Dissertations / Theses on the topic 'Contemporary Australian sculptural practice'
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1
Sanders, Anne E. "Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall." Thesis, Canberra, ACT : The Australian National University, 2011. http://hdl.handle.net/1885/8756.
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The subject of this thesis is contemporary Australian sculptural practice. Within the limitations of a Master of Arts sub-thesis, it aims to provide an analysis of developments in contemporary Australian sculptural practice since 1980. This analysis is conducted within the context of the theoretical frameworks of postmodernism, feminism and postcolonialism.
The first chapter seeks to establish a general overview and context, both nationally and internationally, for the significant changes and developments in contemporary sculptural practice in Australia. Specifically, three key theoretical concepts are identified as major protagonists of these changes. The second and third chapters seek to provide specific examples of these theoretical concepts identified in chapter one within the context of two monographic case studies of mid-career sculptors, Hilarie Mais and Fiona Hall.
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Tong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
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Hopkins, Ana Rosa. "Back-story in contemporary sculptural practice : from materials to incorporation." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617733/.
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This ‘by practice’ research project explored the function of back-story in contemporary sculptural art. It was driven by an ongoing artistic practice and resulted in a series of new artworks accompanied by an analytical commentary. Gérard Genette’s concept of analepsis within narrative literature was taken as an initial theoretical framework to test to what extent it might be applied to sculpture. Analysis of selected works by Joseph Beuys, Felix Gonzalez-Torres and Doris Salcedo, artists who used back-story in the context of trauma, led to modifications of the theory to account for the relationship between artwork and its back-story, notably its expression in materials. The use of narrative in sculptural art to provide a storied reading acts in combination with the work’s biography, although the work remains non-narrative in form, even lacking a ‘main’ narrative. The study discusses the ways the selected artists disclosed their ‘authored’ back-story, through title, paratext, public biography and reiteration of themes within an oeuvre. Back-story invoked what Genette called retroception – compelling the viewer to look again from a different perspective. Here, the autonomy of the artwork from its back-story is upheld. However, I posit that reading the art work in conjunction with its back-story alters the viewers’ experience by offering a storied entry into the work, situating the viewer at the ‘right’ distance in terms of emotional connection, and extending the reading time allowing more complex meanings to emerge. Investigation through making was prioritised, conducted through a process of ‘improvisation’ that explored various storied connections within original glass sculptures. As a result of reflecting on the results of a traditional glass inclusion process in my work, a new approach surfaced which I call incorporation: the partial embedding of a material within another as it solidifies. This process is seen to embody the concept of retroception and signal the connection to back-story. The research contributes to knowledge by providing a framework for an understanding of back-story in contemporary sculptural practice; demonstrating how incorporation can evoke and embody back-story; and, creating a body of original work that provides material for further investigation of back-story.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Tuxill, Wendy Patricia. "A re-conceptualisation of contemporary sculptural ceramics practice from a post-minimalist perspective." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5333.
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This thesis examines the extent to which the 1960s process art strand of post-Minimalism can provide an analytical template for critical writing around contemporary ceramic art. A dearth of critical writing is an acknowledged problem in all types of ceramics practice and some of the reasons for this situation will be explored. In the past decade frequent calls have been made by artists, critics, academics, and curators for a body of critical writing to underpin contemporary work and connect with wider cultural debates. During this period, artists have begun to use the process of making the work to form part of the content. Such work has no relationship to traditional studio pottery, and critics have described it as difficult to write about and classify in normative ceramic terms. However, this area of ceramic practice shares characteristics with post-Minimalism, a movement of the 1960s that emphasised the behaviour of materials and the act of making. In The Archaeology of Knowledge the French philosopher Michel Foucault suggests that a new critical language may emerge from the appropriation of other discourses, providing new interpretations for subject areas not yet theoretically mapped out. Foucault’s notions on the formation of discourse are used as a methodological approach to investigate how process-led sculptural ceramics may be articulated by an understanding of post-Minimalist critical writings. A substantial body of critical writing developed around post-Minimalist process art, providing a context for radical new approaches which broke with modernist traditions and which expanded and changed traditional definitions of sculpture. Key post-Minimalist texts are investigated as an analytical template for a new critical discourse for process-led ceramic art. A study of the sculptural ceramics of Richard Deacon and Kosho is undertaken as a means of identifying process-led tendencies and the possibility of a re-conceptualisation from a post-minimalist perspective. An analysis of the role of process within my own practice is used to provide visual evidence of contemporary ceramic work that can be re-conceptualised from a post-Minimalist perspective. After twenty years of stagnant debate in the ceramics field, this research might provide a new critical context for process-led ceramic art. The project shows a way that artists may be empowered to develop a critical literacy in a field that has traditionally lacked a research based approach. It is hoped that it may well encourage other ceramics practitioners to explore new ways of presenting an academic critique of their own area of practice. The contribution to knowledge identifies a new critical context and approach to writing for the process-led area of ceramics practice that is currently described as being difficult to write about, as having no appropriate critical language of its own, and of being difficult to categorise in standard ceramic terms.
