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ART AS A QUESTIONING PROCESS
Title
ART AS A QUESTIONING PROCESS.
Creator
Perez, Elizabeth, Janz, Bruce, University of Central Florida
Abstract / Description
The topic of this thesis is, broadly, the crisis of postmodernity and the solution that French rhetorician, Michel Meyer, presents in his theory "problematology." Meyer looks to relocate the focus of philosophical attention on the question as opposed to the answer. Meyer calls preoccupation with answers "propositionalism." Propositionalism can be likened to the looming scientism that threatens philosophy in general. Meyer shows, through an examination of questioning, how philosophy can be...
Show moreThe topic of this thesis is, broadly, the crisis of postmodernity and the solution that French rhetorician, Michel Meyer, presents in his theory "problematology." Meyer looks to relocate the focus of philosophical attention on the question as opposed to the answer. Meyer calls preoccupation with answers "propositionalism." Propositionalism can be likened to the looming scientism that threatens philosophy in general. Meyer shows, through an examination of questioning, how philosophy can be rescued from obsolescence without being detracted to scientism. Although Meyer's philosophy is promising, it could not be considered thorough if it did not address art. Using Gilles Deleuze and Felix Guattari's definition of art as externalized experience, this thesis will explore whether or not Meyer has examined the important relationship between art and philosophy. Through analysis of his three main books in English along with multiple essays, this thesis shows that, although Meyer did not examine art to a great extent, his philosophy contains underlying themes that correspond to the art world. If Meyer's philosophy is shown to be thorough enough in every respect, it could serve as a new starting point for thought. Meyer's philosophy has the potential to pioneer a new paradigm of thought that has not been previously explored.
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Date Issued
2012
Identifier
CFH0004288, ucf:44901
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004288
THE ACCOMPANIED EXPERIENCE AND THE AESTHETICS OF MEMORY
Title
THE ACCOMPANIED EXPERIENCE AND THE AESTHETICS OF MEMORY.
Creator
Dickerson, Allyson, Harris, Christopher, University of Central Florida
Abstract / Description
For me, a memory is the thought of a feeling. Feeling, in this case, is the appreciable radiation of sensory emanating from all objects and persons in a given moment of time. "All thought, like all feeling, is a relationship between one human being and another human being or certain objects which form a part of his universe" (Astruc). Be it an instance of attraction to another person, a place, a creation, an object, or purely an aesthetic pleasure, said instance will become ingrained as a...
Show moreFor me, a memory is the thought of a feeling. Feeling, in this case, is the appreciable radiation of sensory emanating from all objects and persons in a given moment of time. "All thought, like all feeling, is a relationship between one human being and another human being or certain objects which form a part of his universe" (Astruc). Be it an instance of attraction to another person, a place, a creation, an object, or purely an aesthetic pleasure, said instance will become ingrained as a part of an aggregation of moment-to-moment experiences that form an individual's universe and lifetime of perceptions. Through film, I hope to give a visual tangibility for such feelings, a re-playable, and relatively more permanent, representation. It's a process similar to the way a headstone memorializes a life. A few words in stone could never measure up to the present time of actually living, but this is because they are not comparable. In much the same way, a synthesized montage of images cannot be compared to a memory, but should be used as way to experience the memory in a new way.
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Date Issued
2014
Identifier
CFH0004613, ucf:45277
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004613
EXPLORING THE PERCEPTIONS AND MOTIVATIONS OF PRE-SERVICE ELEMENTARY TEACHERS TOWARD AESTHETIC READING IN AN UNDERGRADUATE COURSE IN LITERATURE FOR CHILDREN
Title
EXPLORING THE PERCEPTIONS AND MOTIVATIONS OF PRE-SERVICE ELEMENTARY TEACHERS TOWARD AESTHETIC READING IN AN UNDERGRADUATE COURSE IN LITERATURE FOR CHILDREN.
Creator
Williams, Anne, Buchoff, Rita, University of Central Florida
Abstract / Description
Past research shows that feelings toward aesthetic reading, or reading for enjoyment, are down across the nation, even in those pursuing a degree in elementary education (Applegate & Applegate, 2004; National Endowment for the Arts , 2004). As reading rates drop, it becomes even more imperative that our future educators have a passion for reading, and are able to intrinsically motivate their students (McKool & Gespass, 2009; Nathanson, Pruslow & Levitt, 2008). The recommended practices for...
