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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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Huntley, Rebecca. ""Sex on the Hustings" : labor and the construction of 'the woman voter' in two federal elections (1983, 1993)." Connect to full text, 2003. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20040209.113517/index.html.
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au, Zsuzsanna Millei@newcastle edu, and Zsuzsa Millei. "A genealogical study of the child as the subject of pre-compulsory education in Western Australia." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081002.80627.
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The study produces a genealogy of the child as the shifting subject constituted by the confluence of discourses that are utilized by, and surround, Western Australian precompulsory education. The analysis is approached as a genealogy of governmentality building on the work of Foucault and Rose, which enables the consideration of the research question that guides this study: How has the child come to be constituted as a subject of regimes of practices of pre-compulsory education in Western Australia?
This study does not explore how the historical discourses changed in relation to the child as a universal subject of early education, but it examines the multiple ways the child was constituted by these discourses as the subject at which government is to be aimed, and whose characteristics government must harness and instrumentalize. Besides addressing the research question, the study also develops a set of intertwining arguments. In these the author contends that the child is invented through historically contingent ideas about the individual and that the way in which the child is constituted in pre-compulsory education shifts in concert with the changing problematizations about the government of the population and individuals. Further, the study demonstrates the necessity to understand the provision of pre-compulsory education as a political practice.
Looking at pre-compulsory education as a political practice de-stabilizes the takenfor-granted constitutions of the child embedded in present theories, practices and research with children in the field of early childhood education. It also enables the de- and reconstruction of the notions of childrens participation, empowerment and citizenship. The continuous de- and reconstruction of these notions and the destabilization of the constitutions of the child creates a framework in which improvement is possible, rather than a utopian, wholesale and, thus revolutionary, transformation in early education (Branson & Miller, 1991, p. 187). This study also contributes to the critiques of classroom discipline approaches by reconceptualizing them as technologies of government in order to reveal the power relations they silently wield.
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Davies, Evan. "Mandatory detention for asylum seekers in Australia : an evaluation of liberal criticism." University of Western Australia. Political Science and International Relations Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0202.
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This thesis evaluates the policy of mandatory detention for asylum seekers maintained by successive Australian governments against several core liberal principles. These principles are derived from various accounts of liberal political thought and the major themes and criticisms inherent in the public debate over the policy. The justifications of the policy given by the Australian government and the criticisms enunciated by scholars, refugee advocates and non-government organisations with respect to the policy strongly correspond with the core liberal principles of fairness, protecting the rights of the individual, accountability and proportionality. The claims of the critics converge on a central point of contention: that the mandatory detention of asylum seekers violates core liberal principles. To ascertain the extent to which the claims of the critics can be supported, the thesis selectively draws on liberal political theory to provide a framework for the analysis of the policy against these liberal principles, a basis for inquiry largely neglected by contributors to the literature. This thesis argues that, on balance, the mandatory detention policy employed by successive Australian governments violates core liberal principles. The claims of the critics are weakened, but by no means discredited, by the importance of the government's maintenance of strong border control. In the main, however, criticisms made by opponents of the policy can be supported. This thesis contributes to the substantial body of literature on the mandatory detention policy by shedding light on how liberal principles may be applicable to the mandatory detention policy. Further, it aims to contribute to an enriched understanding of the Australian government's competence to detain asylum seekers.
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Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.
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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.
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Douglas, Steven Murray, and u4093670@alumni anu edu au. "Is 'green' religion the solution to the ecological crisis? A case study of mainstream religion in Australia." The Australian National University. Fenner School of Environment and Society, 2008. http://thesis.anu.edu.au./public/adt-ANU20091111.144835.
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A significant and growing number of authors and commentators have proposed that ecologically enlightened (greened) religion is the solution or at least a major part of the solution to the global ecological crisis. These include Birch, 1965 p90; Brindle, 2000; Callicott, 1994; Gardner, 2002, 2003, 2006; Gore Jr., 1992; Gottlieb, 2006, 2007; Hallman, 2000; Hamilton, 2006b, a, 2007b; Hessel & Ruether, 2000b; Hitchcock, 1999; King, 2002; Lerner, 2006a; McDonagh, 1987; McFague, 2001; McKenzie, 2005; Nasr, 1996; Oelschlaeger, 1994; Palmer, 1992; Randers, 1972; Tucker & Grim, 2000; and White Jr., 1967. Proponents offer a variety of reasons for this view, including that the majority of the worlds and many nations people identify themselves as religious, and that there is a large amount of land and infrastructure controlled by religious organisations worldwide. However, the most important reason is that religion is said to have one or more exceptional qualities that can drive and sustain dramatic personal and societal change. The underlying or sometimes overt suggestion is that as the ecological crisis is ultimately a moral crisis, religion is best placed to address the problem at its root.
