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1
Mafé, Daniel. "Rephrasing voice : art, practice-led research and the limits and sites of articulacy." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/32131/1/Daniel_Maf%C3%A9_Thesis.pdf.
Повний текст джерелаАнотація:
While my PhD is practice-led research, it is my contention that such an inquiry cannot develop as long as it tries to emulate other models of research. I assert that practice-led research needs to account for an epistemological unknown or uncertainty central to the practice of art. By focusing on what I call the artist's 'voice,' I will show how this 'voice' is comprised of a dual motivation—'articulate' representation and 'inarticulate' affect—which do not even necessarily derive from the artist. Through an analysis of art-historical precedents, critical literature (the work of Jean-François Lyotard and Andrew Benjamin, the critical methods of philosophy, phenomenology and psychoanalysis) as well as of my own painting and digital arts practice, I aim to demonstrate how this unknown or uncertain aspect of artistic inquiry can be mapped. It is my contention that practice-led research needs to address and account for this dualistic 'voice' in order to more comprehensively articulate its unique contribution to research culture.
2
Jewell, Sharon L. "Surface materials and aspects of care: A study in modes of being in a visual art practice." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/88911/56/Sharon%20Jewell%20Thesis.pdf.
Повний текст джерелаАнотація:
Through creative practice and written research, this thesis explores the peculiar qualities of surface materials, revealing a broader ethos of practice which I identify as care. I propose that care arises as a mode of being between artist and work, work and beholder, and between the parts of the work. The thesis situates the art practice within an ethical framework, premised on, but extending, Heidegger's ontological equation of care with being. The original contribution is in the claim that the particular qualities of worldly matter generate the terms for care as a particular mode of engagement that is reciprocal and intransitive.
3
Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.
Повний текст джерелаАнотація:
This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative.
This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring.
The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country.
This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.
4
Sade, Gavin John. "Envisaging alternatives for practice : a study into the way concepts of sustain-ability can be explored within an interactive media arts practice." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/53314/1/Gavin_Sade_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led study explores different ways the subject of sustain-ability can be addressed within an Interactive Media Arts practice. The exploration encompasses three creative projects, Charmed, Distracted and e. Menura superba. Grounded in an ecological philosophy inspired by vegetarianism and the critical design philosophy of defuturing, the work shows how such a philosophical position can guide the redirection of practice. The concern for sustain-ability within my practice, and more generally the question of Interactive Media Arts and sustain-ability, I refer to as a problématique. The objective of this study is not one of finding an answer or a truth to an instrumentally posed question, but to explore the complexities of the problématique through a program of practice and intellectual investigation. The aim being to redirect my practice and to find a renewed raison d’être for practice through a process of opening up, encountering, and discovering otherwise unknown possibilities for practice. In the context of sustain-ability, this opening up of possibilities can be considered a form of futuring. A futuring I argue is only possible if the things we take for granted as integral aspects of our being, practices and life worlds, are revealed in ways that estrange them, rendering them visible in ways that allow questioning and change.
5
Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.
Повний текст джерелаАнотація:
This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum.
In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014.
This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability.
Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.
6
Blacklock, Naomi. "Conjuring alterity: Refiguring the witch and the female scream in contemporary art." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132362/1/Naomi_Blacklock_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research project addresses the political and creative significance of the witch archetype as an emancipatory symbol for alterity in contemporary art. Framed within an intersectional feminist methodology, it explores cultural mythologies, personal histories, political activism, gender and sexual rebellion. Using embodied performance it explores the significance of disruptive feminist voices and reimagines intersectional identities in contemporary art practice through the figure of the 'witch' as Other.
7
Spicer, Malory E. "Digital Animation as a Method of Inquiry." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437499872.
Повний текст джерела
8
Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.
Повний текст джерелаАнотація:
This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
9
Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.
Повний текст джерелаАнотація:
This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
10
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/.
Повний текст джерелаАнотація:
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.
11
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.
Повний текст джерелаАнотація:
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.
12
Narain, Natasha. "Mapping a liminal: Nurturing of kantha into contemporary art." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/111574/1/Natasha%20Narain%20Thesis.pdf.
Повний текст джерелаАнотація:
This project is a creative practice-led exploration of the Bengali textile embroidery tradition of kantha and its potential influence on contemporary art practice. It discusses the gendered history of kantha and its relevance to the contemporary lives of women. The project's key findings are twofold: firstly, that kantha practice is inadequately understood from the perspective of the maker, and secondly, that an artist does not have to replicate the literal craft processes of kantha in order to evoke its emotional significance, but that by applying its conceptual narrative strategies and its approach to mark making, these techniques are applicable in cross-media and interdisciplinary contemporary art forms.
13
Howlett, Christopher. "Mapping the techno-stice: Dissensual territories. In-between technology and contemporary art." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/174605/1/Christopher_Howlett_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led project explores the political potential of dissensus. The artworks created through this research utilise the overlooked possibilities of hybrid digital forms of Machinima. The framing of this research demanded a new term, techno-stice – a synthesis of technology and a 'social interstice', to understand the role of politics, digital media and agency in the creation of contemporary art.
14
Pinxit, Vaughn. "Stillness: A meditation in new media art." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93556/1/Vaughn_Pinxit_Thesis.pdf.
Повний текст джерелаАнотація:
While technology is often seen as a noisy, impatient and pervasive aspect of our lives, this practice-led research project investigated the counter proposition–that we might be able to evoke sensations of stillness through technology-mediated artworks. Investigations into stillness were informed by Buddhism, phenomenology, and experiences of meditation and the practice of archery. By combining visual art, performance, installation, video and interaction design, a series of experimental, interdisciplinary artworks were produced and exhibited to evoke a sense of stillness and to impel audiences to consider the form and nature of stillness in relation to time, space and motion.
