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Kama, Lunga. "Imaginative acts of photographic of self-representation as a critical response to representations of the black male body in South African photography." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86412.
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Thesis(MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that form part of the modern visual discourse employed in defining the representation of the black man in South African photography. The aim of this thesis is to critically investigate the visual discourse in contemporary South African photography and to outline the inherent flaws whereby the black male subject is represented according to racial stereotypes inherited from the photographic conventions of colonial discourse. The purpose of this is to investigate my own photographic practice by drawing a critical comparison with the works of German photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa (b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My argument is centred around the discussion of these photographer’s works and the visual impact on the manner in which the black subject is portrayed as a ‘noble savage’. The predominant visual representation of the black body in South African photography perpetuates the kinds of discourse that rely on anthropological photographic methods of representation. I argue that where the depiction of the black male body is concerned, a number of contemporary South African photographers mentioned in this thesis continue to unconsciously appropriate a colonial discourse wherein the body of the black man is cast in the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual prowess (Read, 1996:64). The work that I create and my photographic practices utilise some of the abovementioned artists’ problematical visual devices in order to subvert them but also to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a strategy to employ alternate means of visual representation of the black body in order to critically re-evaluate the work of contemporary South African artists in their depiction of the black male body through either studio photography or documentary photography. The aim is to point out imaginative forms of representation as an alternative to either of the two modes of photography mentioned above. The argument then aims to put emphasis on acts of imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic transformation of the colonial imagery into creations of our own” as black artists in order to subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6). This is just one of the important strategies used by the artists mentioned in this thesis to critique black sexuality. My works and practices draw their influence from the discourses that dominate the contemporary discourse on the representation of the black body. My argument looks at stereotypical forms of photographic practice and critiques the problematical construct of such representations of black male sexuality. The purpose is to expose some of the Western principles that seek to regulate and control the black body. My own practice focuses on creating works of art that form part of my cultural and historical background. Sexuality and gender are discussed in the third part of this thesis as a means to outline my own photographic practice and its influences. The third chapter investigates the masculinity of the black subject through a discussion of sexuality and gender performativity. In this chapter, gender proves to be a performative, unlike some of the essentialist assumptions made about how sexuality and gender are unchanging. A visual mechanism that seeks to critically question racist representations of black sexuality such as drag and performativity is applied in the construction of affirmative imagery of black masculinity. The final chapter of the thesis focuses on my own work as an example of imaginative forms of self-representation. The first, second and third parts of the argument serve to provide a theoretical framework in which to situate my own practice.
AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word. Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch (b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani- Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke – hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) – aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie, maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid- Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings” as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese agtergrond. Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit, word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk waarin my eie praktyk geplaas kan word.
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McLaren, Rosemary. "Rethinking the body-spaces for change : a qualitative analysis of textual and visual representations of menopause." Curtin University of Technology, School of Art, 1999. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=9940.
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The focus of this study is the exploration and interpretation of women's visual and textual experiences of menopause. It is a conversational mapping of embodied space and time as they re-imagine memories and actual experiences which have informed their changing sense of self during the transitional stages of menopause. The research examines the ways in which artwork, visual diaries, journals, creative writing and poetry make visible a fresh perception of their female sense of the lived body. The project examines the contemporary cultural meanings of femininity, sexuality and identity which have informed women's understanding of their bodies and gender during the transformative years of menopause, and it explores the ways in which these forms of knowledge have influenced their artistic modes of self-representation.In the first chapter I acquaint the reader with the context of the research, and outline my understandings of the human body and social theories. I direct the exploration of texts towards a range of feminist theoretical perspectives which suggest women's biological and reproductive bodies provide spaces for re-visioning personal and social change.The next two chapters explain how I develop theoretical and methodological arts-based approaches enabling an innovative and appropriate investigation of the phenomenon in question. I explain how I have blended various textual expressive genres with interpretive research methodologies and philosophical viewpoints. In these chapters I recount the imaginative strategies and techniques used to portray the ontological, phenomenological and epistemological perspectives of the lived experience of menopause.Following this, I present seven stories. Each story portrays how artistic genres grasp particular experiences and transform them into imaginative expressive inter-textual representations.The stories also demonstrate how this type of research is done, and how the meaning-making processes of collaborative research draw out resonances towards real and imagined, and internal and external sites of personal and political significance.Accompanying the stories is a fourth chapter entitled Menopause Perspecta X 5. In writing this section, I adopt a different narrational approach and voice as I move from the realm of storyteller to that of art curator presenting a series of visual images and the poetic writings of five women. As well as portraying different voices speaking at different levels, each presentation continues the task of opening spaces for translation between word and image.The thesis concludes with a reflective overview of the menopausal body, image and text. In the coda, Notes Towards A Work In Progress, I express my thoughts on creating alternative spatial practices, and tell another story. Through its poetic and lyrical content, I attempt to offer possibilities for restoring a sense of menopausal self, love, hope, and a meaningful relationship with the world.
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Ploeger, Daniël. "Sonified freaks and sounding prostheses : sonic representation of bodies in performance art." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43348/.
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This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or heightening the performer's and spectator's awareness of their body's physiology. Little attention has been paid to the usually conspicuous interaction between body and technological equipment and the role of the generated sound in the context of cultural critical debates regarding the performing body. The present study responds to this observation in two ways: Firstly, the written part of the study examines existing biosignal performance practices. It seeks to demonstrate that artists' decisions on the design of sensor technology and sound synthesis or manipulation methods are often complicit in the representation of normative body types and behaviour. Drawing from a concept of the sonified body as a transgressive or ‘freak' body, three critical perspectives on biosignal sonification in digital performance are proposed: A reading of body sonification methods from a gender-critical perspective, an inquiry in the context of Mikhail Bakhtin's concepts of the grotesque and the classical body, and a conceptualization of the sonified body as a posthuman prosthetisized body. This part of the study serves as a framework for its second objective: the development of practical performance strategies to address and challenge cultural conventions concerning ‘the' body's form and role in society. This aspect of the thesis is developed in conjunction with, and further explored in, the artwork documented in the portfolio. The practical part of the study consists of three digital performance works. ELECTRODE (2011) involves an anal electrode that registers the activity of my sphincter muscle and uses this data to synthesize sound. For this work, I modified a commercially available muscle tension sensor device designed for people with faecal incontinence problems. Feedback (2010) encompasses components of a commercially available fetal Doppler sensor intended to listen to the heartbeat of unborn babies. SUIT (2009-2010) encompasses several performances that feature a PVC overall equipped with a loudspeaker, sensor interface and Doppler and humidity sensors.