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Proponents of the above views are often religious, though there are many who are not. Many proponents are from the USA and write in the context of the powerful role of religion in that country. Others write in a global context. Very few write from or about the Australian context where the role of religion in society is variously argued to be virtually non-existent, soon to be non-existent, or conversely, profound but covert.
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This thesis tests the proposition that religion is the solution to the ecological crisis. It does this using a case study of mainstream religion in Australia, represented by the Catholic, Anglican, and Uniting Churches. The Churches ecological policies and practices are analysed to determine the extent to which these denominations are fulfilling, or might be able to fulfil, the proposition. The primary research method is an Internet-based search for policy and praxis material. The methodology is Critical Human Ecology.
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The research finds that: the greening of these denominations is evident; it is a recent phenomenon in the older Churches; there is a growing wealth of environmentalist sentiment and ecological policy being produced; but little institutional praxis has occurred. Despite the often-strong rhetoric, there is no evidence to suggest that ecological concerns, even linked to broader social concerns (termed ecojustice) are core business for the Churches as institutions. Conventional institutional and anthropocentric welfare concerns remain dominant.
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Overall, the three Churches struggle with organisational, demographic, and cultural problems that impede their ability to convert their official ecological concerns into institutional praxis. Despite these problems, there are some outstanding examples of ecological policy and praxis in institutional and non-institutional forms that at least match those seen in mainstream secular society.
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I conclude that in Australia, mainstream religion is a limited part of the solution to the ecological crisis. It is not the solution to the crisis, at least not in its present institutional form. Institutional Christianity is in decline in Australia and is being replaced by non-institutional Christianity, other religions and non-religious spiritualities (Tacey, 2000, 2003; Bouma, 2006; Tacey, 2007). The ecological crisis is a moral crisis, but in Australia, morality is increasingly outside the domain of institutional religion. The growth of the non-institutional religious and the spiritual but not religious demographic may, if ecologically informed, offer more of a contribution to addressing the ecological crisis in future. This may occur in combination with some of the more progressive movements seen at the periphery of institutional Christianity such as the eco-ministry of Rev. Dr. Jason John in Adelaide, and the Creation Spirituality taught, advocated and practiced by the Mercy Sisters Earth Link project in Queensland.
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Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.
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Bibliography: pages 232-240.This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
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Reinke, Leanne 1964. "Community, communication and contradiction : the political implications of changing modes of communication in indigenous communities of Australia and Mexico." Monash University, School of Political and Social Inquiry, 2001. http://arrow.monash.edu.au/hdl/1959.1/8812.
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Honeywill, Greer 1945. "Colours of the kitchen cabinet : a studio exploration of memory, place, and ritual arising from the domestic kitchen." Monash University, Dept. of Fine Arts, 2003. http://arrow.monash.edu.au/hdl/1959.1/5621.
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Donelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.Department of Art
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Koekemoer, Carmen. "Political grey : areas of ambiguity and contradiction." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013136.
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This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
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Buttsworth, Sara. "Body count : the politics of representing the gendered body in combat in Australia and the United States." University of Western Australia. History Discipline Group, 2003. http://theses.library.uwa.edu.au/adt-WU2004.0023.