15
Larin, Genine Marie. "Stone baby: An exploration of trembling and its potential for visual art." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/86668/1/Genine_Larin_Thesis.pdf.
Повний текст джерелаАнотація:
Informed by Kristeva's formulation of affect and Winnicott's Holding Environment, this practice-led visual art project is an exploration into how sensitivity to the physical sensation of trembling can sustain a creative practice. Building upon this is a further enquiry into what the significance of the affective experience of trembling is for an ethics of affect in contemporary art. I have done this through object and video-based installations informed by my own experience of trembling. This has been further informed by the work of artists like Louise Bourgeois, Dennis Del Favero and Willie Doherty. The creative outcomes contribute to the discourse around ethical responses to affect by extending and developing on the works of these artists.
16
Oxenham, Michelle L. "Processes of transformation : art into pop and back again." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78374/1/Michelle_Oxenham_Thesis.pdf.
Повний текст джерелаАнотація:
This research project was a case study for managing and innovating an interdisciplinary practice: specifically across music, performance and contemporary art. Key works included painting/sound/video installation, experimental performance, electronic pop music, music video and electronic pop music performance. An idiosyncratic and transformative use of colour emerged as an underlying theme and strategy for cohesion. The project offers strategies for the challenges of interdisciplinary practice specifically addressing the limitations related to institutionalised value systems, aesthetic traditions and disciplinary languages.
17
Kim, Younghui. "Seeking for outliers: Artistic exploration of data through creative practice." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206985/1/Younghui_Kim_Thesis.pdf.
Повний текст джерелаАнотація:
Situating this art practice as data art in the field of digital art, I suggest a new landscape of data art by exploring data as an art material, medium, a concept-driver and as containing the current social-political issues of data bias. The creative outcomes of this research project result from my process of artistic exploration of data. This has been a journey that explored the context of data and artistic potential of outliers as a concept-driver.
18
Zeligman, Brooke. "Material murmurings." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1600.
Повний текст джерелаАнотація:
This thesis, Material Murmurings, comprising of exegesis and creative practice, focuses on the central research question: “How do we understand the materiality of glass and what happens when said materiality is approached through feminist scholarship?” This question forms the basis for an investigation through creative practice and analysis via an interpretive framework of feminist knowledges of the body. The creative practice embraces glass as the central medium with a series of exhibitions that responded to the interpretive paradigm. It is expected that Material Murmurings will highlight and make evident the value of post-technical approaches in glass art which have only recently become an acknowledged form of contemporary visual arts within Australia and, to a lesser degree, the broader international context.
The intention of this thesis is to address the lack of dialogue surrounding glass as a contemporary visual arts material by discussing how female artists have been using glass within their practice through a paradigm of feminist scholarship of the body. A lack of formalised inquiry into the material depth of glass exists. Through formalising this discussion via a framework of feminist knowledges, the study will open up the possibilities for writing about glass, allowing for the expansion of the dialogue surrounding contemporary glass art. The study will also make visible and highlight the breadth and diversity of contemporary glass works being produced particularly by female visual artists, embracing the material itself for its depth and wealth of possible meaning.
The exegesis pays particular attention to the work of female artists who have embraced glass for its materiality. Materiality is understood as the insistence of meaning that a material contributes to a work of art; the qualities, history and function beyond the decorative or aesthetic value that the material contributes to the artwork. My feminist visual arts praxis has provided the motivation for this exegesis and my obsession with glass has driven the choices of artists and theorists discussed. The exegesis demonstrates how glass can be interpreted/read/understood within the visual arts through a feminist lens.
Various exhibitions through the research period culminated in a final exhibition titled Material Murmurings (2013). These exhibitions revealed different ways of critically interpreting and locating glass works beyond the traditional craft paradigm. This research has responded to the contemporary scholarly call for a need for visual arts critical review to be more inclusive of contemporary glass works, and has provided through practice-led research that is inclusive of materiality, praxis and process, a basis for this, with significant outcomes exhibited as artefact/object/publication.
19
Peacock, Eve Christine. "eARTh : the dynamics of ontological representation." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78686/1/Eve_Peacock_Thesis.pdf.
Повний текст джерелаАнотація:
This Australian Indigenous creactive work and its Treatise promote ways of thinking about practice and research that extend well beyond the current discourse. It invites re-thinking on how research can be practice-led in new ways, and what that might mean for future students. When discussing the challenges of today, this work signifies how "Western Style" thinking and theory is wanting in so many ways. It engages a new dynamic and innovative way of theorising, encouraging future students to apply their full capacity of energy and wisdom. (Extract from examiners' reports.)
20
Ashworth, Karike. "#SoBrave: The crisis of neoliberal feminine bravery." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132395/1/Karike_Ashworth_Thesis.pdf.
Повний текст джерелаАнотація:
This creative practice-led research project employs cross-disciplinary methods to examine how neoliberal constructions of feminine bravery reinforce prescriptive and restrictive behaviour standards for women. Using performance, video, textiles and immersive installations to explore conceptions of feminine bravery, the artist has developed a parodic persona, 'Brave Girl', a mock super-hero/medieval warrior, who is inspired by popular culture, online media, cosplay and comic strip characters. Brave Girl embodies some aspects of the artist's journey – however, stepping away from autobiography, into "anti-autobiography," has enabled a distinct critical understanding of how affirmations of bravery function. The research determines that it is possible to use the ambiguities of contemporary art practice to reveal the hegemonic qualities of the feminine bravery construct.
