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1
Taylor, Gretel. "Locating place and the moving body /". full-text, 2008. http://eprints.vu.edu.au/2050/1/Gretel_Taylor.pdf.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis. The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it. In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
2
Taylor, Gretel. "Locating: Place and the Moving Body". Thesis, full-text, 2008. https://vuir.vu.edu.au/2050/.
Texto completoResumen
This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis.
The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it.
In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
3
Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
4
Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art". Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
5
Bresnahan, Aili. "Dance As Art: A Studio-Based Account". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.
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PhilosophyPh.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
6
Gray, Sarah Willard. "Abstracting from the landscape a sense of place /". Access electronically, 2008. http://ro.uow.edu.au/theses/147.
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Braddock, Christopher. "The artist will be present performing partial objects and subjects : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2008". Click here to access this resource online, 2008. http://hdl.handle.net/10292/441.
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New, Joachim H. L. "Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art". Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.
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Norman, David Winfield. "Do you think it's over? : performance and the "third place" of Greenland's art history". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58917.
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During a performance piece in August 2015, Greenlandic performance artist Jessie Kleemann carried out an homage to a past artwork by Greenlandic-Danish artist Pia Arke: an ephemeral installation composed of used coffee grounds that Arke herself destroyed upon conclusion of the exhibition that had included it. In order to elucidate the relationship established in Kleemann’s work, this thesis will undertake a close analysis of individual artworks by the two artists. The existing literature has portrayed these artists as lone figures, divorced from the mainstream of Greenlandic art, and they have rarely been compared to other Greenlandic artists, yet I argue they share a common method: a performance of history. This thesis will examine the durational and resonant aspects of both works, and through them argue that performance stages a responsive encounter between subject and object, and between historical references and the present. This thesis will highlight how performance has played a much larger role in reevaluating cultural discourses in Greenland than the existing literature suggests. Kleemann and Arke approach history through the durational aspect of temporality. I argue that in their oeuvres, the work of history occurs as a durational process of both presentation and re-presentation, where both the past and the present play active roles in forming historical knowledge.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
10
Humphreys, Brianne Alta. "Humans Aren't Boxes, Art Isn't Finite". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5894.
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I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons.
This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.
11
Batra-Wells, Puja. "Art/Work: Place-Making, Precarity, and the Performance of Artistic Occupational Identities in Columbus, Ohio". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471460370.
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Dale, Jolene Marie. "Sense of memory". Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/dale/DaleJ0510.pdf.
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Throughout this thesis three main categories will be addressed. Memory: a: the power or process of reproducing or recalling what has been learned and retained especially through associative mechanisms b: the store of things learned and retained from an organism's activity or experience as evidence by modification of structure or behavior or by recall or recognition¹ Sense: a: the faculty of perceiving by means of sense organs b: a specialized function or mechanism (as sight, hearing, smell, taste or touch) by which an animal receives and responds to internal or external stimuli² Architecture: a: formation or construction resulting from or as if from a conscious act
13
Perlini, Tania. "The case of immoral art : "uncensoring" BLIND DATE". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99740.
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Looking at John Duncan's 1980 art performance, BLIND DATE, and its morally controversial content, I propose to investigate the nature of art's relationship to morality. My research consists of determining whether "immorality" represents an obstacle to the ontological identity of art and to artistic value. To question the authority of ethical criticism in art, I review a contemporary philosophical debate, which opposes two main schools, one in support of the validity of ethical criticism in art and the other against it. Following up on the second position, I elaborate a definition of art and a system of evaluation that aims to determine artistic value, both of which allow space for the potential artistic legitimacy of immoral art.
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Wikstrom, Josefine. "Practices of relations in task-dance and the event-score : towards a new concept of performance in art". Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/39282/.