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Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
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Jordan, Richard. "The space between: Representing 'youth' on the contemporary Australian stage." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16173/2/Richard_Jordan_Exegesis.pdf.
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Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
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Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.
Full textAbstract:
Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
10
Stewart, Lucy Claire. ""Theatre of the dancing language" : new possibilities in contemporary Australian playwrighting." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/28477/1/Lucy_Stewart_Thesis.pdf.
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This study focuses on trends in contemporary Australian playwrighting, discussing recent investigations into the playwrighting process. The study analyses the current state of this country’s playwrighting industry, with a particular focus on programming trends since 1998. It seeks to explore the implications of this current theatrical climate, in particular the types of work most commonly being favoured for production. It argues that Australian plays are under-represented (compared to non-Australian plays) on ‘mainstream’ stages and that audiences might benefit from more challenging modes of writing than the popular three-act realist play models. The thesis argues that ‘New Lyricism’ might fill this position of offering an innovative Australian playwrighting mode. New Lyricism is characterised by a set of common aesthetics, including a non-linear narrative structure, a poetic use of language and magic realism. Several Australian playwrights who have adopted this mode of writing are identified and their works examined. The author’s play Floodlands is presented as a case study and the author’s creative process is examined in light of the published critical discussions about experimental playwriting work.
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Stewart, Lucy Claire. ""Theatre of the dancing language" : new possibilities in contemporary Australian playwrighting." Queensland University of Technology, 2008. http://eprints.qut.edu.au/28477/.
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This study focuses on trends in contemporary Australian playwrighting, discussing recent investigations into the playwrighting process. The study analyses the current state of this country’s playwrighting industry, with a particular focus on programming trends since 1998. It seeks to explore the implications of this current theatrical climate, in particular the types of work most commonly being favoured for production. It argues that Australian plays are under-represented (compared to non-Australian plays) on ‘mainstream’ stages and that audiences might benefit from more challenging modes of writing than the popular three-act realist play models. The thesis argues that ‘New Lyricism’ might fill this position of offering an innovative Australian playwrighting mode. New Lyricism is characterised by a set of common aesthetics, including a non-linear narrative structure, a poetic use of language and magic realism. Several Australian playwrights who have adopted this mode of writing are identified and their works examined. The author’s play Floodlands is presented as a case study and the author’s creative process is examined in light of the published critical discussions about experimental playwriting work.
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Byrne, Katrana Helen, and n/a. "The Face of Public Relations in Australia An inquiry into academic and practitioner perceptions of practice, power, and professionalism in contemporary Australian public relations." University of Canberra. Professional Communication, 2008. http://erl.canberra.edu.au./public/adt-AUC20091215.092833.
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This dissertation presents research into the public relations field in Australia,
including its background, design, results and recommendations. Research
investigated areas of convergence and divergence of ideas about public relations
practice between Australian practitioners and academics. The project was inspired
by a significant gap in the Australia-specific public relations literature, as there is
limited or no in-depth empirical investigation into notions of meaning, dimensions of
practice, professionalism, organisational power, and education, in the public relations
field in Australia.
