Orientador(a): Agnus Valente / Banca: Susana Oliveira Dias / Banca: Carolina Cantarino Rodrigues / Banca: Omar Khouri / Banca: José Paiani Spaniol / Resumo: Livro: material da dobra e do labirinto pretende testar o fazer de um objeto livro, por entre experimentações e procedimentos artísticos (gráficos, plásticos e digitais), em aproximação com os conceitos de dobra e labirinto do filósofo pós-estruturalista Gilles Deleuze (1991). A inspiração para esta proposta foi a minha dissertação de mestrado intitulada Objetos e afetos (2014, IEL-Labjor, Unicamp), na qual experimentei dar visibilidade ao processo de escrita da pesquisa, deixando visíveis rasuras, correções, apagamentos, com desenhos, manchas de tinta e linhas de costura, em conversas com o artista brasileiro Arthur Bispo do Rosário e com o poeta Manoel de Barros. Com a vontade de dar continuidade à pesquisa, no doutorado buscamos ampliar a trama de conexões entre autores e artistas para investigar a própria tese enquanto abrigo dos diversos gestos e procedimentos da feitura de um objeto livro (ou um livro-objeto). Compor lâminas de espaços-tempos nas quais as relações imagem-texto se desdobrem pelos labirintos da poesia visual de Augusto de Campos, Haroldo de Campos e Julio Plaza, pelas escritas de Jorge Luis Borges, e pelos livros e instalações de Edith Derdyk. Uma pesquisa por superfícies artesanais-digitais que acumulam as camadas dos rumos perdidos, das escolhas traçadas, dos caminhos embaralhados, das referências inspiradoras dos processos do fazer-escrever um livro. Uma tentativa de entrelaçar o tátil, o visual, o sonoro e o semântico, por dobras e redobras da matéria... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Book: fold and labyrinth material aims to test the making of a book object, through experimentation and artistic procedures (graphics, plastics and digital), in close proximity to the concepts of fold and labyrinth by the poststructuralist philosopher Gilles Deleuze (1991). The inspiration for this proposal was my master dissertation entitled Objects and Affects (2014, IEL-Labjor, Unicamp), in which I tried to give visibility to the research writing process, leaving visible erasures, corrections, sketches, with drawings, ink stains and sewing threads, in dialogue with the Brazilian artist Arthur Bispo do Rosário and the poet Manoel de Barros. With the desire to continue the research, in the doctorate we seek to broaden the web of connections between authors and artists to investigate the thesis itself as a shelter of the various gestures and procedures of making a book object (or an object book). A willingness to compose blades of spaces-times in which the imagetext relations unfold through the labyrinths of the visual poetry of Augusto de Campos, Haroldo de Campos and Julio Plaza, through the writings of Jorge Luis Borges, and the books and installations of Edith Derdyk. A search for handmade-digital surfaces that accumulate the layers of the lost directions, the choices drawn, the scrambled paths, the inspiring references of the process of making-writing a book. An attempt to intertwine the tactile, the visual, the sonorous and the semantic, through the folds and the refold... (Complete abstract click electronic access below) / Doutor

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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life / Master of Arts (Hons)

This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

Raising ghosts examines the political and cultural climate in Australia in the mid-20th century, and proposes that e?migre? and migrant artists to a significant extent were the catalysts of change and progenitors of new forms of painting in the post-war years. It uncovers a largely hidden but fertile terrain in Australian modernism. / thesis (PhDVisualArts)--University of South Australia, 2000.

