In my artwork, I merge nature with typography. I use macro-level photography to capture details of nature, such as the pistils of a flower or the sensory hairs of an insect. I print enlargements and transfer these photos onto pages of poetic text about nature, or collage them onto canvas. Once transferred, I use multiple media to alter and enhance features of the photos. I intentionally obscure much of the text which allows me to place focus on the overall layout and design. The arrangement of lines of text and spacing of words is used to create a visual rhythm. The poetic script acts as a foundation or platform for presenting the often unnoticed elements of nature. In developing a piece, I use a wet transfer which allows me to obtain subtle textures and imperfections that occur from the process. To add visual interest and complexity, I continue to manipulate the surfaces with various media and marks. This approach helps to create a blending of text and image. Similar to reading a poem or observing nature, I want to engage the viewer in an experience of visual poetry.

This literature analysis examines terahertz (THz) imaging as a non-invasive tool for the imaging of friction ridge detail from the first painted layer (imprimatura) in multilayered painted works of art. The paintings of interest are those created utilizing techniques developed during the Renaissance and still in use today. The goal of analysis serves to answer two questions. First, can THz radiation penetrate paint layers covering the imprimatura to reveal friction ridge information? Secondly, can the this technology recover friction ridge detail such that the fine details are sufficiently resolved to provide images suitable for comparison and identification purposes. If a comparison standard exists, recovered friction ridge detail from this layer can be used to establish linkages to an artist or between works of art. Further, it can be added to other scientific methods currently employed to assist with the authentication efforts of unattributed paintings. Flanked by the microwave and far-infrared edges, THz straddles the electronic and optic perspectives of the electromagnetic spectrum. As a consequence, this range is imparted with unique and useful properties. Able to penetrate and image through many opaque materials, its non-ionizing radiation is an ideal non-destructive technique that provides visual information from a painting’s sub-strata. Imaging is possible where refractive index differences exist between different paint layers. Though it is impossible, at present, to determine when a fingerprint was deposited, one can infer approximately when a print was created if it is recovered from the imprimatura layer of a painting, and can be subsequently attributed to a known source. Fingerprints are unique, a person is only able to deposit prints while their physical body is intact and thus, in some cases, the multiple layer process some artists use in their work may be used to the examiner’s advantage. Impressions of friction ridge detail have been recorded on receiving surfaces from human hands throughout time (and have also been discovered in works of art). Yet, the potential to associate those recorded impressions to a specific individual was only realized just over one hundred years ago. Much like the use of friction ridge skin, the relatively recently discovered THz range is now better understood; its tremendous potential unlocked by growing research and technology designed to exploit its unique properties.

Esta dissertação está inserida no âmbito do estudo das imagens em livros didáticos de História. A partir da coleção História em Movimento (2014), pertencente ao Programa Nacional do Livro Didático 2015 (PNLD) para o Ensino Médio, investiguei um registro imagético específico, nesse caso, as reproduções de obras de arte. Busquei compreender de que modo essa coleção articula saberes históricos com saberes artísticos, identificando e refletindo sobre as estratégias pedagógicas e metodológicas utilizadas para tal, bem como sobre as relações entre o ensino de História e o de Artes Visuais. Para tanto, me detive na análise documental do Edital de Convocação para o processo de inscrição e avaliação de obras didáticas para o PNLD 2015 Ensino Médio (01/2013), no exame do Manual do Professor da coleção História em Movimento, na realização e na análise de um levantamento quantitativo dos registros imagéticos e artísticos que compõem a referida coleção e na investigação de uma seção específica – Olho Vivo. A pesquisa demonstra que a presença de registros imagéticos e, particularmente, de reproduções de obras de arte em coleções didáticas é fruto de uma série de fatores ligados a demandas educacionais específicas. No caso da coleção História em Movimento, as reproduções de obras de arte são utilizadas na medida em que tematizam representações de personagens e indivíduos históricos, sendo interpretadas enquanto símbolos e alegorias que possuem significados específicos a serem decifrados. / This dissertation inserts itself in the scope of the study of images in History textbooks. Based on the História em Movimento collection (2014), which belongs to the 2015 National Textbook Program (PNLD) for High Schools, I have investigated a specific imagetic record, in this case, the reproductions of artworks. I have tried to understand how this collection articulates both historic and artistic knowledge, identifying and reflecting on the pedagogical strategies and methodologies used for doing so, as well as the relations between History and Visual Arts teaching. Hence, I have focused on the documental analysis of the convocation public notice for the process of enrollment and evaluation of textbooks for the 2015 National Textbook Program for High School (01/2013), on the examination of the teacher’s manual of the História em Movimento collection, on the realization and analysis of a quantitative survey of the imagetic and artistic records that compose the referred collection and on the investigation of a specific section - Olho Vivo. The research shows that the presence of imagetic records and, particularly, of artwork reproductions in textbook collections is the outcome of a series of factors connected to specific educational demands. In the História em Movimento collection, the artwork reproductions are used as far as they conceptualize representations of characters and historical individuals, being interpreted as symbols and allegories which have specific meanings and need to be deciphered.