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The main aim of theis thesis is to construct a critical concept of performance within a generic concept of art through a two-fold operation. Firstly, it reconstructs the development of a generic concept of performance - distinct from the performing arts - in the period of post-WWII art in North America by focusing on task-dance and the event-score as two emblematic artistic strategies of this period. Task-dance and event-score practices, it argues, had a central role in the practical transformation from a medium-specific to a generic concept of art. Secondly it examines the key philosophical concepts that are inseparable from a generic concept of art, and are necessary for the reconstruction of a generic concept of performance: 'practice', 'labour', 'autonomy', 'abstraction', 'medium', 'mediation', 'subject', 'object', 'structure' and 'abstraction'. The central argument of the thesis is that a critical reconstruction of the concept of performance within the context of post-WWII art must take into account a generic and a autonomous concept of art. The latter refers to a post-medium-specific concept of art, which is still autonomous in Theodor Adorno's understanding of the term: art as derived from, yet distinctively and formally separated from empirical reality. Embedded but formally abstracted from the social relations from which it comes, the category of 'performance', the thesis argues, is a practice of relations. It is a practice in the sensein which Karl Marx formulates practice in his early writings as social and sensuously empirical. It also refers to practice in the sense in which Marx articulates a radically new concept of the subject through this category. The thesis also aims to make a contribution to art theory through its critical methodology. It forces a reconsideration of performance within the framework of 'art in general', and more specifically, it emphasises dance's central role in this history. It employs a number of terms and categories central to task-dance and event-score practices that, it argues, are internal to the generic category performance as it operates within the context of a generic concept of art. The central problem from which this thesis sets out concerns the way in which the dominating concept of performance - derived from cultural theory - is used within art theory. Cutting across disciplines such as Cultural Studies, Performance Studies and Theatre Studies, this conception fails to distinguish between art and culture more generally, and between art and other modes of reality. In short, the thesis confronts a cultural concept of performance - and the related category of performativity - as well as its application to performance practices in art, with a critical one that is reconstructed through a different set of philosophical categories and methods. Chapter 1 argues that the development of a generic concept of art and performance is best described as a shift towards practice, primarily through Marx's account of this. Chapter 2 confronts art-theoretical conceptions of the event-score and task-dance, based in structuralism and pragmatism with Immanuel Kant, and demostrates how John Dewey;s notion of art relies on a conflated notion of Aristotle's practice/poiesis-distinction. Drawing on Husserl's 'phenomenological reduction' and Kant's 'acts of abstraction', Chapter 3 argues that they negation of a medium-specific conception of the object in event-score and task-dance practices constructed a new conception of the art object: the performative structure-object. Chapter 4 considers the role of negation in task-dance, in relation to Adorno's concept of autonomous art and Marx's notion of abstract labour. Chapter 5 demonstrates the way in which the performative-structure object is transcendental and performative, and argues that it must be understood as the practical condition for the generalisation of the category of performance within art.
15
Wehri, Jonathan. "Implacing the body". This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Brandenburg, Alisa Anne. "Inducing Knowledge by Enduring Experience: the Function of a Postmodern Pragmatic Aesthetic in Linda Montano's "Living Art"". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1115104-000557/unrestricted/BrandenburgA121504f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-1115104-000557 Includes bibliographical references. Also available via Internet at the UMI web site.
17
Heymans, Simone. "Habitual transience : orientation and disorientation within non-places". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013141.
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This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
18
Peacock, Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept". Queensland University of Technology, 2009. http://eprints.qut.edu.au/30391/.
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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.
19
Peacock, Eve Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30391/1/Eve_Peacock_Thesis.pdf.
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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.
20
Ishii, Kotoe. "Double bind : splitting identity and the body as an object /". Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7075.
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Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture.During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art.
The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.
21
Bloink, Steven. "Identity structures". PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Sutters, Justin Peter. "Taking Place and Mapping Space: How Pre-Service Art Education Students’ Visual Narratives of Field Experiences in Urban/Inner-City Schools Reveal a Spatial Knowing of Place". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345065866.
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Wee, Cecilia Liang May. "Rationales of documentation in British Live Art since the 1990s : the pragmatic, memorial and holistic". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39562/.
