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Arabic calligraphy in contemporary Egyptian murals, with an essay on Arab tradition and art /Sida, Youssef Mohamed Ali January 1965 (has links)
No description available.
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El arranque a strappo de pinturas murales. Estudio de la técnica como método de conservación y como recurso artísticoHernández Altarejos, Iris 19 July 2024 (has links)
[ES] El strappo es una técnica de arranque que permite extraer la superficie más externa de una pintura mural. Sus orígenes se remontan al siglo XVIII y a lo largo de la historia ha sido empleado de forma extensa como recurso conservativo en la intervención de nuestro patrimonio, aunque también ha sido muy cuestionado y acotado, por lo que la presente investigación muestra la vigencia de la técnica. Por otro lado, desde hace algunas décadas este sistema de arranque ha sido adoptado por diversos artistas como método de producción de obras de arte. La hipótesis de esta tesis doctoral plantea que el strappo es un sistema de arranque de pintura mural que ofrece posibilidades válidas y aplicables tanto en el ámbito de la conservación del patrimonio cultural como en el contexto del arte contemporáneo.
La presente tesis reúne en una misma investigación los diversos usos que puede proporcionar esta técnica de arranque, en los dos ámbitos mencionados anteriormente. Esta idea surge de la necesidad de hallar soluciones técnicas a diversas problemáticas específicas, por un lado, sobre los procedimientos requeridos para llevar a cabo un strappo de pintura mural minimizando sus riesgos y, por otro lado, sobre los tratamientos y materiales más adecuados para intervenir una pintura mural arrancada.
La investigación teórico-experimental que se desarrolla a lo largo de la tesis tiene como finalidad actualizar el protocolo de intervención a seguir para la realización del proceso que conlleva un arranque a strappo, adaptando la técnica tradicional a las necesidades de las obras investigadas, aportando con ello nuevos conocimientos sobre sistemas de consolidación de pinturas murales al seco. Las casuísticas de este tipo de pinturas son diversas, y van desde la sensibilidad al agua, hasta los problemas derivados de la falta de cohesión de la estructura pictórica.
Cualquiera de los sistemas de arranque de pintura mural conlleva en sí mismo un riesgo, las operaciones de extracción son complejas y pueden acontecer múltiples circunstancias que derivan en problemáticas que deben intentar solventarse. Ante esta situación la tesis reivindica la necesidad de continuar investigando sobre este recurso conservativo, para intentar progresar y minimizar los riesgos y las dificultades de una técnica (el strappo) que sigue vigente en la actualidad y continúa realizándose cuando las circunstancias lo justifican como único recurso de salvaguarda. / [CA] El strappo és una tècnica d'arrancament que permet extraure la superfície més externa d'una pintura mural. Els seus orígens es remunten al segle XVIII i al llarg de la història ha sigut emprat de manera extensa com a recurs conservatiu en la intervenció del nostre patrimoni, encara que també ha sigut molt qüestionat i delimitat, per la qual cosa la present investigació mostra la vigència de la tècnica. D'altra banda, des de fa algunes dècades este sistema d'arrancament ha sigut adoptat per diversos artistes com a mètode de producció d'obres d'art. La hipòtesi d'esta tesi doctoral planteja que el strappo és un sistema d'arrancament de pintura mural que oferix possibilitats vàlides i aplicables tant en l'àmbit de la conservació del patrimoni cultural com en el context de l'art contemporani.
La present tesi reunix en una mateixa investigació els diversos usos que pot proporcionar esta tècnica d'arrancament, en els dos àmbits esmentats anteriorment. Esta idea sorgix de la necessitat de trobar solucions tècniques a diverses problemàtiques específiques, d'una banda, sobre els procediments requerits per a dur a terme un strappo de pintura mural minimitzant els seus riscos i, d'altra banda, sobre els tractaments i materials més adequats per a intervindre una pintura mural arrancada.
La investigació teòric-experimental que es desenvolupa al llarg de la tesi té com a finalitat actualitzar el protocol d'intervenció a seguir per a la realització del procés que comporta un arrancament a strappo, adaptant la tècnica tradicional a les necessitats de les obres investigades, aportant amb això nous coneixements sobre sistemes de consolidació de pintures murals al sec. Les casuístiques d'esta mena de pintures són diverses, i van des de la sensibilitat a l'aigua, fins als problemes derivats de la falta de cohesió de l'estructura pictòrica.
