The purpose of this study is to endeavor to interpret these various aspects of dualism through an analysis of selected examples of art from two cultural areas, Africa and China.

The work illustrated and discussed in this paper was exhibited in the Anderson Gallery, Virginia Commonwealth University, November, 1974, as my graduate show. Presented here is a written explanation of the work contained in that show.

This creative project is concerned with archetypal forms expressed in art, design and communication, from Neolithic rock carvings and native American Indian petroglyphs to individual graphic languages that look to the 'primitives' like those of Joan Miro and Neville Brody. It is my belief that through the study of this diverse collection of graphic signs and archetypal forms, one can develop a system of signs that cross barriers of language and culture. A morphology, a collection of possibilities, derived from such archetypal forms, could provide designers with a foundation for the development and use of symbol signs and sign systems.

<p> This is a quantitative non-random experimental study involving two ceramics classes in a California public high school. One class will be the control group of the study while the other will be the experimental group. The control group will be taught in a traditional unit of ceramics instruction (TUCI), while the experimental group will be taught in a critical pedagogy unit of ceramics instruction (CPUCI).</p><p> This experimental study rests on three hypotheses. Hypothesis 1, an experimental group of high school ceramics students exposed to a CPUCI whereby the students are active participants in the curriculum, are hypothesized to demonstrate a significant increase in their civic engagement between pretest and posttest, while in high school and in their intentions after graduating. Hypothesis 2, A control group of high school ceramics students exposed to a TUCI is predicted to demonstrate no significant shift in their civic engagement between pretest and posttest. Hypothesis 3, the experimental group of high school ceramics students taught with a CPUCI, are hypothesized to demonstrate a significant increase between pretest and posttest regarding their civic engagement in comparison to a control group of high school students taught with a TUCI. </p>

My work is an exploration of female sexuality and the use of the body in conceptual photography. I use photography as a sensual medium that acts similarly to paint conveying visceral and ambiguous qualities in abstract forms. The medium of film becomes eroticized, intertwining the image of body with other bodies on film. The film is treated sensually in its tactility of smooth, slick, luminous qualities; folding; manipulating with heat that gets flushed; bubbling; overflowing on the surface. Femininity and the body are adorned through film; layers that present themselves to the world. We reveal and conceal ourselves in parts. An optical tactile experience; of pushing and pulling; exposing and layering; flirting between visibility in the sensual physical body as the body medium of film. My work expresses the human experience; the body carries a language and performs; acceding to desire and pleasure. My intent is to create an erotic intervention in the content of my images. My research draws from sources that advocate a sexually confident attitude without passivity. / October 2016

M. Tech. / My research examines how artworks referring to cattle convey symbolic meaning about cultural identity in South Africa, thus contributing to the research niche area of the University of Johannesburg (Visually Embodying Identity in a Post Colonial Environment). I track shifts in traditional ethnic and cultural boundaries which shaped South Africa, by comparing selected examples of historic and contemporary art and artefacts which embody cultural values. This provides a reading of the dynamic process of changing identities in South Africa with emphasis on the process of creolisation being particularly identifiable in the work of chosen artists Peter Mthombeni and Joachim Schönfeldt. In my practical research I attempt to reflect different South African identities, from colonialist, essentialised identities to the newer identities of a post-apartheid, democratic, 21st century multicultural society. My practical research which focuses on dynamic shifts in identity results in an installation of a ‘herd’ of ceramic cattle heads in an outdoor public area, namely the entrance to the Faculty of Art, Design and Architecture at the University of Johannesburg.