21
Kratz, Svenja J. "Artscience in practice : exploring the critical and creative potentials of transdisciplinary art and science practice using a methodological and conceptual framework of creative becoming." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/64740/1/Svenja_Kratz_Thesis.pdf.
Повний текст джерелаАнотація:
In response to a growing interest in art and science interactions and transdisciplinary research strategies, this research project examines the critical and conceptual affordances of ArtScience practice and outlines a new experiential methodology for practice-lead research using a framework of creative becoming. In doing so, the study contributes to the field of ArtScience and transdisciplinary practice, by providing new strategies for creative development and critical enquiry across art and science.
22
Stevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
Повний текст джерелаАнотація:
There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist.
Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.
23
McKewen, Daniel Luke. "The art of being a fan : complicity and criticality in contemporary art and fandom." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63778/1/Daniel_Luke_McKewen_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art.
The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur.
The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.
24
Brain, Tega Carly. "The politics and poetics of coexistence : experiments at the intersection of art and environmental engineering." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61027/1/Tega_Brain_Thesis.pdf.
Повний текст джерелаАнотація:
This research project explores how interdisciplinary art practices can provide ways for questioning and envisaging alternative modes of coexistence between humans and the non-humans who together, make up the environment. As a practiceled project, it combines a body of creative work (50%) and this exegesis (50%). My interdisciplinary artistic practice appropriates methods and processes from science and engineering and merges them into artistic contexts for critical and poetic ends.
By blending pseudo-scientific experimentation with creative strategies like visual fiction, humour, absurd public performance and scripted audience participation, my work engages with a range of debates around ecology. This exegesis details the interplay between critical theory relating to these debates, the work of other creative practitioners and my own evolving artistic practice. Through utilising methods and processes drawn from my prior career in water engineering, I present an interdisciplinary synthesis that seeks to promote improved understandings of the causes and consequences of our ecological actions and inactions.
25
Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
Повний текст джерелаАнотація:
This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
26
Haslem, Neal Ragnar, and neal@nealhaslem net. "The practice and the community: a proposition for the possible contribution of communication design to public space." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080212.165002.
Повний текст джерелаАнотація:
The practice of communication design has developed from a visual-communication service industry into a multi-facetted profession, directly involved with the maintenance and creation of social and cultural capital. The ancestry of communication design has led to its continued perception as a neutral tool for the achievement of communication. This research project aims to investigate the possible contributions of communication design as a practice, if it were to re-align its goals towards supporting and facilitating the community within which it is practiced. This research project is about the communication designer and the communities within which they practice: clients; target markets; companies; managers; neighbourhood groups; groups in a particular place and time; communities of practitioners; and emergent or yet to emerge communities. The project investigates designer agency and the ways for a communication designer to work holistically within communities: being or becoming part of them; working through and with them toward the achievement of communication goals. As much as it is about communicating, it is also about community. It is about designers working as conduits, facilitating and enabling the communities of their practice to find expression. It is about a democratisation of communication design authorship and power. It is about the design process as an educational process - all parts and participants within a design projects' community learning and teaching simultaneously. The research project encompasses a series of component projects, across a range of different media, using a practice-led-research framework and a reflective practitioner methodology as the key investigative tool.
27
Verban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Повний текст джерелаАнотація:
Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.
28
Verban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Повний текст джерелаАнотація:
Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.
29
Ulvund, Marit. "Echo theatre : from experience to performance." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63809/1/MaritUlvund_Thesis.pdf.
Повний текст джерелаАнотація:
This research project investigates the characteristics of Echo Theatre, its potential to foster performative and narrative competencies in students, and the role of the teacher in this performative and educational practice. Echo Theatre is a method devised during my storytelling practice and this research confirms that there is no identical research or teaching practice which involves students staging personal narratives in the classroom in this way.
The study has been informed by crossdisciplinary theory studies from the fields of phenomenology, cognitive sciences, and theatre practice. To analyse and discuss Echo Theatre's potential contribution to the development of the child I have defined the concept of a performative competence as well as redefined the concept of a narrative competence. The situated, embodied and performative character of human cognition is emphasised as physical actions and thinking in movement is related to both gestural and conceptual understandings. Studies in philosophy and psychology confirm that narrative structure, related to identity construction and meaning-‐making, can be attained through the performing body. We tell stories to know who we are. Telling stories then in the Echo Theatre model develops multiple competencies related to the performative aspects of theatre practice as well as the narrative aspects of storytelling.
The practice-‐led aspect of this research project includes two fieldwork projects involving a primary school class who created sixteen different Echo Theatre stories. Student participation reveals that Echo Theatre is most constructive when it moves through five phases; recalled experience, narrative, drama, performance, and evaluation. Ongoing reflection is a part of all five phases. The study also confirms that while there is potential for Echo Theatre to support the development of performative and narrative competencies in students, the effectiveness of this directly relates to the teacher's theatre knowledge and skills and his or her didactic attitude towards the students. This study confirms that the potential for learning through the moving and performing body of Echo Theatre is strengthened by working with personal narratives in the classroom and led by teachers displaying heightened skills and knowledge of the aesthetics and dynamics of theatrical form.
30
Broom, Hannah. "Aggressive Flesh: The Obese Female Other." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16093/1/Hannah_Broom_Thesis.pdf.
Повний текст джерелаАнотація:
My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is
a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or
otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of
flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.