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This thesis is an exploration of the construction of the gendered body in combat in the late twentieth century, in Australia and the United States of America. While it is not a military history, aspects of military history, and representations of war and warriors are used as the vehicle for the analysis of the politics of representing gender. The mythic, the material and the media(ted) body of the gendered warrior are examined in the realms of ‘real’ military histories and news coverage, and in the ‘speculative’ arena of popular culture. Through this examination, the continuities and ruptures inherent in the gendered narratives of war and warriors are made apparent, and the operation of the politics of representing gender in the public arena is exposed. I have utilised a number of different approaches from different disciplines in the construction of this thesis: feminist and non-feminist responses to women in the military; aspects of military histories and mythologies of war specific to Australia and the United States; theories on the construction of masculinities and femininities; approaches to gender identity in popular news media, film and television. Through these approaches I have sought to bring together the history of women in the military institutions of Australia and the United States, and examine the nexus between the expansion of women’s military roles and the emergence of the female warrior hero in popular culture. I have, as a result, analysed the constructions of masculinity and femininity that inform the ongoing association of the military with ‘quintessential masculinity’, and deconstructed the real and the mythic corporeal capacities of the gendered body so important to warrior identity. Regardless, or perhaps because of, the importance of gender politics played out in and through the representations of soldier identity, all their bodies must be considered speculative.
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Purnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts, and Department of Art History and Criticism. "The voice of muted people in modern Indonesian art." THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.
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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of viewMaster of Arts (Hons)
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Risely, Melissa. "The politics of precaution : an eco-political investigation of agricultural gene technology policy in Australia, 1992-2000." Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phr5953.pdf.
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Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.
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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.
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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.
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Steyn, Pieter Andrew. "The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.
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This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general category 'art' as an organisational form. Despite its limitations, the essay goes beyond the personal by exploring some of the social, political, economic and cultural processes that form the broader social context in which the examination of 'art' should take place.
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Lovric, Ivo Mark. "Ghost Wars : the Politics of War Commemoration." Phd thesis, Canberra, ACT : The Australian National University, 2011. http://hdl.handle.net/1885/150317.
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Ghost Wars: the politics of war commemoration: research into dissenting views to war and other aspects of the Australian experience of war that are marginalised by the Australian War Memorial. A study taking the form of an exhibition of a filmic (video) essay, which comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken, and the Dissertation, which comprises 33% of the Thesis.
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Lochner, Eben. "The democratisation of art CAP as an alternative art space in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.
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While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.
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Hignell-Tully, Daniel Alexander. "Scoring other : the social function of art-making." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68361/.
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To what degree is it possible to score an artistic event for which the impetus is a social, rather than aesthetic, effect - and indeed, to what degree are these effects separable? How, in short, can the composer or artist create a blueprint for a relational practice that is fundamentally concerned more with actions within the community than it is with any outcomes or objects presented to the community? This thesis seeks to explore the role of the Other through the composition of a set of participatory scores for social activity. Devised from the perspective of a composer and sound-artist, this practice-led research investigates three strands of social engagement: collaboration, interpretation, and intervention. These strands each revolve around the problems inherent to performing and scoring socially-engaged, site-specific sound works, as well as the reality of their dissemination in the public domain. Each of the methods employed not only feeds back into the score-making process, but also serves to critique existing methods and hierarchies within artistic participation, ultimately arguing for an open-ended and non-linear relationship between the act of sensing, and the (community-influenced) construction of the sensible. Exploring post-structural, ethical, and ontological notions of what it means to share and construct community with Other, this research examines the role of art as a creative movement between self-constructs that are at once individual and indivisible from the community. This work argues that such creativity extends not only to the realisation of artworks, but across the whole gamut of activity within the social event. By undertaking practice-based research into the role of Other within the event of an artwork, this thesis interrogates the socio-political hierarchies inherent to both the specific art-event, and the pre-existing community in which such events unfold. As such, the art-event points not only to the specific creative act of its making, but equally the latent creativity within the community in which the art is disseminated. The spectator, no less than the artist, defines the terms of the community by which such acts are made available to perception as an ontological reading that is not only sensed, but sensible.
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Featherstone, Lisa. "Breeding and feeding: a social history of mothers and medicine in Australia, 1880-1925." Australia : Macquarie University, 2003. http://hdl.handle.net/1959.14/38533.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Modern History, 2003.Bibliography: p. 417-478.
Introduction: breeding and feeding -- The medical man: sex, science and society -- Confined: women and obstetrics 1880-1899 -- The kindest cut? The caesarean section as turning point -- Reproduction in decline -- Resisting reproduction: women, doctors and abortion -- From obstetrics to paediatrics: the rise of the child -- The breast was best: medicine and maternal breastfeeding -- The deadly bottle and the dangers of the wet nurse: the "artificial" feeding of infants -- Surveillance and the mother -- Mothers and medicine: paradigms of continuity and change.