Ce manuscrit expose, sous forme de dualité, un cheminement de l’art et des sciences, autant historiquement, conceptuellement, que d’un point de vue pratique. Autour d’une réflexion théorique, est développée une œuvre de la seconde interactivité, Mélancolie des étoiles, en coécriture avec Edwige Armand, artiste plasticienne docteure en art et dont elle en est l’initiatrice. Sa mise en place a nécessité l’emploi et le développement d’outils informatiques, ainsi que leur mise en commun. Mais, pour conserver une cohérence au propos, tout ce qui est d’ordre purement technique a été relayé en annexes. Une partie est consacrée au rapport des arts et des sciences, comme un parallèle à une certaine vision du monde. D’un point de vue historique puis conceptuel, des changements paradigmatiques (Thomas Kuhn [111]) jusqu’au passage de la première à la seconde cybernétique, initiée par Heinz von Foerster [84, 87] et développée par Edgar Morin [131,135], en rapport avec la nécessaire évolution vers la pensée complexe. Elle s’attache à l’évolution des concepts tant scientifiques que philosophiques dont un modèle peut être partagé par toute une communauté avant de devenir définitivement caduque, à l’instar du déterminisme. Une deuxième présente l’œuvre numérique développée dans ce projet. Partant de l’idée de déconstruction du langage (Jacques Derrida [64, 68]), et plus particulièrement de l’opposition du langage à la réalité (Henri Bergson [19, 23]), cette partie développe le cheminement qui a amené à la pièce Mélancolie des étoiles. La voix des spectateurs, décomposée en phonèmes, est matérialisée par des touches colorées ayant le rôle de cellules. Elles devront apprendre à survivre, tout en étant confrontées à des buts antagonistes. Les implications scientifiques y sont présentées, exposant sa mise en œuvre aussi bien au niveau de la reconnaissance vocale, de la synthèse d’images, de la programmation massivement parallèle que de la vie artificielle. La conclusion revient sur les cybernétiques par un rapprochement avec la vie artificielle et les œuvres de la seconde interactivité (au sens d’Edmond Couchot [55, 56]) avec l’émergence de la complexité. Elle s’interroge sur les problèmes liés aux pratiques aussi bien scientifiques qu’artistiques, d’un point de vue d’une certaine idée de progrès, de la recherche ou de l’éducation (Paul Feyerabend [79, 83]). Et plus généralement ce que méthodes et pratiques engendrent en tant que responsabilité éthique. / This manuscript presents, in a duality form, a progression of Art and Sciences, in a historically, conceptually, and practical standpoint as well. From a theorical thought, a second interactivity artwork has been created: Mélancolie des étoiles, in cooperation with Edwige Armand, PhD graduate in art, who is the originator of the piece. Its implementation requires the use and development of computer tools as well as their sharing. But, in the aim to maintain consistency, all that is purely technical is relayed in annexes. A part is devoted to the connection between Arts and Sciences, as a parallel to a particular worldview. In a historically then conceptually standpoint, from paradigmatic changes (Thomas Samuel Kuhn [111]) up to the transition from the first to the second cybernetics, initiated by Heinz von Foerster [86, 87] and developed by Edgar Morin [131, 135], in relation with the necessary evolution towards complex thought. It focuses on the evolution of both scientific and philosophical concepts of which a model can be shared by a whole community before becoming definitely obsolete, like determinism. A second one presents the digital work developed in this project. Starting from the idea of language deconstruction (Jacques Derrida [64, 65]), especially the opposition of language to reality (Henri Bergson [19,23]), this part develops the progression that led to the work Mélancolie des étoiles. The voice of the audience, broken down into phonemes, is represented by colored touches in the role of cells. They have to learn to survive while being faced with conflicting goals. The scientific implications are presented, exposing its implementation at the level of speech recognition, image synthesis, massively parallel programming and artificial life. The conclusion comes back to cybernetics by a connection with artificial life and second interactivity artworks (in the meaning of Edmond Couchot [55, 56]) with the emergence of complexity. It questions the issues of both scientific and artistic practices, from some idea of progress, research or education (Paul Feyerabend [79, 83]). And more generally what methods and practices generate as ethical responsibility.

No abstract.