During the nineteenth century, an artistic trend spread across Europe. As urban centers housed the majority of professional artists, individuals and groups relocated to remote, bucolic areas to form art colonies. Artist colonies are typically defined as a group of artists, generally painters, writers, and composers who worked and lived as a community for a certain period of time1. Artists left their city lifestyles as a response to urbanization and industrialization. In other words, the movement encouraged reform of social, environmental, and economic conditions to prevent the decline of true artisanship. The artistic response personified an underlying utopian theme: preservation of the simple life, nostalgia, and set of values threatened by industrialization. This idyllic impulse eventually spread to America. The American art colonies were mainly located in the Northeastern states, the Southwest and Northern California. The present study seeks to analyze art colonies' transformation from rural settings to urban art communities, particularly Florida's art centers. The study finds commonality among the artist colonies of yesterday and the modern art enclaves of today. Some common themes include: desire for seclusion, camaraderie with fellow artists, and inspiration from a environment and/or nature. Chapter one offers a brief history of art colonies in Europe and the influence of landscapes on artists. Chapter two explores the development of American art colonies and their connection to landscapes and the urban influence of modern art on the artists. Chapter three investigates the history of the most significant art colonies in Florida: St. Augustine, Sarasota, Maitland, and New Smyrna Beach. This chapter also examines how artist enclaves support urban communities economically, culturally, and through diversity; specifically, through examples in small towns transformed into diverse Floridian art communities. Art has always provided a unique historical record of social, regional, environmental, and creative changes. The art colonies and communities discussed in this thesis show how the artistic impulses for creativity attract individuals to places and transform them into important art centers. 1 Nina Lubbren, Rural Artist Colonies in Europe, 1870-1910 (New Brunswick: Rutgers University Press 2001), 2.

abstract: In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks. / Dissertation/Thesis / M.A. Art 2011

Esta dissertação está inserida no âmbito do estudo das imagens em livros didáticos de História. A partir da coleção História em Movimento (2014), pertencente ao Programa Nacional do Livro Didático 2015 (PNLD) para o Ensino Médio, investiguei um registro imagético específico, nesse caso, as reproduções de obras de arte. Busquei compreender de que modo essa coleção articula saberes históricos com saberes artísticos, identificando e refletindo sobre as estratégias pedagógicas e metodológicas utilizadas para tal, bem como sobre as relações entre o ensino de História e o de Artes Visuais. Para tanto, me detive na análise documental do Edital de Convocação para o processo de inscrição e avaliação de obras didáticas para o PNLD 2015 Ensino Médio (01/2013), no exame do Manual do Professor da coleção História em Movimento, na realização e na análise de um levantamento quantitativo dos registros imagéticos e artísticos que compõem a referida coleção e na investigação de uma seção específica – Olho Vivo. A pesquisa demonstra que a presença de registros imagéticos e, particularmente, de reproduções de obras de arte em coleções didáticas é fruto de uma série de fatores ligados a demandas educacionais específicas. No caso da coleção História em Movimento, as reproduções de obras de arte são utilizadas na medida em que tematizam representações de personagens e indivíduos históricos, sendo interpretadas enquanto símbolos e alegorias que possuem significados específicos a serem decifrados. / This dissertation inserts itself in the scope of the study of images in History textbooks. Based on the História em Movimento collection (2014), which belongs to the 2015 National Textbook Program (PNLD) for High Schools, I have investigated a specific imagetic record, in this case, the reproductions of artworks. I have tried to understand how this collection articulates both historic and artistic knowledge, identifying and reflecting on the pedagogical strategies and methodologies used for doing so, as well as the relations between History and Visual Arts teaching. Hence, I have focused on the documental analysis of the convocation public notice for the process of enrollment and evaluation of textbooks for the 2015 National Textbook Program for High School (01/2013), on the examination of the teacher’s manual of the História em Movimento collection, on the realization and analysis of a quantitative survey of the imagetic and artistic records that compose the referred collection and on the investigation of a specific section - Olho Vivo. The research shows that the presence of imagetic records and, particularly, of artwork reproductions in textbook collections is the outcome of a series of factors connected to specific educational demands. In the História em Movimento collection, the artwork reproductions are used as far as they conceptualize representations of characters and historical individuals, being interpreted as symbols and allegories which have specific meanings and need to be deciphered.

