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This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scrip functioned as temporal reminders of a promised land to come, as mediated through artistic practice. Through a close analysis of a range of interrelated visual sources, I contend that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. This study draws out the various levels at which pilgrimage engaged the visual imagination. In doing so it offers a detailed perspective on the conjunction of content, form, meaning, and process for artists and theorists, as notions of the transfer of ‘spirit’ from sacred space to represented space re-emerged as a key aspect of the theological and artistic discourse of the period. Chapter 1 outlines the antiquarian dissemination of medieval pilgrimage texts and images. I suggest that an awareness of pilgrimage as embodying the real and imagined emerged with the recovery of allegorical texts, histories of actual pilgrimages, and an interest in pilgrimage souvenirs. The discussion moves on to intersections between pilgrimage and religious art in Chapters 2 - 4, including the idea of painting as pilgrimage, as demonstrated through specific case studies, and the refashioning of relics and religious ruins as contemporary sites of pilgrimage (Chapter 5).

Esta investigação tece relações comparativas entre padrões de crescimento de redes vasculares e argumenta que no conceito de morfogênese, analogamente à biologia, há evoluções e agrupamentos gerativos em sistemas estruturais ramificados. Para a compreensão deste agrupamento gerativo, são utilizados conceitos adjacentes à geometria fractal - estudo de estruturas rugosas, porosas ou fragmentadas, que mantém sua irregularidade em grau similar para todas as escalas. Embora os fractais sejam mais conhecidos como objetos resultantes de algoritmos matemáticos em iterações sucessivas no campo das ciências computacionais, nesta pesquisa as estruturas naturais que se aproximam de modelos de geometria fractal irregular, isto é, classificadas como fractais estatísticos, e que são encontradas em vários sistemas orgânicos e minerais, têm predominância. Pesquisam-se e coletam-se in loco imagens de padrões ramificados para início de produção de trabalhos práticos. Elas são em sua maioria fotografias de seres biológicos naturais com algum grau de ramificação, mas incluem-se também estruturas estatisticamente fractais análogas a sistemas biológicos. Esses estudos de casos de ramificações são então categorizados de acordo com padrões superficiais, colorações, estruturação corporal, funcionalidade no sistema em que atuam e interação com os demais sistemas ou seres vivos presentes num dado ecossistema. A partir de seleção de alguns organismos de acordo com sua estrutura corporal e seus movimentos característicos, são produzidas arte-instalações onde estruturas biomiméticas híbridas são criadas para responder cinética e sensorialmente a estímulos humanos, ambientais e climáticos. / This survey weaves comparative relationships among growth patterns of vascular networks and argues that, in the concept of morphogenesis, in analogy to biology, there are generative clustering and evolutions in branched structural systems. To understand this generative clustering, adjacent concepts to fractal geometry are used - the study of rough, porous or fragmented structures that keep their irregularity to a similar degree at all scales. Although fractals are better known as resulting objects of mathematical algorithms in successive iterations in the field of computer science, in this research the natural structures that approximate to models of irregular fractals, i.e., classified as statistical, and that are found in various minerals and organic systems are predominant. Images of branched patterns are researched and collected in loco for a first production of practical work. They are mostly photographs of natural biological beings with some branching level, but they also include statistical fractal structures analogous to biological systems. These branching study cases are then categorized according to surface patterns, colors, body structure, functionality in the system in which they operate and interaction with other systems or living organisms present in a given ecosystem. From the selection of a few organisms according to their characteristic movements and body structure, installation artworks are experimentally designed where hybrid biomimetic structures are created to sensory and kinetically respond to human, environmental and climate stimuli.

Esta investigação tece relações comparativas entre padrões de crescimento de redes vasculares e argumenta que no conceito de morfogênese, analogamente à biologia, há evoluções e agrupamentos gerativos em sistemas estruturais ramificados. Para a compreensão deste agrupamento gerativo, são utilizados conceitos adjacentes à geometria fractal - estudo de estruturas rugosas, porosas ou fragmentadas, que mantém sua irregularidade em grau similar para todas as escalas. Embora os fractais sejam mais conhecidos como objetos resultantes de algoritmos matemáticos em iterações sucessivas no campo das ciências computacionais, nesta pesquisa as estruturas naturais que se aproximam de modelos de geometria fractal irregular, isto é, classificadas como fractais estatísticos, e que são encontradas em vários sistemas orgânicos e minerais, têm predominância. Pesquisam-se e coletam-se in loco imagens de padrões ramificados para início de produção de trabalhos práticos. Elas são em sua maioria fotografias de seres biológicos naturais com algum grau de ramificação, mas incluem-se também estruturas estatisticamente fractais análogas a sistemas biológicos. Esses estudos de casos de ramificações são então categorizados de acordo com padrões superficiais, colorações, estruturação corporal, funcionalidade no sistema em que atuam e interação com os demais sistemas ou seres vivos presentes num dado ecossistema. A partir de seleção de alguns organismos de acordo com sua estrutura corporal e seus movimentos característicos, são produzidas arte-instalações onde estruturas biomiméticas híbridas são criadas para responder cinética e sensorialmente a estímulos humanos, ambientais e climáticos. / This survey weaves comparative relationships among growth patterns of vascular networks and argues that, in the concept of morphogenesis, in analogy to biology, there are generative clustering and evolutions in branched structural systems. To understand this generative clustering, adjacent concepts to fractal geometry are used - the study of rough, porous or fragmented structures that keep their irregularity to a similar degree at all scales. Although fractals are better known as resulting objects of mathematical algorithms in successive iterations in the field of computer science, in this research the natural structures that approximate to models of irregular fractals, i.e., classified as statistical, and that are found in various minerals and organic systems are predominant. Images of branched patterns are researched and collected in loco for a first production of practical work. They are mostly photographs of natural biological beings with some branching level, but they also include statistical fractal structures analogous to biological systems. These branching study cases are then categorized according to surface patterns, colors, body structure, functionality in the system in which they operate and interaction with other systems or living organisms present in a given ecosystem. From the selection of a few organisms according to their characteristic movements and body structure, installation artworks are experimentally designed where hybrid biomimetic structures are created to sensory and kinetically respond to human, environmental and climate stimuli.

