{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-2236"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-2236","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"PERPETUAL NOVELTY","abstract":"Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity.","abstract_html":"Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity.","abstract_has_math":false,"creators":["Caverly, Brian"],"institution":null,"degree_name":"Master of Fine Arts","degree_level":"Thesis","degree_discipline":"Sculpture","degree_department":null,"school":null,"contributors":["Dr. Elizabeth King"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2004,"date_issued":"2004-01-01T08:00:00Z","date_published":"2004-01-01T08:00:00Z","updated_at":"2026-07-24T05:55:08Z","subjects":["constructions","installation","sculpture","art","Art and Design","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/1237"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/1237","href":"https://scholarscompass.vcu.edu/etd/1237","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/7A5K-M470","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dr. Elizabeth King"]},{"key":"dc:creator","label":"Author","values":["Caverly, Brian"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2014-07-09T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Sculpture"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Fine Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["constructions","installation","sculpture","art","Art and Design","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/7A5K-M470","https://scholarscompass.vcu.edu/etd/1237"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity."]},{"key":"dc:title","label":"Title","values":["PERPETUAL NOVELTY"]}]}],"canonical_facts":{"dc:contributor":["Dr. Elizabeth King"],"dc:creator":["Caverly, Brian"],"dc:date.available":["2014-07-09T07:00:00Z"],"dc:description.abstract":["Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity."],"dc:identifier":["https://doi.org/10.25772/7A5K-M470","https://scholarscompass.vcu.edu/etd/1237"],"dc:rights":["© The Author"],"dc:subject":["constructions","installation","sculpture","art","Art and Design","Arts and Humanities"],"dc:title":["PERPETUAL NOVELTY"],"thesis:degree_discipline":["Sculpture"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Fine Arts"]},"updated_at":"2026-07-24T05:55:08Z"}