Global ETD Search

21	Memory [Architecture] Film: Four Cinematic Events in the City Egues, Magdalena 08 April 2008 (has links) Cities involve several systems that work together as a network of urban relationships. These systems are in balance, and they work as a whole that articulates urban life. But what makes a city memorable and special are its events: those magical situations where the uniformity of the experience stops and something unique arise. Those are the moments where our memory is deeply engraved by a particular situation that will come back in our dreams and imaginative processes as an agent image. Four urban events — a space for film edition and writing, an urban stage, a footage archive and park, and a projection space- whose locations have been determined by a Cartesian game dictated by the Plan of Washington DC; and one common discipline, Film, will be the main focus of this research and a way of understanding the relations among Memory and its spaces, Architecture and Film in the City. Each event will respond to the particularities of its context by understanding first the sites and their relation with the city. These sites will be located in the four quadrants of Washington DC- NE, SE, SW and NW- and they will be consider as different communities that, by keeping their own idiosyncrasy, create one city. The question of urban scale as well as the concept of detail as part of an architectural cosmology will be present throughout the process of the thesis by the alternation of micro and macro analysis of each stage of the research. The question of scale will be present as well when comparing the four projects with their differences in shape and size. Characterization and monstrosity as architectural concepts will be incorporated into the project too, by understanding the role of Architecture in the city and what it wants to show or "monstrare" to its inhabitants. / Master of Architecture character scaffold footage collage montage edition film cartography network magic unconscious imagination Memory forgetting rhetoric wander cinema surreal dream monster scale detail zoom multiplicity event sequence
22	Karel Teige, Jan Mukařovský a Bohuslav Brouk jako teoretikové surrealismu / Karel Teige, Jan Mukařovský and Bohuslav Brouk as Theorists of Surrealism Kuchařová, Markéta January 2016 (has links) The content of the thesis is the surrealistic object and its reflection among the czech theorists. The first part of the thesis describes the problematic of surrealistic object and subject-objective relations in surrealism. Breton's philosophical approach is introduced, as well as his concept of object's crisis. The first part also outlines the meaning of found object, concept of convulsive beauty and Dali's paranoic-critical method as a source of surrealistic imagery. The second part of the thesis is focused on the reflection of surrealistic object presentation and on relations between arts and reality according to the concepts of Jan Mukařovský. The third part of the thesis is dedicated to conceptualization of aesthetics of Bohuslav Brouk in the light of surrealism. In this part the scope of Brouk's understanding of subject-objective relations is briefly described, as well his interpretation of surrealistic object.The last part of the thesis outlines the Teige's conception of surrealistic work in the terms of the sources of surrealistic imagination.
23	Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro / Surrealism and Metaphysical painting in the Neo-hellenic art : the case of the artistic « Generation of the 1930s » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro Kouroutaki, Alexandra 23 June 2014 (has links) L’objectif de ce travail est l’étude de la démarche artistique du mouvement surréaliste et de la peinture métaphysique en Grèce pendant la période des années 1930. En particulier la thèse étudie le cas des peintres Nikos Engonopoulos, Gerassimos Steris et Georges Gounaro. Tout en examinant « l’idiome pictural » des artistes, ce travail vise également à élucider les influences reçues des artistes Grecs tant par le mouvement surréaliste en France que par les aspirations métaphysiques de la peinture de Giorgio de Chirico. Ainsi orientée, la mise en relation s’effectue sur deux axes, premièrement thématique et deuxièmement stylistique. Dans la première partie, la thèse considère la réception du surréalisme et de la peinture métaphysique en Grèce, effectuée dans des conditions hostiles. Il s`agit donc d`étudier le concept de la « Grécité » et le contexte historique et sociopolitique qui a marqué l’implantation retardée et l’expression affaiblie de cette peinture qui, affranchie des contraintes de l’académisme, a provoqué un scandale sans précédent, combinant Modernisme et Tradition. Dans les parties suivantes, ce travail aborde des thèmes communs dans l`œuvre des artistes du corpus, à savoir l`espace pictural surréel, méta empirique, et onirique, les visions métaphysiques, le rôle du Mythe Orphique, et finalement la représentation et le symbolisme de la figure humaine, historique et mythique, dans son inquiétante étrangeté. De surcroît, la thèse révèle l’originalité de cette création artistique subversive (thèmes choisis, techniques, dessin, et couleurs utilisées) qui a oscillé entre les influences occidentales et la revendication d`une spécificité nationale et culturelle. / The objective of this work is the study of the artistic process of the surrealist movement and the metaphysical painting in Greece, during the 1930s. In particular, the thesis examines the case of painters Nikos Engonopoulos, Gerassimos Steris, and Georges Gounaro. While examining the artists’ « pictorial idiom », it also seeks to elucidate the influences received from Greek artists by the