Show morePast research shows that feelings toward aesthetic reading, or reading for enjoyment, are down across the nation, even in those pursuing a degree in elementary education (Applegate & Applegate, 2004; National Endowment for the Arts , 2004). As reading rates drop, it becomes even more imperative that our future educators have a passion for reading, and are able to intrinsically motivate their students (McKool & Gespass, 2009; Nathanson, Pruslow & Levitt, 2008). The recommended practices for breaking the cycle of aliteracy are to deemphasize textbook driven lectures (Krashen, 1993; Nathanson et al., 2008; Sardo-Brown & Beeghly, 1996), enable text self-selection (Applegate & Applegate, 2004; 2014; Cardarelli, 1992; Krashen 1993; McKool & Gespass, 2009; Nathanson et al., 2008), include reflective journals (Nathanson et al., 2008), encourage open discussion (Applegate & Applegate, 2004; 2014; Krashen, 1993; McKool & Gespass, 2009; Nathanson et al., 2008; Sardo-Brown & Beeghly, 1996), provide opportunities to reflect on students' own personal views of literacy (Gomez, 2005), and incorporate "well-planned instructional experiences to allow students to experience what it feels like to be enthusiastic about reading" (Applegate & Applegate, 2004; Applegate et al., 2014; Gomez, 2005; Krashen, 1993; McKool & Gespass, 2009; Morrison, Jacobs, & Swinyard, 1999; Nathanson et al., 2008; Powell-Brown, 2003; Ruddell, 1995; Sardo-Brown & Beeghly, 1996). The intent of this thesis is to explore if a positive shift in the perceptions and motivations of pre-service elementary education teachers can occur through enrollment in a course on Literature for Children. Literature for Children, LAE 3414, is a required course for those pursuing a degree in elementary education at the University of Central Florida. The course's design follows the recommended practices for teaching a love of literature. This study tracked the perceptions and motivations of pre-service teachers enrolled in two class sections of this course over the fall 2014 semester, in order to see if a positive change in their feelings toward aesthetic reading occurred, and to what extent their enrollment in this course on Children's Literature affected this change. At the beginning of the semester, out of a total of 63 participants for the pre-survey, 68.3% reported that they felt enthusiastic toward reading, while 31.7% reported that they felt unenthusiastic. By the end of the course, out of 54 post-survey participants, 87% of participants reported that they felt enthusiastic toward reading, while 13% reported that they felt unenthusiastic. Both class sections surveyed experienced a positive shift in their perceptions and motivations toward aesthetic reading, as a result of enrollment and participation in this course.
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Date Issued
2015
Identifier
CFH0004845, ucf:45452
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004845
UPBUILDING OPPOSITIONS: KIERKEGAARD, CAMUS, AND THE PHILOSOPHY OF LOVE
Title
UPBUILDING OPPOSITIONS: KIERKEGAARD, CAMUS, AND THE PHILOSOPHY OF LOVE.
Creator
Luzardo, Jesus, Strawser, Michael, University of Central Florida
Abstract / Description
Despite the fact that they are both known as leading figures of existentialism, the relationship between 19th century Danish philosopher Soren Kierkegaard and 20th century French philosopher and novelist Albert Camus has largely gone unexplored in secondary scholarship. In the few times that their relationship is discussed, focus is heavily placed on the most obvious difference between the two thinkers: their religious orientations, which tends to prevent any further analysis or discussion....
Show moreDespite the fact that they are both known as leading figures of existentialism, the relationship between 19th century Danish philosopher Soren Kierkegaard and 20th century French philosopher and novelist Albert Camus has largely gone unexplored in secondary scholarship. In the few times that their relationship is discussed, focus is heavily placed on the most obvious difference between the two thinkers: their religious orientations, which tends to prevent any further analysis or discussion. Furthermore, popular conceptions of each thinker-largely informed by their most popular works, arguably Fear and Trembling and The Myth of Sisyphus, respectively-tend to depict them as pessimistic and individualistic figures, the former basing his philosophy on an irrational leap of faith and the latter basing his own on the world's meaninglessness and absurdity. The purpose of this thesis is to provide an alternative, or rather a corrective, to these aforementioned views on the two thinkers. Through literary and philosophical analyses, I will attempt to demonstrate not only that there is a concrete, fecund relationship between Kierkegaard and Camus, but furthermore that this relationship is grounded in a practical, duty-based philosophy of love. The thesis will look at three concepts that play a key role in both philosophies: the absurd, love, and aesthetic creation. As the analysis progresses, it is repeatedly shown that the thinkers' opposing views on theology do not prevent us from finding similar conceptions and practical manifestations of selfhood, neighborly and romantic love, and the social role of the artist. Thus, I shall argue that they are most properly understood as philosophers of love who saw themselves as social critics whose main goal was to help eradicate the corrupting and dangerous nihilism of their respective eras rather than as traditional philosophers.