Qualsevol dels sistemes d'arrancament de pintura mural comporta en si mateix un risc, les operacions d'extracció són complexes i poden esdevindre múltiples circumstàncies que deriven en problemàtiques que han d'intentar solucionar-se. Davant esta situació la tesi reivindica la necessitat de continuar investigant sobre este recurs conservatiu, per a intentar progressar i minimitzar els riscos i les dificultats d'una tècnica (el strappo) que continua vigent en l'actualitat i continua realitzant-se quan les circumstàncies ho justifiquen com a l'únic recurs de salvaguarda. / [EN] Strappo is a detachment technique for removing the outermost surface of a mural painting. Its origins date back to the 18th century and throughout history it has been used extensively as a conservation technique. Even though it is a popular intervention, strappo has also been highly questioned in the conservation field; therefore, this research tries to show the validity of the technique. On the other hand, for some decades the strappo system has been adopted by various artists as a method of producing works of art. The hypothesis of this doctoral thesis is that strappo is a system for detachment of wall paintings that offers valid and applicable possibilities both in the field of cultural heritage conservation and in the context of contemporary art production.
This thesis brings together in the same research the different uses that this starting technique can provide, in the two areas mentioned above. This idea arises from the need to find technical solutions to various specific problems, on the one hand, on the procedures required to carry out a mural painting removal minimising its risks and, on the other hand, on the most suitable treatments and materials to intervene on a torn mural painting.
The theoretical-experimental research carried out throughout the thesis aims to update the intervention procedure for carrying out a strappo start-up, adapting the traditional technique to the needs of the works investigated, thereby providing new knowledge on systems for consolidating dry mural paintings. The casuistry of this type of painting is diverse, ranging from sensitivity to water to problems derived from the lack of cohesion of the pictorial structure.
Any of the detachment of wall paintings systems involves a risk in itself, the extraction operations are complex and multiple circumstances can occur that lead to problems that must be solved. In view of this situation, the thesis claims the need to continue researching this conservation resource, in order to try to progress and minimise the risks and difficulties of a technique (strappo) that is still in use today and continues to be carried out when circumstances justify it as the only safeguarding resource. / Hernández Altarejos, I. (2024). El arranque a strappo de pinturas murales. Estudio de la técnica como método de conservación y como recurso artístico [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206466
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Loci: Creative AR Visualization of Overlooked Narratives in Familiar SpacesOkoro, Joshua Oghenekevwe 25 June 2024 (has links)
This thesis explores the use of location-based augmented reality to transform our perception of the built environment. In the artwork, the historic Armory building in the Town of Blacksburg which serves as home to the School of Visual Arts (SOVA) at Virginia Tech is used as a locus of changing functions, social impact, and evolution. In this case, its history is used to creatively visualize the overlooked narrative in familiar spaces through augmented reality (AR) murals. AR is an artistic medium that unveils rich hidden histories, sparks conversation, and promotes deeper connection between people and places. I drew inspiration from contemporary artists such as Brian Peterson, the social narrative of the WPA mural initiative, and Kandinsky's vibrant abstract work. The project utilizes Google's ARCore framework in the Unity game engine as well as Google's Geospatial API with the aim to creatively reveal hidden narratives in places and promote positive social engagements. / Master of Fine Arts / Augmented reality (AR) has increasingly become popular and social media applications like Instagram and Snapchat and more immersive mixed reality headsets like the Meta Quest 3 has allowed people all over the world to connect in unique ways and have shared unreal experiences. AR allows digital visuals to exist and blend with the space around us. For me, this unlocks the potential to create new forms of artworks, to creatively display those unreal or forgotten events that have happened in the past and because it is AR, they can exist right at the space they once occurred. One benefit of this is that it can be applied to any space, landmarks, or obscure places, and can be used to pull people together to engage in new ways. After looking at works from other artists; muralists, painters, AR artists, I created an AR mural artwork to creatively display the hidden narratives of the Armory building in Blacksburg Virginia. I used artistic and technical tools such as Adobe Illustrator, Photoshop, Google's AR technologies and Unity, a 3-dimensional and 2-dimensional game creation software to create the AR murals and lock it to the longitude and latitude of the space around the Armory building. One reason I chose this place as a point of reference is because its function has changed multiple times since its construction in 1936.