This practice-based thesis undertakes research into the contemporary aesthetic of interactive media art, in order to propose a useful practical model of interactivity founded on a critical approach to both existing theory and practice. It proceeds from the identification of a primary lack in contemporary aesthetics that arises from the predominantly materialistic comprehension of technologically-mediated artworks. The thesis establishes a new model for interactive art that offers an immaterial engagement with technology at a locus where cognition and the aesthetic intertwine. This model is constructed following a revision of both the theory and practice of interactive media art, which identifies a materialistic bias of technology-mediated art production caused by a confused concept of technology as both tool and medium. This investigation confines itself to the last forty years of interactive art and the new model of spectatorship that has accompanied it. The main objective of what follows from this investigation is an account of agency in the artist and spectator interrelationship. In the context of technologically based artworks various approaches to spectatorship have frequently remained within the constraints of the traditional model of art that inherently drew on a separation between body and mind. It is argued in this thesis that neither the technology nor the participation itself, but the cognitive interconnection between 'artist-artwork-spectator' produces the primary aesthetic dimension of interactive media art. In this respect, not the physical object creation but the aestheticisation of this triangle produces the here identified immaterial/cognitive experience of the spectators. This can be achieved when the technology is applied as a transparent medium one of the core concepts introduced in this thesis which can facilitate an aesthetic quality or meaning creation through technology. The 'transparent medium' enables the cognitive-based experience production, which is identified as the immersive flow of the spectator's aesthetic experience. As such, the re-evaluation of the artist- spectator interrelationship proposes a new immaterial model of art which is called the Transparent Act. The introduction of the Transparent Act leads to the main intervention of this thesis which lies in an effort to recover a lost dimension in interactive media art. A recovery of this dimension enables access to a knowledge practice which is not necessarily located in ordinary cognitive experiences but in unfamiliar conscious states that can be compared to accounts of so-called spiritual experiences. The model of the Transparent Act is concurrently applied as a practise-based intervention and proof-of-concept in a major installation, the Mind Cupola. This artistic and technological contextualisation of the original intervention of this thesis is exemplified as an affective environment which aims for an immediate cognitive affection of the spectator by generating mechanical and audio-visual effects in the spectator's 'mind'. The artistic system uses special face analysis techniques to close the feedback loop and affect the spectator through the analysis of her/his reactions. The installation is built upon a 'passive' modality of interaction in which the spectator contributes to the artwork with subtle, cognitive-based interactions which are fed back through a complex open response system. The implementation of cognitive feedback loops, also described as the fractal structure in the spectator's cognition, constitutes the essential transparent medium through which the previously lost immaterial dimension of a spiritual-like aesthetic experience in interactive media art is achieved. The thesis concludes with suggestions of further applications including the evaluation of technologically mediated artworks.