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Date Issued
2013
Identifier
CFH0004410, ucf:45122
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004410
Agents of Change: Producing the Palpable from the Intangible through the Human Experience
Title
Agents of Change: Producing the Palpable from the Intangible through the Human Experience.
Creator
Anagnoson, Chealsea, Buyssens, Ryan, Watson, Keri, Adams, JoAnne, University of Central Florida
Abstract / Description
The world around us is in a continual state of change; we, as humans, are agents of change simply through our existence. Moreover, our choices become catalysts of change and have profound effects on our environments. This paper will use the chemical formula of glycolysis as an extended metaphor to expound the notion of the human existence in a continual state of change. C6H12O6 + 6(O2) --(>) 6(CO2) + 6(H2O) + ATP The above chemical formula represents glycolysis, a chemical reaction during...
Show moreThe world around us is in a continual state of change; we, as humans, are agents of change simply through our existence. Moreover, our choices become catalysts of change and have profound effects on our environments. This paper will use the chemical formula of glycolysis as an extended metaphor to expound the notion of the human existence in a continual state of change. C6H12O6 + 6(O2) --(>) 6(CO2) + 6(H2O) + ATP The above chemical formula represents glycolysis, a chemical reaction during which glucose (C6H12O6) and oxygen (6O2) combine to produce carbon dioxide (6CO2), water (6H2O), and energy (ATP). This is the first step in aerobic cellular respiration, a process that all complex organisms use to convert nutrients into usable energy.This formula metaphorically illustrates my creative process. Glucose represents the fabrication process through the combination of concepts (C6), materials (H12), and interactions (O6), with the addition of my own interactions with my environment (6O2) to produce a conceptual experience (6CO2) with a physically interactive component (6H2O) to elicit change (ATP). However, as in aerobic respiration, glycolysis is simply the first step; my finished work is only a beginning.
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Date Issued
2017
Identifier
CFE0006712, ucf:51894
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006712
Synaesthetics
Title
Synaesthetics.
Creator
Turner, Samantha, Listengarten, Julia, Wood, Vandy, Weaver, Earl, University of Central Florida
Abstract / Description
Synaesthetics is a new philosophy of the arts. Expanding on its predecessors, aesthetics and its many branches of thought, Synaesthetics bridges the long-standing explanatory gap across the disciplines of science, spirituality, and art. The arts become the vehicle of exploring new ways to synthesize and study their cognitive effects and implications on aesthetes, be they audience or creators. The examination of a synthesis in color and sound, inspired by research in synaesthesia, is a model...
Show moreSynaesthetics is a new philosophy of the arts. Expanding on its predecessors, aesthetics and its many branches of thought, Synaesthetics bridges the long-standing explanatory gap across the disciplines of science, spirituality, and art. The arts become the vehicle of exploring new ways to synthesize and study their cognitive effects and implications on aesthetes, be they audience or creators. The examination of a synthesis in color and sound, inspired by research in synaesthesia, is a model for explaining the new philosophy, as well as investigating its impact. Theatre is introduced as the most valuable art form with which to engage this area of thought, due to its inclusive nature of all sister artforms. Pulling from a strong philosophical background, quantum physics, psychology, neuroscience, and esotericism are compounded to create this new lens, with which to interpret, study, and evolve in a dialectical manner. The hypothesis posits a spiritually significant evolution, utilizing these elements of science and a framework of the arts; the methodological accomplishment ultimately reached through Synaesthetics.
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Date Issued
2017
Identifier
CFE0006960, ucf:51640
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006960
ONLY SCREEN DEEP? EVALUATING AESTHETICS, USABILITY, AND SATISFACTION IN INFORMATIONAL WEBSITES
Title
ONLY SCREEN DEEP? EVALUATING AESTHETICS, USABILITY, AND SATISFACTION IN INFORMATIONAL WEBSITES.