While research has been conducted into how those outside the profession view
public relations, few have asked those within the industry (practitioners and
academics) about their understanding of public relations in Australia, nor compared
these findings to locate and analyse spaces of convergence and divergence of
meaning.
Inquiry was facilitated through the administration of two online questionnaires; one
targeted to those identifying as public relations practitioners, and the other for those
who identified as public relations academics. Each questionnaire comprised six
sections, and sought a mixture of in-depth qualitative and quantitative data on the
following areas:
o Meaning, scope and agreement of the term 'public relations'
o The dimensions of public relations
o Perceptions of public relations practice
o Perceptions of public relations scholarship
o Perceptions of public relations education
o Respondent demographics
As non-probability sampling was applied to this study, it is not possible to report a
response rate. That said, a total of 40 academic and 107 practitioner responses
were received and comprise the data set. Administration of the questionnaires
generated a significant amount of both qualitative and quantitative data.
The results were diverse and intriguing, leading to a number of specific
recommendations and suggestions for further research. For example, the study
found that:
o There exists a gap between respondent definitions of the term 'public
relations' and respondent reports of public relations practice;
o Both public relations academics and practitioners underestimate the
professional practice of their practitioner colleagues;
o While most practitioners see academics as adding value to the public
relations field, a considerable proportion do not, yet findings indicate that
academics may not be as out of touch as practitioners imagine;
o Both public relations academics and practitioners conceive notions of
professionalism in the same manner; and
o Both groups identify writing and interpersonal skills as the most valuable skills
for a public relations practitioner to possess, and both groups also prioritise
knowledge of public relations specific theory and principles. Practitioners
also prioritise the need for greater attention to general business practices in
public relations education, while academics determine a need for greater
emphasis of ethical standards and research competence.
This research project closes with a number of direct recommendations and areas for
further inquiry. Among these, it is suggested, for example, that academics become
mindful of underestimating professional practice as doing so may perpetuate
negative images of the field. Rather, academics should be encouraged to seek out
opportunities for collaboration with practitioners. Dialogue between academics and
practitioners can enhance accurate understanding of, not only the dimensions of
practice, but also the value of academia, in the field. Via these, and the other key
lessons and recommendations, the findings and results of this research project have
dramatically furthered efforts to map the landscape of public relations in Australia.
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McLeish, Amelia. "Artist-run initiatives and community: A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.
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This practice-led project examines how Artist-Run Initiatives (ARIs) are situated within the context of localised visual arts ecologies. Interviews, data regarding arts funding, and studio experiments are combined to arrive at the projects findings: that ARIs offer the arts sector a community that invigorates and develops its own artistic practice, while also making meaningful connections between practices that become integral to the visual arts by facilitating emerging and experimental art. The project affirms that the collection, display and preservation of ephemera is an essential task that documents an aspect of the arts which is often overlooked.
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Pike, Shane Laurence. "(Re)presenting Masculinity: A theatre director’s critical observations of, and theatrical experimentations with, (re)presentations of masculinity in selected works of contemporary Australian theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1526.
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The “crisis of masculinity” has become a catchphrase synonymous with reports of alcohol-fuelled violence, depression and, even, suicide amongst Australian males, particularly young men aged between 18 and 30. This thesis explores, through the practices of theatre, the notion that there is a link between these kinds of destructive behaviours and the concept of masculinity, particularly as it may be understood in an Australian context. By analysing theatrical (re)presentations of young Australian males, onstage during performance and in the rehearsal room, this thesis seeks to generate a deeper understanding of what “masculinity” actually means in an Australian theatre context. By challenging mainstream constructions of masculinity, this study raises questions of change and subversion in identity impasses. Notions of masculinity are explored via staged (re)presentations of men in recent productions of contemporary Australian theatre: Ruben Guthrie by Brendan Cowell, Blackrock by Nick Enright and two new works created as part of this project, Yesterday’s Hero and FUCK!Dance. There is also a short foray into representations of masculinity and notions of nationhood in two Noël Coward productions, Ways and Means and Fumed Oak. The underlying argument is that masculinity is a performance, both onstage and off and, through manipulating how masculinity is (re)presented onstage, we may also begin to uncover how society more generally perceives masculinity. Such shifts begin to challenge/alter/subvert mainstream notions by encouraging critical reflection through theatre-makers and audiences about how we, as a society, may be encouraging our men to emulate an image of masculinity that could be causing them harm.