31
Broom, Hannah. "Aggressive Flesh: The Obese Female Other." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16093/.
Повний текст джерелаАнотація:
My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.
32
Akama, Yoko, and yoko akama@rmit edu au. "The Tao of Communication Design Practice: manifesting implicit values through human-centred design." RMIT University. Applied Communication, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080730.143340.
Повний текст джерелаАнотація:
This research explores how human values and concerns are manifested and negotiated through the process of design. In undertaking this study, a variety of design interventions were explored to facilitate how values can be articulated and discussed amongst project stakeholders during the design process. These design interventions will be referred to as projects within the exegesis. In this exegesis, I will argue for the importance of a dialogic process among project stakeholders in the creation of a human-centred design practice in communication design. This exegesis explains the central argument of the research and how the research questions were investigated. It presents a journey of the discoveries, learnings and knowledge gained through an inquiry of the research questions. The total submission for this research consists of the exegesis, exhibition and oral presentation. Through each mode of delivery I will share and illuminate how the research questions were investigated.
33
Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.
Повний текст джерелаАнотація:
Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
34
Martin, Stephen Timothy. "Carnivore : an investigation into the ways that serial killers in the Silence of the Lambs, American Psycho and Darkly Dreaming Dexter are representative of consumers." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61071/1/Stephen_Martin_Thesis.pdf.
Повний текст джерелаАнотація:
Serial killers are among the most popular and enduring character types in contemporary culture. In this exegesis I investigate one of the reasons for this popularity by examining the representational relationships between serial killers and serial consumers.
I initially establish that all monsters, whether they are vampires, werewolves or serial killers, emerge from cultural anxieties and signify the anxiety which gave them birth. I go on to identify that the cultural anxiety at play with serial killers is consumerism and in doing so, I identify two key parallels between the serial killer and the consumer, namely a sense of lack and a desire for transformation.
I then examine the ways in which the serial killer is representative of the consumer in three exemplar texts, The Silence of the Lambs by Thomas Harris, American Psycho by Bret Easton Ellis and Darkly Dreaming Dexter by Jeff Lindsay. I go on to self-reflexively examine the creation of my novel Carnivore, the accompanying draft of which has been influenced by both the exemplar texts and the findings of the exegesis.
35
Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Повний текст джерелаАнотація:
This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
36
Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
Повний текст джерелаАнотація:
Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
37
Ho, Wen-Ling, and 何文玲. "Application of Practice-led Research in Art and Design Instruction." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/57772673435728228617.
Повний текст джерелаАнотація:
博士國立雲林科技大學
設計學研究所博士班
102
Abstract Recently, practice-led research has become a major trend in higher education in Europe, the U.S.A, and Australia. To enhance the art and design research abilities of college students in Taiwan, it is crucial to study the teaching content and methods of practice-led research. Therefore, this study aims to explore the application of practice-led research in art and design instruction through three sub-studies. The researcher adopts qualitative case study and action research, and attempts to explore the learning situations of college and graduate students under the instruction of practice-led research. Three sub-studies are involved: (a) Practice-led research in art instruction to 5 undergraduate art students, (b) Practice-led research in design instruction to 6 graduate students, and (c) practice-led research in art and design instruction to 42 undergraduate students. The objectives of this study are: (a) to inquire into the conceptions pertaining to art and design practice research; (b) to understand the 5 undergraduate students’ learning situations in integrating art creation and practice-led research as well as the influence of FTC( Form/ Theme/ Context) model (c) to understand the 6 graduate students’ learning situations and problems in conducting design practice-led research; (d) to explore the learning methods for improving practice-led research and examine their effectiveness; (e) to analyze students’ learning in both creation practice, and theory and writing, as well as combinations thereof; and (f) to analyze students’ learning situations in art and design practice-led research by using the FTCF( Form/ Theme/ Context/ Function) model. Firstly, in literature review, this study dealt with the meanings and types of art and design practice research as well as the related concepts. Secondly, three sub-studies were conducted. Adopting case study method, the first one explored the influence of using FTC model on individual student’s art quality, the whole effectiveness of applying FTC model, and reflections on teaching. The results show significant effectiveness in the quality of artworks. Adopting action research method, the second sub-study involved two cycles of design instruction. The first cycle indicated 2 problematic aspects: the linguistic components and research methods, and the use of the FTCF model. The second cycle showed that the students’ competency regarding the 2 aspects clearly improved. The potential in enhancing “linguistic and visual thinking,” “practice-led research and production,” and “design meta-cognition and creative problem-solving,” practice-led research can enrich the meaning of design work, and expand the knowledge dimensions of work through interpretation. Adopting case study method, the third sub-study found the problems related to learning and improvements for teaching methods, and creative uses of the FTCF model. Finally, the suggestions were discussed for future teaching and research of art and design practice-led research. Keywords: art and design practice research, art and design education in university, FTC model, FTCF model, practice-led research
38
Lucas, Noelene D. "Practice led research into key Buddhist concepts in contemporary art." Phd thesis, 2006. http://hdl.handle.net/1885/11041.
Повний текст джерелаАнотація:
The presentation of this thesis is composed of two parts. The Studio Practice component,
which takes the form of an exhibition held at the School of Art Gallery from February 1 to
February 10, 2006, and the Studio Report, which documents the nature and development of
the research undertaken during the course of study. The Studio Practice component,
together with the studio Report, comprises 66% of the thesis. The Dissertation comprises
33% of the thesis. The Studio Practice component has been based in the Sculpture
Workshop and examines the embodied experience and the manifestation of key Buddhist
concepts in Contemporary Art. The Dissertation discusses the embodiment of the key
Buddhist concepts in the work of Hiroshi Sugimoto, and shows that a Zen meditation-like
experience can be gained through the encounter with the work, and how this experience is
built into the work.
