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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 191 to 200 of 200 (0.041 seconds)| 191 |
[en] STREET GRAPHIC: STRATEGIES AND TACTICS ON THE STREET VISUAL CULTURE OF RIO DE JANEIRO / [pt] GRÁFICA DE RUA: ESTRATÉGIAS E TÁTICAS NA CULTURA VISUAL DE RUA DO RIO DE JANEIROPEDRO SANCHEZ CARDOSO 06 August 2013 (has links)
[pt] Gráfica de rua – estratégias e táticas na cultura visual de rua do Rio de Janeiro é uma investigação sobre o campo da cultura visual de rua. Neste trabalho, observamos uma pluralidade de manifestações visuais – cartazes de lambe-lambe, pixações, grafites, outdoors, banners, impressos volantes, entre outros – objetos que se inserem em um universo dos impressos e através dos quais diversos agentes procuram se fazer representar no espaço público, apropriando-se da rua como um aparato visual. Compreendemos a rua como o lugar de um conflito territorial – uma disputa que se dá no espaço e se manifesta no plano das imagens, através da manipulação, do acúmulo e da sobreposição de indícios visuais. Propomos a noção de capital visual como uma abordagem para as estratégias e táticas de visibilidade levadas adiante pelos diferentes agentes na disputa de poder de que a rua é lugar. / [en] Street Graphic - strategies and tactics on the street visual culture of Rio de Janeiro is a reflection is an investigation about the street visual culture. In this work, we observe the plurality of visual manifestations, such as grafities, billboards, banners, flyers, among others. Objects that are part of the universe of printed forms and through which different agents seek to be represented in public space, by appropriating the street as a visual apparatus. We understand the street as a place of territorial conflict - a dispute that happens in space and manifests in images, through the manipulation, accumulation and overlap of visual clues. We propose the notion of visual capital as an approach to the strategies and tactics of visibility taken forward by the various players in the power struggle that happens in the street.
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Ghost Water ExhibitionSharp, Michael G. 01 March 2017 (has links)
The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.
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A Spectacle and Nothing StrangeKing, Taylor Z 01 January 2019 (has links)
Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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DISSONANT FORMS: LANDSCAPE, NATURE-LOVE, and ARTBenoit, Taylor F 01 July 2021 (has links)
As artists continue the long and storied lineage of Landscape, are there aesthetic responsibilities that come with representing the forces that afford you the capacity to do so? As we delineate spaces into places, endless interconnectivity into knowable “systems”, and living matter into thing based taxonomies, who do these delineations serve and with what intentions do we proceed? My studio art practice explores what it means to give form to our Former—the Former being that from which we came, the here and now, our explicit ecological reality, the stuff of what we call nature. In this way, the Former consists of all the powers at play that unthinkingly formed the vital life-forces that afford us our perceptive and creative capacities, and in doing so, precede us chronologically. The primary questions my creative practice posits are therefore: what does it mean to give form to our Former through creative applications? In doing so, is it appropriate to assume that we are returning the favor?
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AnthemClifford, Zachary Lee January 2019 (has links)
No description available.