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Shelton, Meaghan L. "Intricate, infinite: Addressing the ineffable aspects of women's experience through the lens of traditional craft practice." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119698/1/Meaghan_Shelton_Thesis.pdf.
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Art historical research has shown that women's experiences have largely been under-represented in the fine arts; simultaneously, the applied arts that many women have traditionally used as a primary form of self-expression have been deemed equally inadequate for recognition. The reunification of craft with fine arts is essential as a means to bring visibility to rites of passage of the feminine. This practice-led research relocates women's experience by exploring the concept of the invisible but imperative functions of spaces and voids created by the methods and aesthetics of crochet. Through the lens of practice, in five iterations of creative work, the focus of this research seeks to illuminate the ineffable details of female experience.
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au, larissa sextonfinck@uwa edu, and Larissa Claire Sexton-Finck. "Be(com)ing Reel Independent Woman: An Autoethnographic Journey Through Female Subjectivity and Agency in Contemporary Cinema with Particular Reference to Independent Scriptwriting Practice." Murdoch University, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.
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Women exert only a modicum of production power in 21st century cinema despite its growing accessibility and spectatorship through the developing technologies of the digital era. In 2007, of the top 250 grossing films in Hollywood, only 10% were written, and 6% directed, by women, and just 16% contained leading female protagonists. Why, after the gains of the film feminist movement, is there such a significant gender imbalance in mainstream film, and an imbalance that is only increasing over time? More significantly, what are the possibilities and limitations for reel womans subjectivity and agency, in and on screen, in this male-dominated landscape?
As a female filmmaker in this current climate I conduct an autoethnographical scriptwriting-based investigation into female subjectivity and agency, by writing the feature length screenplay Float, which is both the dramatic experiment and the creative outcome of this research. The exegesis works symbiotically with my scriptwriting journey by outlining the broader contexts surrounding women filmmakers and their female representations.
In this self-reflexive examination, I use an interdisciplinary methodology to unravel the overt and latent sites of resistance for reel woman today on three interdependent levels. These comprise the historical, political and philosophical background to womans treatment both behind, and in front of, the camera; my lived experiences as an emerging writer/director as I write Float; and my representation of the screenplays central female character.
I use the multiple logic of screenplay diegesis to explore the issues that have a bearing on womens ability to be active agents in the world they inhabit, including: the dichotomising of female desire, the influence of familial history, the repression of the mother, the dominance of the male gaze, the disavowal of female specificity, and womens consequent dislocation from their self-determined desire. These obstacles are simultaneously negotiated as I map my process of writing Float and deal with the challenging contexts in which the screenplay was created. In the course of my scriptwriting investigation, film feminist and French poststructuralist paradigms are considered and negotiated as I experiment whether it is possible for female filmmakers, and their female characters, to overcome the seemingly insurmountable odds facing womens actualisation today.
My research brings to light the critical need for more inclusive modes of practice across the film industry, discourse and pedagogy that are cognisant and respectful of reel womens difference, and allow them to explore their own specificity. The thesis argues that it would be advantageous for female filmmakers to challenge their fixed status in phallocentric discourse, and to deconstruct their patriarchal conditioning through engagement with forms of identity and writing resistance that recognise the fluidity of their subjectivity, and the consequent potential for change. I also highlight the importance of an accessible and affirmative feminist cinema pertinent to the 21st century, to integrate feminist ideals into the mainstream, and finally bring reel woman out of the margins.
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Pike, Shane. "(Re)presenting Masculinity: A theatre director's critical observations of, and theatrical experimentation with, (re)presentations of masculinity in selected works of contemporary Australian theatre." Thesis, Western Australian Academy of Performing Arts, Edith Cowan University, 2014. https://eprints.qut.edu.au/93340/1/93340.pdf.
