Dissertations / Theses: 'Modern 21st century Themes'

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Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.

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In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.

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Smit, Willem Jacobus. "Becoming the third generation: negotiating modern selves in Nigerian Bildungsromane of the 21st century." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2335.

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Thesis (MA (English))--University of Stellenbosch, 2009.
ENGLISH ABTRACT: In recent years, original and exciting developments have been taking place in Nigerian literature. This new body of literature, collectively referred to as the ―third generation‖, has lately received international acclaim. In this emergent literature, the negotiation of a new, contemporary identity has become a central focus. At the same time, recent Nigerian literary texts are articulating responses to various developments in the Nigerian nation: Nigeria‘s current political and socio-economic situation, diverse forms of cultural hybridisation, as well as an increasing trans-national consciousness, to mention only a few. Three 21st-century novels – Chimamanda Nogzi Adichie‘s Purple Hibiscus (2004), Sefi Atta‘s Everything Good Will Come (2004) and Chris Abani‘s GraceLand (2005) – reveal how new avenues of identity-negotiation and formation are being explored in various contemporary Nigerian situations. This study tracks the ways in which the Bildungsroman, the novel of self-development, serves as a vehicle through which this new identity is articulated. Concurrently, this study also grapples with the ways in which the articulation and negotiation of this new identity reshapes the conventions of the classical Bildungsroman genre, thereby establishing a unique and contemporary Nigerian Bildungsroman for the 21st century. The identity that is being negotiated by the third generation is multi-layered and inclusive, as opposed to the exclusive and unitary identities which are observable in Nigerian novels of the previous two generations. Such inclusivity, as well as the hybrid environments in which this identity is being negotiated, results in a form of ―identity layering‖. Thus, the individual comes into being at the point of intersection, overlap and collision of various modes of self-making. Such ―layering‖ allows the individual, albeit not without challenge, to perform a self-styled identity, which does not necessarily conform to the dictates of society. At the same time, the identity is negotiated by means of an engagement, in the form of intertextual dialoguing, with Nigeria‘s preceding literary generations. The most prominent arenas in which this new identity is negotiated include silenced domestic spaces, religo-cultural traditions, constructs of gender and nation, as well as in multicultural and hybrid communities. The investigation conducted in this thesis will, consequently, also focus on such areas of Nigerian life, as they are portrayed in the focal texts. Various theories of literary analysis (some of which specifically focus on Nigeria), Bildungsroman theory, theories of allegory, (imaginative) nation formation, feminism, gender and performativity, as well as theories of cultural identity and cultural exchanges, will form the critical and theoretical framework within which this investigation will be executed. Chapter One explores how Purple Hibiscus‘s protagonist, Kambili Achike, negotiates her gender identity and voice in order to constitute herself as an independent, self-authoring individual. Chapter Two, which focuses on Everything Good Will Come, investigates the dialectic relationship between Enitan Taiwo‘s national and personal identity, which inevitably leads to her quest to reconceive her gender identity, since national identity, as she finds out, is always an engendered construct. In its analysis of GraceLand, Chapter Three turns to the difficulties that Elvis Oke faces when he attempts to negotiate an alternative masculine identity within a rigid patriarchal system and between the cracks of a fraudulent African modernity.
