Browsing by Subject "art"
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Item Art Meets Literature: Illustrated Manuscripts, Psalters, Hymns(2016-04) Hand, Joni; Palmer, John; Hill, Darcy; Plamer, JohnThe following video contains the session entitled “Art Meets Literature: Illustrated Manuscripts, Psalters, Hymns” from the 2016 Second International Conference on Medieval and Renaissance Thought at Sam Houston State University. The papers presented in this session are “Playing by the Rules, Monastic Orders and Religious Identity in the Psalter of Bonne of Luxembourg” by Joni Hand and “Hymn as Poetry: Charles Wesley’s Religious Influence and Rhetorical Excellence” by John Palmer.Item Br(others) only : Rashid Johnson, class, and the fraternal orders of Afrofuturism(2012-08) Richardson, Jared C. 1988-; Smith, Cherise, 1969-Br(others) Only conceptualizes the wall sculptures of Rashid Johnson as free-standing “altars” that play with different and sometimes divergent brands of black masculinity and classed homosociality. Primarily, I analyze three of Johnson’s sculptures from the late 2000s: I Who Have Nothing (2008); I’m Still in Love with You (2008); and Souls of Black Folk (2010). I argue that, by invoking the history of black renaissance men, gentlemen scholars, and entertainers, Johnson’s work plays with various kinds of black masculinity and homosociality that simultaneously straddle the past and future. By doing so, his art not only enacts a racialized temporality, but it also chips away at monolithic notions of black masculinity by fabricating contradictory amalgams of race, class, and gender. For my analysis of Johnson’s artworks, I utilize Cassandra Jackson’s Violence, Visual Culture, and the Black Male Body (2010) as the chief framework for conceptualizing the waxy coats of Johnson’s sculptures as wounded bodies in an effort to “flesh out” the vulnerability of black men. Theorizing the putrescent surfaces of Johnson’s sculptures as violable bodies allows me to consider the ruptures between seemingly impenetrable black masculinity and the always-present vulnerability of the black male body to violence.Item Critical reflection in a digital media artwork - Playas: homeland mirage(2009-06-02) Stenner, Jack EricThe introduction of digital media into the working practice of artists has produced challenges previously unknown to the field of art. This inquiry follows an atypical model of artist-driven research derived from disciplines such as social science and education. Here, an artwork functions as a model that is self-reflective, integrating methodologies in a form that benefits art and science. Using Naturalistic Inquiry, including semi-structured interviews of fifteen participants, the work illustrates a process of creation, analysis and evaluation that places the values of the artist on equal footing with the needs of science. Recently, artists have begun using video game engines as a tool to produce 3D navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as a case study, this research examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Based on participant evaluation and observation, the interface was altered in response to its effect on critical reflection, illustrating how choices in this area impact aesthetic experience. Those with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. By repurposing a video game in this manner, we learn about the nature of the video game and the nature of art. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment. Ultimately, more fully understanding critical reflection in virtual environments will enable us to create enriched experiences that transcend space to create ?real? or ?virtual? place.Item Manic ArchitectonicsStoddart, Sebastian J.Item Not for Medical UseHoward, EmilyItem Phasing Loops(2012-11-30) Guinski, Rodrigo 1980-This work consists of a set of eight vector graphics animations exploring phasing loops, intended to be displayed on televisions and monitors, for home use or exhibition in art galleries as Generative Cinema installations. By combining animated loops with different durations it is possible to generate complex images created by simpler basic elements through a phasing effect. After the first loop, the animation gradually desynchronizes. The different combinations resulting from the layering of desynchronized loops generate image variation until the loops return to unison and restart the cycle. The duration of the phasing cycles of six of the eight pieces reach orders of magnitude over 10^19 frames, which, at a rate of 24 frames per second, is equivalent to the estimated age of the universe (14 billion years). The imagery of the resulting pieces is based on research on properties and structural elements of analog and digital electronic media. This work combines different elements that are present in works from avant-garde movements such as Structural Film, the graphic aspect from Absolute Film, John Cage?s and Andy Warhol?s approaches to the element of time (duration), and the explorations by video artist Nam-June Paik. The generative aspect of this work references minimalist composers and visual artist and composer Brian Eno. This thesis documents the research with analog and digital technologies, and the development of this installation.Item Using Precisionism Within American Modern Art as Stylistic Inspiration for 3D Digital Works(2010-01-14) Bell, Douglas R.This thesis presents the analysis of artistic techniques of paintings from the Precisionist movement and the implementation of the results of the analysis in the creation of three new works of art using digital media. Artists working in digital media express features of pre-digital artistic movements with varying degrees of adherence to principles, intentions, and awareness. This thesis seeks to create a bridge between the recognition of common features of Precisionist works and the expression of those elements in new works through the use of a system of analysis, interpretation, and translation. One outcome of this thesis is the description of a methodology for interpretation and translation that can be applied to other art movements. The Precisionist period within the Modern Art movement has both a historical importance in the world of art and a thematic relevance to popular uses of digital media ? specifically the representation of meaning and mood derived from industrial settings. Its influences can be traced from cubist, futurist, and constructivist art, as well as influencing the development of surrealism. It is considered the first solely American movement within Modern Art. Charles Sheeler's work plays a key role in the visual analysis portion of this research. Sheeler's work offers examples for applying 2D precisionist artistic style as aesthetic inspiration in creating a three-part production of 3D digital and video work. Work from precisionist artists Charles Demuth and Edmund Lewandowski also contribute some unique artistic characteristics considered during the analytical portion of this study. The new artistic works proposed include: (1) a linear, live-action short video with post-production manipulation; (2) a linear, 3D animated work; and (3) a non-linear, interactive 3D game environment.Item Video Installation Design: Appropriation and Assemblage As Projection Surface Geometry(2010-07-14) Weaver, Timothy A.This area of research focuses on the use of video projections in the context of fine art. Emphasis is placed on creating a unique video installation work that incorporates assemblage and appropriation as a means to develop multiple complex geometrical surfaces for video projection. The purpose of this research is to document a working process within a pre-defined set of guidelines that is influenced from my past work and the study of other artist?s prior work. Research includes the demonstration of the entire working process to create this original work and recommendations for future artists who wish to work in this medium.