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Langerman, Fritha. "The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18315.
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My work is informed by the identification of the body as a site of anxiety. Computer technologies have led to increased disembodiment, while AIDS has reinforced awareness of the body as physically vulnerable. The basic premise governing my dissertation is that the body of the individual has become a collection of parts - fragmented by its representation. More specifically, I have referred to medical illustration and its role in the objectification and abstraction of the body. In revisualising the image of the body I have chosen to work within a formally fragmented framework. My title, The Dissection, refers to an intrusion into the body, that has as its aim the extraction of knowledge: it is about revealing the unseen. It also relates directly to my working method, which isolates, cuts and sews images. My source materials are medical engravings derived from eighteenth, nineteenth and twentieth century medical atlases. As these references form part of the history and technology of printing, my project has been to recontextualise these images within the tradition of printmaking. This has resulted in technical innovations becoming a significant part of the work's content. The first part of this paper deals with the assertion that medical illustration constructs the body as an .object. I refer to Barthes in assessing the notion of authorship, and discuss alternative theories of the subjective construction of the body. Having established the body as object, I consider the influence of illustration on the perception of the body. I then examine the influence of illustration on theories of biological determinism, and identify the implications of these theoretical concerns for the body as art object. The second part of the paper situates my work within the context of printmaking. I draw parallels between the printed body and collage, and mention my use of format and the multiple in an interpretation of the body. The final section makes specific reference to my body of work.
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Rheeder, Elle-Sandrah. "Pathologies of vision : representations of deviant women and the cyborg body." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020319.
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This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
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Erminaitė, Giedrė. "Tarp meilės ir priklausomybės/ Stokholmo sindromas / odi de amo." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120629_122857-19895.
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Tapybos darbų kolekcijoje nagrinėjama socialinė, psichologinė problematika, kur formų, spalvų, dėmių ir kitų detalių visuma virsta tam tikra ženklų sankaupa, paveiki psichologinėmis formomis. Visa tai transformuojasi į trijų darbų kolekciją : " TARP MEILĖS IR PRIKLAUSOMYBĖS/STOKHOLMO SINDROMAS1/ODI DE AMO2" - tai psichologinė emocinė sąvoka reiškianti, įkaito priklausomybę nuo kito žmogaus arba tam tikras dvilypiškumo sąsajas. Personažai, turintys skirtingus vaidmenis, pvz., lyčių stereotipus,”<...> kai moteris sąmoningai tapatinasi vien su savo moteriškumu ir ignoruoja animus (t.y vyriškumo) energiją, jai sunku būti objektyviai, diferencijuoti, vertinti, atsirinkti, orientuotis pasaulyje. Visas šias funkcijas ji perleidžia vyrui ir dėl to yra priklausoma nuo jo <...>”3. Tai rodo vyro ir moters, skirtingus simbolinius opozicinius lyčių skirtumus. Vyro - dominavimą, valdžią, moters – paklusnumą. Taigi trapios, dramatiškai inscenizuotos moteriškos figūros, pasimetusios uždaroje erdvėje, apsuptos vyriškumo, parodo „<...>žmogaus izoliaciją ir kovą, o kartu nuolatinį poreikį grįžti į pradžią ir pradėti iš naujo<...>“.4 Darbų ciklui sukurti naudojamos skaitmeninės fotografijos, eskizai, tapybiniai bandymai. Remiantis sukaupta vizualine medžiaga, eskizavimu, sukurta trijų darbų kolekcija, aliejinės tapybos bei graffiti technologijomis ant medžio plokštės.In collection of paintings, topic and expression, analyses the social, psychological problems, where forms, colors, spots and other parts of a whole becomes particular aggregate of signs, influencing psychological forms. This entire are being transformed into a collection of three works " between love and addiction / STOCKHOLM SYNDROME / ODI DE AMO - this is a psychological concept of emotion which means dependence on other person or particular links of ambivalent. Personages have different roles, such as, stereotypes of gender, " ... when a woman deliberately identifies themselves only with their own femininity and ignores the animus (i.e., masculinity ) energy, it is difficult to be objective, to differentiate, evaluate, select and oriented in the world. All these functions that she gives to man and for this she is dependable on him <..>. This represents men’s and woman's different symbolical oppositions genders differences. Man's - dominance, authority, women’s - humility. So fragile, staged a dramatic female figures, lost in an enclosed space surrounded by the male, shows " ... the human isolation and fight, and together the constant need to go back to the beginning and start over ... ".4 To create a cycle of works are being used digital photography’s, sketches, and tests of paintings. Sustaining stored visual materials, sketching, was created a collection of three works, oily paintings and technologies of graphities on panel of wood.
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Engelbrecht, Larita. "Representations of excess in relation to the body in a selection of contemporary visual artworks." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20224.
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Thesis (MA (VA))--Stellenbosch University, 2012.ENGLISH ABSTRACT: This dissertation investigates forms of excess in representations of the body in specific examples of contemporary visual art in South Africa and internationally. Representations of excess are phenomena that have gained increasing prominence in recent art practice both locally and abroad. The discussion is focused on two artworks that are examples of this increasing phenomenon of excess in contemporary art: the Swedish video artist Nathalie Djurberg’s video installation Experimentet (2009), and South African performance artist Steven Cohen’s film Golgotha (2007-9). My discussion of the two artworks revolves around the central question: what is the signifying role of excess in representations of the human body in contemporary visual art? This central question is asked throughout the dissertation with two aims in mind: firstly, to situate within a theoretical framework the phenomenon of excess in relation to depictions of the body in contemporary art; and secondly, to situate my own arts practice within this framework. The analysis of Djurberg’s Experimentet and Cohen’s Golgotha is spread over four discussions, each relating to a specific aspect of the representation of excess in relation to the body. Firstly, I investigate the grotesque body with regards to Mikhail Bakhtin’s notion of grotesque realism and Jacques Lacan’s psychological notion of the fragmented body, or corps morcelé. Secondly, I examine the ‘body spectacle’ as a cultural critique of capitalism, and make specific reference to Cohen’s use of real human skulls as shoes in Golgotha as a cultural critique of capitalism. In this discussion I also investigate George Bataille’s philosophical enquiry into the notion of expenditure as a critique of capitalism. The ‘body spectacle’ is situated in the context of late-twentieth-century theorist Frederic Jameson’s view of the postmodern and his exposition of the ‘waning of affect’. Thirdly, I investigate excess and mimesis in representations of the female body, with specific reference to Djurberg’s Experimentet. Here the discussion is situated within the context of French feminist psychoanalytical theory with Luce Irigaray’s concept of the role of excess in mimesis. The study then turns to investigating the experiences elicited in spectators by representations of excess in relation to the body. I draw from George Bataille’s writings of the function of taboo and Mikhail Bakhtin’s insistence on the ambivalence of grotesque imagery to explain my own observations on images of excess. Here I argue, in reference to both Experimentet and Golgotha, that excess is characterised by the paradoxical stance of being simultaneously attracted and repulsed. Lastly I discuss my own current art practice with reference to the theoretical framework outlined here around representations of excess in relation to the body.
AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die voorkoms van oordaad in die uitbeelding van die menslike liggaam in spesifieke voorbeelde van kontemporêre Suid-Afrikaanse en internasionale visuele kunswerke. Oordaadsuitbeelding is ‘n verskynsel wat opvallender voorkom in huidige plaaslike en internasionale kunspraktyke. Die verhandeling fokus primêr op twee kunswerke ter illustrasie van hierdie verskynsel: die Sweedse videokunstenaar Natalie Djurberg se video-instellasie Experimentet (2009), en Suid-Afrikaanse ‘performance’- kunstenaar Steven Cohen se film Golgotha (2007 -9). My bespreking van die twee kunswerke wentel rondom die sentrale vraag: watter aanduidende rol speel oordadigheid in uitbeeldings van die menslike liggaam in kontemporêre visuele kuns? Ter beantwoording van hierdie vraag het hierdie ondersoek ten doel om, eerstens, die verskynsel van oordaadsuitbeelding van die menslike liggaam in kontemporêre kuns binne ‘n teoretiese raamwerk te plaas. Ten tweede gaan ek my eie kunspraktyk binne hierdie raamwerk plaas. Die oorsig van Djurberg se Experimentet en Cohen se Golgotha word oor vier hoofstukke versprei. Elke hoofstuk bespreek ‘n spesifieke aspek van oordaadsuitbeelding rakende die menslike liggaam. Ten eerste bespreek ek die groteske liggaam aan die hand van Mikhail Bakhtin se idée van groteske realisme en ek verwys ook na Jacques Lacan se psigoanalitiese idée van die gefragmenteerde liggaam, of corpse morcelé. Die tweede ondersoek in die verband van oordaadsuitbeelding verwys na die ‘liggaamspektakel’ as kulturele kritiek op kapitalisme, met spesifieke verwysing na Cohen se gebruik van egte menslike skedels as skoene in Golgotha. Ek bespreek ook George Bataille se filosofiese ondersoek na die idée van ‘uitgawe’ as kritiek op kapitalisme. Die ‘liggaamspektakel’ word geplaas binne die konteks van die laat-twintigste-eeuse teoretikus Frederic Jameson se opvatting van postmodernisme en sy verduideliking van die afname in gevoelsinhoud. Ten derde ondersoek ek oordaad en nabootsing in uitbeeldings van die vroulike liggaam, met spesiefieke verwysing na Djurberg se Experimentet. Hier is die bespreking geplaas in die konteks van die Franse feministiese psigoanalitiese teorie van Luce Irigaray se konsep van die rol van oordaad in nabootsing. Die studie verander dan na die ondersoek na die ervarings wat by die gehoor ontlok word deur die uitbeeldings van oordaad rakende die menslike liggaam. Ek verduidelik my eie observasies oor oordaadsuitbeelding deur gebruik te maak van George Bataille se skrywes oor die funksie van taboe, sowel as Mikail Bakhtin se aandrang op die ambivalensie van groteske beelde. Hier argumenteer ek, met verwysing na Experimentet en Golgotha, dat oordaad gekenmerk word deur die paradoks van gelyktydige aantrekking en walging. Ten einde bespreek ek my eie kunspraktyk met verwysing na die teoretiese raamwerk uiteengesit rondom uitbeeldings van oordaad rakende die liggaam.
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Kotsis, Kriszta. ""Your body, O Empress, is a treasure of marvelous qualities" : representations of Middle Byzantine empresses (780-1081) /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6227.
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Chance, Véronique. "Re-presenting the physical act : an exploration of the physical presence of the body through its screen representation." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/10914/.
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This thesis considers the dynamic relation between the physical presence of the body and its presence as a screen image, through which I examine the impact of visual media technologies on our conceptions and perceptions of the body as a physical presence. The effects of these technologies on traditional notions and conditions of physicality and representation mark, I suggest, a shift in our relationship to, and understanding of the body as a physical presence as we become more used to interacting and communicating with the body through the immediacy of screen images. This has led I further suggest, to questions regarding the body as a material presence and to the technologically mediated image becoming associated with notions of disappearance and disembodiment. I understand however, the condition of the body as being very much embedded in a material world and I approach this project therefore, through the proposition of ‘the physicality of an image’ through which I argue for a reconceptualisation of the materiality of the body through its physical presence as an image. The research examines the relationship between video and performance in fine art practice, through which I consider the rhetorics of presence in relation to the politics of representation and reproduction inherent throughout the histories of their close alliance. It is my assertion that early experiments by artists using video to document performance acts during the 1960s and 1970s reveal a prescient understanding of the development of visual media technologies in ways that prefigure our contemporary moment. My understanding of this dynamic is extended through a consideration of concepts of visibility and invisibility and of formal structures of representation, to arrive at the paradoxical notion of embodied vision through an affective dimension of the body as it could be applied and conceived of as material or physical in relation to (or as a consequence of) temporal concerns in film and video works.
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Flisher, Mark Andrew. "Reflections on leaking men and abject masculinities : challenging representations of male identity in and through body-based performance art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/9290.
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Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.
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Diliwi, Avesta, and Josefin Bäcker. "Are You Creating Socially Responsible Visual Communication? : An Exploratory Study of Fashion Companies’ External Social Responsibility on Instagram: A Marketer’s Perspective." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-21905.
