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Imagination is a peculiar cognitive faculty that is linked to the artistic gaze. The artist's ability is not simply a gift, rather a complex skill which enables one to find new connections between things. I call this function ludic imagination, because I have discovered deep ties between it and the play sphere. Playing seems to be the way in which man understands his relationship with the world through a process of cognitive dislocation, displacement from the literal sense, in order to embrace a sense of poetry such as metaphor, irony and hyperbole. Poetic modalities are full of agon, alea, ilinx, mimicry (Caillois). What unites playing and poetry is the symbolic attitude and the ludic imagination and this mode is rooted in a 'cosmic childhood' (Bachelard) not just because man's way of being starts in playing, but because it is the symbolic child that could remain throughout the various stages of the individual's life span. Ludic imagination is a kind of knowledge, an imaginative knowledge. It is the tension that allows you to innovate, taking things back to their potential forms. This kind of knowledge is described by Huizinga who presents it as the oscillation between 'believing' and 'not believing'-but it is necessary to train this skill. A player engaged in ludic activities, an expert involved in the practice of performing arts or eastern disciplines knows how to combine the attitude of listening: with a sensitive and passionate receptivity with learning techniques and a mastery of his body, mind, will, memory and perception as a result of constant and rigorous practice, as described in the theory of flow as optimal experience (Csikszentmihalyi). With exercise and passion you can engage the ludic imagination to set off a transformative and revolutionary creative tension, with the spirit of a player.

The affecting and terrain variations of land-art works were explored (Geoplastic). The following are considered «land-art», «landscape», «landscape design», «geoplastic». It has been noted that land-art and landscaping have a lot of common features. Depending on the task there exist five groups of art creations. It is important to emphasize that numbers of Geoplastic art creations are part of the landscaping formula., Исследованы произведения ленд-арта, которые воздействуют и изменяют рельеф земли (геопластика). Рассмотрены понятия «ленд-арт», «ландшафт», «ландшафтный дизайн», «геопластика». Отмечено, что «ленд-арт» и «ландшафтный дизайн» имеют много общего. В геопластике ленд-арта в зависимости от решаемых задач выделилось пять групп произведений. В виде важного наблюдения данного исследования следует отметить, что ряд геопластических произведений ленд-арта является частью композиционного решения ландшафтного дизайна или непосредственно образует его., Досліджено твори ленд-арту, які впливають і змінюють рельєф землі (геопластика). Розглянуто поняття «ленд-арт», «ландшафт», «ландшафтний дизайн», «геопластика». Відзначено, що «ленд-арт» і «ландшафтний дизайн» мають багато спільного. У геопластиці ленд-арту в залежності від вирішальних завдань, виділилося п’ять груп творів. Важливим спостереженням цього дослідження слід зазничити, що ряд геопластичних творів ленд-арту є частиною композиційного рішення ландшафтного дизайну або безпосередньо утворюють його.

With the analysis of scientific papers in the field of games were identified key aspects of the term " game ." Determined that irony and game - the key categories of postmodernism. Discovered the principle of postmodern fiction . Based on the study of works of postmodernism hundred samples were investigated manifestations game principle. Revealed that the main means of this principle is to communicate with the audience, originality, a gaming space, the use of irony and paradox. Structural and systemic classification of the elements of the game in the different branches of design., С помощью анализа научных работ в области игры были определены основные аспекты термина « игра». Определено, что ирония и игра - ключевые категории постмодернизма. Обнаружен игровой принцип постмодернизма. На основе изучения ста образцов произведений постмодернизма были исследованы проявления игрового принципа. Выявлено, что основными средствами этого принципа является коммуникация со зрителем, оригинальность, создание игрового пространства, использование иронии и парадоксов. Определены структурные и системные классификации элементов игры в различных ветвях дизайна., За допомогою аналізу наукових робіт в галузі гри було визначено основні аспекти терміна «гра». Визначено, що іронія і гра-ключові категорії постмодернізму. Виявлений ігровий принцип постмодернізму. На основі вивчення ста зразків творів постмодернізму були досліджені прояви ігрового принципу. Виявлено, що основними засобами цього принципу є комунікація з глядачем, оригінальність, створення ігрового простору, використання іронії та парадоксів. Визначено структурні і системні класифікації елементів гри в різних гілках дизайну.