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Health professionals, academics, social commentators and the media are increasingly sending the same message – Australian men are in crisis. This message has been supported by documented rises in alcoholism, violence, depression, suicide and crime amongst men in Australia. A major cause of this crisis, it can be argued, is an over-reliance on the out-dated and limited model of hegemonic masculinity that all men are encouraged to imitate in their own behaviour. This paper, as part of a larger study, explores representations of masculinity in selected works of contemporary Australian theatre in order to investigate the concept of hegemonic masculinity and any influence it may have on the perceived ‘crisis of masculinity’. Theatre is but one of the artistic modes that can be used to investigate masculinity and issues associated with identity. The Australia Council for the Arts recognises theatre, along with literature, dance, film, television, inter-arts, music and visual arts, as critical to the understanding and expression of Australian culture and identity. Theatre has been chosen in this instance because of the opportunities available to this study for direct access to specific theatre performances and creators and, also, because of the researcher’s experience, as a theatre director, with the dramatic arts. Through interviews with writers, directors and actors, combined with the analysis of scripts, academic writings, reviews, articles, programmes, play rehearsals and workshops, this research utilises theatre as a medium to explore masculinity in Australia.
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Smith, David E. "Doing the right thing? values and pragmatism in contemporary Australian general practice." Thesis, 2005. http://hdl.handle.net/10453/75654.
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University of Technology, Sydney. Faculty of Nursing, Midwifery and Health.NO FULL TEXT AVAILABLE. Access is restricted indefinitely. The hardcopy may be available for consultation at the UTS Library.
NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- There is no universally accepted foundational theory of moral philosophy or any comprehensively tested method of bioethics which can accommodate the uncertainties and complexities of both the macroethical issues and the microethical processes of General Practice in a practical and reproducible fashion. A philosophy of medicine and an ethics for its practice must accommodate the differences in roles, responsibilities and relationships of its parts. In as much as the roles of various medical specialties and the type of relationships formed with patients differ, so will the criteria for the measurement of the ethical probity of those professional specialties take on nuanced differences. This thesis is an analysis of the irreducible features of contemporary Australian General Practice which discloses the need for a distinctive ethic in that practice. It presents the case that this ethic can be provided most usefully by the use of a principled pragmatist process. Pragmatic processes reject epistemological assumptions about objectivity and rationality, and respect the pluralistic, participatory and provisional nature of medical practice. They are particularly suited to CAGP and the longitudinal therapeutic narrative which characterizes the dominant form of relationships with patients therein. Contemporary Australian General Practice is an inherently pragmatic project which has evolved over time in ways which have maximized the probability of it effecting reasonable outcomes in the face of much technical uncertainty, of balancing a complex pattern of responsibilities, and of sustaining a complex set of interrelated values and relationships. It achieves this while attending to the needs of unreferred patients often with unclear agendas which do not always fit well into a biomedical model of illness. It can be regarded constructively as a complex non linear system. The defining characteristics of contemporary Australian General Practice (CAGP) imply a set of core values for that practice. This relationship between defining characteristics and core values is significant in two respects. First, that the basic structure of General Practice can be appreciated as constituted by the mutually supportive interdependence of these two factors, and that certain values are basic to the very identity of CAGP. Second, that the existence of basic values internal to CAGP has important implications for the framework of an ethic appropriate to it. The defining characteristics and derived core values of General Practice will and must change with the times in response to developments in technology, to variations in resources and to changes in community values. In addition, at any one time not all GPs will agree as to what they value most within their professional activity. The relevant consideration, however, is that if GPs are able to identify and justify their values they can use them to ground considerations of the probity of their practices. A protocol using pragmatist principles to guide such considerations is developed and presented.
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Cheney, Jacqueline Patricia. "The mythology of the uncanny : as theory and practice in Australian contemporary art." Phd thesis, 2012. http://hdl.handle.net/1885/150841.
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A sensation raw and primal, unwelcome yet not wholly alien but peculiarly familiar, neither a penetrating roar nor shriek from the depths but a more eerily pervasive murmuring, without being discredited as irrational but instead being elevated within academia - the mythology of the uncanny persists.
