Dissertations / Theses on the topic 'Australian drawing'
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1
Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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Robertson, Jasmine. "Drawing us in: The Australian Experience of Butoh and Body Weather." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15645.
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Butoh or butoh–inspired dance has become increasingly popular in Australia over the last 20 years. In my thesis I aspire to understand the attraction of butoh within an Australian context. I am interested in investigating the conversion moment. I want to understand how dancers and non-dancers came to engage with and pursue the foreign form in this country, which, before the 1980s, had no relevance or obvious place in the Australian dance scene. While the thesis touches on the obvious conceptions of butoh’s attraction (exoticism, orientalism and primitivism), it also offers a way of looking at butoh in Australia as a field of practice. Using Pierre Bourdieu’s framework the thesis is able to objectively analyse the dancers’ personal experiences, drawing together the key influences of the dancers’ conversion, while simultaneously revealing the struggles, contradictions and shifts within the field. In this sense, I will explore the development of the dance form in Australia, but also valorise the research potential of the embodied experience and place that experience in dialogue with other social, cultural and historical motivations. Furthermore, the thesis records the experiences and impact of the early Australian butoh dancers, which have important historical relevance, especially as the form has established a firm foothold in the Australian performance scene in more recent years, influencing many choreographers and dancers to this day.
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
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Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Hall, Gregory Wayne. "Room to Relate in Centrelink? Attempts to Engage Supportively by Drawing on Guidance from Social Workers." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/365361.
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Contact with the Australian social security and human service provider Centrelink offers opportunities for vital support, both financial and social. However, it can also invoke significant challenges, particularly where people struggle to relate and to make their voices heard. Centrelink has been criticised extensively as beset by machine-like bureaucratic processes, stigmatising ‘participation’ expectations, intrusive compliance interactions and a customer service framework inadequate for the serious needs of people seeking assistance.
There has been extensive research attention to constrictive aspects of the Centrelink context. In keeping with this, interest in the small but significant body of social workers in Centrelink has largely focused on their struggles to maintain professional discretion and insulate themselves from challenging organisational surroundings. There has been less attention to alternative directions and organisational attempts to develop more freedom around relating in service situations despite recognition of the need for such.
This dissertation addresses a gap in understanding by considering the relational challenge in Centrelink with reference to some alternative developments which have attempted to draw on social workers to guide service provision towards supportive relationships.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Human Services and Social Work
Science, Environment, Engineering and Technology
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Coppard, Sally A. "The dance between cosmography and chorography : mapping Australia." Thesis, View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/40258.
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This thesis proposes that maps contain much more than just a depiction of physical space. Focusing on a selection of maps of ‘Australia’, the following attributes are found in some of these maps: myth and imagination, memory, power and the evolution of a people’s relationship with a place. Each attribute is the centrepiece of a separate chapter. The investigation undertaken here begins before ‘Australia’ was a known, named and mapped identity, at least as far as Europe was concerned, and continues up to the present day. It moves from maps of the imagined, the unknown and the theoretical, the science of cosmography, to chorography, which concerns maps of the local and the known. Cosmography operates on the grandest scale attempting to depict the whole world whereas chorography attempts to map details that can be recognised on the land. The words cosmography and chorography have fallen into disuse but the meanings of both were re-examined for this work, allowing for a unique mapping picture to emerge. The dance between these two kinds of mapping is the methodological pivot around which this thesis revolves. Chapter one begins in the theoretical realm of cosmography with the creation of the Antipodes, an idea that arose as a consequence of classical and Hellenistic Greek philosophical and theoretical concepts. This land only existed on maps yet came to harbour myths and imaginary attributes. Although replaced by Terra Australis Incognita, fantasy and myth continued to inhabit this southern part of the mapped world. Explorers eroded the unknown until a European chorographical destination, Botany Bay, was mapped into place. The dance then began all