AFRIKAANSE OPSOMMING: In die afgelope paar jaar was daar opwindende, oorspronklike ontwikkelinge in Nigeriese literatuur. Hierdie nuwe literatuurkorpus, wat gesamentlik bekend staan as die ―derde generasie, het onlangs internasionale erkenning ontvang. In hierdie opkomende literatuur, kry die soeke na 'n nuwe, kontemporêre identiteit ‘n sentrale fokus. Terselfdertyd reageer onlangse Nigeriese literêre werke met verskeie ontwikkelinge in die Negeriese nasie: Nigerië se huidige politieke en sosio-ekonomiese situasie, diverse vorme van kultuurverbastering asook 'n toenemende trans-nasionale bewustheid, om maar ‘n paar te noem. Drie 21ste eeuse romans – Chimamanda Nogzi Adichie se Purple Hibiscus (2004), Sefi Atta se Everything Good Will Come (2004) en Chris Abani se GraceLand (2005) – onthul hoe nuwe kanale van identiteidsonderhandeling en –vorming in verskeie kontemporêre Nigeriese situasies ondersoek word. Hierdie studie ondersoek die maniere waarop die Bildungsroman, die roman van selfontwikkeling, as ‗n medium dien waardeur hierdie nuwe identiteit geartikuleer word. Terselfdertyd sal hierdie studie ook worstel met die maniere waarin die artikulasie en soeke na hierdie nuwe identiteit die konvensies van die klassieke Bildungsroman genre hervorm, en daardeur 'n unieke en kontemporêre Nigeriese Bildungsroman vir die 21ste eeu vestig. Die identiteit wat ontwikkel deur die derde generasie is veelvlakkig en inklusief en staan teenoor die eksklusiewe, eenvormige identiteite wat in Nigeriese romans van die vorige twee generasies opgemerk word. Hierdie inklusiwiteit, sowel as die hibriede omgewings waarin hierdie identeite ontwikkel word, lei tot die vorming van identiteitslae. Die individu kom dus tot stand by die kruising, oorvleueling en botsing van verskillende metodes van selfvorming. Hierdie vorming van lae laat die individu toe, alhoewel nie sonder uitdagings nie, om 'n selfgevormde identiteit te hê wat nie noodwndig aan die eise van die gemeenskap voldoen nie. Terselfdertyd word hierdie identiteit onderhandel deur ‗n skakeling met Nigerië se voorafgaande literêre generasies in die vorm van intertekstuele dialoog. Die mees prominente omgewings waar hierdie nuwe identiteit onderhandel word, sluit stilgemaakte huishoudelike spasies, religieus-kulturele tradisies, konstrukte van gender en nasie, sowel as multi-kulturele en hibriede gemeenskappe in. Die ondersoek wat in hierdie tesis uitgevoer sal word, sal daarom ook fokus op hierdie areas van Nigeriese lewe, soos deur die fokale tekste voorgestel. Verskeie teorieë van literêre analise (sommige wat spesifiek op Nigerië fokus), Bildungsromanteorie, teorieë van allegorie, (denkbeeldige) nasievorming, feminisme, gender en performatiwiteit, sowel as teorieë van kultuuridentiteit en -uitruiling, vorm die kritiese en teoretiese raamwerk waarbinne hierdie ondersoek uitgevoer sal word. Hoofstuk een ondersoek hoe Purple Hibiscus se protagonist, Kambili Achike, haar genderidentiteit onderhandel en uitdrukking gee om haarself as onafhanklike, self-skeppende individu te vorm. Hoofstuk twee, wat fokus op Everything Good Will Come, ondersoek die dialektiese verhouding tussen Enitan Taiwo se nasionale en persoonlike identiteit, wat onvermydelik lei tot die herbedenking van haar genderidentiteit, aangesien nasionale identiteit, soos sy uitvind, altyd 'n gekweekte konstruk is. In sy analise van GraceLand, draai Hoofstuk drie om die moeilikhede wat Elvis Oke in die gesig staar wanneer hy probeer om ‘n alternatiewe manlike identiteit te onderhandel in 'n rigiede patriargale sisteem tussen krake van 'n bedrieglike Afrika-moderniteit.