Made available in DSpace on 2016-03-15T19:42:04Z (GMT). No. of bitstreams: 1 Angelo Dimitre Gomes Guedes.pdf: 2138760 bytes, checksum: 4c1a23b3bd1552de0d488a60bd3609d0 (MD5) Previous issue date: 2011-08-18 / Fundo Mackenzie de Pesquisa / The relationship between the visual, sonorous and verbal codes is a subject that has fascinated many artists and researchers. Wassily Kandinsky (1866-1944) has been responsible for one of the most respected works in this field. Poetry, synesthesia and sensitivity are hallmarks since his childhood. In the late nineteenth and early twentieth centuries, art showed signs of breaking with the representation of the outside world model. In this scenario, Kandinsky sought the inner/spiritual content of the art work: the inner sonority. Through inner sonority, different outward forms can achieve the same resonance in the soul of the viewer. In his book "Concerning the Spiritual in Art", published in 1914, Kandinsky set out the main concepts related to inner sonority. The author seemed to predict new directions for art, in which external values would be reduced and inner sonority amplified. This dissertation presents a reflection on this scenario. It points out the path traveled by Kandinsky in the development of his language, focusing on issues concerning relations between codes. It also sets out the main concepts presented in his book , presents the Monumental Art, concept created by Kandinsky, in which several codes are related, brings an analysis of parts of the scenic composition "The Yellow sound", that is an example of the Monumental Art. And finally, it presents an art essay written by the author of this dissertation, in which elements of visual, sonorous and verbal codes are related through inner sonority / A relação entre os códigos visual, sonoro e verbal é um tema que sempre fascinou diversos artistas e pesquisadores. Wassily Kandinsky (1866-1944) foi responsável por um dos mais conceituados trabalhos nesse campo. Poesia, sinestesia e sensibilidade são características marcantes desde a sua infância. No final do século XIX e início do século XX, a arte apresentava sinais de ruptura com o modelo de representação do mundo exterior. Em meio a esse cenário, Kandinsky buscou o conteúdo interior/espiritual de uma obra de arte: a sonoridade interior. Por meio dela, formas exteriores distintas podem atingir a mesma ressonância na alma do espectador. Em seu livro Do Espiritual na Arte , publicado em 1914, Kandinsky expôs os principais conceitos concernentes à sonoridade interior. O autor parecia profetizar novos rumos à Arte, nos quais os valores externos seriam reduzidos e a sonoridade interior amplificada. Esta dissertação apresenta uma reflexão sobre todo esse cenário. Aponta o trajeto percorrido por Kandinsky no desenvolvimento de sua linguagem, concentrando-se em assuntos concernentes a relações intercódigos. Expõe os principais conceitos apresentados no livro Do Espiritual na Arte . Apresenta a Arte Monumental, conceito criado por Kandinsky, no qual diversos códigos são relacionados. Analisa recortes da composição cênica A sonoridade amarela , exemplo de Arte Monumental. Apresenta um ensaio artístico criado pelo autor da presente dissertação, no qual são relacionados elementos dos códigos visual, sonoro e verbal, por meio da sonoridade interior

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.

This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.

The dissertation thesis deals with the relation of a person towards the physical public space from the point of view of an artist/teacher in the academic milieu. The frequently discussed subject of public space is not limited to purely artistic sphere or artistic gesture. It also implies a simple transgression to everyday life related to education and cultivation. An essential part of the research is the case study at the Department of Art Education of the Faculty of Education of the Charles University, which inquires into the perception of the future pedagogues of the physical public space and how they gtranslate it into the art language. The cornerstone stimulus for the research lies in the premise that future teachers will, through the prism of their view of the worl and by their vocation influence the education of the young generation. This fact of transgression is given by the existence of the subject of Art Education where the 3D design itself plays a certain role. The research is focused on what lies behind the phenomena in the process of the creation and inception of "something new" in the physical public space. The concept of a gesture represents a metaphor of material introduction into a space that, at some point, becomes a part o it .The integration is called actualization and the issue of the...

I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.