39
Jones, Garry. "Visual Arts Art of Engagement: Practice-Led research into concepts of urban Aboriginal art and heritage." Phd thesis, 2019. http://hdl.handle.net/1885/192883.
Повний текст джерелаАнотація:
My practice-led research explores developments that have underpinned contemporary Aboriginal art within an urban Australian context, taking into consideration the social, cultural, and political influences from colonial times through to the present. This inquiry has three primary components: the emergence of an urban-based Aboriginal ontology, the colonial archive and its ambivalent role in Aboriginal cultural healing and contemporary cultural heritage, and an interrogation of the conceptual tension between ontological being and becoming in the context of Aboriginality today.
I ask the question: What does it mean for me, disconnected from traditional material cultural practices, to "authenticate" my life and cultural identity, through reclaiming and replicating archival objects? These objects were created in the context of functional and/or ceremonial practice, under colonisation became objects of ethnographic curiosity and taxonomy, and are increasingly objects of contemporary art and contemporary cultural heritage.
My exploration has been informed by urban-based artists of the 1980s through to the present, including the Sydney-based Boomalli Aboriginal Artists Co-operative, individual artists such as Trevor Nickolls, Gordon Bennett, Destiny Deacon, Leah King Smith, Christian Thompson and Brook Andrew. I have also explored the work of the late-nineteenth century New South Wales south coast artist, Mickey of Ulladulla. These artists have been significant for me in the context of the time in which they were practicing, the expressions of Aboriginality I perceive demonstrated through their respective art works, and the relationship between identity, place and heritage.
I draw on theorists, historians and philosophers to inform my thesis. These include Aileen Moreton-Robinson, Martin Nakata, and Linda Tuhiwai-Smith, who represent important perspectives on contemporary Indigenous ontologies and epistemologies. Rosi Braidotti, Kwame Anthony Appiah, and Nikos Papastergiadis provide valuable insight into contemporary discourses of globalism and cosmopolitanism. I consider these theories with regard to the "diasporic" nature of many urban-based Aboriginal realities, and the increasingly "glocal" nature of Indigenous art engagements. I also draw on the work of Ian McLean who has contributed significantly to the critical understanding of contemporary Aboriginal art, historically, and as a manifestation of the ongoing process of transcultural negotiation.
The resultant artworks represent a personal archive of cultural ambivalence - a serious folly - consisting of polystyrene artefacts inspired by early archival investigations, colonial notions of cultural progress, and the problematic concept of cultural authenticity. Materially and culturally problematic, the work struggles with personal experiences of alienation and abjection.
40
Kochel, Jason Mark Alexander. "Exact fantasies : practice-led research into the materialisation of fetish power in contemporary art." Phd thesis, 2012. http://hdl.handle.net/1885/150044.
Повний текст джерелаАнотація:
This thesis is comprised of two parts: a Studio Research component with an accompanying Exegesis (66%), and a Dissertation (33%). The Dissertation presents the theoretical component of the research topic - Exact Fantasies: Practice-led research into the materialisation of fetish power in contemporary art.
The term fetish conjures sensuous objects of fixation and perversion. The dissertation argues that the negative perceptions of the fetish derive from its history as an Occidental construction and allude to the colonial, racial and sexual tropes of its heritage. Focusing on the discourses of material culture, anthropology and art history, the fetish is reconsidered as a rejection of the aesthetics of the Sublime, incorporating perceived abject states located in the non-Western Other. The magical principles relating to the fetish incorporate these abject states through body metaphors and mimetic principles of sympathetic magic. Fetish power in art operates through the exploitation of these body metaphors, reifying non-sensuous conceptions of the world through the untranscended materiality of the art object. The studio research and exegesis present sculptural work examining the embodied relationship of the fetish to the body, through material metaphors of containment, boundaries and fluidity. Contemporary fetish discourse and fieldwork at the Pitt Rivers Museum, Oxford and Mus{u00E9}e du quai Branly, Paris, provide a theoretical and material framework from which to reconsider the fetish artefact. The sculptural work incorporates perceptions of purity and contagion through principles of sympathetic magic to explore personified qualities of the inanimate whilst avoiding figurative representation. The work is presented as a series of installation tableaux alluding to phantasmagoria and a Freudian sense of the uncanny, a sense of the familiar made foreign. This sense of misrecognition acknowledges the power of mimetic transformation that occurs through sympathetic magic, giving bodily power to objects that bear no resemblance to the bodies they reference.
41
Farrell, Kirsten Sue. "The Performance of Colour: Time, Material, Time, Language." Phd thesis, 2015. http://hdl.handle.net/1885/101991.
Повний текст джерелаАнотація:
This practice-led thesis considers what it is to imagine colour
at the limits of language as art practice. The
main project of this research,
The Vivisector Oracle: A Colour System for the Discovery of Truth
for Artists and Others
in Times of Uncertainty
(2013-ongoing) began as a list of all the colours in Patrick
White’s novel
The Vivisector
and expanded into a work with several iterations: a set of
collages using paint swatches, installation, objects,
and a series of one-on-one performances. I also produced a
significant body of
drawings which together
propose that the relationship between colour, time and space
allow a view of colour as performative.
Through my consistently speculative studio processes I have aimed
to conduct research that is both material
and philosophical into the meanings of colour. This thesis’
contribution to contemporary visual practice is an
expanded idea of colour as performative, and as a way of thinking
that includes language and systems but
simultaneously reaches beyond them.
