{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/67408"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/67408","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Unfoldings","abstract":"Huizinga's analysis of play, described in his text Homo Ludens, is compared to the creative process in art-making and to the creative response of the viewer. The play process is examined through questionnaire responses and observations made during an evening of experimental play. Huizinga's assertion that play is not a factor in the plastic arts is challenged. Refutations and counterexamples drawn from the history of art since the Renaissance show that play is indeed a factor. The artistic movements cited are those which provide examples of works having either particularly playful or particularly mathematical content, or both, including Anamorphic painting; Dada; Bauhaus; Neo-Plasticism; Concrete Art; Op Art; Fluxus; and Kinetic Art. Special attention is given to the works of Alexander Calder, George Rickey, and Yaacov Agam. The author describes a personal iconography, and introduces the geometric foundation of her sculptural works, which derive from the geometry of R. Buckminster Fuller's \"vector-equilibrium jitterbug.\" Descriptions, photographs, and drawings are included for the author's Thesis Project, comprising several kinetic, manipulatable jitterbug sculptures.","abstract_html":"Huizinga's analysis of play, described in his text Homo Ludens, is compared to the creative process in art-making and to the creative response of the viewer. The play process is examined through questionnaire responses and observations made during an evening of experimental play. Huizinga's assertion that play is not a factor in the plastic arts is challenged. Refutations and counterexamples drawn from the history of art since the Renaissance show that play is indeed a factor. The artistic movements cited are those which provide examples of works having either particularly playful or particularly mathematical content, or both, including Anamorphic painting; Dada; Bauhaus; Neo-Plasticism; Concrete Art; Op Art; Fluxus; and Kinetic Art. Special attention is given to the works of Alexander Calder, George Rickey, and Yaacov Agam. The author describes a personal iconography, and introduces the geometric foundation of her sculptural works, which derive from the geometry of R. Buckminster Fuller's "vector-equilibrium jitterbug." Descriptions, photographs, and drawings are included for the author's Thesis Project, comprising several kinetic, manipulatable jitterbug sculptures.","abstract_has_math":false,"creators":["Johnson, Caryn L. (Caryn Lindani)"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Dept. of Architecture.","school":null,"contributors":[],"advisors":["Paul Earls."],"committee_chairs":[],"committee_members":[],"year":1992,"date_issued":"1992","date_published":"1992","updated_at":"2026-07-22T22:20:49Z","subjects":["Architecture."],"languages":["eng"],"rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"rights_urls":["http://dspace.mit.edu/handle/1721.1/7582"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/1721.1/67408","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Paul Earls."]},{"key":"dc:contributor.department","label":"Department","values":["Massachusetts Institute of Technology. Dept. of Architecture."]},{"key":"dc:contributor.other","label":"Dc Contributor Other","values":["Massachusetts Institute of Technology. Dept. of Architecture."]},{"key":"dc:creator","label":"Author","values":["Johnson, Caryn L. (Caryn Lindani)"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2011-12-05T19:50:35Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2011-12-05T19:50:35Z"]},{"key":"dc:date.issued","label":"Date","values":["1992"]},{"key":"dc:publisher","label":"Institution","values":["Massachusetts Institute of Technology"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Architecture."]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://dspace.mit.edu/handle/1721.1/7582"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/1721.1/67408"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.","Includes bibliographical references and index."]},{"key":"dc:description.abstract","label":"Abstract","values":["Huizinga's analysis of play, described in his text Homo Ludens, is compared to the creative process in art-making and to the creative response of the viewer. The play process is examined through questionnaire responses and observations made during an evening of experimental play. Huizinga's assertion that play is not a factor in the plastic arts is challenged. Refutations and counterexamples drawn from the history of art since the Renaissance show that play is indeed a factor. The artistic movements cited are those which provide examples of works having either particularly playful or particularly mathematical content, or both, including Anamorphic painting; Dada; Bauhaus; Neo-Plasticism; Concrete Art; Op Art; Fluxus; and Kinetic Art. Special attention is given to the works of Alexander Calder, George Rickey, and Yaacov Agam. The author describes a personal iconography, and introduces the geometric foundation of her sculptural works, which derive from the geometry of R. Buckminster Fuller's \"vector-equilibrium jitterbug.\" Descriptions, photographs, and drawings are included for the author's Thesis Project, comprising several kinetic, manipulatable jitterbug sculptures."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["M.S.V.S."]},{"key":"dc:title","label":"Title","values":["Unfoldings"]}]}],"canonical_facts":{"dc:contributor.advisor":["Paul Earls."],"dc:contributor.department":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:contributor.other":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:creator":["Johnson, Caryn L. (Caryn Lindani)"],"dc:date.accessioned":["2011-12-05T19:50:35Z"],"dc:date.available":["2011-12-05T19:50:35Z"],"dc:date.issued":["1992"],"dc:description":["Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.","Includes bibliographical references and index."],"dc:description.abstract":["Huizinga's analysis of play, described in his text Homo Ludens, is compared to the creative process in art-making and to the creative response of the viewer. The play process is examined through questionnaire responses and observations made during an evening of experimental play. Huizinga's assertion that play is not a factor in the plastic arts is challenged. Refutations and counterexamples drawn from the history of art since the Renaissance show that play is indeed a factor. The artistic movements cited are those which provide examples of works having either particularly playful or particularly mathematical content, or both, including Anamorphic painting; Dada; Bauhaus; Neo-Plasticism; Concrete Art; Op Art; Fluxus; and Kinetic Art. Special attention is given to the works of Alexander Calder, George Rickey, and Yaacov Agam. The author describes a personal iconography, and introduces the geometric foundation of her sculptural works, which derive from the geometry of R. Buckminster Fuller's \"vector-equilibrium jitterbug.\" Descriptions, photographs, and drawings are included for the author's Thesis Project, comprising several kinetic, manipulatable jitterbug sculptures."],"dc:description.degree":["M.S.V.S."],"dc:identifier.uri":["http://hdl.handle.net/1721.1/67408"],"dc:language.iso":["eng"],"dc:publisher":["Massachusetts Institute of Technology"],"dc:rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"dc:rights.uri":["http://dspace.mit.edu/handle/1721.1/7582"],"dc:subject":["Architecture."],"dc:title":["Unfoldings"],"dc:type":["Thesis"]},"updated_at":"2026-07-22T22:20:49Z"}