The late nineteenth and early twentieth centuries saw profound changes in Australian attitudes towards maternity. Imbibed with discourses of pronatalism and eugenics, the production of infants became increasingly important to society and the state. Discourses proliferated on "breeding", and while it appeared maternity was exulted, the child, not the mother, was of ultimate interest. -- This thesis will examine the ways wider discourses of population impacted on childbearing, and very specifically the ways discussions of the nation impacted on medicine. Despite its apparent objectivity, medical science both absorbed and created pronatalism. Within medical ideology, where once the mother had been the point of interest, the primary focus of medical care, increasingly medical science focussed on the life of the infant, who was now all the more precious in the role of new life for the nation. -- While all childbirth and child-rearing advice was formed and mediated by such rhetoric, this thesis will examine certain key issues, including the rise of the caesarean section, the development of paediatrics and the turn to antenatal care. These turning points can be read as signifiers of attitudes towards women and the maternal body, and provide critical material for a reading of the complexities of representations of mothers in medical discourse.
Mode of access: World Wide Web.
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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.
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Polgovsky, Ezcurra Mara. "Touched bodies : corporeal ethics in Latin American art at the onset of the media age." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.
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Leung, Wai-yee, and 梁偉怡. "The politics of perversion: the critical pedagogy of art in the age of advanced mechanical reproduction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952720.
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Cooper, Craig. "The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.
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This thesis acknowledges the current situation of political unrest in Hong Kong and examines the volatile horizons that began to emerge from late 2014, while also understanding those that came before. The thesis unpacks the relationships between art, architecture and society and their significance in relation to Hong Kong. Through highlighting and identifying the potential restrictions and examining and responding to the legacy and logic of Occupy Central, this thesis proposes an expansion of the space of possibilities for art in Hong Kong.The interweaving of diverse subjects are part of an intersectional methodology. The frequent changing of artists, locations and subjects have evolved out of the geopolitical situation that this author was embedded within and the architectural conditions under consideration in the research. By using techniques of close analysis and interviews, unpacking existing relationships, creating new temporary relationships (intersectionality) through exhibitions, reports, site visits and experimental curatorial strategies within the city, this thesis articulates the positions and subjectivities that can form around an artwork and its communities of production. This thesis navigates the haunted spaces concealed by ideological barriers, exposing varying sites of production and tensions through time and place. Research examines and proposes new ideas and approaches to art and art-working in Hong Kong while considering the marginalised, alienated and the xeno. Through highlighting a hitherto absent sense of commonality between the government and its subjects and exploring all corners of the political spectrum, the research critically examines the roots of ideological logic as expressed in the city-form and sets out to expand the space of possibilities.
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Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
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The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
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Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.
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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.
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Tickle, Sharon. "Assessing the "real story" behind political events in Indonesia : email discussion list Indonesia-L's coverage of the 27 July 1996 Jakarta riots." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35887/1/35887_Tickle_1997.pdf.
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The government-backed invasion of the Indonesian Democratic Party's Jakarta headquarters on the morning of27 July 1996, and the resulting violent riots in which
at least five people died marked a pivotal point in Indonesian politics generally, and the pro-democracy movement specifically. This was a newsworthy event which was covered extensively by the broadcast and print media globally, however the time taken to relay the story and the credibility of the reports was highly variable for
domestic as well as foreign media. Coverage by a national and regional Indonesian newspaper, as well as a national and regional Australian newspaper was compared
with the email discussion list Indonesia-L's coverage for the news values of timeliness and accuracy. The October 1996 reports into the incident by the Indonesian National Commission for Human Rights and Human Rights Watch/ Asia
were used as reference materials to evaluate the accuracy of the media reporting. The degree of government involvement in the attack on the PDI HQ was not reported by the Indonesian daily newspapers which also under-reported the number of victims while focussing on the law and order aspect of the story. Reportage by both the
national and regional Australian papers focussed on the violence of the riots which
posed a threat to President Soeharto 's rule, the role of the armed forces in
maintaining law and order, and also underestimated the number of victims. Indonesia-L disseminated the fastest and most accurate reports of the event with eyewitness
accounts providing considerable detail. Only two of the 18 postings were found to be sensationalistic and inaccurate. Implications for the future use of
computer-mediated communication, such as email discussion lists, as an alternative source of news which circumvents government control, as well as the time and commercial constraints of print media are discussed.