42
Simpson, Sally Robyn. "Practice-led research into ways the museum is explored as a house of wonder in contemporary sculpture." Master's thesis, 2012. http://hdl.handle.net/1885/156002.
Повний текст джерелаАнотація:
The contemporary ecological debate embodies diverse opinions reflecting the complexity of information available. The museum has recorded the history of human-nature relations, and has influenced ways in which meaning has been assigned to nature. Its influence over the interpretation of objects has been critiqued by 20th century artists and postmodern theorists. However, the museum also continues to engage and inspire some artists, and this research uncovers reasons for this. This research investigates the ways in which contemporary sculpture can employ museum aesthetics to draw attention to flexible and uncertain meaning regarding ecological issues. It is undertaken in two parts. The first, the studio work with an exegesis of 8,000 words, investigates two particular sites and applies museum methodology to sculptures inspired by those environments. The work is supported by a dissertation of 18,000 words researching the work of Mark Dion and Fiona Hall. Both of these artists appropriate museum aesthetics in order to demonstrate that meaning is flexible and engage the viewer in the interpretive process. The studio research culminates in two bodies of work related to the two sites chosen, using the aesthetics of cultural artefacts, natural specimens, and skeleton galleries found in museums of natural history and ethnography. The form and materiality of these objects intends to defy didactic interpretation. The dissertation reveals that, as a result of its history, the museum is a house of wonder and mystery. The examination of Dion's and Hall's works demonstrates their use of postmodern strategies to both challenge the museum and exploit its potential as a house of wonder, and ultimately to engage the viewer's curiosity and active interpretation.Vol.1: Dissertation -- vol.2: Exegesis.
43
Balla, Paola. "Disrupting Artistic Terra Nullius: The Ways that First Nations Women in Art & Community Speak Blak to the Colony & Patriarchy." Thesis, 2020. https://vuir.vu.edu.au/42147/.
Повний текст джерелаАнотація:
The concept of ‘artistic terra nullius’ refers to the violent erasure of First Nations peoples in colony Australia and highlights their absence – particularly Aboriginal Women – in the white-dominated arts world. This doctoral research by creative project and exegesis sets out to document and respond to the work of Aboriginal women in art and community. I have used practice-led inquiry as the main methodology, informed by my own roles as artist, writer, curator, community researcher and as a Wemba-Wemba & Gunditjmara, matriarchal and sovereign woman. Practising community ways of 'being, knowing and doing' to witness, participate and respond to Aboriginal women's art making and activism, I developed a new body of visual works and a series of essays, together with an exegesis relating to the project as a whole.
The exhibition in December 2019 at Footscray Community Arts Centre held two bodies of work in two spaces. The ontological (or Being) space was a healing space of unconditional love, one of memory, timelessness, and respite. It has been created as 'daily acts of repair' in collaboration with other Aboriginal women and family members in a new process of bush dyeing fabrics, clothing and rags to become 'healing cloths”, dyed with gathered gum leaves, bush flowers, plants and Wemba-Wemba family bush medicine gifted to me from my Aunties. As a three-dimensional space, it makes visible trauma trails and stains and visualises what respite and healing could look and feel like. Under the 1961 flickering Super-8 image of my great-grandmother, this space also recreates ‘home’, particularly resonating with Aboriginal women’s curation of ‘home’ even in Mission housing. The second space, an epistemological (or Knowing) space, was an active studio of photographic based works drawn from matriarchal family stories, both past, present and future, and archival research. It included scholarly and other literature on Blak art and representation, in a recreation of my home studio and office.
These bodies of work were made over a four-year project, drawing on concepts of de-colonising, Aboriginal feminist standpoint theory (Moreton- Robinson) and sovereignty. In emphasising making art as both research and artistic outcomes, I demonstrate art as a sovereign act, based in cultural practice and sovereign values. Both the exhibition spaces and the exegesis weave across past, present and future, across research in family, community and the Aboriginal women’s arts-work, across multiple creative media and stories – in the process here called ‘Ghost Weaving’. Responding to various modes of oppression, patriarchy and racism, Blak women’s art is not only a form of resistance to colonising, to violence, to academia and the white art world. It is also an ethical foregrounding of other forms of knowing and being.
The exegesis is in two main parts: the written, thesis-element and a series of appendices which include a pictorial record of the exhibition, links and lists of related works, including relevant essays.
44
Mayo, Rebecca. "Labours of care: Art practice and urban ecological restoration." Phd thesis, 2018. http://hdl.handle.net/1885/155208.
Повний текст джерелаАнотація:
This research reveals how an art practice built around ethics of
care offers a means of enacting an ecological responsibility. As
cities and their human populations continue to grow, urban creeks
and green spaces are becoming increasingly important and
contested. Habitat loss for non-human species increases the need
to care for these places. My volunteer work as a ‘Friend of
Merri Creek’ in Melbourne’s northern suburbs, prompted this
practice-based research which has explored practices of care as
both subject matter and method. I argue that the processual,
repetitive and labour-intense nature of my practice are qualities
shared by environmental restoration work. This led me to ask:
What could my art practice, based in print and textiles, reveal
about practices of ecological restoration and degradation at an
urban creek? I have set out to explore this question by bringing
Merri Creek and my art practice closer together, using the
meditative and repetitive acts of walking, weeding, planting,
sewing and printing with locally collected plant dye.