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Background: Following the development of digitalization and the emergence of social media a lot of attention has been drawn upon how these platforms are influencing the fashion industry and fashion marketing. As society is becoming more ethics and health conscious, fashion companies’ visual representations in social media are drawing more attention - who is represented and how are these representations portrayed. Previous research has shown that white and thin models are a recurrent over-representation in media, consumers through these see the ‘ideal’ or stereotypical body types or norms, and not an actual or full representation of society. The issue is, however, not that white or thin people are represented in media. The problem is how companies portray these representations and how the portrayals lead to the exclusion and misrepresentation of other groups in society. Purpose: The purpose of this study is to investigate the CSR practice of fashion companies regarding the body image representations in social media marketing communications, with specific focus on the marketer’s perspective. Methodology: For this study an exploratory cross-sectional case-study research design approach was applied. Four corporate cases of fashion companies were analyzed using data triangulation methods on the basis of content analysis and semi-structured interviews. First, case analysis of social media contents and interviews were conducted, followed by cross- sectional analysis to find out if fashion companies’ practiced social responsibility is aligned with the verbally expressed social responsibility. Findings: The findings of this study demonstrate that fashion companies consider external social responsibility as an important issue, however, a gap between the companies practiced social responsibility and verbally expressed social responsibility remains. The study shows that two of the companies’ practiced social responsibility on their Instagram channel is in alignment with their verbally expressed social responsibility, when it comes to representing diversity in terms of body size, ethnicity and skin color. However, when it comes to the representational conventions it was noted that all the companies are lacking in external responsibility due to the continuous signs of idealization and body-ism on all the companies’ Instagram channels. Conclusion: This study contributes to the research field regarding companies’ external social responsibility on Instagram. The findings provide companies and researchers with awareness of which representational conventions/key social aspects are currently lacking in corporate marketing activities and should become the focus for further improvement. Based on obtained results, a modified framework for image analysis and criteria for image/content creation are suggested. The framework and criteria can assist future researchers, help content creators and other practitioners to understand the complexity of external social responsibility and how to implement it in practice.
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Halvarsson, Mio Elias. "And yet here we are." Thesis, Konstfack, Keramik & Glas, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7785.
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This work is about representation and existing. I’m fat and transmasculine. I’m looking for a reflection in my surroundings, culture, in media and art. I can’t find it, so I have to create it myself. Through materialising bodies in clay that describe what fat transmasculine people can look like I aim to give myself and people who are similar to me something we’re lacking. I claim my existence.
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Engstrand, Johan. "A 3D-printed Fat-IBC-enabled prosthetic arm : Communication protocol and data representation." Thesis, Uppsala universitet, Fasta tillståndets elektronik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-420051.
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The aim of this thesis is to optimize the design of the Fat-IBC-based communication of a novel neuroprosthetic system in which a brain-machine interface is used to control a prosthetic arm. Fat-based intra-body communication (Fat-IBC) uses the fat tissue inside the body of the bearer as a transmission medium for low-power microwaves. Future projects will use the communication system and investigate ways to control the prosthetic arm directly from the brain. The finished system was able to individually control all movable joints of multiple prosthesis prototypes using information that was received wirelessly through Fat-IBC. Simultaneous transmission in the other direction was possible, with the control data then being replaced by sensor readings from the prosthesis. All data packets were encoded with the COBS/R algorithm and the wireless communication was handled by Digi Xbee 3 radio modules using the IEEE 802.15.4 protocol at a frequency of 2.45 GHz. The Fat-IBC communication was evaluated with the help of so-called "phantoms" which emulated the conditions of the human body fat channel. During said testing, packet loss measurements were performed for various combinations of packet sizes and time intervals between packets. The packet loss measurements showed that the typical amount of transmitted data could be handled well by the fat channel test setup. Although the transmission system was found to be well-functioning in its current state, increasing the packet size to achieve a higher granularity of the movement was perceived to be viable considering the findings from the packet loss measurements.
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Thomazeau, Romain. "Du sida aux cendres : entre guerre culturelles et guerre biologique : représenter (dans) la crise du sida." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H310/document.
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La crise du sida n'est pas derrière nous, même si l'incendie semble éteint, les cendres elles, restent. Premièrement, parce que l'épidémie n'est nullement endiguée, mais aussi parce que nous continuons d'être hantés par les représentations, les discours, les constructions et les significations que cette pandémie transporte avec elle. Le sida est un phénomène complexe, tenter de le comprendre, c'est faire face en premier lieu à des séries de mots, d'images médiatiquement puissantes qui supplantent d'autres réalités. Pour parvenir à percer cette pandémie, il faut pouvoir en étudier tous les aspects, et parmi ces facettes, l'art a joué un rôle prépondérant dans la crise du sida, notamment parce qu'il a été particulièrement utilisé pour signifier une partie de ces autres réalités cachées. Dans ce travail de recherche, quatre axes se sont dessinés qui parcourent un large spectre des questions posées par le sida et ses représentations, autant, que les enjeux d'expositions, de médiatisation, de discursivité ou encore de significations que cette épidémie contemporaine sans précédent a mis en exergue. Le sida a révélé de nombreux problèmes dans nos sociétés occidentales, sans pour autant qu'ils soient aujourd'hui circonscrits. L'art a joué un rôle majeur dans la prise de conscience durant ces trente-cinq dernières années, en produisant des images et des contres-images. L'art a permis de contre-représenter une réalité qui de par nos sociétés de pouvoirs nous était tue, il a donné une voix à ce qui reste toujours une épidémie silencieuse et stigmatisante. Représenter (dans) la crise du sida a donc été et est toujours un combat, si ce n'est une forme de guerre culturelleThe AIDS crisis is not behind us, even if the fire seems to be extinguished, the ashes remain. First, because the epidemic is by no means contained, but also because we continue to be haunted by the representations, discourses, constructions and meanings that this pandemic carries with it. AIDS is a complex phenomenon, trying to understand it, is the deal first with a series of words, images that are media-intensive, which supplant other realities. To achieve to break this pandemic, we must be able to study ail aspects, among these facets, art has played a leading role in the AIDS crisis, especially because it has been particularly used to signify those other hidden realities. ln this research, four axes have emerged that cover a broad spectrum of questions posed by AIDS and its representations, as much as the stakes of exhibitions, media coverage, discursivity or meanings that this unprecedented contemporary epidemic has highlighted. AIDS revealed many problems in our Western societies, without, however, being circumscribed by now. Art has played a major role in raising awareness over the past thirty-five years by making images and counters-images. Art has allowed to counter-represent a realité which through our societies of power, was silent to us, it gave a voice to what always remains a silent and stigmatizing epidemic. Representing (in) the AIDS crisis has therefore been and still is a struggle, if not a form of cultural war
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Leone, Anna. "Korémachie : une étude comparée de l’opera dei pupi et du théâtre des guarattelle." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH161.