The social group appropriates the agents via a process of corporal mimesis. The practical sense is in this way incorporated. Pierre Bourdieu called it habitus and the practical schemes of male dominance form part of it. The Outsiders creative experiments, suggested by Virginia Woolf in Three Guineas, destined not to break the law, but find the law, should break down with the male-dominated society., El grupo social se apropia de las y los agentes mediante un proceso de mimesis corporal. El sentido práctico queda así incorporado. Pierre Bourdieu lo denomina habitus y, del mismo, forman parte los esquemas prácticos de la dominación masculina. Los experimentos creadores de las outsiders, propuestos por Virginia Woolf en Tres Guineas, podrían romper con esa sociodicea masculina no quebrantando las leyes sino hallando la ley.

Thanks to the leadership of Governor Larry Hogan and First Lady Yumi Hogan, along with the Maryland General Assembly’s appreciation for a robust arts sector, the Arts Council’s general fund appropriation for FY 2015 exceeded $15 million. And, as a result of the legislative session that concluded in April of this year, a FY 2015 mid-year cost containment of $790,000 has been restored to the Arts Council’s budget. In addition, the general fund appropriation for FY 2016 will again reach a new record level of support for the arts with the Arts Council’s general fund appropriation totaling $16.7 million. Maryland can be proud to rank in the top five states for per capita spending in the arts.

The Maryland State Arts Council commissioned OpinionWorks to conduct a representative survey of Maryland citizens to explore the public’s connection with, and the value they place on, the Arts. This survey produces a picture of a public in Maryland that is unusually engaged with the Arts.

What comes to mind for Marylanders when they think about the arts? How do they feel about the role of arts in education? And further, to what extent do they believe the state should support the arts? Responses to questions like these—and others—are the focus of this statewide survey of the arts, which finds that Marylanders overwhelmingly value and engage with the arts, and believe the state should encourage artistic expression and equitable access to the arts. The findings of this poll, in addition to the $1 billion annual economic impact of Maryland’s nonprofits arts industry, powerfully affirm that Maryland’s investment in the arts advances both quality of life and economic growth across the state.

Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality. Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality. Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge. Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.

Being sunk into a deep feeling of indecisiveness when accepting a work as art, drives one need to a better understanding of the factors that forms the creativity in the artistic evaluation. This is, the creative features such as originality or internal coherence among others are synonym for artistic quality. On the other hand, external appearances of different nature are responsible for tagging any kind of work as art. Having said that, the status associated to the concept of creativity is mainly an intrinsic feature of certain creation. Creativity as a whole is an essential fact in the artistic performance. Any gifted approach is the results of a single expression. However, while some kind of work follows innovation, others follow emotions. Nevertheless, in both cases the artistic role does not only focus in the new or aesthetic aspects, but are also banned by external elements in the work itself., Inundados por una sensación de indeterminación en la aceptación de una obra como arte, surge la necesidad de entender cómo se valoran los factores que conforman la creatividad en la evaluación artística, es decir, son las características creativas como la originalidad o la coherencia interna, entre otras, sinónimo de calidad artística; o, por el contrario, son los aspectos externos, de diversa índole, los que funcionan como vínculos forzosos para la estimación como arte de cualquier obra, siendo las categorías asociadas al concepto de creatividad, simplemente, un rasgo intrínseco de determinadas creaciones. La creatividad en su conjunto se nos presenta como un hecho indispensable en la ejecución artística. Cualquier planteamiento creativo es el resultado de una expresión individual, sin embargo, un tipo de obras pretende la novedad y otras la emoción, pero la creatividad juega en ambos bandos, inversamente, el papel de lo artístico no se encierra en lo nuevo o lo estético, sino que parece vedado por elementos externos a la obra en sí misma.

This dissertation asks: in what way can the practice of art, and the encounter with the work of art, constitute the site for a form of philosophical thinking? The work draws on ‘post-aesthetic’ theory, and, in particular, the philosophy of Martin Heidegger and Jacques Derrida to ask: to what extent would this thinking, or modality of knowing, consist of a material or poetic thinking, and how, if it not simply irrational, would it differ from logical discourse? Art is typically thought either in terms of the aesthetic attitude—incorporating subjectivist notions of expression taste and lived experience—or, alternatively, as a logical enterprise, where the work is seen as a carrier of a message incorporating an analytical-political critique. This project seeks to develop a third way that rejects a fusion or neutralisation of this opposition. Central to this argument is the necessity of displacing not only what Heidegger calls ‘representational thinking’ (Vorstellung), but also its metaphysical counter-part: lived-experience (Erlebnis). Interrogating the fields of both art and philosophy, this dissertation enquires as to how certain practices of art might engage in what might be art’s specific way of thinking, and consider the production and reception of art as a modality of knowing which displaces the modernist metaphysical notions of expression, intention, experience (Erlebnis), and aesthetic pleasure. At the same time it examines the theoretical documents and practices of (i), conceptual art, and (ii) John Cage and Fluxus, in order to open the possibility for a non-aesthetic, and nonconceptual, encounter with the work of art, that does not jettison materiality and thinking. In accordance with Heidegger’s thinking on art, This study finds that the nonintentionality of Cage and Fluxus constitutes a radical abstention from aesthetic judgment in making art, and that it offers a way of thinking beyond the closure of the strict volitional model of Conceptual Art. Yet this