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Aly, Anne M. "Audience responses to the Australian media discourse on terrorism and the 'other' : the fear of terrorism between and among Australian Muslims and the broader community." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/176.
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The terrorist attcks on the World Trade Centre and the Pentagon on 11 September 2001 heralded an era of unprecedented media and public attention on the global phenomenon of terrorism. Implicit in the Australian media's discourse on terrorism that evolved out of the events of 11 September is a construction of the Western world (and specifically Australia) as perpetually at threat of terrorism.
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Oliveira, Mariana Bueno de. ""Tenho gatilhos e tambores" : impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967) /." Marília, 2018. http://hdl.handle.net/11449/157168.
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Orientador: Marcelo Augusto TottiBanca: Rodrigo Czajka
Banca: Thaís Regina Pavez
Resumo: A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research addresses the engagement of bossa nova by recording work of Sergio Ricardo's analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo's work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or class... (Complete abstract click electronic access below)
Mestre
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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
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De, Kock-Wiesener Cornelia. "Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
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In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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Jennings, Reece. "The medical profession and the state in South Australia, 1836-1975 /." Title page, contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09MD/09mdj54.pdf.
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Kaden, Martha J. "Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.
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Thesis (MA)--University of Stellenbosch, 2002.214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
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Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
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South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.
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Victor, Suzann, University of Western Sydney, College of Arts, and School of Humanities and Languages. "Abjection : weapon of the weak." 2008. http://handle.uws.edu.au:8081/1959.7/39710.
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This research considers the performance of situated subjectivity where the state and the individual vie for dominion over the drives that construct the body as what one has (the body as object), as what one is (the body as subject), and as what one becomes (the absent body). To turn power into pain, the State prospects the body of the subject to anchor its power through abjection. In so doing, it compels that body to channel the abject as a power to be wielded as a weapon of the weak, thus forcing into view the true interior of the State. Sections I and II position a discourse of trauma in Singapore using a parenthetical framework that is constructed by and mediated through the criminalized and punishable bodies of two young Asian males. The first discusses the carefully constructed ob-scene (off-stage) nature of the obscene (abhorrent) execution of convicted drug trafficker Van Nguyen in 2005 (the body as object); the second examines its inverse – the public spectacle of creative ‘death’ imposed upon artist Josef Ng (the body as subject) through government condemnation and expulsion for an alleged obscene (immoral) performance at 5th Passage in 1994. To do this, the thesis engages with the enforced interchangeable processes of disembodiment (for the display of symbolic violence) and embodiment (for the exertion of physical violence). Comparisons are also made of the way the State demonstrates its preparedness to turn the display of power into a process of exacting the ultimate pain from the punishable body. This is perpetrated on the one hand via a spectacle of invisibility that keeps the mandatory death penalty a secretive process, and on the other, its inverse, the publicly staged media spectacle of persecuting performance artist/s and 5th Passage. The events that follow led to the defacto banning of performance art and 5th Passage’s demise in 1994, ending my role as its artistic director. By relocating the performance of death from the high courts and offices of Singapore’s Home Affairs Ministry (the site of symbolic violence) and Changi Prison (site of physical violence) into plain sight in the Australian media, the press is discussed as an instrumental force in deploying a penal counter-aesthetic to pierce through Singapore’s veil of secrecy surrounding its executions. The thesis demonstrates how this engendered a ‘seeing through’ that galvanized acts of intersubjectivity and the performance of social witnessing in Australia as an attempt to save Van Nguyen from the gallows. The institutional censorship of an artwork about the execution in 2005 is discussed to show how signifying practices such as visual art continued to agitate the state’s performance to construct itself as a “global city for arts and culture” on one hand while crushing artistic subjectivity when it is perceived as dissent on the other. This glimpse into the fragility of the Singapore nation’s divergent desires, where one performance portrays the disintegration of another, recalled the originary cultural rupture at 5th Passage in 1994 when artists engaged in performance were sensationalized in the Singapore media as social deviants. As an extension of state apparatus, the media is shown to repress artistic subjectivity through its creation of a controversy that led to the illegitimization of scriptless performance art, thus producing a distinctively Singaporean cultural artefact – the absent body. Out of the personal and social trauma framed by this confrontation with the state, Section III presents a body of visual work that I have since produced in the period marked by these two events (between 1994 to 2008) as a reply to the state. From this place of banishment, the thesis traces its evolvement into the body machine (Rich Manoeuvre series) as part of a practice that sees it for what it is within the paternal order, to locate the points where fragility occur.Doctor of Philosophy (PhD)
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Thornley, Phoebe. "Broadcasting policy in Australia political influences and the federal government's role in the establishment and development of public/community broadcasting in Australia - a history 1939 to 1992." Diss., 1999. http://www.newcastle.edu.au/services/library/adt/public/adt-NNCU20021202.031413/index.html.