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L’opera dei pupi sicilienne – le théâtre des marionnettes à tringle armées – a été reconnu par l’Unesco comme patrimoine culturel immatériel de l’humanité en 2001. Le théâtre des marionnettes à gaine avec Pulcinella, appelé guarattelle, n’a pas eu la même reconnaissance même si depuis quelques années les marionnettistes ont été impliqués dans la préparation des candidatures pour l'inscription aux listes de l’Unesco du masque napolitain de la commedia dell’arte et des collections de l’Union internationale de la Marionnette italienne (UNIMA Italia). Dès lors, le rapport des marionnettes aux communautés et aux territoires où elles se sont diffusées est souvent souligné. Mais cette relation avait déjà été mise en avant par les premiers auteurs qui se sont intéressés aux pupi et aux guarattelle. Ces théâtres ont d’abord été étudiés par des spécialistes de « traditions populaires », intéressés aux caractères et aux valeurs qui rapprochaient le plus les marionnettes des « classes populaires » siciliennes et napolitaines. Les combats des pupi et des guarattelle ont été souvent interprétés comme l’expression de conflits sociaux. Une telle interprétation peut pourtant conduire vers une vision statique de ces « traditions », refusée par certains marionnettistes qui revendiquent l’appartenance de leurs marionnettes à la scène théâtrale contemporaine.Ce travail vise à analyser les liens entre les marionnettes et leurs identités présumées à partir d’une étude des discours et de la performance théâtrale. Les écrits sur les marionnettes font écho aux textes littéraires sur Naples et sur la Sicile, depuis les récits de voyage du Grand Tour jusqu’à la littérature de la deuxième moitié du XXe siècle. On s’interrogera sur la façon dont certaines thématiques de cette littérature ont été mises en relation avec les marionnettes. L’analyse du corpus bibliographique montrera ainsi toute la complexité des identités attribuées aux pupi et aux guarattelle par les spécialistes, les marionnettistes ou les passionnés. Les scènes contemporaines des pupi et des guarattelle permettront ensuite d’aborder ces questions d’un autre point de vue. En suivant les approches proposées par l’anthropologie de la performance, on peut saisir la façon dont les marionnettes nous mettent en relation avec l’image de nous-mêmes, avec l’identité et l’altérité en général, avec le conflit et la mort. Les corps, les voix et les rythmes des marionnettes montrent ce qu’il y en amont et en aval des histoires et des personnages représentés et des identités attribuées aux pupi et aux guarattelle. Après avoir analysé les identités et les caractères attribués aux marionnettes, l’étude de la performance permet de saisir ce qui, dans le théâtre, précède toute idéologie ou identité particulièreThe Sicilian opera dei pupi - the armed rod marionette theater - was recognized as an Intangible Cultural Heritage of Humanity by UNESCO in 2001. The glove-puppets theater with Pulcinella, called guarattelle, hasn’t had the same recognition even if for some years the puppeteers have been involved in preparing the candidacy process for inscription on UNESCO’s lists of the Neapolitan mask of the commedia dell'arte and of the collections of the Unione internazionale della marionetta Italia. Since then, the relationship between these puppets and the communities and the territories in which they have spread, has been analyzed with growing attention. This relationship had already been highlighted by the first authors who wrote about pupi and guarattelle. These puppets shows have been initially studied by specialists of folklore, interested in the popular characters of the puppets. The fights typical of the shows were often interpreted as an expression of social conflicts. Such interpretations can lead to a static vision of pupi and guarattelle, rejected by some puppeteers who claim their belonging to the contemporary theatrical scene.This work analyzes the bonds between puppets and their presumed identities, starting from a study on texts and theatrical performance. The writings on puppets evoke literarure texts on Naples and Sicily, from the Grand Tour travel stories to the literature of the second half of the twentieth century. This study will analyze the way in which some issues of this literature were related to puppets. The analysis of the writings makes it possible to grasp all the complexity of the identities attributed to the pupi and to the guarattelle by the specialists, the puppeteers or the enthusiasts.The contemporary performances of the puppets and guarattelle allow to treat these questions from another point of view. Following the approaches proposed by the anthropology of performance, we can comprehend the way in which the puppets put us in relationship with our self-image, identity and alterity in general, with conflict and with death. The puppets’ bodies, voices and rhythms show us what there is upstream and downstream of the stories and characters depicted and the identities attributed to the pupi and the guarattelle. After analyzing the identities and the characters attributed to the puppets, the study of the performances allows us to gather what, in this traditions, precedes every particular ideology or identity
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Carnvik, Sofia. "Jag tänker på mig själv som en nakenakt : En studie av Marianne Lindberg De Geers skulptur Jag tänker på mig själv i relation till nakenakten som motivkategori." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-377652.
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The aim of this thesis is to describe and analyze the Swedish artist Marianne Lindberg De Geer’s public sculpture Jag tänker på mig själv in relation to the female nude as a traditional motif within the western art and aesthetic. The artwork in question depicts two naked upright standing women, one of whom is represented as emaciated and skinny and the other one as voluminous and fat. By using previous research on the subject of aberrant bodily representations as its main theoretical framework and with a methodological approach based on visual semiotics, this study has found that Jag tänker på mig själv is to be seen as a deviant representation of the female body in several ways. The way in which the female body is represented in Marianne Lindberg De Geer’s sculpture has shown to deviate not only from the traditional female nude but also from the visual norms that usually characterizes aberrant representations of the female-coded body.
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Brown, Laura. "Tactile perception and body representation." Thesis, University College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428689.
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Turner, M. K., of Western Sydney Nepean University, and School of Contemporary Arts. "Representation and womens art." THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.
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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual lifeMaster of Arts (Hons)
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Turner, M. K. "Representation and womens art." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.113709/index.html.
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Lodder, Matthew C. "Body Art : Body Modification as Artistic Practice." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.
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This thesis is an investigation into the legitimacy and limits of the term "body art" in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are "body art", they have not as yet been understood as such by art historians. The arguments made over the course of this work thus amount to a case for the applicability of art-historical and art-theoretical methodologies to body modification practice. The thesis first establishes the existence of a rhetorical yet broadly undefended case for the artistic status of practices which alter the form of the body. This claim is to be found amongst both the contemporary subcultural body modification community and amongst plastic surgeons. With particular reference to theories of art and aesthetics by John Dewey, Richard Shusterman, and Gilles Deleuze and Felix Guattari, the work investigates whether such claims are tenable. In light of these investigations, the thesis then presents a number of problems which immediately arise from such a claim - problems of authorship, ownership, objectivity and value - and attempts to resolve them through detailed analysis of a number of case-studies.