Esta dissertação está inserida no âmbito do estudo das imagens em livros didáticos de História. A partir da coleção História em Movimento (2014), pertencente ao Programa Nacional do Livro Didático 2015 (PNLD) para o Ensino Médio, investiguei um registro imagético específico, nesse caso, as reproduções de obras de arte. Busquei compreender de que modo essa coleção articula saberes históricos com saberes artísticos, identificando e refletindo sobre as estratégias pedagógicas e metodológicas utilizadas para tal, bem como sobre as relações entre o ensino de História e o de Artes Visuais. Para tanto, me detive na análise documental do Edital de Convocação para o processo de inscrição e avaliação de obras didáticas para o PNLD 2015 Ensino Médio (01/2013), no exame do Manual do Professor da coleção História em Movimento, na realização e na análise de um levantamento quantitativo dos registros imagéticos e artísticos que compõem a referida coleção e na investigação de uma seção específica – Olho Vivo. A pesquisa demonstra que a presença de registros imagéticos e, particularmente, de reproduções de obras de arte em coleções didáticas é fruto de uma série de fatores ligados a demandas educacionais específicas. No caso da coleção História em Movimento, as reproduções de obras de arte são utilizadas na medida em que tematizam representações de personagens e indivíduos históricos, sendo interpretadas enquanto símbolos e alegorias que possuem significados específicos a serem decifrados. / This dissertation inserts itself in the scope of the study of images in History textbooks. Based on the História em Movimento collection (2014), which belongs to the 2015 National Textbook Program (PNLD) for High Schools, I have investigated a specific imagetic record, in this case, the reproductions of artworks. I have tried to understand how this collection articulates both historic and artistic knowledge, identifying and reflecting on the pedagogical strategies and methodologies used for doing so, as well as the relations between History and Visual Arts teaching. Hence, I have focused on the documental analysis of the convocation public notice for the process of enrollment and evaluation of textbooks for the 2015 National Textbook Program for High School (01/2013), on the examination of the teacher’s manual of the História em Movimento collection, on the realization and analysis of a quantitative survey of the imagetic and artistic records that compose the referred collection and on the investigation of a specific section - Olho Vivo. The research shows that the presence of imagetic records and, particularly, of artwork reproductions in textbook collections is the outcome of a series of factors connected to specific educational demands. In the História em Movimento collection, the artwork reproductions are used as far as they conceptualize representations of characters and historical individuals, being interpreted as symbols and allegories which have specific meanings and need to be deciphered.

The purpose of the paper is to present work patterns from two perspectives, the art expert´s and art forger´s, as the patterns can be retrieved from two Swedish criminal cases of fraud, the case "T" and the case "M". A minor purpose is to create a knowledge base extracted from literature regarding more general work patterns used by art experts when they work with attribution.   The method used can best be named descriptive. Forged artwork from nine artists are described and comments on the fake procedures are provided from buyers, forgers/sellers, middlemen (auction houses), police, prosecutors, experts, lawyers and the Stockholm District Court. The result in the paper can be summarized as follows: 1/ General work patterns with attribution: The track-paradigm is governing the expert´s work. As a start we have a time-setting, by identifying general style patterns in the artwork. Then there is a search for a possible geographical area where the work could have been created, and also a search for art schools and artist groups in that area. If a possible attribution of the work to an artist can be done, a search starts for that artist´s characteristics when it comes to motive, color selection, composition, figures, brush movements etc. Different types of physical measurements and tests can provide a complement to the qualitative analysis. The signature, if there is one, is examined and the provenance for the work is searched for. Information about the work in different archives can strengthen the results. 2/ “T” & “M” - the art expert´s patterns: All experts go directly to the alleged artist for a critical analysis of the specific work. First an overall evaluation is done, and that is often sufficient to reject the work. If necessary, details in the work are examined. If a signature is present, it is examined and compared with genuine ones. In some cases, technical studies are used to reach a definitive verdict. The police focus is to identify inaccuracies and fakes in the sales information, and to show efforts to hide information.    3/ “T” & “M” - the forger’s patterns: Art works from recent years are used as models for the creation of pastiches. Craftsmanship is toned down. Pitfalls are being circumvented by selection of genuine material ingredients and selection of secure image content related to the chosen artist. There is a thorough work with information creation to ensure the prospective buyer's desire for proof of authenticity. In parallel there is a work with cover up, and to secure information gaps.

En quoi la notion de rupture permet-elle de comprendre ce qu'est un acte de création artistique ? Ce travail s'attache à montrer le lien entre trois figures de la rupture dans le domaine de l'art : au fondement de sa posture de créateur, il y aurait une rupture qui habite l'artiste ; comme principe de génération de l'œuvre, il y aurait acte de rupture ; dans la manière dont elle s'inscrit dans la civilisation, l'œuvre d'art ferait rupture. Faut-il ainsi penser que toute œuvre d’art reposerait sur l'exigence de rupture ? Et dans ce cas, pourquoi l'art serait-il déterminé par cette exigence ? / How can the notion of disruption enable us to understand what an act of artistic creation actually is? This study applies itself to showing the link between three aspects of disruption in the field of art. One may surmise that at the root of the artist's chosen position as a creator lies some form of disruption within him or her, that the principle which generates artwork is an act of disruption and that in the way in which artwork enters into the make-up of a civilization it represents a form of disruption. Are we then to consider that all artwork necessarily requires some form of disruption? And in this case, why should art be determined by this requirement?