over again across the landmass called ‘Australia’ as the boundary between the known and unknown was crossed and mapped. Chapter two is a detailed study of the minutiae on chorographical maps of the Burragorang Valley and surrounding area. The names used for various geographical features are shown to contain memories of past inhabitants both Aboriginal and European. These memories still exist on maps of this area whereas the land the maps depict has been radically altered by the inclusion of man-made lake that has all but removed the earlier human marks on the landscape. The power embedded in both cosmographical and chorographical maps is examined in chapter three. In 1493 Pope Alexander VI drew a line on a cosmographical map and ‘donated’ half the non-Christian world to Spain and half to Portugal, thus commencing a process whereby a few European Christian nations carved up the rest of the world with the help of the authority vested in cosmographical maps. This culminated, as far as Australia was concerned, with Lieutenant James Cook’s map of the east coast of New Holland, which enabled the British Crown to claim land to the east of the 135th meridian, the line Alexander VI had drawn. Within sixty years this claim had expanded and covered the whole of the Australian landmass. On the ground, chorography recorded each individual parcel of land as it changed from Aboriginal land to European property. In chapter four, the concern is the way maps facilitated an evolving relationship between European Australians and the land they came to inhabit rather than the use of the maps in colonial appropriation. The focus in this chapter is on marginal lands where little European involvement is evident either on the ground or on the map. Because it is here in less trampled areas that any European marker on a map becomes important, and because there are so few of these markers, it is possible to trace the way these key features have evolved and have taken on a new significance over time.
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Coppard, Sally A. "The dance between cosmography and chorography mapping Australia /." View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/40258.
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Thesis (Ph.D.)--University of Western Sydney, 2005.A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.
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Sefer, Ibrahim. "Newly arrived children's art / story book 2004." [Adelaide]: Migrant Health Service, 2004. http://www.health.sa.gov.au/library/Portals/0/drawings-and-dreams-newly-arrived-childrens-art-story-book.pdf.
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This project was funded by the Department for Families and Communities A collaboration between Ibrahim Sefer, newly arrived boys and girls aged between 4 and 14 years from Culturally and Linguistically Diverse Backgrounds and the Migrant Health Service (Adelaide Central Community Health Service).
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Favaro, Paola Built Environment Faculty of Built Environment UNSW. "Drawn to Canberra: the architectural language of Enrico Taglietti." Awarded by:University of New South Wales. Built Environment, 2009. http://handle.unsw.edu.au/1959.4/43421.
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The limited attention paid by architectural historians to the influence of continental European migrant architects on Australian architecture has been noted in recent architecture literature. This study offers a close analysis of the life and work of Canberra architect Enrico Taglietti, who migrated to Australia from Italy in 1955. His work demonstrates a 'highly personal style' offering more depth and playfulness of form and content than the work of his contemporaries. Taglietti designed a broad range of private and public buildings in Canberra, his adopted 'invisible city', including Dickson District Library, Giralang Primary School and the War Memorial Repository, and received in 2007 the Royal Australian Institute of Architects (RAIA) Gold Medal. Yet, despite this success his work has received limited acknowledgment from Australian architectural historians. who show a persistent difficulty with integrating Taglietti's architectural language into prevailing architectural schema. This study adopts an integrated methodology offered by Manfredo Tafuri's 'operative criticism', micro-history and oral history to retrace the origin of Taglietti's 'idiosyncratic design', arguing that an understanding of Taglietti's formative experiences, his habitus (in the words of Pierre Bourdieu), can shed light on his architectural language. Taglietti inherited Bruno Zevi's, Carlo De Carli's and Frank L10yd Wright's belief in the architectural continuum space as the fundamental expression of the modernist period, Pier Luigi Nervi's notion of arte del costruire as the combination of technical as well as artistic knowledge, and the sense of craft as learnt from contact with the Finnish designer Tapio Wirkkala at the 1954 Milan Triennale. With an extraordinary attachment to Canberra, Taglietti developed an architectural language which responds to place, with its strong formalist extemal volumes juxtaposed to an idiosyncratic complex internal spatial arrangement. In questioning whether Taglietti shared common intellectual ground with Australian architects, and whether this common ground was Zevi's and Wright's view of architecture and urban design. this study argues that lan McKay (b.1932) is the Australian architect who shares common aspects with Taglietti, including ideas on the role of the architect as an urbanist.