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Less Violent But No Less Visible: Criminalization and Community Murals in Brixton and Belfast, 1970-1989Young, Rachael A. January 2023 (has links)
Thesis advisor: Robert J. Savage / This dissertation compares that state-sponsored tactic of criminalization implemented against both the Black community of Brixton and the republican community of Belfast throughout the 1970s, arguing that both minority groups were criminalized in an attempt to end the ‘crisis of hegemony’ faced by the British government during the post-war decline of empire. While this process of criminalization was implemented via different legislative methods and with different ideologies, racial in Brixton and ethno-sectarian in Belfast, the government used these negative ideologies to create a specific narrative that supported the implementation of discriminatory policing policies against these marginalized groups. Both the Black and republican communities fought against this narrative of criminalization, instead highlighting parallel counter-narratives which contended that discriminatory governing and over-policing were negative symptoms of Britain’s enduring colonial legacy and a detriment to the minority populations of the United Kingdom. Tensions between the state-sponsored police and these marginalized communities exploded in 1981 with the uprising in Brixton and the hunger strike in Belfast. Members of both minority communities viewed these events as attempts to combat state discriminatory policies, but the British government viewed these violent events as proof of the criminality of these minority groups. Examining the creation and use of community murals in both Brixton and Belfast after 1981, this dissertation argues that murals became a less violent, but no less visible tool to combat the narrative of criminalization. As a type of artwork specifically designed for marginalized communities to challenge spatial and visual hegemony, community murals in these locations created large public canvases with which disenfranchised citizens could display their own visual representation – a representation to offset the negative imagery being portrayed by the British government and mainstream media. Minority groups in both Great Britain and Northern Ireland used these community artworks as subversive tools to positively display their marginalized cultures and their counter-narrative of discriminatory policies throughout the 1980s. While created via different artistic and collaborative methods, community murals in Brixton and Belfast became a tool used by both minority groups to combat the negative impacts of the shared criminalization that stemmed from a mutual colonial history. / Thesis (PhD) — Boston College, 2023. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.
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The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds / Melinda ArmittOlsson, Melinda January 1989 (has links)
Vol. 2. consists of 64 leaves of mounted photographs / Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide / Bibliography: leaves 276-291 / 2 v. (291 leaves, [64] leaves of plates) : ill., plan ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Classics, 1989?
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The frescoes of the parecclesion of St. Euthymios in Thessalonica an iconographic and stylistic analysis /Gouma-Peterson, Thalia. January 1964 (has links)
Thesis (Ph. D.)--University of Wisconsin, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record.
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Die romanische Bilderdecke von Sankt Martin, Zillis (Graubünden) Stil und Ikonographie /Brugger-Koch, Susanne. January 1981 (has links)
Thesis (doctoral)--Universität Basel. / Description based on print version record.
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O MURAL DE EDUARDO KOBRA EM SANTA MARIA: UMA RELAÇÃO COM A ARTE PÚBLICA / THE MURAL IN SANTA MARIA EDUARDO KOBRA: A RELATION-SHIP WITH THE PUBLIC ARTUberti, Mariete Taschetto 19 May 2014 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research deals with the Public Art in Santa Maria / RS, with the main object of study Eduardo Kobra‟s mural accomplished in the Municipal Library of that city. The authors that help me to articulate and combine with the Public Art are Arend (2010); Alves (2011), Peixoto (2009, 2012) and Silva (2005), for the artist's contextualization in interaction with his work and the public, and theirs among themselves, considering the policies of articulation among artist, space, work, public and promoters of art. The urban public of the city of Santa Maria is analyzed on the view of works installation in these areas, and the influence of the Course of Arts and Letters of the Federal Uni-versity of Santa Maria, since 1964, having as basis the works of Foletto (2008) and Foletto and Bisoning (2001). Taking as its central point the artist Eduardo Kobra‟s work, his research and involvement with Public Art, I contextualize about the influ-ences that reverberate in his artistic production, articulating his productions with other artists who had / have connection with his research, and influence of graffiti and hip hop in his career. The photograph and the memory are treated as proposers of pos-sibilities and reflections on the current context and in the art, based on Bergson (2011), Catroga (2009) and Richoeur (2007). Considering the different looks, from interviews with groups of local artists and a representative of the government, the main instigator and deliberator of the art in the city, you can see the relevance of Kobra‟s work in the city to contemplate on the art scene on the conflict between the visual arts and the performance of the government. That has conditioned positions and oppositions in relation to the field of art and art in the city, where the public as an extra in the artistic field of Public Art in the city. / A presente pesquisa trata da Arte Pública em Santa Maria/RS, tendo como objeto principal de estudo o mural de Eduardo Kobra realizado na Biblioteca Municipal da referida cidade. Os autores que me ajudam a articular e conjugar com a Arte Públi-ca, são Arend (2010); Alves (2011), Peixoto (2009; 2012) e Silva (2005), para a con-textualização do artista em interação com a obra e o público, e destes entre si, con-siderando as políticas de articulação entre artista, espaço, obra, público e fomenta-dores da arte. O espaço urbano, público da cidade de Santa Maria é analisado sobre o viéz da instalação de obras nestes espaços, e da influência do Curso de Artes e Letras da Universidade Federal de Santa Maria, a partir de 1964, tendo como bases as obras de Foletto (2008) e Foletto e Bisoning (2001). Tomando como ponto central a obra do artista Eduardo Kobra, suas pesquisas e envolvimento com a Arte Pública, constextualizo acerca das influências que reverberaram em sua produção artística, articulando suas produções com as de outros artistas que tiveram/têm ligação com suas pesquisas, e da influência do grafite e do hip hop em sua carreira. A fotografia e a memória são tratadas como propositoras de possibilidades e reflexões no con-texto atual e na arte, embasadas em Bergson (2011), Catroga (2009) e Richoeur (2007). Considerando os diferentes olhares, a partir de entrevistas com os grupos de artistas locais e de um representante do poder público, o principal fomentador e deli-berador da arte na cidade, é possível perceber a relevância da obra de Kobra para refletir sobre o panorama artístico local diante do embate entre as artes visuais e a atuação do poder público. Que tem condicionado posições e contraposições em re-lação ao campo da arte e da Arte Pública eUrbana na cidade, onde o público é con-siderado como um figurante no campo artístico da Arte Pública na cidade.