Creator
Avery, Carrie, Saari Kitalong, Karla, University of Central Florida
Abstract / Description
This thesis explores the role aesthetics plays in informational websites. In commercial interfaces, aesthetics (the perceived visual appeal and appropriateness of an object) has shown to correlate positively with many aspects of usability and emotional satisfaction. This thesis examines whether aesthetics has similar positive correlations in informational websites. Heuristics or guidelines for evaluating informational websites are developed based on empirical research and practitioner...
Show moreThis thesis explores the role aesthetics plays in informational websites. In commercial interfaces, aesthetics (the perceived visual appeal and appropriateness of an object) has shown to correlate positively with many aspects of usability and emotional satisfaction. This thesis examines whether aesthetics has similar positive correlations in informational websites. Heuristics or guidelines for evaluating informational websites are developed based on empirical research and practitioner expertise. Categories for heuristic evaluation include usability, credibility, visual clarity, visual richness, and emotional satisfaction. A class of graduate students browsed three academic websites, evaluated them, and critiqued the heuristics. Results indicate that aesthetics does correlate with overall impression, usability, satisfaction, and credibility. The data also suggests that there are two dimensions of aesthetics: visual richness and visual clarity. Overall impression correlated with the average of all categories. The heuristics used in this pilot study are now ready to be tested on a larger population.
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Date Issued
2005
Identifier
CFE0000465, ucf:46412
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0000465
Touching the Unreal: The Definition, Narrative Strategies, and Aesthetics of 3D Cartoon Narratives.
Title
Touching the Unreal: The Definition, Narrative Strategies, and Aesthetics of 3D Cartoon Narratives.
Creator
Snow, Nathan, Mauer, Barry, Applen, JD, Grajeda, Anthony, Larsen, Darl, University of Central Florida
Abstract / Description
(")Touching the Unreal(") follows the structure set out by Scott McCloudin Understanding Comics to argue that understanding cartoons is serious business and requires that we define the art form, outline its basic tenets, and theorize how the mind understands it. The dissertation argues for a new definition of 3D computer generated cartoons, beginning with the most basic definition applicable to all forms of animation and taking into account new technological developments before arriving at...
Show more(")Touching the Unreal(") follows the structure set out by Scott McCloudin Understanding Comics to argue that understanding cartoons is serious business and requires that we define the art form, outline its basic tenets, and theorize how the mind understands it. The dissertation argues for a new definition of 3D computer generated cartoons, beginning with the most basic definition applicable to all forms of animation and taking into account new technological developments before arriving at the 3D cartoon narratives of today. The dissertation outlines the basic facets of 3D cartoon narratives in terms of narrative and aesthetics, arguing that, in spite of the technological changes required to produce the art form, narrative strategies have not changed significantly from 2D to 3D cartoon narratives. Rather, the 3D cartoon narrative aesthetic is focused primarily on synthetic, sculptural materiality to create a tactile, haptic viewing experience unavailable in any other form of animation. The dissertation advances theories of how the mind understands 3D cartoon narratives, starting with how these films guide the spectator to pre-determined conclusions based on character identification, flow theory, and mirror-neuron cognition. As a result of their narrative, aesthetics, and reception, these films constitute a new form of posthumanism and operate as a node in the modern viewer's web of distributed cognition, enchanting viewers through the ability to touch the unreal, synthetic images common to the modern world. (")Touching the Unreal(") contributes to the media field by providing a definition for 3D computer animation in all of its facets as genre, narrative, aesthetics, and ideology.
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Date Issued
2018
Identifier
CFE0007101, ucf:51962
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007101
THE SOCIOCULTURAL PERCEPTION OF THE AFRICAN AMERICAN WOMAN'S BODILY AESTHETICS: INVESTIGATED IN THE WORKS VENUS, GOD DON'T LIKE UGLY, AND THEIR EYES WERE WATCHING GOD
Title
THE SOCIOCULTURAL PERCEPTION OF THE AFRICAN AMERICAN WOMAN'S BODILY AESTHETICS: INVESTIGATED IN THE WORKS VENUS, GOD DON'T LIKE UGLY, AND THEIR EYES WERE WATCHING GOD.