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Bennett, Rick 1963. "Drawing on the virtual collective : exploring online collaborative creativity." Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/6433.
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Knezevic, Nina. "Interpreting the autobiographical archive." Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.
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Whelan, Jane. "Teaching visual arts through distance education : an evaluation of the program Anyone can draw." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/908.
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The problem under investigation is concerned with the teaching of drawing through distance education. Traditionally drawing has occupied a central position in visual art teaching and learning and is still regarded as a significant area of visual arts education. In the visual arts curriculum of Western Australia, drawing, which is included in the broader term visual inquiry, is regarded as the foundation for studio practice. It is therefore appropriate to include drawing as part of every visual arts teaching program. The correspondence mode of teaching, which has a text-base, is a more formal style of teaching art than the responsive teaching that normally occurs in an art class. Through distance education it is difficult to encourage drawing skills either through remediation or extension without creating a burden of extra work for the students. This is due to the design of the course booklets in projects which schedule the drawing lesson as one of many the student is required to complete in a semester. The projects culminate in a final studio product, thus emphasising that drawing remains a step towards the product.
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Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.
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Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of
arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth
and they form the case studies of this research.
Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they
become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and
implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they
will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.
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McKay, Duncan Robert. "Drawn from artists’ lives: An empirical study of the situation and realisation of professional visual art practices in the Western Australian Field of cultural production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/2006.
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This thesis presents the findings of empirical research on the working lives of visual artists living and working in Western Australia. No detailed studies of this kind have previously been undertaken in a Western Australian context, though a series of national, economically framed studies have surveyed Australian artists working in a variety of art forms about their working lives on five occasions since the early 1980s. Collectively the reports published from these five studies make up the most comprehensive picture of artists’ economic activity that has been available to policymakers and others involved in arts and culture in this country (Australia Council, 1983; Throsby & Hollister, 2003; Throsby & Mills, 1989; Throsby & Thompson, 1994; Throsby & Zednik, 2010). Seldom, however, has other suitable empirical data been collected from Australian artists facilitating the evaluation of the findings, methods and assumptions underlying economic research in this area. The detailed qualitative data collected for this research both augments and interrogates the findings of national quantitative studies, assessing their applicability to the particular circumstances of professional visual artists working in this state.
Artists’ working lives were examined using data in two forms: Curriculum Vitaes (CVs) of 322 Western Australian visual artists, published on commercial gallery websites; and in-depth interviews with a diverse sample of 20 Western Australian visual artists. This data has provided access to what Florian Znaniecki (1934) has called the humanistic coefficient: the understandings that social actors have of the situations within which they are acting. Without this understanding it is not possible to properly account for social activity, such as professional art practice. CVs have rarely been used as a data source for research, so this study has taken an innovative methodological approach and has demonstrated the potential for further development of these methods and this form of social data. CVs of visual artists were used to examine the Western Australian field of cultural production, and to produce a network-map of the social values and the complex relationships between artists, commercial galleries and other entities in the field.
In-depth interviews with 20 visual artists, practising in different media, at different stages of their career and earning their living in diverse ways, have provided detailed accounts of how visual artists construct their professional artistic identities and sustain their creative practice in Western Australia. Through qualitative analysis of these accounts, a new conceptual model of the labour of visual art has emerged, in which artists’ work is considered across four interrelated kinds of cultural production. 1) Artists define their practice, making it real for themselves. 2) Artists create the conditions in which they can define and maintain their practice. 3) Artists attract validation of their practice, seeking to make it real for other people. Throughout their work to establish the cultural reality of their practice, 4) artists also strive to maintain the integrity of their practice, to ensure that they continue to recognise themselves within it. The development of this conceptual model, the CV study and the rich contextual material obtained through interviews have informed the multi-dimensional understanding of the work of professional artists presented in this thesis, challenging and building upon previous research.
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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.