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This thesis investigates rationales behind Live Art documentation, by examining the work of British artists working under the banner of ‘Live Art' since the 1990s. My aim has been to write an account of Live Art's history and major themes that incorporates primary research, analysis and criticism of recent research on documentation. Works by Live Artists are not discussed chronologically, but so that they might function as points of departure for discussions about Live Art's relationship to documentation and its relevance as a contemporary cultural form. The thesis starts with an introduction setting out definitions of Live Art and documentation and contextualising Live Art's relationship to Performance Art. The rationales for documenting Live Art are grouped into three categories: documentation as pragmatic, documentation as memorial and documentation as holistic. The main text is divided into three parts, each part discusses issues relating to one of the above categories. Part 1 addresses practical reasons why artists working under the banner of Live Art document their work. The section includes an exploration of the infrastructure for the development of Live Art in the UK as well as an analysis of the market for Live Art and its documentation. Part 2 interrogates perspectives from the discipline of performance studies on the relationship between live action and documentation, exploring how these issues have been interpreted in Live Art's history. In particular, this section will assess how writers and artists have approached discussion of Live Art in oral and written form. Part 3 proposes models of rethinking documentation based on works by British Live Artists that develop documentation in tandem to live action and enjoy a privileged relationship to technology.
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Beitmen, Logan R. "Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”". FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1198.
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Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.
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Marshall, Anne. "Ngaparti-ngaparti ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience. /". View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040804.155726/index.html.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice". Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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sellinger, becky s. "Play Doh's Cave and The Pursuit of the American Cream". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3886.
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Take a minute. Imagine Wiley Coyote and Road Runner are in a domestic partnership. What would that look like? Close your eyes and Pause for 30 seconds. Don’t you see? Coyote never catches up. They keep running faster and faster. Everything in the house gets swept into the whirlwind they’ve created in their paths - the books, the shelves, the bed, and the desk lamp. Their circling movement creates a vacuum, which ultimately causes the entire structure to implode upon itself.
This text is an examination of my work and its relationship to the economic and the domestic. The metaphor of the tragicomic perpetually failing in the spotlight is a dominant motif standing against a backdrop of an overflowing bloat of unidentifiable mass desperately trying to repel gravity. In the first section of this text I offer a brief overview of my two-year trajectory, and an analytical perspective of my culminating thesis exhibition. In the second section, I share with you a trough of incomplete jokes, and standalone punch lines. This Rolodex I keep of “word sketches” catalogues my search for the shape of a laugh.
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Stillman, Johanna. "Love Song". Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5791.
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Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel. [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Chabikwa, Rodney Tawanda Chabikwa. "Gestures from the Deathzone: Creative Practice, Embodied Ontologies, and Cosmocentric Approaches to Africana Identities". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543531419849315.
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Ganoe, Kristy L. "Mindful Movement as a Cure for Colonialism". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367936488.
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed". Thesis, Queensland University of Technology, 1999.
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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and
social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different
practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating
upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician.
The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This
thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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Joseph, Darel. "The Adversity Pop Culture Has Posed". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.
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I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.
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Hýl, Petr. "Slovinské národní divadlo v Lublani". Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.
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Haren, Samuel John. "Falling into place place and its imaginary in making performance /". 2008. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20090224.142202/index.html.
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Somdahl, Katrinka Cleora 1970. "Dancing in place: the radical production of civic spaces". Thesis, 2007. http://hdl.handle.net/2152/3499.
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Public spaces can be manipulated by choreographers to create political identifications that last long beyond the ephemeral performance event. How public space is defined and utilized is intimately connected with a society's definition of who is to be included and the kind of political community to be fostered. Through an engagement with feminist and political geographic writings I argue that dance, as an art form that is dominated by women, can create meaningful public spaces where these women express political attitudes, assert claims to the public realm, and actively use it for their own purposes. Using qualitative methods, three choreographers are highlighted to investigate how they each use symbolism, the social narratives concerning each site, and the built environment to communicate with their audiences about gentrification, environmental protection, and restrictive social mores. This work asserts that the social value of art combined with the nonverbal communication powers of the body leads to a heightened awareness of the political voice of the women involved in these urban performances.
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Schmid, Julie M. "Performance, poetics, and place public poetry as a community art /". 2000. http://ir.uiowa.edu/etd/189.
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Thesis (Ph. D.)--University of Iowa, 2000.Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).
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Svedberg, Robert Joseph. "In-corporeal-ating architecture: The living body and a place of death". Thesis, 1992. http://hdl.handle.net/1911/17030.
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The history of the senses will be looked at in terms of a concept of viewing emerging from the visual, and domination that this viewing holds over the other senses (and sensing in general) in architecture. A change in the hierarchy of the senses becomes evident during the late Gothic period, it is institutionalized in architecture by Durrand and in philosophy and art criticism by Kant. What this separation of viewing from vision (as a sense) and the isolation in Kant of the cognitive faculty from the aesthetic, does is impose a severe mind/body split. It is this dialect that informs the very basis of modernity, science, and architecture within the university. Architecture has the power to deny this mind/body split, and this potential has been realized concurrent to the domination of the visual.