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[pt] A INVENÇÃO DO CINZA NO ESPAÇO GRÁFICO DA LEITURA / [es] LA INVENCIÓN DEL GRIS EN EL ESPACIO GRÁFICO DE LA LECTURA / [en] THE INVENTION OF GRAY IN THE GRAPHIC SPACE OF READINGALEJANDRO GARRETON CORREA 13 May 2021 (has links)
[pt] Ao identificar o objeto da disciplina do design gráfico como o espaço gráfico de leitura, e sua condição mais específica na experiência de tornar visíveis as palavras e as idéias, reconhecemos do ponto de vista do leitor que todas as formas derivadas do uso do Desenho e escrita, adquirem sentido nesse espaço
como consequência do poder universal de suas conexões. Nesta perspectiva, identificamos que o objeto desta pesquisa é o processo de transferência de conhecimento gráfico que ocorre durante a segunda metade do século XV no contexto da implementação da imprensa. Isso envolve considerar, como
tipógrafos e gravadores fazem a transição da tradição do Manuscrito iluminado da Idade Média para o advento da imprensa. Esta tese está focada no campo da abstração de cores que leva a compreender o caráter estrutural que adquire a escala de cinza no espaço gráfico, como consequência do consenso quanto à falta de uso de cores no livro impresso. Assim, o objetivo desta pesquisa é mostrar a relevância da luminosidade no espaço gráfico, considerando especialmente a comparação entre o caráter acromático da gravura e o aspecto inacabado do texto literário referido ao ato de leitura. A observação dos aspectos geométricos, cromáticos e caligráficos neste contexto permite atribuir a particularidade dessa
abstração a uma compreensão cultural da correspondência entre a escala de cinza e a luminosidade das cores. Tudo isso na invenção conjunta de gravura e tipografia. / [en] By identifying the object of the discipline of graphic design as the graphic space of reading and its more specific condition in the experience of making words and ideas visible, we recognize from the point of view of the reader, that all forms derived from the use of the Drawing and writing acquire meaning in that
space, as a consequence of the universal power of their connections. From this, we identify that the object of this research is the process of transfer of graphic knowledge that occurs during the second half of the 15th century in the context of the implementation of the printing press. This involves considering how
typographers and engravers make the transition from the tradition of the illuminated Manuscript of the Middle Ages to the advent of the printing press. This thesis is focused on the field of abstraction of colors that leads to understand the structural character that acquires the gray scale in the graphic space, as a
consequence of the consensus regarding the lack of use of colors in the printed book. Thus, the aim of this research is to show the relevance of the luminosity in graphic space, considering especially the comparison between the achromatic character of the engraving and the unfinished aspect of the literary text referred to
the act of reading. The observation of the geometric, chromatic and calligraphic aspects in this context, allow us to attribute the particularity of that abstraction to a cultural understanding of correspondence between the gray scale and the luminosity of the colors. All this in the joint invention of engraving and
typography. / [es] Al identificar el objeto de la disciplina del diseño gráfico como el espacio gráfico de la lectura y su condición más específica en la experiencia de hacer visibles las palabras y las ideas, reconocemos desde el punto de vista del lector que todas las formas derivadas del uso del dibujo y la escritura, adquieren sentido
en aquel espacio como consecuencia del poder universal de sus conexiones. A partir de esta perspectiva, identificamos que el objeto de esta investigación es el proceso de transferencia del conocimiento gráfico que ocurre durante la segunda mitad del siglo XV en el contexto de la implementación de la imprenta. Esto
implica considerar cómo tipógrafos y grabadores realizan la transición desde la tradición del Manuscrito iluminado de la Edad Media hacia el advenimiento de la imprenta. Está tesis está enfocada en el campo de abstracción de los colores que conduce a comprender el carácter estructural que adquiere la escala de grises en el espacio gráfico, como consecuencia del consenso respecto de la prescindencia del uso de los colores en el libro impreso. Así, el objetivo de esta investigación es mostrar la relevancia de la luminosidad en espacio gráfico, considerando especialmente la comparación entre el carácter acromático del grabado y el aspecto inacabado del texto literario referidos al acto de leer. La observación de los aspectos geométricos, cromáticos y caligráficos en este contexto, nos permiten atribuir la particularidad de esa abstracción a una comprensión cultural de correspondencia entre la escala de grises y la luminosidad de los colores. Todo esto en la invención conjunta del grabado y la tipografía.
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Recovery From DesignEllison, Cassandra J 01 January 2017 (has links)
Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form.
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Ut pictura philosophiaScheu, Julia 13 June 2017 (has links)
Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache. / The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
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Recovery From DesignEllison, Cassandra J 01 January 2017 (has links)
Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form.
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Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler / Johann Friedrich von Uffenbach. Collector - Donor - ScientistMeyerhöfer, Dietrich 28 January 2020 (has links)
No description available.
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