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Miles, Eleanor. "Medically unexplained symptoms, attention to the body and body representation." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501948.
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The aim of the work presented in this thesis was to investigate two general hypotheses derived from theories on the aetiology and maintenance of medically unexplained symptoms (MUS); first, that a dysfunction in attention to the body contributes to the experience of MUS, and second, that MUS are a result of distortions in body representation. Experiments 1 to 5 investigated attention in MUS. This work focused on experimentally investigating previous hypotheses on the subject, namely that people with MUS have an attentional bias for the body, or that they have a dysfunction in the processing of sensory stimuli. Five methods were developed, and used with analogue (Experiments 1,2,4 and 5) and clinical (Experiment 3) MUS participants. Clinical MUS participants showed a stronger attentional orientation effect for visual stimuli than control participants, which may suggest they are attending away from their bodies, and people with analogue MUS found it more difficult to switch away from the tactile modality, suggesting a disengagement deficit. These results point to a more subtle between-groups difference in the dynamics of attention, which is present not just for the body and for tactile stimuli, but also in other modalities. Experiments 6 to 8 investigated whether MUS were associated with alterations in experience of a perceptual illusion (the 'rubber hand illusion'), in both analogue (Experiment 6 and 8) and clinical (Experiment 7) groups. The clinical MUS group showed stronger experience of this illusion than control participants. Effects in analogue MUS samples differed between experiments, with one group showing lower illusion experience (Experiment 6) and one group showing higher experience (Experiment 8). This suggests firstly that body representation is altered in MUS, and secondly that MUS are associated with large individual differences in body experience. Experiment 8 probed whether these differences were due to alterations in attention and body-focus. Results suggested that there is a complex interaction between attention and experience of the illusion. The work presented here has challenged the traditional assumption that a general attentional bias for the body is present in MUS, provided important information about attentional deficits in MUS and how they might best be empirically assessed in future work, and supported the conception of MUS as distortions in the process of body representation.
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Syme, Gemma. "AC/DC : a study in art, gender and popular culture : an exegesis presented in partial fulfilment of the requirements for the degree of Master in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/947.
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This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.
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Srismith, Duangkamol [Verfasser]. "Body Representation and Physical Activity : An Investigation into Body Representation and its Mechanism of Change / Duangkamol Srismith." Tübingen : Universitätsbibliothek Tübingen, 2021. http://nbn-resolving.de/urn:nbn:de:bsz:21-dspace-1191291.
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Godoy, Vinícius Oliveira. "Violência e tragédia : a arte na marem do dizível." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/10564.
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A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa.Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation.
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Godoy, Vinícius Oliveira. "Violência e tragédia : a arte na margem do dizível." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/10564.
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A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa.Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation.
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Diamond, Nicola. "The body habitat." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257660.
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Liu, Dan. "Holocaust representation in Art Spiegelman's Maus." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456309.
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Smith, Wendy. "Representation, art and the real world." Thesis, University of York, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297156.
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Connor, Tenielle. "The body as a canvas : a non-permanent form of body art inspired by body adornment practices." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1439.
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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010Forms of body adornment and scarification practices have been around since the origin of mankind. Many forms of traditional body adornment have evolved overtime and still exist within our mainstream society today, however examples of recent body adornments, show that although still very much in practice, in many cases the meaning has been lost. The motivational routes of western adornments are today based on what looks good as apposed to a ritual or right of passage that marks one's body for life. Therefore, the aim of this dissertation is to share the value of representation with the viewer - as representation has played, and continues to play, such an important role within the social aspect of mankind. Bycreating a link between traditional practices of African body adornmentl scarification and connecting these with body expression and representation within my own sub-cultural context, I hope to create awareness of body adornment throughout time. Finally the practical component of this research will consist of a portfolio of different photographs and videos documenting the process and completion of adorning different female bodies. These works of art will be traditionally inspired, nonpermanent three-dimensional body art that will also undoubtedly represent selfexpression and comment on 'trendv' sub-cultural society. As Idocument my progress and work it is hoped that I portray in a conceptual framework, a life cycle that comments on the evolution of culture from rural to urban, and from traditional to Western, and how Western lifestyle is diluting our social being with trends rather than using the method of body adornment as a cultural conversation.
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Green, Allison. "Body of Process." Ohio Dominican University Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1337213923.
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Condon, Laura A. "Representation of body posture in action & perception." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546543.
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PADRAO, CAMILA BRAZ. "MARKS OF THE ORIGINARY: FROM BODY TO REPRESENTATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25778@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta dissertação teve como objetivo realizar um estudo psicanalítico acerca do período pré-representacional e de seus efeitos sobre a construção da capacidade de representação, enfatizando o papel do outro e do corpo neste processo. Partimos da constatação da maior incidência das patologias narcísicas, na clinica atual, que apresentam uma significativa dificuldade representacional e uma correlata convocação ao ato, e do corpo. A seguir discutimos as relações entre a experiência arcaica, correlata à chamada memória corporal, e o prejuízo da capacidade de representação, que leva estes indivíduos a recorrer a defesas que se utilizam do corpo e do ato como meio de expressão.
The main objective of this dissertation was to undertake a psychoanalytic study of the pre-representational period and its effects on the construction of the capacity to represent, emphasizing the role of the object and the body in this process. We started from the assumption that in today s psychoanalytical clinic there is a significant number of narcissistic patients that present significant representational difficulties, acting outs and body symptoms. Next we discussed the relationship between the archaic experience, related to the body memory, and the damage in the capacity to represent that characterize these individuals and are responsible for the emergence of body and act defenses that they often make use of.
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Tagini, Sofia. "Body Representations in Obesity." Doctoral thesis, Università degli studi di Trento, 2019. http://hdl.handle.net/11572/246059.
