Global ETD Search

71	Neither Here Nor There, But Altogether Elsewhere : A Brief Study of Distance Chang, Jonathan January 2019 (has links) Knowing is often framed by language; this moving arrangement of parts helps us make sense of our surround, rendering possible ways of relating, acting, and responding. Situated yet unsettled, the play of language enables us to mediate distances, to make sense of our frames while seeking other ways of being with and for. Through dialogue, these works attempt to reroute and reorient so that we may learn to see each other — and to see ourselves. distance elsewhere with for listening brokenness wake wake up! language visual linguistics visual grammar making sense active disposition noise framed encounters here there poetry partial attempts information companion readers openness emptiness subaltern unsettled knowing medium thinking partial attempts dialogue reorientation seeing being Design Design Visual Arts Bildkonst Philosophy, Ethics and Religion Filosofi, etik och religion
72	Musée en peinture : discontinuité / continuité / extension : souffle et résonance d'une pratique artistique entre peinture chinoise et occidentale / Museum in painting : discontinuity / continuity / extension : breath and resonance of an artistic practice between Chinese and Western painting. Lin, Shen-Te 25 January 2018 (has links) La relation entre les peintures chinoise et occidentale apparait comme une rencontre entre l’eau et l’huile. Mélanger les deux étant impossible, comment, dès lors, un artiste entre deux cultures, peut-il faciliter leur dialogue et devenir un passeur ? Cette recherche tente d’associer la technique des matériaux occidentaux avec l’expression du pinceau et de l’encre liés au concept du plein et du vide afin d’explorer des oppositions complémentaires, en créant une réalité diluée dans un contraste harmonisé. La réflexion s’est concrétisée par des peintures en trois formats : la série, le rouleau et l’album, intitulées Musée en peinture. Formats qui permettent d’aborder aussi bien les questions de l’écoulement du temps, de la circulation du regard, de la dynamique spatiale, que celles de l’extension et de la suggestion. Ces peintures interrogent le phénomène du musée en portant un regard ironique, critique et empathique sur les spectateurs et leurs travers. Elles témoignent aussi de la conversation avec les maîtres anciens et d’un cheminement dans les musées. La réalisation de ce musée des musées consiste en un processus de transfert de la photographie vers la composition photographique, puis vers la peinture. Ce processus se rapproche de la structure cinématographique, à partir du montage filmique d’Eisenstein, et de la notion de continuité et de discontinuité de Raoul Ruiz. Avec la boîte de Poussin numérique, on joue à la fois le rôle de peintre, de metteur en scène et de documentariste. Exploré, le passé se mue en espace, en reconstituant le passage du monde réel au monde virtuel, du ça-a-été de Roland Barthes à la notion du ça n’a pas été. / The relationship between Chinese and Western painting appears as a meeting of water and oil. Mixing the two seems impossible, so how can an artist create a dialogue between two cultures and media, effectively becoming a cultural conduit ? This research attempts to combine the techniques of Western materials with the expression of Chinese brush and ink, which is linked to the concept of fullness and tangible versus emptiness and abstract. From here, we explore the complementary opposition, create a “diluted reality” in a harmonized contrast. This reflection, entitled Museum in Painting, is represented in three different formats: the series, the scroll, and the album. These formats allow us to explore ideas of the flow of time, the circulation of the gaze, the spatial dynamics, as well as the topic of Extension and Suggestion. From the satirical, critical, and empathic point of views, we investigate the audience and their quirks, questioning the phenomenon of museum. These works exhibit my intellectual journey through the museum, and the conversation with the old masters. The realization of this museum of museums is a transfer process from photography to digital composition, and then to the painting. It takes the concepts of Eisenstein's film montage and Raoul Ruiz’s continuity and discontinuity to explore its relevance to the cinematographic composition and structure. With the “Digitized Box of Poussin”, we played the role of painter, director and documentary filmmaker to explore the idea of past events becoming a space to re-create a pathway from the real world to the virtual world, from Roland Barthes’ concept of “what happened” to the concept that is put forward that “it didn’t happen”. Musée en peinture Discontinuité Continuité Extension Transfert Montage Ça n’a pas été Rencontre entre l’eau et l’huile Pinceau-encre Plein et vide Contraste harmonisé Museum in painting Discontinuity Continuity Extension Transfer Montage It didn’t happen Encounter between water and oil Paintbrush and Ink Harmonized contrast 700