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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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Dibden, Julie Ann. "Drawing in the land : rock-art in the upper Nepean, Sydney basin, New South Wales : Vol.1 & 2." Phd thesis, 2011. http://hdl.handle.net/1885/150760.
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The Upper Nepean River catchment in the Sydney Basin has a rich repertoire of visual imagery - rock-art, and a variety of other types of marks on stone. This thesis examines the diversity and spatial distribution across the land of these rock markings and change over time. The theoretical focus is on materiality, practice and performance. In previous research conducted in the Sydney Basin, rock-art located in shelters has been considered, at least implicitly, to be functionally equivalent across both space and time. The research in this thesis, by comparison, has been developed to explore both synchronic and diachronic variability in sheltered rock-art and to give consideration to the occupational and contextual diversity this represents. The rock-art corpus is analysed in accordance with its material diversity in order to explore the qualitatively different forms of behavioural expression that this variation may embody. A fundamental distinction is made between graphically structured, imposed form on the one hand, and gestural marks on the other. The material relationship between the rock-art and the rock on and within which it is set, is also examined. The different data sets are explored dialectically and in accordance with their geographic and environmental location in order to gain an appreciation of the experience and engagement between Aboriginal people and the land in this part of the Sydney Basin. The analysis employs both quantitative and explicitly narrative approaches to examine the spatial and temporal dimensions of occupation. While this research has been conducted without the support of any direct dating or archaeological context, the methodology has, nevertheless allowed for the discrimination of temporal diversity in spatial patterns, and concomitantly, the manner in which the land has been occupied and created as landscape, over time. In order to achieve this, it has been crucial to analyse the rock markings not only in respect of their behaviour correlates, but also their material locations within geographic, environmental and micro-topographic space. The analysis of the Upper Nepean rock-art reveals a pattern of diachronic change in which the marking of the land with imagery became increasingly diverse in a number of formal and material ways, and geographically and environmentally common and widespread. The results suggests that regional bodies of rock-art are likely to have been produced in accordance with a diversity of motivations and functional purposes and that significant temporal change in the impetus to mark the land, and the choice of how and where to do so, can occur over relatively short time frames. It is argued that the practice of marking the land in the Upper Nepean was a dynamic dialectic, both constitutive and transformative, of being and place. Over time, people drew the land into an object world which became, with ever increasing inscription and embellishment, a marked and painted landscape, both productive of and reflecting, a complex history.
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Frederick, Ursula. "Drawing in differences : changing social contexts of rock art production in Watarrka (Kings Canyon) National Park, Central Australia." Master's thesis, 1997. http://hdl.handle.net/1885/150334.
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Laffan, Julian Simon. "Honours studio report." Master's thesis, 2004. http://hdl.handle.net/1885/155928.
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Burness, Heather. "Sub-thesis." Master's thesis, 2004. http://hdl.handle.net/1885/156300.
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Burness, Heather. "Studio report." Master's thesis, 2004. http://hdl.handle.net/1885/156302.
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Haylock, Christine. "Rapid Creek, Darwin, Australia: recollecting place." 2011. http://hdl.handle.net/1993/4972.
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Recollecting Place is the product of an experiential approach to Landscape Architecture. It is at once the re-telling of a place that is expected to be quite foreign to the reader as well as an examination of the method by which landscape architects assume truth of a place. As professionals, we develop a method by which we examine a site, re-tell its truth and then alter it somehow. Recollecting Place is the story of how the teller’s connections with the place in questions offer a version of the truth that can inform the design in a way that is different, and arguably more appropriate than if the site had been investigated by more traditional methods.
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Coppard, Sally A., University of Western Sydney, and of Arts Education and Social Sciences College. "The dance between cosmography and chorography : mapping Australia." 2005. http://handle.uws.edu.au:8081/1959.7/40258.