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Body representation disorders have a key role in the characterization of obesity. So far, the literature consistently pointed to a negative attitudinal body image. Conversely, after reviewing the pertinent literature, it emerges that more incoherent results have been reported for the self-perceived body size. Chapter 2 tries to clarify this issue by adopting a more innovative theoretical framework (i.e., the implicit/explicit model; Longo, 2015). For the first time, we probed the implicit representation underlying position sense in obesity, reporting a similar representation to healthy weight participants. Importantly, this result shows that not all components of body representation are affected by obesity. Chapter 3 addresses another aspect of body representation that has been neglected in obesity, namely bodily self-consciousness. The Rubber Hand Illusion has been traditionally used to investigate the mechanisms underlying body awareness. Our results show that individuals with obesity have comparable subjective experience of the illusion, while the effect of the illusion on self-location is reduced. This dissociation can be interpreted as the result of a preserved visuo-tactile integration and an altered visuo-proprioceptive integration in obesity. However, in Chapter 4 we reported that individuals with obesity have a reduced temporal resolution of visuo-tactile integration, meaning that they integrated stimuli over an extended range of asynchronies than healthy weight participants. In fact, this evidence predicts that in the RHI individuals with obesity might perceive more synchronously the asynchronous stimulation, showing a greater effect of the illusion also in this condition. Nevertheless, we failed to show this pattern of results in our study with an interval of asynchronous stimulation of 1000 ms (usually adopted in the RHI paradigm). We hypothesized that smaller time-lags, which are inside the temporal binding window of individuals with obesity and outside the temporal binding widow of healthy weight participants, might not be perceived by individuals with obesity but detected by healthy weight individuals. Accordingly, a dissimilar susceptibility to the illusion should be observed. Chapter 5 investigates this issue by adopting a modified version of the RHI that enables a parametrical modulation of the timing of the stimulation. However, we could not replicate the RHI even in healthy weight participants. The possible methodological reasons for this failure are discussed. Overall, this work tries to fill some gaps in the previous literature about body representation in obesity. Moreover, our findings provide an important clue about the possible cognitive mechanisms involved in body representation disorders in obesity. However, many questions still need an answer: due to the complexity of the domain a comprehensive knowledge of the topic might be challenging. A deep understanding of obesity is fundamental to develop multidisciplinary and efficacious rehabilitative protocols. Indeed, better treatments would significantly ameliorate individuals’ well-being but also contribute to reduce the huge health costs related to obesity comorbidities.
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Lomofsky, Lynne. "Body of evidence." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/13911.
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Includes bibliographies.This body of work is an experiential study which aims primarily to investigate the effect of the Western medical anatomisation of myself - the cancer patient - on and through my artmaking. The dissertation aims to contextualise my practice - to situate it somewhere between the different readings of cancer according to the Western theory of disease, the Eastern and New Age understandings of the body and ill health, and the work of other artists. It seeks balance between these competing discourses and looks for integration through them. The responses of other artists to their ill bodies are described, several of them exploiting medical technology, others subverting the language of the dominant discourse and the image of the 'good' patient with a 'bad' body. My own work attempts to make art around and out of the experience of cancer. The artmaking is an attempt to gather an understanding of my condition and to integrate art and life. The challenge is to visually represent this. I began the work with an ambivalence - was I an activist helping others, or was I merely immersed in my own struggle to maintain sanity, to reach a peace with my body, a calm space from which to deal with my condition? I have dismissed this ambivalence and settled on the latter position, which has the indirect effect of helping others. I have realized, like Jo Spence, that it is easy to burn yourself out when you work from a position of anger. Art and science have exploited and depicted the body throughout their history, sometimes in ways that overlap, sometimes at cross purposes that conflict, and sometimes in mutually supportive ways. When examining the binaries of revealing and concealing, visibility and invisibility, legibility and illegibility, one cannot avoid a conflict with the medical system. However, through the excavation of my body by modern medical technology, I have evolved from previously seeing only the horror of a tumour to now also seeing the hidden beauty of the other landscapes inside my body. My artmaking is thus taken up as a personal issue, not attempting to shock or to be placatory, but to externalize the cancer experience and, rather than simply reacting to it, to find the beauty inside my body.
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Bolt, Barbara. "Art beyond representation : the performative power of the image /." London : I. B. Tauris, 2004. http://catalogue.bnf.fr/ark:/12148/cb39238996v.
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Torres, Alessandra Lee Michelle. "OUT OF BODY." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/793.
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This thesis explores the evolution of Alessandra Torres's work, from her early performances and installations, to her latest work with surrogate bodies, as she challenges the relationship between artist and their creation, body and object, and audience and art. Examining the work of artists such as Cindy Sherman, Rebecca Horn and Marina Abramovic, Torres explores the transformative capabilities of interactive sculpture and live performance. Join Ms. Torres as she transforms herself into everything from a paintbrush to a serpent, in her ongoing exploration of the body's ability to adapt and evolve.
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Hall, Lynda. "Re-membering the lesbian body, representation in/as performance." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0022/NQ34676.pdf.
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Graham, Claire. "Descartes' imagination : unifying mind and body in sensory representation." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/6920/.
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The aim of this thesis is to investigate the role that the imagination plays in the later philosophy of René Descartes. The thesis will look at two related questions: (i) the status of the imagination as a mode of thought dependent on the body; (ii) the role of the imagination in object-perception. Throughout, the traditional view of Descartes as a Cartesian Dualist is rejected and a more holistic approach is taken towards the relationship between mind and body, in which Descartes’ claims that the two make up a “substantial union” are taken seriously. Part One deals with the relationship between mind and body. I argue that Cartesian Dualism cannot account for the faculties of sensation and imagination, because they have a corporeal basis. However, the ‘union of mind and body’, Descartes’ device for explaining their interaction, can. I end Part One by identifying a problem with the paradigm case of mind-body interaction, object-perception. To determine the object of an idea there needs to be a mechanism to marry the two ingredients of perception: the innate ideas of geometry in the intellect, and ‘adventitious’ ideas of the object delivered by the senses. Otherwise we have no explanation for how the essentially ‘inward-looking’ intellect can apply its ideas to the essentially passive sensations. Part Two focuses on the imagination and the question of object-perception raised in Part One. I argue against the largely-held view in the secondary literature that, with the advent of the cogito, the imagination’s cognitive profile declined sharply. I argue that, in fact, the corporeal basis of the imagination places it beautifully to bridge the gap in object-perception, and that this is part of its role in all Descartes’ discussions on the topic. The other, related, role of the imagination is to conjure fictions and hypotheses, suiting it for scientific and epistemological endeavours. The fact that the imagination is not tied to what is present to the senses, even though it receives its original content from them, means that it can manipulate ideas of corporeal things; including the innate notions of extension, shape and motion so key to gaining a clear and distinct idea of matter.
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Ruzicka, David Edward. "The representation of the human body in Dante's Commedia." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615710.
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Pranghofer, Sebastian. "Visual representation and the body in Early Modern anatomy." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/834/.
