principe matriciel de construction appelé thème ou programme : à l’origine de chaque texte il y a des mots reliés par un certain type de rapport, le plus souvent des couples de mots répertoriés par leur nombre de phonèmes, dont la symétrie structurelle reflète idéalement la symétrie de l’ensemble. Dans ce contexte nous nous proposons d’étudier le concept fonctionnel d’objet trouvé tel qu’il apparaît dans la pensée esthétique d’André Boucourechliev qui nous permet de définir l’intertexte pongien à travers un vaste réseau de fusions trans-sémiotiques entre le langage verbal et le langage musical : l’interaction entre des notions telles que la partition graphique, la spatialisation sonore dans l’environnement boulézien, l’œuvre ouverte, l’écoute réduite et la série des interprétants empruntée à la sémiotique peircienne met en place des stratégies esthésiques qui rendent possible une interprétation complètement réformée de la signification. / Francis Ponge’s writing style is essentially based on repetition: the publication of his manuscripts revealed a vast network of contrapuntal variations which generate the consequent textual developments departing from a single matricial idea: called theme or programme symmetrical pairs of words ideally reflect the overall structural symmetry. Using the functional concept of the found object as it appears in André Boucourechliev’s aesthetic thought, this study attempts to define the pongian intertext through a multilayered range of trans-semiotic fusions between music and verbal language: thus emerge a rich dialectical approach built around the graphic partition, the spatialization in boulezian sound environment, the peircean series of interpretants, the open work and the phenomenological reduction, as interactive notions in the creative process of pongian rewritings. The dialogue established reforms the meaning of signification and rethinks the fundamental strategies of interpretation.

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This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.

The content of the thesis is the surrealistic object and its reflection among the czech theorists. The first part of the thesis describes the problematic of surrealistic object and subject-objective relations in surrealism. Breton's philosophical approach is introduced, as well as his concept of object's crisis. The first part also outlines the meaning of found object, concept of convulsive beauty and Dali's paranoic-critical method as a source of surrealistic imagery. The second part of the thesis is focused on the reflection of surrealistic object presentation and on relations between arts and reality according to the concepts of Jan Mukařovský. The third part of the thesis is dedicated to conceptualization of aesthetics of Bohuslav Brouk in the light of surrealism. In this part the scope of Brouk's understanding of subject-objective relations is briefly described, as well his interpretation of surrealistic object.The last part of the thesis outlines the Teige's conception of surrealistic work in the terms of the sources of surrealistic imagination.