This inquiry focusses on the phenomenon of the uncanny and its exemplification in the visual arts. Whilst extant literature relates uncanniness to the broader field of aesthetics, especially enlarged upon in literature, film-studies and architecture, it is a comparatively neglected topic in the context of visual arts. It is occasionally touched upon in texts concerning an artist's work, but usually very synoptically. Yet much art aligns to readings of uncanniness. For example, Sally Smart's evocatively uncanny work attracts descriptive smatterings about it without adequate enunciation against a critical theoretical framework.
Such a framework, newly developed here, takes into account Sigmund Freud's pivotal essay of 1919 whilst providing new interpretations of it and its subsequent plethoric discourse. Furthermore, this framework incorporates entirely different viewpoints, including Existentialist versions of uncanniness centred upon Martin Heidegger's and Jean-Paul Sartre's theories. Whilst being an evolution of the extensive discourse, my framework assimilates otherwise disparate notions of the uncanny effect and its sensations, then applies it contemporaneously.
In writing from the secularised worlds of Freudian psychoanalysis and Existentialism, religion, spirituality and mysticism are areas not intentionally ignored nor sidelined as unworthy of consideration. Nevertheless the scope of this dissertation required curtailing thereby making the exclusion of the non-secular a necessity. Psychophysical, neural and cognitive characteristics of viewers' sensory perception of artwork (in relation to evoking uncanniness) are other exclusions, and whilst I touch on various socio-political aspects of the uncanny, it likewise requires greater regard than what is allowed for herein.
This is essentially an interpretative analysis which applies a more broadly developed framework to six Australian artists whose work is persuasively uncanny: Ron Mueck, Patricia Piccinini, Sally Smart, Lawrence Daws, Pat Brassington and Bill Henson. These case-studies are structured into three chapters: the first concentrates on three-dimensional, figurative sculpture (Mueck and Piccinini); the next section looks at siting the uncanny in two-dimensional landscapes, specifically the locale of Australia, a land where the uncanny is said to loom large (Smart and Daws); whilst the final section focuses on uncanny 'filmic' surfaces or photo-based media (Brassington and Henson}. This form of analysis is founded on either the artist's self-identification with the topic and/or is based on consistent commentary about their artwork eliciting uncanniness, except Henson, who receives little discussion in relation to uncanniness, but, as demonstrated, epitomises it nonetheless.
Examining their art against a contemporary theoretical framework thus addresses a lacuna of critical, academic insight into the uncanniness of visual art, before drawing conclusions about some conceptual, technical and formal differences and similarities.
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Joyce, Renée Elizabeth. "The butterfly pin: the phenomenon of object-based collecting in Australian contemporary artistic practice." Thesis, 2017. https://researchonline.jcu.edu.au/53131/1/53131-joyce-2017-thesis.pdf.
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As a species of hunter and gatherer, we as humans are driven to collect things that we can use to sustain our lives, but once the intrinsic need of this process is met, animals of all sorts will collect objects for other purposes. To the contemporary artist, this innate sense of object envy or the desire to collect has become a driving force behind much contemporary art practice and is firmly posited in art theory. Patterns are emerging within collecting processes that have become templates for unique styles of representation, be they conceptual or practical. This research probes beneath the surface of artistic practice in relation to collected object inclusive artistic practice in the search for a model to explain the phenomena which has become more prevalent over the past century.
The historical discourse of object collecting, classification and display from the Medieval Reliquary, cabinets of curiosities, early museums and the modern and contemporary museological frameworks of the twentieth and twenty-first centuries forms the basis of this research. It is hypothesized that this historic continuum of collection processes has generated culturally and socially influenced object interaction behaviours that underpin the manner in which humans collect, classify and display objects. These historically informed behaviours have, over the span of history, resulted in a set of codified practices of collecting, classification and display. These practices, which have been repeated over the course of object collecting history, appear to have been adapted and incorporated into contemporary visual arts practice in those instances where artists engage with collected objects.