Creator
Loiten, Andrene, Hohenleitner, Kathleen, University of Central Florida
Abstract / Description
Despite contemporary movements towards tolerance and appreciation of differing cultural entities within the United States, the normative standard of beauty serves as a pinnacle of division amongst women. The normative standard of beauty-implemented by the dominant race within the States-encourages discrimination in regards to the perception of African American female beauty. Although information exists identifying the original influence pertaining to the negative perception of African...
Show moreDespite contemporary movements towards tolerance and appreciation of differing cultural entities within the United States, the normative standard of beauty serves as a pinnacle of division amongst women. The normative standard of beauty-implemented by the dominant race within the States-encourages discrimination in regards to the perception of African American female beauty. Although information exists identifying the original influence pertaining to the negative perception of African American female beauty, the reason for its continued perpetuation within the African American community remains ill defined. Effects of this standard amongst African Americans are psychological and physiological. The destruction of self-image and appreciation for natural features by African American Women occur as a result. The influence of this standard extends to individuals outside of the African American community also and in turn impact their perception of African American aesthetics. Scholarly and Literary writers have chosen to comment on this topic. Some dissect the features that constitute to the considered level of attractiveness attributed of African American women. As these writers explore the realm aesthetic perception, discriminatory tendencies amongst those from the dominant race as well as the marginalized group-in this case African Americans-are revealed. Theories offering explanations in regards to the perpetuation of negative perceptions of African American female beauty arise.
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Date Issued
2017
Identifier
CFH2000213, ucf:45946
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000213
At Face Value: Investigating Perception Through Photographs
Title
At Face Value: Investigating Perception Through Photographs.
Creator
Dipaolo, Dominic, Raimundi-Ortiz, Wanda, Adams, JoAnne, Price, Mark, University of Central Florida
Abstract / Description
(")At Face Value: Investigating Perception through Portraiture(") is a body of work that examines how people process their perception in imagery. The Deadpan Aesthetic, photographic truth and American identity are discussed, as well as the amount of influence a photographer has in his work. Since perception is defined as an understanding of setting via the senses, I hope to challenge viewers by employing strategies to destabilize the viewer's reception of my photographs.
Date Issued
2015
Identifier
CFE0005788, ucf:50052
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005788
The Collector as Arbiter of Art: A Phenomenological Investigation of Collectors' Critical Judgment Development and Their Understanding of Art Toward a Theoretical Model for Appreciation and Criticism in Art Education
Title
The Collector as Arbiter of Art: A Phenomenological Investigation of Collectors' Critical Judgment Development and Their Understanding of Art Toward a Theoretical Model for Appreciation and Criticism in Art Education.
Creator
Grey, Anne, Brewer, Thomas, Sivo, Stephen, Kaplan, Jeffrey, Price, Mark, Roberts, Sherron, University of Central Florida
Abstract / Description
The purpose of this study was to investigate art collectors' specific method of developing and making critical judgments in the context of their understanding of art. Phenomenological research methods were employed to obtain data through interviews with collectors of Contemporary African American art, Latin American art, and Minimalist and Conceptual art. Based on the findings, collectors' approaches to critical judgment can be categorized into three areas. First, critical skills are both...
Show moreThe purpose of this study was to investigate art collectors' specific method of developing and making critical judgments in the context of their understanding of art. Phenomenological research methods were employed to obtain data through interviews with collectors of Contemporary African American art, Latin American art, and Minimalist and Conceptual art. Based on the findings, collectors' approaches to critical judgment can be categorized into three areas. First, critical skills are both intuitive and developed over time, through a holistic and aesthetic process set in the art world. Collectors' edification requires commitment, and intense looking enabling them to see how works of art communicate. Second, key events that marked collectors' methodological approaches were connections with artists and art, notable purchases, and exhibitions of their collection. These events resulted from an integration of the collectors' identification with the art work, manifested over time in various forms. Finally, those objects that best reflected collectors' specific development of critical judgment and understanding of art were noted either by specific artists in their collection or the collection as a whole, functioning as vital aspects of the collectors' life and at the same time contributing to culture and society in its capacity to cause conversations. There is an opportunity to apply the information from collectors' processes as an educational model for teaching and learning about appreciation and criticism in art education by thinking about art collections more broadly, as another way to look at life and the art in life.
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Date Issued
2011
Identifier
CFE0004115, ucf:49103
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004115