Through studio and field-based investigation, I have established
a way to observe contemporary and historic actions that have
altered the Merri Creek
ecosystem. Further, through an exploration of process, repetition
and labour, I have found ways to produce artworks that manifest
through—and reveal—practices of care. My research culminated
in three works, brought together in an installation at Wagga
Wagga Art Gallery, together with an exegetical text. Building and
departing from feminist debates surrounding an ‘ethics of
care’, I draw on the work of theorists that approach care from
materialist, ecological and practice-based standpoints. If care
is a way of seeing and acting in the world in which
interdependency and relationships are foregrounded and the
potential to take responsibility is raised, then my examination
of care as practice and method of art, and its interpretation,
offers a path through which to navigate an increasingly
precarious world.
45
Bradley, Jacqueline. "Well Equipped: Assembling the Outdoors." Phd thesis, 2018. http://hdl.handle.net/1885/154286.
Повний текст джерелаАнотація:
My research seeks to find methods of art making that can approach
the tangled layers of meaning, history, geology and intersecting
experience which make up a contemporary relationship to the
outdoors. This investigation is scaffolded by three key
approaches: The use of assemblage as a material and philosophical
practice, the development of an ontology for the outdoors, and a
situated and subjective framing of the landscape.
The question I ask is: How can I use a personal narrative in art
to make visible the complex layered systems that make up the
outdoors?
There are two interlinked sites of exploration in this research:
the shaping and defining of the outdoors as a potential field of
study, and the development of a layered, single protagonist
approach to developing sculpture in order to test the ways in
which this field might function.
I locate these arguments with reference to artists Rosalie
Gascoigne, Cornelia Parker, Ann Hamilton, Rebecca Horn, Julie
Gough and Dorothy Cross. These artists have made assemblage a
core focus of their practices over several decades. While
assemblage is a broad field in both contemporary art and social
sciences contexts, I have consciously chosen to situate my work
in relation to artists engaging with materials for their
linguistic, cultural and physical properties, and who are
concerned with site-specificity, place and memory.
Theorists, philosophers and historians including Edward Casey,
Simon Schama and Rebecca Solnit have informed my framing of the
term outdoors through their research into landscape theory and in
their arguments on memory and experience in the construction of
place. The writings of Lorna Finlayson, Marsha Meskimmon, Donna
Haraway, Brian Fay and Barbara Kingsolver have assisted in
shaping my approach to the single protagonist narrative; and Anna
Dezeuze and Sheri Klein were pivotal in the development of an
assemblage approach utilising humour to create a partially shared
experience.
The resultant artworks use clothing and items related to the body
in combination with outdoors imagery and found materials as a way
of connecting and integrating figure and landscape. In these
artworks I have explored the outdoors not only as a place in
which we enact our identity, as individuals and as a broader
society, but as a collection of entangled systems of which we are
a part.
46
Miller, Gwenneth. "Modelling an innovative approach to intermediality within visual art practice in South Africa." Thesis, 2015. http://hdl.handle.net/10500/22002.
Повний текст джерелаАнотація:
The study is practice-led in visual art and it explores the impact of intermediality to validate that new knowledge emerges via processes that lead to possibilities of transformative hybridity. Intermediality was established and generated through a productive reciprocity between practice and theory as well as between analogue and digital art. The research created a community of enquiry through an exhibition entitled TRANSCODE: dialogues around intermedia practice (2011) in order to model innovative approaches towards improvement of transmedial artistic practice. The diversity of work by artists involved in this exhibition allowed exploration of a range of creative processes to investigate and understand characteristics of productive intermediality. The concept of transcoding in this study was derived from Deleuze and Guattari, which describes how one milieu functions as a foundation for another, implying an intermedial tension. TRANSCODE alludes to the mediation that transcribes meanings across boundaries and within complexity. Selected characteristics of narratives, space, embodiment and visual systems were researched through the lens of mediamatic thinking, which refers to thinking via media. The study proposes that intermediality is best seen as a construct of the tensional differences that become enriched within the grey areas. In applying Deleuze and Guattari‘s metaphor of the rhizome and Tim Ingold‘s concept of the mycelial mesh, the research project not only prompted structured collective thinking through practice, but also captured various case studies relevant to practice-led methodology.Art History, Visual Arts and Musicology
D. Litt. et Phil. (Art History)
47
Odendaal, Marié Antoinette. "Visual strategies in video art : the simulation of traumatic memories." Diss., 2021. http://hdl.handle.net/10500/27613.
Повний текст джерелаАнотація:
This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.Art and Music
M.V.A.
48
Van, Wyk Vicki Alexandra Ross. "Performativity in art as reconstructions of the self in addressing conditions of depression." Thesis, 2014. http://hdl.handle.net/10321/1433.