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Sheppard, Jillian Eve. "The internet, society and politics : political participation in Australia." Phd thesis, 2014. http://hdl.handle.net/1885/156018.
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This thesis examines the effects of internet use on Australian citizens' propensity to participate in political activity. The study applies the 'civic voluntarism' model of political participation to the Australian case, theorising that internet use comprises a resource. It hypothesises that participation in Australia is a factor of an individual's free time, time spent using the internet, money, civic skills, internet-related skills, recruitment and engagement. Australia is an appropriate case study due to its institutional and cultural similarities with other advanced democracies, as well as its notable differences. Voting is compulsory for Australian citizens, and they are compelled to vote frequently and in complex systems. Previous research has found that compulsory voting has positive effects on participation between elections, as well as on the stability of the country's political parties. Australians have ample opportunity to participate in politics. The thesis analyses 2010 (and earlier) Australian Election Study data, supplemented by data from previous Australian Election Studies, the World Values Survey and Comparative Study of Electoral Systems. Descriptive, logistic regression and ordinary least squares regression analyses find that internet use leads to participation earlier in life than would occur otherwise, but that participants possess the high socioeconomic status of participants in other advanced democracies. Skills are particularly important: across a range of behaviours including electoral, campaign, communal and protest participation, the positive influence of internet proficiency over time spent online is evident. However, the determinants vary greatly between types of participatory act, revealing lowered costs of entry, and opportunities for low-resourced citizens to equip themselves to participate. The findings have implications for understanding how the internet impacts the changing face of participation in Australia, how citizens can be mobilised in the future and the prognosis for the health of Australia's participatory democracy.
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Klugman, K. "Democracy and the new communication technologies." Phd thesis, 1996. http://hdl.handle.net/1885/145937.
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Clark, Julie. "Parliamentary debates about fear-of-crime : knowledge, identity, and responsibility." Phd thesis, 2006. http://hdl.handle.net/1885/147348.
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Body, Ralph Mark. "Behind the Scenes: Hans Heysen’s Art World Networks." Thesis, 2019. http://hdl.handle.net/2440/120159.