To investigate the resonances of characteristic practices of historic collection processes that can be observed in contemporary collected object inclusive artistic practice, a series of researcher generated theoretic paradigms titled the Butterfly Pin Constructs, has been developed. The Butterfly Pin Constructs consist of five individual constructs that represent key elements of collecting, classification and display which have persisted and evolved since the Medieval period. These theoretic representations provide a platform upon which to discuss collected object inclusive artistic practice and the impact of the legacy of collection processes upon this contemporary phenomenon.
This research utilises interview data from four Australian sample artists and the visual analysis of a number of their works of art to interrogate the framework of the Butterfly Pin Constructs and the role they may fulfil within the creative process. The Butterfly Pin Constructs, as embodiments of key characteristics of historic collection processes, are the central framework upon which an understanding of the phenomena of collected object inclusive practice can be positioned. As such, the interview responses and works of art of the late Tom Risley, Donna Marcus, Patrick Hall and Glen Skien, each of whom engage in collected object inclusive artistic practice, offer a sample set of this artistic phenomenon upon which to assess the validity of this theoretic model as offering an alternate paradigm to examine collected object inclusive artistic practice.
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Franzi, Cathryn Vanessa. "An Australian botanical narrative : a practice-led enquiry into representations of Australian flora on the ceramic vessel as an expression of environmental culture." Phd thesis, 2015. http://hdl.handle.net/1885/109317.
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This practice-led research investigates ways in which representations of Australian flora on ceramic vessels can communicate ideas about current environmental culture. The project developed from a curiosity about whether changing attitudes to Australia's environment, from colonisation to the present time of unprecedented species decline, might be found reflected on historical and contemporary ceramic objects. Botanical exploration and the scientific study of Australia's vast flora have produced a rich resource of natural history documentation. The aim was to establish a framework specific to the project that utilises these resources and current theoretical and practical approaches to understanding flora and the environment in both the sciences and humanities. Through this interdisciplinary enquiry, visual arts and botanical research methodologies intersected in the studio informing material, technical and conceptual developments. This exploration takes the form of an installation of wheel thrown vessels with carved and inlaid surface imagery of Australian flora, where, through form, imagery, material and placement, a metaphorical space is made in which to reflect on current environmental culture.
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Welch, Andrew Ian. "Contemporary processes and historical precedents for handmade crafts practice in the context of technological change." Phd thesis, 2010. http://hdl.handle.net/1885/151659.
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Simmons, Beverley Ann. "Travel talk: when knowledge and practice collide: tracking gendered discourses in popular texts; in the stories of contemporary Australian women who work in the travel industry; and women who begin international leisiue travel in mid-life." Thesis, 2003. http://hdl.handle.net/1959.13/1312964.
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Research Doctorate - Doctor of Philosophy (PhD)This narrative analysis of the gendered construction of travel in written, visual and oral travel texts is used to identify textual congruities and incongruities between travel knowledge and practice. Travel and women's magazines reproduce a sovereign tourist within a preferred contemporary travel discourse that is based on a fantasy of tourists' class elitism, masculine exploration and colonialism; sightseeing; a desire for place and its past; and fanciful play. Textually. women are marginalized in travel as if they are men or aligned with romantic fantasies of a colonial or domestic past. Women who work in travel agencies reproduce this discourse when they assume divorcees and widows need the protection of package tours to reduce any fear of travel. This discourse is also dominant for some of the women I interviewed who began travelling abroad when family responsibilities diminished and resources increased. These women would not travel abroad if it were not for package tours and travelling companions. Yet, their travel is not always entirely congruous with this discourse. However, my research also uncovers a group of women whose travel does not fit with dominant media discourses of travel in travel and women's magazines. These are women who work in the tourism industry and some of the women I have interviewed who are beginner mid-life travellers. These self-sufficient tourists are social adventurers and risk-takers who construct their travel in a relational travel discourse. This discourse, which is missing from the magazine texts examined, includes a tourist's subjective experience; a fully sensory engagement with place; a desire for authentic contact with Others, place and everyday domestic life; and practiced interactive social relations with local inhabitants. This travel practice is more likely to be self-transformative than travel within the fantasy discourse. Even though women's travel is diverse, gendered ambiguities are ongoing and central features in women's stories of their travel practices, travelling self-identities and their homecoming.