Philosophy Commons^™

A Thesis, Or Digressions On Sculptural Practice: In Which, Concepts & Influences Thereof Are Explained, Set Forth, Catalogued, Or Divulged By Way Of Commentaries To A Poem, First Conceived By The Artist, Fed Through Chatg.P.T., And Re-Edited By The Artist, To Which Are Added, Annotated References, Impressions And Ruminations Thereof, Also Including Private Thoughts & Personal Accounts Of The Artist, Jaimie An

Masters Theses

This thesis is an exercise in, perhaps a futile, attempt to trace just some of the ideas, stories, and musings I might meander through in my process. It’s not quite a map, nor is it a neat catalogue; it is a haphazard collection of tickets and receipts from a travel abroad, carelessly tossed in a carry-on, only to be stashed upon returning home. These ideas are derived from much greater thinkers and authors than myself; I am a mere collector or a translator, if that, and not a very good one, for much is lost. I do not claim comprehensive …

Stimming As A Form Of Autistic Aesthetic Experience, Neuroqueering Landscape, Sam Metz

Ought: The Journal of Autistic Culture

Sam Metz is an artist based in Hull who creates work that engages with the concept of ‘neuroqueering’. They create sculptural installations that incorporate both film and animation while exploring body-based responses to ecology. As a neurodivergent artist and curator with sensory processing differences, Sam creates work in non-verbal ways that begin and end in movement and embodied interactions without recourse to traditionally privileged verbal and written forms of communication. Recently they created a series of work called ‘Porosity’ which looked at embodied sensory relationships to the Humber Estuary, with a focus on stimming and ecological perception.

Sam, through their …

Borders And Bridges In Virtual Work: Between Real And Imaginary, Valeria Rocío Gonzales González Cueva, Carmiella Salzberg Zorzi

Artizein: Arts and Teaching Journal

This article discusses our reflections on how to holistically integrate reality embodied in virtual workspaces--what we perceive within our work and interaction with technology-and highlights the importance of documenting our exploration in times while Artificial Intelligence is developing. Our approach is divided into three parts: the boundaries and bridges between the real and the imaginary, the possibilities of existence and non-existence offered by technology, and the experiences of expressive arts practitioners within virtuality.

Resumen

Este artículo habla de nuestras reflexiones sobre cómo integrar de forma holística la realidad encarnada en los espacios de trabajo virtuales, lo que percibimos dentro de …

Being In The Place Of Possibility, Laura Domencic

MFA in Visual Arts Theses

This paper explores my art practice as a phenomenological search for understanding how to be in the world. It begins with a description of my practice as a way to access the place of possibility that exists between faith and doubt. I examine materiality in art making to encourage consideration of both the physical and temporal nature of experience and to find balance with the increasingly incorporeal experience of the digital world. I discuss the materials and processes of drawing, sewing, and printmaking within their historical contexts. This paper connects my practice with artists who consider the act of perception …

Returning The Radiant Gaze: Visual Art And Embodiment In A World Of Subjects, Beth Carruthers

The Goose

Drawing on the latter thinking of Maurice Merleau-Ponty, as well as on the ideas of other contemporary philosophers and theorists, this essay considers the denigration of vision from Plato to twentieth-century anti-ocularism, and argues for the reclamation of vision and visual perception as sensuous, embodied interplay between humans and world, self and other—an opening to wonder and more sensitive human-world relations. It does so through a phenomenological exploration of the process of art-making, and consideration of the role and value of artworks and images in the world. This essay is first and foremost an enquiry. As such it promises no …

Laminated Paint, Travis R. Austin

Theses and Dissertations

Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

Beginner's Mind, Martin L. Benson

University of New Orleans Theses and Dissertations

My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need …

A Performative Script: Play With(In) Me, Erik Patton

Theses and Dissertations

Patton continues his interest in the body, its relation to material, the notion of abstraction (specifically related to queerness), and the phenomenological with this performative script. Enter the bath first; you must wash your dirty asshole, as you shat only two hours ago. Collect your body in the Silver Pond.

Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy In The Reclamation Of The Female Nude In Painting, Sophia R. Forman

Scripps Senior Theses

At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the most prominent views of both color and the female nude—the nude as a symbolic figure, color as perceptual experience—before …