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The artist Hans Heysen is closely associated with the South Australian regional environment, which featured as the subject matter of his most celebrated works. At the same time, however, he also rapidly established a national reputation, achieving critical and commercial success in the interstate art worlds of Melbourne and Sydney. This dissertation investigates the significant role of Heysen’s art world networks in establishing, shaping and maintaining his career and reputation. Most of the existing scholarship on Heysen has either been biographical or concerned with analysing the style and subject matter of his paintings. While previous authors have alluded to the importance of his networks, these have not been their central focus of study. Similarly, Heysen’s ties to the urban Australian art worlds where his works were exhibited, reviewed and sold have been little researched. Heysen’s networks encompassed fellow artists, art critics, publishers, dealers, collectors and museum trustees and directors. Due to his geographical isolation written correspondence played an essential role in his long-distance career management, with the letters he exchanged providing valuable insights into the importance of his networks. Consequently, this dissertation has involved intensive archival research, cross-referencing the archives of Heysen and his correspondents, together with studying historic exhibition catalogues, art magazines and published reviews. The interpretation of this material has been informed by two complementary conceptual frameworks. The first is Howard Becker’s conceptualisation of art (and art world success) as the product of collaborative activity. This has been utilised when analysing the specific operations of Heysen’s networks. The second is Pierre Bourdieu’s notion of a ‘Field of Cultural Production,’ a metaphorical, changing space in which cultural agents compete for symbolic capital. These ideas have been employed to examine the structure of the Australian art world and the construction of reputation. This research demonstrates the essential role of Heysen’s art world networks in representing and advancing his interests. The support of key associates enabled Heysen to withstand the threats to his career presented by anti-German sentiments during the First World War, the impact of the Depression on the art market and the ascendency of modernism. While he generally benefited from his networks, the entrenched conservatism or overt commercial concerns of some of Heysen’s associates proved detrimental to his reputation. This dissertation shows that while Heysen’s traditionalist style and subject matter did not change dramatically over the course of his lengthy career, there were considerable shifts in the way in which he displayed, promoted and sold his works which reflected broader changes in the Australian art world. Similarly, perceptions of Heysen progressed from regarding him as an innovator in the Edwardian period, to an establishment figure during the interwar decades and finally as the last representative of a past generation. Heysen is shown to have been a strategically-minded professional who closely monitored both his own critical fortunes and those of other Australian artists.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2019
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Duong, Paloma. "Amateur Citizens: Culture and Democracy in Contemporary Cuba." Thesis, 2014. https://doi.org/10.7916/D8J964WP.
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This dissertation studies the creative practices of citizens who use cultural resources to engage in political criticism in contemporary Cuba. I argue that, in order to become visible as political subjects in the public sphere, these citizens appeal to cultural forms and narratives of self-representation that elucidate the struggles for recognition faced by emerging social actors. I examine blogs, garage bands, art performances, home art exhibits, digital literary supplements, improvised academies, and informal networks of publication that, as forms of aesthetic experimentation with stories of everyday life, disclose a social text. I suggest that their narrative choices emphasize their status as 'regular citizens' in order to distinguish themselves from both traditional voices of political opposition and institutionally accredited cultural producers--professional artists, academics, musicians. This recasts sites of cultural production as models of alternative citizenship where the concept of the political is re-imagined and where the commonplace, pejorative meaning of the term amateur is contested. On the fringes of the republic of letters, adjacent to traditional sites of cultural production, these oblique uses of culture consequently question legitimate forms of public speech. They demand that the way in which the relationship between aesthetics and politics in Cuba has been traditionally studied be reconsidered.
Read in tandem with discourses against and about them from the lettered city--in literature, cultural criticism, film, and visual arts--I also follow the trope of the amateur under revolutionary cultural politics. I suggest that these contemporary voices have a contradictory genealogy in the cultural practices of the early decades of the Cuban Revolution. I try to show that these cultural practices become politically and socially significant because they try to resist--though not always successfully--cooptation by two forces: the remnant of bureaucratic, state-capitalist tendencies on one hand, and the rapid commercialization of popular culture for a foreign audience on the other. As a result, both the reconfigurations of the cultural field and the contested meanings of democracy in post-Cold War Cuba are re-examined through a reading of informal hubs of cultural production. The functions of culture in late socialism can be then comparatively studied by looking at an institutional framework in transition through the social and political subjectivities that are both expressed in, and constituted by, corresponding aesthetic practices and forms.
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Leon, Lucien. "On the use of the digital moving image in retooling the australian political cartooning tradition to a new media context." Phd thesis, 2014. http://hdl.handle.net/1885/125136.
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This research clarifies the position of the contemporary Australian political cartoonist in the context of a changing media landscape, and examines the implications of the shift of dissemination of news and current events away from news print media to the Internet. The observation that the political cartoon has, throughout its history, adapted and evolved in response to various socio-political and technological changes invites the question of how the art form might continue to endure as a vehicle for subversive political comment in the digital media age. In exploring the creative possibilities afforded by new media technologies and analysing where these outcomes intersect with the conventions and functions of political cartoons, the study specifically locates the digitally constructed, political moving image within the Australian political cartooning tradition. This position is investigated and supported through three key activities: critical engagement with the extant literature; insights gained through interviews with professional, practising political cartoonists deemed to be pioneers of the political moving image; and my development of a creative practice centred on production and dissemination of political animations. The provision of a new, revised taxonomy for the critical analysis and classification of political images compels practitioners, scholars and prize-givers to eschew hitherto inviolable determinants in the characterisation of political cartoon images so that the tradition can endure in the foreseeable future.