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Lofts, Pamela. "A necessary nomadism : rethinking a place in the sun". Master's thesis, 2007. http://hdl.handle.net/1885/147113.
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Leween, Jackson Twobears. "Mythologies of an (un)dead Indian". Thesis, 2012. http://hdl.handle.net/1828/3855.
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This dissertation explores the aesthetics of contemporary Indigenous identity— its various manifestations, simulations, hybridizations, (dis)appearances, and liminalities. It is a project about the lived experience of ancestry conceived of through narratives of shapeshifting, virtuality, sacrifice, hauntings and possession.
This project is representative of a period of time in an on-going journey that began long before these first words were written…and one that I intend will continue long after this book’s completion.
The methodological approach to this work is multifaceted, encompassing the fields of Indigenous philosophy, digital media art and cultural studies. It is a project comprised of several interrelated strands of theoretical speculation, philosophical inquiry and creative engagement.
This dissertation is in many ways an autobiographical text—a meditation on my own Kanien’kehaka (Mohawk) heritage and the spaces I occupy in the world as Onkwehonwe (an Indigenous person). At its core it is about exploring different modes of engagement with my own ancestral ‘territories’, while at the same time it endeavors to ask larger questions about collective memory, community, and cultural inheritance.
In being representative of a journey, the interrelated strands of writings in this text are meant to be traversal, and are about surveying and mapping different intellectual and creative territories. This text is about crossing interdisciplinary zones of theoretical inquiry that occur at the intersection and hybridization of Indigenous and Western philosophies, contemporary First Nations performance art and post-structuralist theory.
It is a work comprised of ebbs and flows, movements, refrains, and cascades of articulation that interpenetrate and cross over into one another. This text is therefore best thought of as a series of theoretical passageways—a multiplicity of thoughts and critical engagements in motion, translation and conversion.
It must be said that the traversals and crossings in this text are not necessarily about establishing a synthesis between differing ideologies, philosophies or cosmologies. It is not intended to be dichotomous, but rather should be read as a remix-theory that passes in-between different fields of critical inquiry. For while on the one hand this text seeks to explore different zones of intellectual and creative proximity, it is also a work that emerges from within a multitude of contradictions and myriad incommensurabilities.Graduate
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Cameron, Margaret. "I shudder to think: performance as philosophy". Thesis, 2012. https://vuir.vu.edu.au/25677/.
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Margaret Cameron’s artistic practice performs as philosophy—an investigation that seeks insight through the body’s visceral capacities
to perceive and to transform experience into material realities, which then become the substance of art.
In order that this research project may take a congruent (or kind of equivalent) form to its proposition, this journey through Cameron’s
practice is also a dramaturgical mapping. The research begins with an introduction that provides autobiographical context, proceeding
to an exposition of methodology. This is followed by an excavation of an exegetical voice from personal, cultural and philosophical
contexts, and arrives at a viva voce that is the performance score for a work of theatre called Opera for a small mammal.
Set in the context of contemporary performance and a working life, the research traverses Cameron’s solo artistic practice from 1989 to
2012. A methodology for the overall thesis is demonstrated and enacted through strategies that serve as tools to delay closure and
generate possibilities. This methodology includes the consideration of consciousness as performance. Linguistic practices are used to
engage language as a perceptual instrument to hold open paradox, endure ambiguity and leverage new relationships between things.
The thesis is constructed as a composition of carefully held parts, and parts of parts, that perform many perspectives of the subject in a
discursive play between works. Engaging with perceptual practices and provocations from artists, theorists, philosophers, critics and
colleagues, the reader is invited to participate with the artist in the perceptual encounters that conceive each work. These include the
transformation of one’s self and the thinking, feeling and kinaesthetic events of live performance on a stage. This stage is underscored
as a perceptual space that is active—a practising proposition that works in the body of the artist, the audience and the larger corpus of
cultural reception.