73	A promise kept: the mystical reach through loss Collins, Jody 04 October 2019 (has links) The meaning of loss is love. I know this through attention to experience. Whether loss or love is experienced in abundance or in absence, the meaning is mystical with an opening of body, mind, heart and soul to spirit. And so, in the style of a memoir, in the way of contemplative prayer, I contemplate and share my soul as a promise kept in the mystical reach through loss. With the first, initiating loss, the loss of my nine-year-old nephew, Caleb, I experience an epiphany that gives me spiritual instructions that will not be ignored. I experience loss as an abundance of meaning that comes to me as gnosis, as “knowledge of the heart” according to Elaine Pagels or divine revelation in what Evelyn Underhill calls mystical illumination in the experience of “losing-to-find” in union with the divine. Then, with gnostic import, in leaving the ordinary for the extraordinary, I enter the empty room in the painful yet liberating experience of the loss of my self. In the embrace of emptiness, I proceed to the first wall, the second wall, the third wall, the dark corner of denial, the return to centre, and, finally, to breaking the fourth wall in the empty room so as to keep my promise to you. Who are “you”? You are God. You are Caleb. You are spirit. You are my higher soul or self. And, you are the reader. You are my dear companion in silence. And then, through a series of broken promises and more loss, within what John of the Cross calls, “the dark night of the soul,” I am stopped by the ineffability of the dark corner of denial, the horror of separation and the absence of meaning, which is depicted as the grueling gap between the spiritual abyss and the breakthrough. What does it mean to keep going through a solemn succession of losses? I don’t know. In going into the empty room, I simply put pain to work in order to reach you. Through loss, though there are infinite manifestations, there is only one way: keep going. And so, in a triumph of the spirit, I keep going so as to be: a promise kept in the mystical reach through loss. As for you, through my illumined and dark experiences of loss, what is my promise to you? I keep going to reach the unreachable you. In the loss of self, with embodied emptiness, in going into the dark corner of denial, with a return to the divine centre of my emptied self, in an invitation to you, I give my soul to you in union with you. / Graduate / 2020-06-25 mystic mysticism apophatic cataphatic mystical mystical reach a promise kept empty promise broken promise reverence epiphany losing-to-find gnosis loss union divine will parsing perfection Caleb Lanz put pain to work wholehearted emptiness the empty room first wall second wall third wall dark corner of denial stonewall breaking the forth wall return to centre Promised Land abyss gap standing in the gap void memoir contemplative prayer contemplation everywhere and nowhere revelation illumination ineffable ineffability metaphor higher self self-giving self-emptying embodied emptiness higher soul spirit the dark night of the soul mystical union God breakthrough infinity infinite dynamism spiritual instruction invitation to spirit paradox symbol eulogy spiritual eyes spiritual heart looking into the slow reveal remaining sudden I am everywhere and nowhere what is what ought to be what can be what will be what is as it already is on earth as it is in heaven no-self unknown spirituality
74	Seeing it Straight Harvey, Heather 01 January 2007 (has links) This Master of Fine Arts thesis is divided into four main sections:FAITH and DISBELIEF: In which I reckon with the implications of faith versus rationality as a secular nontheistic artist. IDEAS: The central locus of my work is a place of indeterminacy between what is known/familiar and what is just one step outside of that. This has nothing to do with mysticism, science fiction, or anything else unmoored from established fact. Section also touches on the particular vantage of a female artist with working class roots.THE WORK: Selection of work made during graduate school, and the the guiding thoughts behind each.EMPTINESS, STILLNESS, ABSENCE, GHOSTS, DOUBT: A discussion of influential artists and ideas. sacred faith disbelief doubt funny transformation strange humor secret comical silly nontheism skepticism playful catholic secular working class philosophy ethics aesthetic myth painting sculpture installation site specific emptiness absence ghosts chaos erotic violent gross mortal corporeal mourning doubt indeterminate mystery ambiguity uncertainty sensual strange infrastructure architecture abeyance transient fleeting liminal intangible unseen gothic ostranenie uncanny undecided quiet ineffable atheism mold holes decay loss damage Art and Design Arts and Humanities
75	Dzogčhen a jeho filosofické aspekty v tradici Bön / Dzogchen and its philosophical aspect in Bon tradition KLOZAR, Karel January 2014 (has links) The thesis deals with philosophical aspect of Dzhgchen, which is the core of the Yungdrung Bon traditon. It is very special spiritual tradition because of it's very special nondualistic view of man and universe. First part deals with the history and division of it's teachings and it's Dzogchen lineages. Next part focuses on explanation of differences in views of sutra, tantra and Dzogchen, mainly from the standpoint of the view of base, path, fruit, emptiness, clarity, conscioussness and mind and it's nature. Next part provides translation of the text Twelve little tantras and it's deep explanation. Last part, and most important one, focuses on philosophical examination of some key aspects of Dzogchen, mainly on it's view of autenticity of mindnature. This part also compares Pramenides's fragments with some key points of view of Buddhism and Dzogchen, which may lead to some unexpected conclusions about man's thinking and the problem of it's intentionality.
76	Slovinské národní divadlo v Lublani / Slovene National Theatre in Ljubljana Hýl, Petr January 2009 (has links) SLOVENE NATIONAL THEATRE IN LJUBLJANA Author Report Of The Diploma Work Author: Bc. Petr Hýl Supervisor: doc. ing. arch. Zdeněk Makovský

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