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This thesis proposes that maps contain much more than just a depiction of physical space. Focusing on a selection of maps of ‘Australia’, the following attributes are found in some of these maps: myth and imagination, memory, power and the evolution of a people’s relationship with a place. Each attribute is the centrepiece of a separate chapter. The investigation undertaken here begins before ‘Australia’ was a known, named and mapped identity, at least as far as Europe was concerned, and continues up to the present day. It moves from maps of the imagined, the unknown and the theoretical, the science of cosmography, to chorography, which concerns maps of the local and the known. Cosmography operates on the grandest scale attempting to depict the whole world whereas chorography attempts to map details that can be recognised on the land. The words cosmography and chorography have fallen into disuse but the meanings of both were re-examined for this work, allowing for a unique mapping picture to emerge. The dance between these two kinds of mapping is the methodological pivot around which this thesis revolves. Chapter one begins in the theoretical realm of cosmography with the creation of the Antipodes, an idea that arose as a consequence of classical and Hellenistic Greek philosophical and theoretical concepts. This land only existed on maps yet came to harbour myths and imaginary attributes. Although replaced by Terra Australis Incognita, fantasy and myth continued to inhabit this southern part of the mapped world. Explorers eroded the unknown until a European chorographical destination, Botany Bay, was mapped into place. The dance then began all over again across the landmass called ‘Australia’ as the boundary between the known and unknown was crossed and mapped. Chapter two is a detailed study of the minutiae on chorographical maps of the Burragorang Valley and surrounding area. The names used for various geographical features are shown to contain memories of past inhabitants both Aboriginal and European. These memories still exist on maps of this area whereas the land the maps depict has been radically altered by the inclusion of man-made lake that has all but removed the earlier human marks on the landscape. The power embedded in both cosmographical and chorographical maps is examined in chapter three. In 1493 Pope Alexander VI drew a line on a cosmographical map and ‘donated’ half the non-Christian world to Spain and half to Portugal, thus commencing a process whereby a few European Christian nations carved up the rest of the world with the help of the authority vested in cosmographical maps. This culminated, as far as Australia was concerned, with Lieutenant James Cook’s map of the east coast of New Holland, which enabled the British Crown to claim land to the east of the 135th meridian, the line Alexander VI had drawn. Within sixty years this claim had expanded and covered the whole of the Australian landmass. On the ground, chorography recorded each individual parcel of land as it changed from Aboriginal land to European property. In chapter four, the concern is the way maps facilitated an evolving relationship between European Australians and the land they came to inhabit rather than the use of the maps in colonial appropriation. The focus in this chapter is on marginal lands where little European involvement is evident either on the ground or on the map. Because it is here in less trampled areas that any European marker on a map becomes important, and because there are so few of these markers, it is possible to trace the way these key features have evolved and have taken on a new significance over time.Doctor of Philosophy (PhD)
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Arbon, Janelle Lea. "Warning, patrons ahead! A development assessment framework for public space for landscape architects drawing on lessons from the Festival City of Adelaide, Australia." Thesis, 2021. https://hdl.handle.net/2440/136405.
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A deceptively simple and benign sign placed in a public park states, ‘Warning: You may find event equipment and patrons on the pathway’ (Figure T-2). The sign hints at the complexity and contradictions of public space and poses a curious question that continues to gain currency in multidisciplinary discourse: How public is public space? This thesis poses a further question by asking, Do temporary events pose a threat to public space? To answer both questions, the thesis draws on the historic trajectory of urban public space, culminating in an extensive appraisal of 20th century forms and programs. In doing so, the thesis examines definitions of ‘public space’ and ‘public’, and considers how a more rigorous understanding of these terms can inform the practice of landscape architecture. As a result, the thesis proposes a new definition of public space, focusing on the value of publicly accessible space. It also proposes a new typology of publics—the defined public, the appropriating public, the transitory public and the illegitimate public—to better understand perceived and actual threats to public space. To test these definitions, the thesis critically reviews existing assessment methods, techniques and tools, and their application in landscape architectural assessments. It asks if current approaches adequately depict the typology of publics and the diversity of private use. As a result, the thesis proposes an integrated approach termed the Design Assessment Framework as a guide for alternative design strategies and policy formation for publicly accessible landscapes. The framework measures the degree of ‘publicness’ in public space by comprehensively capturing and assessing public space elements. The perceived conflict between public space and private use is explored through 16 case study sites in Adelaide, Australia. The city is recognised internationally for its urban plan, which includes a generous provision of public space and it is celebrated for the many festivals and events held within the city. The thesis offers an important and timely counter point to the majority voice that laments the future of public space, concluding that publicness is a spectrum, not an absolute. It positions landscape architects in a pivotal role to influence the effective design of public space and create a richer place for publics to interact. The typology of publics and the Design Assessment Framework are presented as new tools for landscape architects to assess public spaces and implement a spectrum of inclusivity. Finally, the thesis argues that events are not a threat to the publicness of public space, and should instead be viewed as opportunities to bring the community together for social exchange. Without social exchange, the question of threats to the publicness of public space may be a moot point.Thesis (Ph.D.) -- University of Adelaide, School of Architecture and Built Environment, 2022
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Merrifield, Katherine. "A critical evaluation of the drawings, paintings and lithographs of George French Angas (1822-1886) with special reference to The Kafirs Illustrated." Thesis, 2001. http://hdl.handle.net/10321/2806.