Perceiving many perspectives in space, poising relationships on an axis of form and content, the artist works through a synergy of
modes of knowing, such as thinking, intuition, memory and feeling. These are underpinned by the proposition that art is a verb. Art
invites us to audience, and it does so through unique and reciprocal acts of participation rather than spectatorship.
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Zaiontz, Keren. "The Stagehands of Subversive Spaces: Site-specific Performance and Audience Labour". Thesis, 2012. http://hdl.handle.net/1807/42606.
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This dissertation develops a theory for analyzing the role of audiences as aesthetic resources in contemporary site-specific performance and relational art. Collaborating with three Canadian companies as a participant-observer, interviewer, and in some cases, documenter, I develop case studies that track flexible stage-audience relationships in public spaces. By analyzing how companies Radix Theatre Society, Bluemouth, and Mammalian Diving Reflex put spectators to work in sites like IKEA showrooms, disused warehouses, and theatres, I advance a method that attends to the doubled practice of the spectator as worker and witness. This framework, which I term bifold spectatorship, articulates how audiences constitute theatrical worlds through direct physical engagement with the cultural criticism and formal experimentation that artists stage. Folded into the event, spectators literally compose the scene of the action, and enter into what I call critical proximity with the discourses that shape the performance. As participants interact with and directly query the artistic expressions that they patron, they answer a challenge to perform that is typically reserved for professionals. Such novel participation begins with a hail that interpellates audiences into the action as subjects and even sites of performance. Adapting the concept of the casting call, or what I coin site-casting, miscasting, and central casting, I show how spectators are aligned with the exigencies of the site; “mis-placed” or miscast by artists (provoking performance anxiety in participants); or cast to play a role they already perform in their everyday lives. In addition to these critical frameworks, I challenge the established narrative of “liberating the audience” by forwarding a multi-sited genealogy of site-specific performance that confronts the romance of freeing spectators from stage conventions. In examining the ethical problems that arise when audiences are made responsible for representation, The Stagehands of Subversive Spaces extends debates within site-specific performance to wider conversations in performance studies about ethics, subjectivity, and audience reception.
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Trapani, Alex. "Bruce Nauman : the true artist is an absurd fountain". Diss., 2017. http://hdl.handle.net/10500/23276.
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Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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Dinis, Frederico Miguel da Cruz. "Sensações Sinuosas e Emoções Hipnóticas: Performance sonora e visual na contemporaneidade". Doctoral thesis, 2021. http://hdl.handle.net/10316/95458.
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Tese de Doutoramento em Estudos Artísticos - Especialidade de Estudos Teatrais e Performativos, apresentada à Faculdade de Letras da Universidade de Coimbra.O objetivo geral desta tese é analisar a confluência entre o som e a imagem, através um processo de investigação-criação no âmbito da performance contemporânea. Em particular, pretendeu-se em primeiro lugar a conceção de uma articulação sonora e visual, no aqui e agora, de cada evento e em segundo lugar o desenvolvimento de momentos performativos sonoros e visuais que se deslocam entre passado e presente, comunidade e indivíduo. A realidade artística atual, composta pelos novos media e pela sua complexidade relacional ampliada, apresenta-se cada vez mais como um desafio às correntes e formas artísticas instituídas. Um dos formatos que desde sempre se destacou por quebrar as regras dos movimentos artísticos vigentes foi a arte da performance. O conceito de performance pode ser entendido através de diferentes perceções, que resultam de distintas abordagens disciplinares, áreas artísticas ou contextos culturais. É também devido a esta abertura conceptual e diversidade de procedimentos criativos que a performance apresenta um grande potencial de exploração, nomeadamente partindo das suas diferentes conceções, na qual pretendemos fundamentar uma leitura pessoal, especialmente focada na confluência entre os meios sonoro e visual, como tema de reconhecimento criativo. Neste contexto, a apropriação tecnológica e a expansão a outros media ganhou destaque entre as práticas criativas nas últimas décadas, já que permitiu a descentralização do corpo/performer, abrindo-se assim a outros meios e a outras materialidades, como o som ou a imagem. É no contexto desta descentralização que procuraremos refletir nesta tese sobre o papel da memória na representação das identidades dos lugares, abordando o processo de aproximação ao site-specific e a (des)construção do lugar como estímulo para a representação da memória, que se expande através de narrativas sonoras e visuais fragmentadas. A tese propõe uma "investigação estética" que valoriza a componente sensorial da perceção (aisthesis) numa abordagem que incluiu a realização de um conjunto de trabalhos de investigação através da prática artística, sob um formato próprio de linguagem de expressão, ambicionando analisar e desenvolver métodos funcionais e estratégias ligadas ao desenvolvimento das próprias criações artísticas e a proposição de modos de reapresentação das mesmas. Estes trabalhos de investigação-criação desenvolvem duas componentes principais: o processo de aproximação ao site-specific e a (des)construção do sentido de lugar. Estas duas componentes permitem atestar que a performance sonora e visual site-specific atua como mediador, através da plasticidade, na materialidade das interações entre obra de arte, sons, imagens, lugar, memória e público. Assim, o envolvimento do público foge do lugar comum da corporeidade diária, criando mecanismos de movimentos contínuos, diluindo fronteiras aparentemente permanentes e partindo da experiência corporal como mote para a transgressão espacial. Esta investigação-criação procura assim acrescentar mais um esboço ao território da performance, situado entre a teoria e a prática, interrogando sempre o seu lugar analítico e estético na atualidade, tendo em conta a importância da performatividade da memória e da produção de efeitos de presença, através da construção de uma confluência sonora e visual.