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Anatomy was crucial for the formation of modern cultural concepts of the body during the early modern period. In a process from the Renaissance to the turn of the nineteenth century, cosmological concepts of the body were secularized and gradually replaced by notions of the body as an object of modern medicine and science. This thesis argues that the visual representation of the anatomical body played a key role in this transformation. Until the end of the seventeenth century the iconography of anatomy legitimized the dissection of the body and portrayed the anatomist as an honourable, dignified and decent scholar. However, during the Enlightenment the moralizing visual language was gradually replaced by neo-classical aesthetics and art theory. Now technical skills and detailed knowledge became the defining features of the anatomist and the representations of the anatomical body. This thesis uses a wide range of visual sources and analyzes them in the longue durée. The material includes illustrations from anatomical textbooks and their frontispieces, anatomical treatises and portraits of anatomists. These sources are discussed in their wider iconographic context as well as in relation to early modern concepts of the body and anatomical research. The first chapter discusses the general framework for the visual representation of the anatomical body, practice and authority, while the second chapter looks into how the visual representation of anatomy shaped the identity of the anatomist as the legitimate authority of the body. The other three chapters are case studies which use the examples of the rete mirabile, the lymphatic system and the unborn to analyze the different functions of anatomical images and how they were used to deal with uncertainty, establish new anatomical knowledge and reflected changing cultural meanings of the body.
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Hyunjung, Cho. "The body of the embodied body." Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3364.
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By questioning the feeling of uneasiness coming from seeing the real body, I aim to cast a light upon the relation between the body and the objects that are displayed on it. Starting with a doubt that the object would not only change the surface of human, I investigate how the body of human totally embodies its representational object to itself.
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Skantze, Kristina. "Body anagram." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5779.
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BODY ANAGRAM is a number of hand stitched sculptures, a growing collection of mountable body parts that can be organized and screwed together in different ways. The process of stitching and sculpting bodies is metaphorically compared to the art of anagrams, wordplays. Their common reversibility between recognition and destruction is discussed. Psychological perspectives on intersubjective, as well as subject-object relationships are used to explain what can happen when people and sculptures meet. How can common emotional experiences of relationships be embodied through human-like textile sculptures? This question is processed in video documentations of people interacting with the sewn body parts. These meetings as well as collaborations around the making of the film, “Your hands and their hands”, are explored further in this paper.
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Muskett, G. M. "The representation of the individual in Mycenaean art." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250311.
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Barry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.
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Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
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Clarke, Warwick Media Arts College of Fine Arts UNSW. "Body and soul." Publisher:University of New South Wales. Media Arts, 2008. http://handle.unsw.edu.au/1959.4/44096.
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The research component, "Body and Soul", is an interdisciplinary, comparative study of the essay form, focusing on the Weimar period. The essay is a marginal literary genre, which, like much documentary style photography, attempts "the imaginative recreation of a culture, a period or an individual". August Sander's photographic opus, People of the 20th Century and Robert Musil's essayistic novel, The Man Without Qualities invite comparison as complex and problematic portraits of their respective societies. Sander's typological portraits are well known and his legacy informs much of contemporary documentary photography. Sixty images were published in 1929 by Kurt Wolff, Transmare Verlag, Munich, as Antlitz der Zeit (Face of Our Time) with an introduction by Alfred D??blin. The rust two volumes of Robert Musil's, Der Mann ohne Eigenschaften (The Man Without Qualities), were published in 1930 and 1932 by Rowohlt Verlag, Hamburg. Recent publication of new editions of both Musil's and Sander's works prompted the attempt to reconcile two portraits of people and events of the early decades of the 20th Century in Germany and Austria. The essay form in literature and the documentary style in photography are examined with regard to the polemic associated with truth and reality. This review attempts to illustrate the inevitable inclusion of the fictional element into the fabric of both forms of investigation. The study concludes with a review of contemporary art practice in photo-documentary and some thoughts on future developments. The studio component, "Dargan", is a photographic essay of a site in the Blue Mountains West of Sydney. Focusing on relics of industrial activity in the region, and their effects on the landscape, large format colour photographs were produced to establish a documentary style body of work for exhibition as large-scale colour analogue prints. The work is the response to a need to engage with the Australian landscape and to establish a sustainable practice that recognises and takes into account an ambivalent relationship with "country".
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Fok, Siu-har Silvia. "Performance art and the body in contemporary China." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203888.
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Patel, Amish A. (Amish Ashok). "Assessment of a body force representation for compressor stability estimation." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/51637.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Aeronautics and Astronautics, 2009.Includes bibliographical references (p. 75-76).
This thesis presents a methodology for the integration of blade row body forces, derived from axisymmetric and three- dimensional flow fields, for use in the stability analysis of axial compressors. The body force database represents the body forces as a function of the local flow coefficient times the overall flow coefficient; doing this overcomes a source of non-uniqueness in the representation. Stability calculations using body force databases from this methodology as well as from a legacy method, applied to axisymmetric streamline curvature calculations, are compared. A procedure for joining body forces extracted from axisymmetric and three-dimensional CFD calculations is presented along with an assessment of the sensitivity of the stall prediction and onset behavior to the shape of the body force curves. The slope of the body force curves near the point corresponding to peak pressure rise, as well as those near zero flow, are found to be important in determining the stall point and inception type. Comparisons to previous work and test data from a single stage research compressor are made.
by Amish A. Patel.
S.M.
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Vafaeikia, Parnia. "The Representation of the feminine body in Iranian Shi’a jurisprudence." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51193.
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This thesis studies the construction of the feminine body in Islamic discourse through specific jurisprudential (fiqhi) books, which are the main sources of policy making in the Islamic Republic of Iran. The thesis argues that Shi’a jurisprudence tries to produce human subjects and what is considered an ideal woman in the eyes of the religious books. Shi’a jurisprudence tends to discipline subjects (in this thesis, women) in and into particular ways and exercises specific body politics, which include orders concerning the female body in sexual intercourse, marriage, as well as body coverage. Each of these orders presumes a particular view of the female body and female sexuality. The thesis investigates such body politics, using a discourse analysis of the texts inspired by a Foucauldian methodological framework.
In Shi’a jurisprudential texts, the female body has been defined, disciplined, regulated, and veiled. The thesis argues that in such texts, the feminine body is covered with notions of shame, discredit, sin, evil, and weakness. These texts are inflexible, male-defined and male-dominated texts and image the female body as a "criminalized body", "reproductive body", "lusty body", and "weak body".Graduate Studies, College of (Okanagan)
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Heathfield, Adrian. "Representation and identity in contemporary performance." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/3bfedf40-4124-4ca5-b729-355c0601d71a.
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