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Ellmoos, Niels Neilsen. "The entropic landscape : exploring the intersection between digital media, large-scale drawings and sculpture in response to the cultural landscape of Zeehan, Tasmania, Australia." Thesis, 2006. https://eprints.utas.edu.au/19841/1/whole_EllmoosNielsNeilsen2007_thesis.pdf.
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This research is an investigation into a visual language as my response and
reading of the narrative related to a sense of place in an altered landscape:
a space where humans have carved their autobiography into the earth.
Robert Smithson, in the 1960s characterised regions like these as the edges
of post-industrialism or Nonspaces. They also exist as communities,
holding onto an identity forged by their definitive history and cultural
influences. Incorporated in the research is the exploration of ordinary or
everyday landscapes within the context of Cultural Landscape studies.
In focussing on the 'shaping' of the town and environs of Zeehan, a
once burgeoning mining settlement on the West Coast mining strip of
Tasmania, history, industrial archaeology and the impact on the natural
environment are taken into account. Zeehan is a shadow of its dynamic
past, a boom and bust story that is now enshrined in a local museum,
and evident in the relics adorning the main street and surrounding
countryside. It is a place of hidden history inextricably linked to the
development of Tasmania. However in the new millennium the
underground continues to be the lifeblood of this former silver boomtown.
Seeking an appropriate format of presentation of this cultural landscape
resulted in the development of installation-based artwork: an intersection
between digital media, large-scale drawing and sculptural concepts.
Re-interpreting and re-presenting the spirit of nature and technological
interaction in the so-called Nonspace incorporates the exploration of a
phenomenological approach as well as more formal methodologies.
The research also examined the concept of the Nonsite. According to
Smithson, the Nonsite was a representation or interpretation of a particular
site: an abstract three-dimensional logical picture.
With its integration of diverse media, the project relates to a field of artists
and filmmakers working within the themes of Cultural Landscape (Jan
Senbergs, Susan Norrie and Jem Cohen), Museum Strategy/Archaeology
as Myth (Mark Dion, Alan McCollum), and The Grand Narrative (Joan
Jonas, Kutlag Ataman and Bill Viola).
I discuss their works in relation to matters concerning landscape and
human intervention, historical discourse, fragmentation of time, the
blurring of boundaries and the overlapping of genres.
My original contribution to the field is to extend the presentation of
the documentary film/video genre from an ostensibly two-dimensional
medium to an installation based artwork within an art gallery space
utilising the seemingly incongruent mediums of large-scale drawings
and sculptural elements. Within this context the resulting narrative
creates an environment, which both immerses the viewer and provides
contemplation, presenting a re-interpretation of the Nonsite as reading
of the Nonspace.
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Schultz, Helga. "A legal discussion of the development of family law mediation in South African law, with comparisons drawn mainly with the Australian family law system." Thesis, 2011. http://hdl.handle.net/10413/6396.
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