surrealist movement in France and by the metaphysical aspirations of Giorgio de Chirico’s painting. The method of approach is based on the parallel, performed on two axes, firstly thematic and secondly stylistic. In the first part this work considers the reception of surrealism and the metaphysical painting in Greece, at the time of the inter-war period, which was carried out in adverse conditions. The reasons for the weak expression of Surrealism and its delayed implantation in Greece are attributed to the socio-political context and the imperatives of the time. This surreal and metaphysical creation, freed from the constraints of academic painting, caused a scandal as she approached Greek tradition in an innovative way. In the following sections the research deals with common topics in the pictorial work of Greek artists’, namely the surreal, meta-empirical, and dreamlike pictorial space, as well as painters’ metaphysical visions, the role of the Orphic myth, and finally the presence and the symbolism of historical and mythical human figures which often follow the principle of metamorphosis. In addition this work reveals the originality of this art (topics, drawing and colours used) mainly due to its Greek character. It’s a particular case study of that thoroughly subversive artistic creation, oscillated between Western influences and claims of national and cultural specificity. Engonopoulos Steris Gounaro Génération des années 1930 Surréalisme grec Art Néohellénique Peinture métaphysique Espace pictural Figures surréalistes Grécité Engonopoulos Steris Gounaro « Generation of the 1930s » Greek Surrealism Neo-Hellenic art Greek Metaphysical painting Pictorial space Surreal figures Greek Cultural Specificity
24	Draped Interiors Nold, Michael George 31 May 2016 (has links) No description available. Fine Arts
25	Black Deathing to Black Self-Determination: The Cultivating Substance of Counter-Narratives Ross, Genesis 12 April 2021 (has links) No description available. Aesthetics African Americans African American Studies Black History Black Studies Curricula Education Educational Leadership Ethics Families and Family Life Individual and Family Studies Pedagogy Performing Arts Philosophy Public Health Education Rhetoric Social Research Sociology Social Work Teaching Systematic Urban Planning Womens Studies Afro-Futurism Afro-Surreal Futurism Afro-Surrealism Afro-Pessimism Black Self-Determination Black Speculative Capitalism Colonialism Counter-Narratives Deathing Dehumanization Substance and Function Whiteness White Supremacy
26	The Shades of Styles : A human search for words communicating all aspects of styles. Hellerslien, Erlend January 2021 (has links) This research is an investigative attempt on the concept of style´s development to potentially noticing our diverse human history on viewing the aspect of styles, starting (in the part one) by looking into the problem of the development of styles and its characteristic of representation in terms of its messages, realties, semiotics, and human collaboration. Leading towards the human search in seeing style more commonly neutral for a more meaningful dialog. The research shows then (in the part two) the potential to build a Digital Style Dictionary and A Digital Visual Compass: A Human-Centric Guide on The Aspect of Seeing Reality’s that can support identifying aspects of multiple realities (core reality, abstract reality, surreal reality and artificial reality) — where two cases (in the part three) of visual styles get analyzed, discussed, reframed, and presented (Transpace and Swisch). Fundamentally this paper looks to provoke a discussion on what we humans want the point to be in seeing styles. The complexity is as grand as our diversity, but still, this research highlights the hope to respectfully identify the distinctive shades of styles for the sake of a more significant human dialog and inclusion. The research´s grand ambition is knowingly bigger than what it itself can grasp to complete right now (2021) fully. It proposes an idea for the near future to shape a Digital Style Dictionary and a Digital Visual Compass that works for the common human aspect of seeing styles. This research is a first attempt towards shaping the fundamental frame towards a spectrum of the style´s, that we can respectfully continue to articulate for the sake to include better human communication on the aspect of seeing distinctiveness, not that style´s stands in a capital value program between something “high” or “low.” Instead, we can now start to collaborate in shaping and building these potential tools as A Digital Style Dictionary and A Digital Visual Compass in sharing a more human-centric spectrum of styles to push the human evolution of knowledge further. Style Styles Shades of Styles Digital Style Design Theory Semiotic Theory Semiotics Semantics Seethics Design Inclusion User Experience Design Cultural Analytics Visual Worlds Art Historical Writing Digital Art History Visual Studies Visual Literacy Human Communication Digital Style Dictionary Digital Visual Compass Spectrum Reality Multi Realities Core Reality Abstract Reality Surreal Reality Artifical Reality Phenomenolgy Moral Ethics Labels Critical Terms Aspects of Seeing Representation Transpace Style Swisch Style Medium RAW Image Artifical Intelligence AI Visual Exploration Humankind Fundamentals Bias Gizmos Hyperreality Mythologies Sterotyping Discrimination Stories of Art Synesthesia Post-truth Fake Photo Creativity Art Direction Editing Advertising Manipulation Marketing Animation Photography Film Ilustration Graphic Design Arcitecture Color Icon Beauty Human Commonality Respect Diversity Art History Konstvetenskap Visual Arts Bildkonst

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