Digitization, innovation, and participation: digital conviviality of the Google Cultural Institute

2018 Summer.Includes bibliographical references.To view the abstract, please see the full text of the document

Picturing home: Domestic painting and the ideologies of art

This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market\u27s various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and high or avant-garde art, as suggested by the sentiment, GOOD ART WON\u27T MATCH YOUR SOFA. Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting\u27s central quality and goal: the market\u27s various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of \u27home-like\u27 spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, What is bourgeois art

The imagery of travel in British painting : with particular reference to nautical and maritime imagery, circa 1740-1800

The dissertation is divided into two sections, dealing with the positive and negative faces of travel and the sea in visual art, each further subdivided by chapter. Following the introduction, Chapter 2 deals with cartography, providing a broad context for the cultural reception of travel imagery. Chapter 3 discusses Thames imagery. It is argued that the increased interest in the river as a pictorial subject was part of a growing view of London as the metropolis of a grand commercial empire, whereby the Thames was aligned to the construction of the imperial nation. Chapter 4 examines metropolitan contexts for travel and maritime imagery. Conflicts are noticed between the image of navigation as a sign for commerce, and the marginalization of marine artists from polite artistic society. Patterns of patronage also indicate an ideological and actual distancing of the maritime nation from maritime communities. The second section turns to the image of the sea as a negative force in British culture. After an introduction, Chapter 5 examines the problematic depiction of the lower deck sailor, as a contradictory figure in national culture. Chapter 6 looks at how smugglers and wreckers were visualized, as wreckers both of individual ships, and of the larger ship of the commercial state, which assumed markedly political connotations in the 1790s. Chapter 7 considers the slave trade, especially the implications of the absence of imagery dealing positively with such an important component of the maritime nation's prosperity. It is argued that the force of abolitionist images relies upon inversions of pictorial conventions. Chapter 8 examines the wider significance of shipwreck imagery, in relation to shipwreck literature. Discussion of illustrations to Falconer's poem, The Shipwreck, is extended to the wider field of the shipwreck narrative. By providing a vehicle for the expression of native virtues, shipwreck reinforced British identity's being located with the sea, at the same time as it was shown stricken by disaster. The Conclusion considers further how national concerns and values were mediated by the image of maritime disaster. Through a consideration of Loutherbourg's work of the 1790s, it is argued that the aesthetic of the maritime, by being increasingly interleaved with the sublime, permeated a wide variety of imagery. But the naturalization of the nation in the sublimity of the sea represented it continually on the verge of disintegration. For a maritime nation enduring the crises of naval mutiny and continual threat of invasion by sea, this was peculiarly apposite

Revision and exploration: German landscape depiction and theory in the late 18th century

My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered themselves to be the inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attention to the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particularity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depictions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch. In the third and final chapter of this section, I discuss in detail the relationship of landscape depiction and natural science in a specific case: the scientific landscape illustrations by Pietro Fabris for Sir William Hamilton's Campi Phlegraei: Observations on the Volcanos of the Two Sicilies (1776). The involvement of British, German and French landscape painters with discoveries in contemporary natural history is vividly exemplified by Hamilton's book. In the second section, I consider the features of German natural history and art theory c.1770-l800 which encouraged and shaped landscape painting. In two separate chapters I examine the ways in which Herder, Kant, and Goethe contributed significantly to each of these areas of thought. The relation between particular and universal, I argue, is fundamental to both natural history and art theory at this time, and the particular is emphasized in both disciplines. In the third section, I take up the implications for landscape depiction of this emphasis on particularity by focusing on specific contacts between German landscape artists and ideas from natural history and art theory

Autopoietic-extended architecture: can buildings think?