This thesis will examine the works of artists-turned-architects, Arakawa and Gins in light of current research in the arts and sciences on affect and self-organisation. The aim of their project is to arrive at a 'daily research' in which a person may: 1. observe and learn about the operations of his or her own perception and action; 2. interact (dismantle and re-assemble) the identity boundaries reinforced by the habitual implementation of concept and category. This thesis takes account of multi-disciplinary and interdisciplinary approaches to embodiment and engages Arakawa and Gins from a practising artist's point of view. Given this practical orientation of the study, the aim is to makes a series of critical reflections on the work of Arakawa and Gins and demonstrate how such an approach brings theory and practice together. Exploration of the central aspects of their processes will prepare a person (researcher or practitioner) to begin a practice that is designed to combine studies of embodiment with the co-evolving relationship of organisms and their surroundings, to form the basis of a practice of embodied cognition. The thesis sets out this investigation into three chapters. In Chapter 1, I propose that the context for Arakawa and Gins' work be understood as the result of multidisciplinary interarticulations and multi-modal approaches to embodied activity. The position they occupy in relation to disciplinary endeavours such as art, architecture, psychology, bio-topology and theoretical physics is a process of constant problematisation, convergence and repositioning. A survey of key writings on Arakawa and Gins demonstrates the complexity of their work and the difficulties authors encounter situating them within a context that adequately addresses the scope of their project. In Chapter 2, I map a series of activities that accrue to form embodied configurations made perceptible by Arakawa and Gins' procedural architecture. These tactics apply to the observational-heuristic stance they take towards the perceptions and actions that constitute a person's identity boundaries as well as the transformational approach they take towards perceptions and actions that construct the material surrounds. I propose that the movements initiated by their architectural procedures become the practice of embodied cognition. That is, the ability to increase awareness and construct the shape of awareness is, at the same time, the ability to observe and learn about the anatomical, physiological basis of cognition. Through Æffective readings and embodied engagements I explore how Arakawa and Gins propose that the distribution of awareness may reconfigure the relationships among the organism-person-surround. The practice that repositions a person in relation to him- or herself, to others, to constructions of knowledge and modes of acquiring knowledge, questions the autonomy of any construct, especially constructs that are historically entrenched such as the organism, art, science or agency in general. In Chapter 3, I argue that by investigating the connection between and across the organism, person and surround, a person must reconsider activities, such as judgment and Reason, as ongoing embodied processes. The implication of such a shift impacts upon everyday practices as well as vocational and professional practices aligned with research and development. Throughout this thesis I argue that tactics of Arakawa and Gins' procedural architecture and the ethics of their reversible destiny project are the most productive way to approach the practical and theoretical inquiry into the contributions that humans can make towards co-constructing the world. The complex and intricate processes that emerge from their work will enhance the quality of life by allowing persons to apply the benefits of research in art and science to everyday actions. By devising procedures for re-entering perception and action, the transition from self-awareness to a practice of embodied cognition acquires a renewed urgency for daily life. Further, I have suggested that Arakawa and Gins' works demonstrates how deliberate recursive action may become a practice of embodied cognition. This occurs in three ways. Firstly, any form of deliberate assessment and coordination of top-down conceptual-analytical processing and bottom-up perceptual processing will open the activities of reasoning, selecting, deciding, and judging to new embodied modes of knowledge acquisition and therefore to unprecedented configurations of value. Secondly, the reconfiguration of what counts as knowledge, from an ontological perspective, impacts upon research processes and the way in which research cultures are situated in relation to communities. Lastly, the practice of embodied cognition sets a new agenda for convergent 'daily research' especially the interaction between art and the 'outside of art' and between third-person science and the science of our own fiction. These practical actions will counteract our commitment to closure on many fronts, both personal and historical, from the education of the senses to the construction of social justice.

This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.

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<p>The purpose of this study is to identify the representations and stereotypes that are used in reviews to describe male and female pop artists and further on argue the consequenses these theses bring to the construction of male and female performers in society. The main question is: In what way do live act reviews present male and female pop artists?</p><p> </p><p>A qualitative content analysis with tools from rhetoric analysis was used to answer this question. The content of Swedish newspapers Aftonbladet and Svenska Dagbladet was chosen to represent the media.</p><p>The study is based on social constructionism and focuses on gender and stereotypes. These theories claim that men create the patterns that rule society and that women are unknowingly accepting this. We slowly grow into these stereotypical patterns so that we hardly recognize them anymore. The main reason for this is that the media provides information that is said to be objective, when it’s really influenced by the norms of society itself.</p><p> </p><p>The result of the study proves that female artists are being held back by the unwritten rules of society while male artists are encouraged when it comes to developing themselves and their artwork. Women artists are portrayed as sexual and the journalists focus on details such as flaws regarding their singing skills. Male artists are portrayed in a more positive way and are mainly described as good entertainers.</p>

Thesis (Ph.D.)--University of Delaware, 2005. / Principal faculty advisor: Susan Goodman, Dept. of English. Includes bibliographical references.