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Murais modernos de Newton Navarro e Dorian Gray / Mural paitings of Newton Navarro and Dorian GrayRibeiro, Isa?as da Silva 11 April 2011 (has links)
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Previous issue date: 2011-04-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This research aims to study wall paitings created by artists Newton Navarro and
Dorian Gray, installed in public buildings of modern architecture, in Natal/RN
from 1950 to 1970. The subject is seen by focusing on its concepts and
characterization, linked to the ideia of integration of the arts and the meaning
of modern mural painting in Brasil. The study presents an analyses of those
paitings considering themes, techiniques and dimensions, comparing the
solutions of local artists with brasilian muralist painters, particularly the work of
C?ndido Portinari. Registers of artistic works show a view of the inclusion of arts
in modern architecture in the city / Esta pesquisa tem como objetivo estudar a arte parietal produzida pelos
artistas potiguares Newton Navarro Bilro e Dorian Gray Caldas, instalada em
edif?cios p?blicos de arquitetura moderna, na cidade de Natal, no per?odo dos
anos 1950 a 1970. Neste estudo, o tema da pintura mural ? compreendido
atrav?s da sua conceitua??o e caracteriza??o, vinculadas ? id?ia de
integra??o das artes e ao entendimento do mural moderno no Brasil. O estudo
apresenta uma an?lise do mural moderno natalense considerando os temas,
t?cnicas e dimens?es, cotejando as solu??es dos artistas locais com a
produ??o mural?stica brasileira, em especial a obra mural do artista C?ndido
Portinari. Apresenta tamb?m um registro de obras art?sticas delineando um
panorama da inser??o da arte na arquitetura moderna na cidade
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Digitala verktyg i skrivprocessen / Digital tools during the writing processWidman, Hanna January 2023 (has links)
Denna uppsats handlar om hur digitala verktyg praktiskt kan implementeras under skrivprocessen vid undervisning av hur man skriver en argumenterande text. Vidare har studien även som avsikt att ta reda på elevernas åsikter kring att använda digitala verktyg under skrivprocessen. För att uppnå detta syfte genomfördes en designbaserad aktionsstudie som bestod av en intervention där en lektionsserie på sju lektioner observerades samt efterföljande fokusgruppsintervjuer med de 14 deltagande eleverna. De digitala verktyg som interventionen ämnade att testa var Mural, PowerPoint och ChatGPT. Resultatet utifrån observationen av interventionen och intervjuerna tyder på att digitala verktyg kan användas som stöd under skrivprocessen men att eleverna behöver mer övning, mer tid och tydligare instruktioner. Detta gäller framförallt vid användandet av digitala verktyg som är nya för eleverna. Även tekniska strul är något som studiens resultat visar är något som lärare bör ha i åtanke vid användning av digitala verktyg vid processorienterad skrivundervisning. Överlag indikerar resultatet av studien att lärare bör inkludera digitala verktyg vid processorienterad skrivundervisning men att mer tid och kunskap krävs för att kunna implementera dem på bästa sätt. / This essay is about how digital tools practically can be implemented during the writing process when teaching how to write argumentative texts. Furthermore, the study also has the intention to find out the students’ opinions about using digital tools during the writing process. In order to achieve this aim a design based action research study, that consisted of an intervention where seven lessons was observed and follow up focus group interviews with the 14 participating students, was conducted. The digitals tools that the intervention aimed to test were Mural, PowerPoint and ChatGPT. The results based on the observation of the intervention and the interviews indicate that digital tools can be used as support during the writing process, but that the students need more practice, more time and clearer instructions. This especially applies when digital tools that are new to the students are being used. Technical issues are also something that the result of this study shows is something that teachers should keep in mind when using digital tools to teach writing. Overall, the study’s result indicates that teachers should include digital tools when teaching writing in a process-oriented manner but that more time and knowledge is needed to implement them in the best way.
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