The purposes of this study were to elicit and describe the attitudes of Alabama primary teachers toward Lowenfeld's teachings and to determine if there was a relationship between attitudes and the selected teacher characteristics of (a) the age of the teacher; (b) the location of the school; (c) the sex of the teacher; (d) the decade in which the last degree was completed; (e) the highest degree completed; (f) the grade taught; and (g) whether or not there was an art specialist/consultant in the school. / The review of literature revealed that although many persons have written about Lowenfeld's impact on teaching practices in art education, no empirical studies have been conducted which attempt to describe the effects of his teachings on classroom attitudes. Further, contemporary writers have questioned many of Lowenfeld's ideas and reflect skepticism regarding some of his recommendations. / A questionnaire was prepared by the investigator and administered to 204 primary grade school teachers in Alabama. Fixed alternative responses on a five-point agree-disagree continuum (Likert Scale) made it possible to utilize an answer sheet which could be electronically processed. Data were computer analyzed using the Statistical Package of the Social Sciences (SPSS) at the Florida State University computing center. / Analysis revealed that Alabama primary grade school teachers had positive attitudes toward the teachings of Lowenfeld and that they view art: (1) as essentially process-oriented; (2) as a means of facilitating the total development of children; and (3) as being different from adult art (the natural characteristics of chilren's art should be respected). No significant relationship could be determined between these attitudes and the teacher characteristics variables. / Major conclusions include: (1) Primary teachers have positive attitudes toward the concepts of Lowenfeld's teachings; (2) Most respondents agreed that the process is more important than the product; (3) Primary teachers agree with the Lowenfeld position (art is for the promotion of the child's growth and development) on goals for art education, and they do not support some of the recent essentialist goal statements in art education literature; (4) The majority of primary school teachers support the development of the "whole child" and they support the child-centered curriculum and negatively endorse the subject-centered curriculum; (5) The majority of primary teachers disagree with Lowenfeld's position on workbooks in that they do not agree that workbooks cause children to become inhibited creatively. / Recommendations include: (1) Further research is needed at the national level to determine if the implications of this study are valid; (2) Further study is needed to indicate if teacher attitudes toward Lowenfeld's teachings are related to variables not considered by this study (such as number and type of art education courses in background, number and type of education and "methods" courses, other art classes, personality types, etc.,); (3) It is recommended that further studies (preferably on-site observations involving interaction analysis) be done to see if there is a relationship between teachers' attitudes toward Lowenfeld's teachings and actual teaching practices. / Source: Dissertation Abstracts International, Volume: 41-09, Section: A, page: 3843. / Thesis (Ph.D.)--The Florida State University, 1980.

This philosophic study attempts to bridge the gap between phenomenological aesthetics and instructional practice in the classroom. An investigation of E. F. Kaelin's phenomenological aesthetic theory, the andragogical methodology of M. S. Knowles, and the phenomenological process of learning developed by Carl Rogers, are explicated. / An exegesis of relevant literature and concepts relating to Kaelin's aesthetic theory, included reference to Kant, Croce, Dewey, Parker, Langer, Husserl, Sartre, and Merleau-Ponty, is given, followed by the analysis and identification of critical concepts in Kaelin's theory, germane to an effective teacher education. / A brief overview of art education teacher preparation and adult development with its consequences on adult learning is discussed. M. S. Knowles' andragogy, the study of the education of the adult learner, and D. Rogers' phenomenological oriented self with application to a process of learning, are projected as a possible conceptual delivery system which would operationalize Kaelin's theory. / The methodologies of each theorist, Kaelin, Knowles, and Rogers are examined for compatibility. Likewise, the theoretical structure of the delivery system, suggested by the social projections, definitions of education, and a series of Kaelin's principles: projectional antonomy, relevancy, and completeness, is examined for conceptual correlations. / M. Flannery's phenomenological methodology in art education teacher preparation, which focuses on a random noncognitive concept, is discussed for its implications to this study. / In conclusion, it is the non-cognitive, as well as the cognitive aspects of Kaelin's descriptive theory, and teacher preparation in accordance with adult education principles, that function concomitantly, operationalizing Kaelin's phenomenological aesthetic theory. / Source: Dissertation Abstracts International, Volume: 43-03, Section: A, page: 0633. / Thesis (Ph.D.)--The Florida State University, 1982.