This written portion of the M.F.A. thesis describes the both aesthetic experience of the artwork leptaxis and the critical intent, political perspective, and conceptual motivations behind the construction of the work. The artwork leptaxis consists of a series of objects worn by participating viewers in conjunction with a reactive audio installation space. Framed as a space of play outside of traditional art spaces, viewers are invited to participate in the installation space by wearing the prosthetic objects and interacting with each other and elements of the installation. These worn objects are framed as queer cyborg prosthesis in the way that they intend to disrupt heteronormative perspectives on how gender and the human body is defined. The prosthesis interface with each other and the installation space via physical computing technology and digital audio signals. The audio component of installation is modulated and effected through the viewers' social interactions with the prosthesis. A key element within the artwork is the use of the concept of as pleasure functioning as a communicative vehicle for the radical queer cyborg political perspective.

This thesis paper contains a descriptive analysis of works produced by the author for the 2010 M.F.A. Thesis Exhibition at the Weatherspoon Art Museum which runs from May 2nd through June 6th, 2010. The pieces included in the exhibition challenge prevailing assumptions about materials, their uses, and hierarchies of value while embracing notions of the physical and spiritual value of labor in creating a tangible sense of place.

My thesis is a body of work entitled Speak For The Silent. This project is a sequential narrative of block prints in black and white on handmade paper containing ingredients grown in North Carolina based. The Narrative is based on an interview with an illegal immigrant. The story is told strictly through images without text. My art walks the line between high art and propaganda questioning issues related to the current social conditions understood through personal human experience.

My thesis project is an attempt to make a theoretical connection between my working process and the image or object created as an emergent effect of that process. The focus is on primary art materials: graphite, gesso, hardboard and white or black pigments mixed with matte binders. The work is predominately two dimensional and will function diagrammatically as well as indexically in it's description of my artistic process.

The need to understand reality is at the root of my artistic practice. In particular the area where my own assumptions or fantasies meet physical reality. My work is the play, the exploration of reality through fantasy. This paper will attempt to give insight into my thesis work.

The purpose of this thesis paper is to describe the photographic series Southeastern Suburban. My interest in the project was sparked by my move to this particular region. This series of images, which portrays people and places particular to the demographic, is the direct result of my endeavor to deepen my own sense of identification with the place that I now call home.

Above my grandmother’s desk hung a picture of a bunch of flowers in a vase. At the age of twelve, I became aware that sunflowers were in the vase. At some point, I was told that a well-known artist named Van Gogh made the picture. When I was in high school, I noticed the Ben-Day dots of color that comprised the picture; this evidence suggested, to me, that this was a picture of a picture. It was a copy; and, given that my grandparents were smart, they knew it was a copy. At first, I admit, I felt snobbish and dismayed over the cheap imitation that hung before me; after all, I had made some of my own paintings by then and knew its “value.” When I asked my grandmother why she had the picture above her desk, she explained that they framed it and hung it on their wall because it pleased them to look at it, not because it was a valued object. What changed was not the picture of sunflowers; my understanding of the picture changed. The act of situating ourselves in space, whether with pictures, furniture, people, etc., is how I understand that we make ourselves at home. Through the alteration of actual, and visual, spaces and with materials found in, or used for, the purposes of Home, my thesis explores the geographies and constructions of the internal psyche as predicated on perception.

This body of work investigates abstraction, process, and the construction of psychological spaces. This paper will define specific works from the overall body of work, the formal processes of drawing and collage, and the visual abstraction of the drawings and their origins within my personal history.