The general objective of this thesis is to analyse the confluence between sound and image, through a research-creation process within the scope of contemporary performance. The intention was, first of all, to develop a sound and visual articulation, in the here and now, of each event, and secondly to develop sound and visual performative moments that move between past and present, community and individual. The current artistic reality, composed of the new media and their increased relational complexity, presents itself more and more as a challenge to the current and established art forms. One of the formats that have always stood out for breaking the rules of current artistic movements was the art of performance. The concept of performance can be understood through different perceptions, which result from different disciplinary approaches, artistic areas or cultural contexts. It is also due to this conceptual openness and diversity of creative procedures that performance has a great potential for exploration, namely starting from its different conceptions, in which we intend to base a personal reading, especially focused on the confluence between sound and visual media, as a theme of creative recognition. In this context, technological appropriation and expansion to other media have gained prominence among creative practices in recent decades, since it has allowed the body/performer to be decentralized, thus opening up to other media and other materialities, such as sound or image. It is in the context of this decentralization that we will try to reflect in this thesis on the role of memory in the representation of the identities of places, addressing the process of approaching site-specific and the (de) construction of the place as a stimulus for the representation of memory, which expands through fragmented sound and visual narratives. The thesis proposes an "aesthetic research" that values the sensory component of perception (aisthesis) in an approach that included the realization of a set of research works through artistic practice, under a specific expression language format, aiming to analyse and develop methods functional and strategies related to the development of artistic creations themselves and the proposition of ways of re-presenting them. These research-creation works develop two main components: the process of approaching the site-specific and the (de) construction of the sense of place. These two components allow us to attest that the site-specific sound and visual performance acts as a mediator, through plasticity, in the materiality of the interactions between artwork, sounds, images, place, memory and audience. Thus, public involvement escapes the commonplace of daily corporeality, creating mechanisms of continuous movement, diluting seemingly permanent boundaries and starting from bodily experience as a motto for spatial transgression. This research-creation thus seeks to add another sketch to the territory of performance, situated between theory and practice, always questioning its analytical and aesthetic place today, taking into account the importance of the performance of memory and the production of presence effects, through the construction of a sound and visual confluence.
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Hely, Patsy. "Clay objects and the articulation of place". Phd thesis, 2007. http://hdl.handle.net/1885/151498.
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Willemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art". Diss., 2010. http://hdl.handle.net/10500/4343.
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As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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"Making Transformative Space: Exploring Youth Spoken Word as a Site of Critical Pedagogy". Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38740.
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abstract: Since the early 1980s spoken word has been on the rise as a highly influential performance art form. Concurrently, there has been an increase in literature on spoken word, which tends to focus on the critical performative and transformative potential of spoken word. These on-going discussions surrounding youth spoken word often fail to take into account the dynamic, relational, and transitional nature of power that constructs space and subjectivity in spoken word. This ethnographic study of one youth spoken word organization – Poetic Shift – in a southwestern urban area makes a conscious attempt to provide a nuanced, contradictory and partial analysis of space, place, and power in relation to youth spoken word and aspires to generate an understanding of how spaces designated for spoken word are dialectically (re)produced and maintain or subvert dominant relations of power through a constant stream of negotiations. This study aims to more explicitly examine the relationship between place and spoken word in effort to understand how one’s positionality impacts, and is impacted by, their involvement in youth spoken word.