Повний текст джерелаАнотація:
Submitted in partial fulfillment of the requirements for the degree of Master of Technology : Fine Arts, Durban University of Technology, Durban, South Africa, 2014.The motivation for this research results from the notion that art-making is a regenerative enriching process that can counteract the sense of dislocation that one suffers as a consequence of depression. The study has two objectives: to open a discourse around the transformative function of art for a person suffering depression; and challenge notions of dominant constructed ideals of normality by presenting alternative realities of the performative mind. From the earliest memories of my life, I knew I did not fit in, I was not part of the crowd. Depression has been my companion ever since I can remember. The intention for this self-study is to interrogate the ways in which art can become a self-actualising process in coping with depression. The content for this research deals with narratives of the mind, that is, my understanding of who I am. I have therefore, positioned myself as the pivot for this research, drawing on authentic personal experiential knowledge. This autobiographical phenomenological study is thus a self-reflexive exploration addressing concepts of difference and belonging in relation to social constructs of acceptability. The study looks at contemporary concepts of multiple selves, relationality and the application of therapeutic methodologies within art practice. Art-making becomes games of truth, mind games that offer alternative realities and possibilities for the construction of complex, multi-faceted narratives as dialogues between the self and the inner critic. Of importance is the concept that self is not a fixed conclusive notion but one that continues to unfold, shift and become a multi-layered construct. These new narratives examine how creativity enables or creates a sense of belonging or re-positioning of one’s states of mind. The overall intention of the art-making process is its potential for transformative self-recovery processes – the re-construction of who we are, rather than how we are perceived. This research thus examines the notion of belonging in this world through body/land enactments of ritualised behaviour. The body as metaphor investigates rites of passage as the re-tellings of one’s story within specific body/site/space relationships. The ideal of connection to site is central as a means of renewal and recovery – these performative relationships become the creative meaning-making processes of locating or positionality. In support of these ideas and concepts, the work of Ana Mendieta, Magdalena Abakanowicz and Suzanne Lacy are considered in relation to ideals of positionality and as reflecting each artist’s ethics or paradigms of equality. Artworks are examined against the notion of locating oneself within social contexts. The aim is to question the intention and outcomes of art-making as social function in dealing with issues of marginalisation and stigma. Performativity, personal writings/reflections and memory drawings are the quintessential tools of my art-making. The written psychological renderings and unravellings of my mind, questionings that are both reflexive and critical, are intentionally presented in dialogical, conversational and direct modes. This personal tone aims to allow a scope into my mind – it is my perspective from the inside, my voice, my personal understanding of the potential of art as a metaphorical process of transformation. Lacy asserts that the artist becomes a witness, reporter and analyst for socio-culturally biased concerns; a performance gives public articulation and permission to speak out loud, gives voice to internal dialogues, reveal information that requires questioning and that personal individual experience has profound social implications. Lacy believes that it is an innate human need to reflect on the meaning of one’s life and one’s work (2010:176-177). Central to the findings of this study, are both the transgressive and transformative functions of art.
M
49
McGarry, Llewellyn Ane. "Beyond the Immeasurable." Phd thesis, 2018. http://hdl.handle.net/1885/149566.
Повний текст джерелаАнотація:
My thesis, Beyond the Immeasurable, is a biographical exploration
of my collective: my ex-husband and three children. My method is
based in collecting. The outcomes of my research are works of art
developed from material sourced, classified, and collected in my
domestic environment.
Over the four years of research, I collected specimens, personal
matter, empirical data, and found objects. It ranged from
evidence of the body (hair, teeth, food scraps, and saliva),
soundscapes from within the home (audio recordings of the
collective during interactions), documented performances, and
statistical/empirical data of interactions (dates, times,
durations). My practice engaged with a number of themes and
theories including collecting practices, interpersonal
contamination, domestic space, feminist art and craft, and
identity as well as contextualising my research amongst artists
such as Sophie Calle, Annette Messager, and Louise Bourgeois. In
the end, it became the evidence of our lives and experiences. As
the project progressed, the research evolved to focus on defining
who I was, my role within the collective, and, despite the
collective’s demise, ultimately, the project was about love.
The research outcomes encompass a collection of sculptural,
photographic, performance and video pieces.
I found, in response to my aims, my practice-led research had
become a narrative which gave me a sense of self, place, and
belonging. These collections and the proceeding works resulted in
a demonstration of a metaphorical fusion of identities,
establishment of relationships within the collective,
consolidation of different personas and facets of my life, and
the development and redefinition my visual arts practice. The
most surprising discovery, was the redefining of my role as a
mother and the acceptance of this expressed through feminine
craft with materials I collected from my own domestic space, my
home.
50
Seccombe, Erica. "Grow: Experiencing Nature in the Fifth Dimension." Phd thesis, 2016. http://hdl.handle.net/1885/118282.
Повний текст джерелаАнотація:
Grow: Experiencing Nature in the Fifth Dimension,
is an interdisciplinary practice-led research project
traversing the realms of art, science and technology through the
exploration of germinating seeds. Through my investigation of the
aesthetic possibilities of the computational extension of vision
with time-resolved (4D) micro-X-ray Computed Tomography, I have
tested the potential for visualising virtual germinating seeds in
an immersive stereoscopic installation. Using this technology I
have set out to create a work of art where an audience can
experience seed growth from a very different perspective.
However, the rationale to propagate seeds in this way began not
just to test the limitations and possibilities of this
technology. As an artistic inquiry, my premise for focusing on
plant life also began as a way to examine this work from an
ecological perspective. By considering the third and fourth
dimensional elements in this project I am proposing that an
individual’s experience of nature in my work can be considered
as an additional ‘fifth dimension’. My research is placed
within a range of disciplines from contemporary art and new media
practices to scientific technological research and the natural
sciences. The works of art developed through this research have
been viewed in relation to ideas of the fourth dimension in
modern art, to microscopy in both historical and contemporary art
practice, to contemporary installation practices, and in relation
to ideas of time and wonder. My experience of meeting the Seed
Morphologist Dr Wolfgang Stuppy and staying at the Millennium
Seed Bank, Royal Botanic Gardens, West Sussex in the UK has also
been a point of reflection. The seed becomes a visual analogy for
ideas of time, growth and renewal in the context of issues of
creating art in the time of the Anthropocene. This exegesis
explores the multi-dimensional properties of my research in the
wider context of art, science and philosophy.