To incorporate bioremedial functions into the performance of buildings and to balance generative architecture's dominant focus on computational programming and digital fabrication, this thesis first hybridizes theories of autopoiesis into extended cognition in order to research biological domains that include synthetic biology and biocomputation. Under the rubric of living technology I survey multidisciplinary fields to gather perspective for student design of bioremedial and/or metabolic components in generative architecture where generative not only denotes the use of computation but also includes biochemical, biomechanical, and metabolic functions. I trace computation and digital simulations back to Alan Turing's early 1950s Morphogenetic drawings, reaction-diffusion algorithms, and pioneering artificial intelligence (AI) in order to establish generative architecture's point of origin. I ask provocatively: Can buildings think? as a question echoing Turing's own "Can machines think?" Thereafter, I anticipate not only future bioperformative materials but also theories capable of underpinning strains of metabolic intelligences made possible via AI, synthetic biology, and living technology. I do not imply that metabolic architectural intelligence will be like human cognition. I suggest, rather, that new research and pedagogies involving the intelligence of bacteria, plants, synthetic biology, and algorithms define approaches that generative architecture should take in order to source new forms of autonomous life that will be deployable as corrective environmental interfaces. I call the research protocol autopoietic-extended design, theorizing it as an operating system (OS), a research methodology, and an app schematic for design studios and distance learning that makes use of in-field, e-, and m-learning technologies. A quest of this complexity requires scaffolding for coordinating theory-driven teaching with practice-oriented learning. Accordingly, I fuse Maturana and Varela's biological autopoiesis and its definitions of minimal biological life with Andy Clark's hypothesis of extended cognition and its cognition-to-environment linkages. I articulate a generative design strategy and student research method explained via architectural history interpreted from Louis Sullivan's 1924 pedagogical drawing system, Le Corbusier's Modernist pronouncements, and Greg Lynn's Animate Form. Thus, autopoietic-extended design organizes thinking about the generation of ideas for design prior to computational production and fabrication, necessitating a fresh relationship between nature/science/technology and design cognition. To systematize such a program requires the avoidance of simple binaries (mind/body, mind/nature) as well as the stationing of tool making, technology, and architecture within the ream of nature. Hence, I argue, in relation to extended phenotypes, plant-neurobiology, and recent genetic research: Consequently, autopoietic-extended design advances design protocols grounded in morphology, anatomy, cognition, biology, and technology in order to appropriate metabolic and intelligent properties for sensory/response duty in buildings. At m-learning levels smartphones, social media, and design apps source data from nature for students to mediate on-site research by extending 3D pedagogical reach into new university design programs. I intend the creation of a dialectical investigation of animal/human architecture and computational history augmented by theory relevant to current algorithmic design and fablab production. The autopoietic-extended design dialectic sets out ways to articulate opposition/differences outside the Cartesian either/or philosophy in order to prototype metabolic architecture, while dialectically maintaining: Buildings can think

Suffolk University Undergraduate Academic Catalog, College of Arts and Sciences, 2017-2018

This catalog contains information for the undergraduate programs in the College of Arts and Sciences. The catalog is a PDF version of the Suffolk website, so many pages have repeated information and links in the document will not work. The catalog is keyword searchable by clicking ctrl+f. A-Z course descriptions are also included here as a separate PDF file listing all CAS course offerings. Please contact the Archives if you need assistance navigating this catalog or finding information on degree requirements or course descriptions.https://dc.suffolk.edu/cassbs-catalogs/1175/thumbnail.jp

Suffolk University Academic Catalog and Student Handbook, College of Arts and Sciences and Sawyer Business School, 2020-2021

This catalog contains information for both the undergraduate and graduate programs. The student handbook is included here as a separate pdf document. Please contact the Archives if you need assistance navigating this catalog or finding information on policies, degree requirements, or course descriptions.https://dc.suffolk.edu/cassbs-catalogs/1182/thumbnail.jp

Passions, Pedagogies, and 21st Century Technologies

Once again, Gail Hawisher and Cynthia Selfe offer a volume that will set the agenda in the field of computers and composition scholarship for a decade. The technology changes that scholars of composition studies face as the next century opens couldn\u27t be more dramatic or deserving of passionate study. While we have always used technologies (e.g., the pencil) to communicate with each other, the electronic technologies we now use have changed the world in ways that we have yet to identify or appreciate fully. Likewise, the study of language and literate exchange, even our understanding of terms like literacy, text, and visual, has changed beyond recognition, challenging even our capacity to articulate them.https://digitalcommons.usu.edu/usupress_pubs/1118/thumbnail.jp

Wellesley Bulletin [2006-2007]

https://repository.wellesley.edu/catalogs/1104/thumbnail.jp

Wellesley College Courses [2007-2008]

https://repository.wellesley.edu/catalogs/1105/thumbnail.jp