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Edwards, Daniel Martin. "The use of Internet communications technologies by global social movements in Australia." Phd thesis, 2005. http://hdl.handle.net/1885/149939.
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Frobes-Cross, Nicholas. "Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976." Thesis, 2016. https://doi.org/10.7916/D88K794J.
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This dissertation presents the early work of Martha Rosler, Allan Sekula and Fred Lonidier as an attempt to intertwine political and aesthetic practice that was fundamentally distinct from the dominant, contemporaneous models of politicized avant-garde art. Throughout the first half of the 1970s these artists were in constant, close dialogue with one another, and, for the first time, this dissertation attempts to read their work during this period as a shared project. Considering the initial few years of their careers, it is an effort to understand how their practice emerged, and how it set itself apart from predominant forms of Conceptual art, post-Minimalism and institutional critique. In particular, it will explore how these three artists conceived of a relationship between political and aesthetic practice that was not dependent upon a self-reflexive investigation of their own art work's conditions of possibility. Drawing on realist and documentary traditions from the first half of the 20th century, Sekula, Rosler and Lonidier sought to create art that was always related to something beyond itself, developed in relation to the social world in which it existed. These artists neither assumed dependence on a given institutional, discursive formation, nor held out for an absolute escape from the institutions of the art world. Instead, they moved strategically between various locations, various publics and various discourses in a continual attempt to speak intelligibly within those sites most relevant to the political struggles they addressed.
In order to understand this strategic movement, it is necessary to read these artists’ works as utterances within momentary, contested discursive fields. As a result, this dissertation will provide close readings of several works through a detailed consideration of the particular situations in which they were created, displayed and received. Whether as flyers handed out at protests or self-consciously gallery friendly photo-text works, every piece will be read as a precise intervention within a specific location. Following this approach, each chapter focuses on a small number of works and reads them within the social and political events they both instigate and enter into, whether those are, as in the first chapter, a public dispute over the nature of art between two academic departments, or, as in the second chapter, the protests against the Vietnam War. Through each of these analyses this dissertation outlines these artists' shared attempt to produce art that only emerges through the discourses into which it enters, but is never entirely home wherever it might find itself.
By describing this fundamental premise of Rosler, Sekula and Lonidier's work, this dissertation both seeks to provide a more adequate accounting of this group’s shared project, and an alternative model for conceiving of the relation between political engagement and the post-war avant-garde.
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Risely, Melissa. "The politics of precaution : an eco-political investigation of agricultural gene technology policy in Australia, 1992-2000 / Melissa Risely." Thesis, 2003. http://hdl.handle.net/2440/21968.
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Pozzi-Harris, Ana Jorgelina 1972. "Marginal disruptions: concrete and Madí art in Argentina, 1940-1955." Thesis, 2007. http://hdl.handle.net/2152/3771.
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This dissertation analyzes the production of the Concrete and Madí artists, who were active in Argentina in the 1940s and 50s. Concrete and Madí artists proposed, for the first time in this country, the need for an art that was completely different from representational and expressionist art, and they believed that their "inventions," both visual and linguistic, could foster social change. Many aspects of the journal Arturo, published in 1944, and of Concrete and Madí art continue to be a puzzle, such as their relation with past and contemporary artistic and intellectual productions, their relation with the volatile Argentine political climate of the 1940s and 50s, and their ultimate artistic significance. This study interprets the propositions of these artists as responsive to phenomena they experienced in an immediate manner in the time and place in which they lived. The dissertation thus contextualizes Concrete and Madí art in five scenarios: publications by Spanish emigres and Argentine writers which explored the concepts of "automatism" and "invention;" discourses about "Nazism" and "democracy," and about "civilization" and "barbarism" that emerged through literary periodicals of the mid-1940s; political propaganda displayed under the rule of Juan Domingo Perón (1946-1955); the development of modern-looking and functional architecture fostered by Peronist architectural policies; and the artists' dialogues with the ideas of musicians then living in Argentina and Brazil. Ultimately, the dissertation constructs dialogues between specific instances of Argentine cultural and political history of the 1940s and 50s, and a selection of Concrete and Madí works and writings.