Background. Aging is a natural process which happens to all living beings and is characterised by being irreversible, progressive, heterogeneous, deleterious and multifactorial. This process has been represented in art as being part of the esthetic expression of ancient cultures around the world.Objective. Describing evidence of aging and old age found in Colombia on several ceramic pieces from the Tumaco- La Tolita culture in collections housed in the Universidad del Valle's Julio César Cubillos Archaeological Museum in Cali, the Universidad de Antioquia's University Museum in Medellin and the Banco de la Republica's Gold Museum in Bogotá.Materials and methods. Around 2,000 ceramic pieces from the Tumaco-La Tolita culture from collections housed in different museums in Colombia were analysed, evaluating artistic representations demonstrating aging and old age.Result. Nearly 50 ceramic pieces represented physical changes compatible with aging processes. Result. There were near 50 pieces of ceramics that were representing physical Changes compatible with processes of aging.Conclusions. The constant representation of elders in Tumaco-La Tolita art might indicate a concept of human beings which is very different from that of modern western culture (and in Indian communities today) where the elders were respected by the community and were a symbol of knowledge and wisdom., Antecedentes. El envejecimiento es un proceso natural, que ocurre en todos los seres vivos y se caracteriza por ser irreversible, progresivo, heterogéneo, deletéreo y multifactorial. Este proceso ha sido representado en el arte como parte de la expresión de las diferentes culturas. Objetivos. Describir las evidencias de los procesos de envejecimiento y vejez en la cerámica de la cultura Tumaco-La Tolita de la colección del Museo Arqueológico "Julio César Cubillos" de la Universidad del Valle de Cali, y del Museo Universitario de la Universidad de Antioquia en Medellín Colombia desde una mirada de las ciencias sociales y médicas.Material y métodos. Se evaluaron cerca de 2000 piezas de cerámica de la cultura Tumaco-La Tolita de colecciones de diferentes museos de Colombia, evaluando representaciones artísticas que evidenciaran procesos de envejecimiento y vejez.Resultados. Se encontraron cerca de 50 piezas de cerámica que representaban cambios fisicos compatibles con procesos de envejecimiento. Conclusión. La representación permanente de los ancianos en el arte Tumaco-La Tolita podría indicarnos una concepción del ser humano muy diferente a la cultura occidental moderna, así como en las comunidades indígenas actuales, los ancianos fueron respetados por la comunidad y fueron un símbolo importante en dicha sociedad.

This thesis consists of a text and a series of five oil paintings that explores the psychological complexities and relationships that exist within the 21st Century post-modern American society.

This thesis addresses the ways my work questions how painting is experiential both for the artist and the viewer. The paintings are based on the space where there is no distinction between states of matter and energy.

The Pedestrian consists of 100 drawings on 9 ½ inch by 9 ½ inch (the size of my foot, squared) pieces of paper; these drawings are made from daily observation on my 13-minute walk from my apartment to my studio on Highland Avenue.

The purpose of this thesis paper is to describe the body of work titled Dark Cozy Place. This project is the result of immersion and play in the mediated public imagery of the control system that is commodity culture. A mental space that is impersonal and manipulative, that of mass media as it is disseminated in both public and private spaces, was made personal through visual translations such as drawing, printmaking, photographing, painting, building and rebuilding.

We estimated the isoprene and monoterpene source strengths of a pristine tropical forest north of Manaus in the central Amazon Basin using three different micrometeorological flux measurement approaches. During the early dry season campaign of the Cooperative LBA Airborne Regional Experiment (LBA-CLAIRE-2001), a tower-based surface layer gradient (SLG) technique was applied simultaneously with a relaxed eddy accumulation (REA) system. Airborne measurements of vertical profiles within and above the convective boundary layer (CBL) were used to estimate fluxes on a landscape scale by application of the mixed layer gradient (MLG) technique. The mean daytime fluxes of organic carbon measured by REA were 2.1 mg C m¿2 h¿1 for isoprene, 0.20 mg C m¿2 h¿1 for ¿-pinene, and 0.39 mg C m¿2 h¿1 for the sum of monoterpenes. These values are in reasonable agreement with fluxes determined with the SLG approach, which exhibited a higher scatter, as expected for the complex terrain investigated. The observed VOC fluxes are in good agreement with simulations using a single-column chemistry and climate model (SCM). In contrast, the model-derived mixing ratios of VOCs were by far higher than observed, indicating that chemical processes may not be adequately represented in the model. The observed vertical gradients of isoprene and its primary degradation products methyl vinyl ketone (MVK) and methacrolein (MACR) suggest that the oxidation capacity in the tropical CBL is much higher than previously assumed. A simple chemical kinetics model was used to infer OH radical concentrations from the vertical gradients of (MVK+MACR)/isoprene. The estimated range of OH concentrations during the daytime was 3¿8×106 molecules cm¿3, i.e., an order of magnitude higher than is estimated for the tropical CBL by current state-of-the-art atmospheric chemistry and transport models. The remarkably high OH concentrations were also supported by results of a simple budget analysis, based on the flux-to-lifetime