Submitted graduation theses has charakter as a theoretical study, which offers different views of questions of sameness and differences in dadaistic and constructivistic objects and in objects of its inheritors. I have made criterions to observe relation between these objects, criterions are: principle of creation, relation between content, form and matherial.We observe also using movement in object art. We show, that object-art have disturbed the then tradition of plastic art. New approach of matherial, decleration common thing as a part of art open up a lot of questions about function of art. The main aim of these theoretical study was to find out samenesses anddifferences in these objels, show a process of object art.We came to the conslusion that between dadaistic and constructivistic objels are some samenesses (for example discruption of visual art, realiton between system and chance, using movement). Didactical, didactical-visual and visual parts are fasten together with theoretical part. These parts watch on object art in two viewpoint: utilization of common thing as a dadaistic principle, relation between matherial and form as a constructivistic principle

This thesis explored the phenomenon of Modernism in Twentieth Century Nigerian art and the cultural ramifications of the Found Object in European and African art. Adopting the analytical tools of postcolonial theory and Modernism, modern Nigerian art was subjected to stylistic, conceptual and contextual analysis. The avant-gardist context of the form was explored for two reasons; first in an attempt to distinguish the approaches of named artists and secondly, to address the Eurocentric exclusion of the ‘Other’ in Modernist discourse. The works of Nigerian modernists - Aina Onabolu, Ben Enwonwu and Uche Okeke whose practices flourished from 1900 - 1960, were interrogated and findings from detailed artists case studies proved that during the period of European Modernism, a parallel bifurcated Modernism (1900-1930 / 1930 -1960) occurred in Nigeria characterised by the interlacing of modern art with nationalist political advocacies to subvert colonialism, imperialism and European cultural imposition. This radical formulation of modern Nigerian art, constituted a unique parallel but distinct avant-gardism to Euro-American Modernism, thus proving that Modernism is a pluralistic phenomenon. To valorise the argument that Modernism had multiple avant-garde centres, this thesis analysed the variations in philosophies, ideologies and formalism of the works of Nigerian Modernists and contrasted them from Euro-American avant-gardes. The resultant cultural and contextual differences proved the plurality of Modernism not accounted for in Western art history. Furthermore, by adopting comparative analysis of the Found Object in European and African art, this thesis proved that, the appropriation of mundane objects in art differ from culture to culture, in context, philosophies and ramifications. This finding contributes to knowledge by addressing the ambiguity in Found Object art discourse and problematic attempts to subsume this genre into a mainstream framework. The uncovering/theorisation of this parallel bifurcated Nigerian Modernism, contributes to expanding understanding of Modernism as a pluralistic phenomenon thus, contributing to debates for the recognition of the different Modernisms which cultures outside Europe gave rise to. The recognition and situation of Nigerian avant-gardism and modernism and interpretation of the Found Object as being culturally specific will subsequently contribute to the reconstruction of modernist discourse and Nigerian/African art histories.

Submitted graduation theses offer different views of questions relating to an object (thing) in the "object art". The foundation of the "object art" brought a "new" role of an object. It does mean that the border of an art types are no more close, as well as life and art are now transparent. We can find qualitative changes in a various ways of treatment of an object. I saw these changes in according to four basic criteria: meaning, material, form and function. Another centre line of the text are overlaps of fine art and applied art, which detects common tendences in both spheres.

This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors.  Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship.  Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political  radicalism go hand in hand.  Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces.  Her work is also described as object writing: a literary equivalent to surrealist object art.  A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

How might ‘the digital’ be conceived of in an ‘expanded field’ of art practice, where ontology is flattened such that it is not defined by a particular media? This text, together with an installation of art work at the Exhibition Research Lab, Liverpool John Moores University (13-24 March), constitutes the thesis submission as a whole, such that in the practice of ‘reading’ the thesis, each element remains differentiated from the other and makes no attempt to ‘represent’ the other. In negating representation, such practices present a ‘radical’ rethinking of the digital as a differentiated in-itself, one that is not defined solely by entrenched computational narratives derived from set theory. Rather, following Nelson Goodman’s nominalistic rejection of class constructs, ‘the digital’ is thus understood in onto-epistemic terms as being syntactically and semantically differentiated (Languages of Art 161). In the context of New Zealand Post-object Art practices of the late 1960s, as read through Jack Burnham’s systems thinking, such a digitally differentiated ontology is conceived of in terms of the how of practice, rather than what of objects (“Systems Aesthetics”). After Heidegger, such a practice is seen as an event of becoming realised by the method of formal indication, such that what is concealed is brought forth as a thing-in-itself (The Event; Phenomenological Interpretations 26). As articulated through the researcher’s own sculptural practice – itself indebted to Post-object Art – indication is developed as an intersubjective method applicable to both artists and audience. However, the constraints imposed on the thing-in-itself by the Husserlian phenomenological tradition are also taken as imposing correlational limitations on the ‘digital’, such that it is inherently an in-itself for-us and thus not differentiated in-itself. To resolve such Kantian dialectics, the thesis draws on metaphysical arguments put forward by contemporary speculative ontologies – in particular the work of Quentin Meillassoux and Tristan Garcia (After Finitude; Form and Object). Where these contemporary continental philosophies provide a means of releasing events from the contingency of human ‘reason’, the thesis argues for a practice of ‘un-reason’ in which indication is recognized as being contingent on speculation. Practice, it is argued, was never reason’s alone to determine. Instead, through the ‘radical’ method of speculative indication, practice is asserted as the event through which the differentiated digital is revealed as a thing-in-itself of itself and not for us.