Over the course of a 6-month period participant observation was conducted at two high school spoken word workshops and four interviews were completed with both teaching artists and young adult spoken word poets. Using spatial and critical pedagogy frameworks, this study found that Poetic Shift serves as a platform for youth to engage in the performative process of narratively constructing and reconfiguring their identities. Poetic Shift’s ideological position that attributes value and validation to the voices and lived experiences of each youth is an explicit rejection of the dominant paradigm of knowing that relegates some voices to a culture of silence. The point at which the present study deviated from most other literature on spoken word is where it offers a critique of Poetic Shift as a site of critical literacy and of the unreflexive rhetoric of student empowerment. The problematic presuppositions within the call for youth voice and in the linear, overly simplistic curriculum of Poetic Shift tend to reinforce the dominant relations of power.Dissertation/Thesis
Masters Thesis Justice Studies 2016
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Tsai, Wendy. "A response to space in the natural environment : painting as a phenomenological study of the Blue Mountains, NSW". Master's thesis, 2015. http://hdl.handle.net/1885/150365.
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My Masters research engages with the ways as a painter, I increasingly struggle to give form to my relationship with the Blue Mountains. Although it is a familiar natural environment, this struggle has articulated my research question: Can problems associated with representing vast natural environments like the Blue Mountains be overcome through an analysis of personal embodied experience? This thesis examines the complexities of translating the perceptual and corporeal experience of the Blue Mountains. This site is rich in social history, from Indigenous occupation through to the listing of its status as a World Heritage Area in 2000. It is also a place of early childhood memories and has been my home for the last 20 years. My research has investigated these histories and the physical landscape in an organically responsive practice of both charcoal drawing and watercolour on paper. The written exegesis of 20,000 words, describes the outcome of the research in four bodies of work on paper: Nests, Vertigo, Absence and Presence and Keepsake. The Nests works explore the symbolism of the nature of nests, while also providing the opportunity to more ambiguously trace the labyrinthine form of the mountains. Vertigo considers the implications of edges, and of distance and intimacy. In Absence and Presence, I advocate for what is hidden in the landscape, including the competing and forgotten stories about place. The final works identify how I have brought the horizon and vastness into intimate images that can also become objects to be held in the palm of the hand. I have argued in the exegesis from the perspective of psychoanalytic theory and phenomenology, how the development of a personal symbolism originating in an embryonic nest has enabled me to approach some of the more problematic concepts of vastness that this natural environment holds. This trope evolved through my studio research, and was developed through a series of constructed and productive binaries, such as intimacy and distance, past and present, and loss and attachment. I argue through the studio practice and writing that the development of these approaches have contributed to the renewed accessibility, for my audience, and myself, of a distinctly over-represented and culturally determined site.
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Polláková, Petra. "Východoasijská kaligrafie a české umění po roce 1948". Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-415375.
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My dissertation thesis seeks to explore some specific social aspects of the dialogue between traditional Chinese art and thinking and Czech art scene after the February1948, when the Communist party took power in former Czechoslovakia. I am mainly interested in the problematic of inspiration from traditional Chinese calligraphy and Daoist philosophy on Czech painting, visual poetry and literature in the 1950s and 1960s. I will argue that the appropriation of selected Chinese philosophical and artistic themes helped Czech artists, working under the communist repression, to express their innermost human emotions in relation to home, culture, freedom, and one's artistic and human destiny. The communist regime meant to many artists the end of their official artistic career. Life in seclusion outside the main political and social streams became for some of them an opportunity to display pent-up feelings of affinity with the life stories of the ancient Daoist thinkers. In this context, focus is primarily placed on an analysis of several distinctive visual and literary works by Czech leading artists of the period, especially on the selected works by the visual artists Emil Filla, Jiří Kolář, Vladimír Boudník, Jan Kotík or Zdeněk Sklenář and the novelist Bohumil Hrabal (1914 - 1997) and his world famous...