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Oxley, Natasha Emma Fortescue. "Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.

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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.

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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.

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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

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Roche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.

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This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century.

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Wasserman, Minke. "'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.

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‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.

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Ward, Robert (Robert Clark). "Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.

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Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.

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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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Garisch, Margaret Isabel. "Consuming pasts : imaging food as Identity and (post)memory in post-apartheid South Africa." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018556.

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This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

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Schneider, Stefanie Maria. "Gegen-Stimmen/Gegen-Blicke : Zeitgenössische literarische (De-)Konstruktionen deutsch-afrikanischer Identitäten." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86404.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates counter-voices, counter-gazes and (de-)constructions of German-African identities in contemporary German literature. In extended application of postcolonial concepts it examines the way in which post-colonial views and counter-views on Germany and Africaare produced and how in the process alternative identities are created and negotiated. Analyzing poetry, short stories and novels by Black German authors (May Ayim, Ika Hügel-Marshall, ManuEla Ritz and Olumide Popoola) as well as by African literary voices writing in German (El Loko, Daniel Mepin, Philomène Atyame and Luc Degla), the thesis looks at and evaluates strategies of literary hybridization, responses to and deconstructions of the colonial imaginary, transcultural positioning and world literary perspectives.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek enkele teenstemme, teenblikke en (de-)konstruksies van Duits-Afrika identiteite spruitend uit Duitsland en dié uit Afrika in hedendaagse Duitse literatuur. Deurʼn uitgebreide toepassing van postkoloniale konsepte,ondersoek die tesis die wysewaarop die post-koloniale sienings en teenstandpunte oor Duitsland en Afrika geproduseer word en hoe in die proses alternatiewe identiteite geskep en onderhandel word. Deur die ontleding van gedigte, kortverhale en romans deur swart Duitse skrywers (May Ayim, Ika Hügel-Marshall, ManuEla Ritz en Olumide Popoola) sowel as Duitse werke deur literêre stemme uit Afrika (El Loko, Daniel Mepin, Philomène Atyame en Luc Degla), bekyk en evalueer die tesis strategieë van literêre verbastering, antwoorde op en dekonstruksies van die koloniale denkbeeldige, transkulturele plasing en wêreld literêre perspektiewe.

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Sage, Elizabeth M. "The image and the body in modern fiction's representations of terrorism : embodying the brutality of spectacle." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44737/.

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My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture. Chapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer's Burger's Daughter(1979), and Doris Lessing's The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan's Saturday (2006). Finally, Chapter 4 examines how Don DeLillo's Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception. By setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.

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Coffey, Shaun C. "The 21st Century Cancer Care Wellness Facility: A Study, Interpretation, and Application of 16th Century Japanese Tea-house Themes." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64515.

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Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward.
Master of Architecture

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Hsu, Matthew. "Indie-Folk™: Vintage sensibilities in the 21st century." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127050/1/Matthew_Hsu_Thesis.pdf.

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This project investigates the indie-folk music scene, characterised by lo-fi and vintage sensibilities evoking the Western colonial 'frontier spirit'—marked by old-timey handmade aesthetics, acoustic instruments and a back-to-basics ethos. Beginning as a niche genre then exploding into mainstream awareness in the 2000s, its popularity grew alongside cultural trends for all things natural, eco-friendly and 'rootsy'. Through interviews with artists, industry practitioners and fans, this research reveals the complexities involved in vintage sensibilities existing in a digitally-connected modern world, and how they relate to authenticity, hipster culture, green consumerism, gender, race and class.

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Saad, Aisha. "Contesting corporate social responsibility : public challenges to the modern corporation in the 21st century." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cec40e02-dd2f-498b-9e07-28daad3c92b8.

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This thesis argues that corporations have outgrown the theoretical frameworks that were devised to explain their dynamics at the turn of the 20th century. Contemporary conditions result in crises of legitimacy between corporations and their public contexts. With their amplified scales of operation and wide-reaching physical, economic, political, and social consequences, corporations of the 21st century demand revised theoretical, legal, and pragmatic interpretations that are better suited to grappling with present-day dynamics and to addressing critical challenges. This research examines contemporary controversies between corporations and publics from a critical legal perspective. Analysis of corporate dynamics is informed by geographically oriented themes of space and scale, contingency and attribution, and materiality and risk as they bear relevance to theoretical and real enactments of the corporation. This thesis grounds its claims with reference to the Corporate Social Responsibility (CSR) discourse; taking advantage of its reach and popularity while maintaining enough distance to note its limitations and internal contradictions. This thesis finds that the present-day account of CSR is originated and advanced by an ideological orientation that is universalizing, materialist, positivist, formalist and rationalist. Such an orientation is confronted and contested in this work by a more critical rationality that is concerned with power dynamics, as well as questions of agency and self-determination. This rationality is elaborated through four empirical chapters which find that: 1) appeals to a CSR agenda as an effective mechanism for addressing the corporation’s public impacts assumes the existence of a modern, liberal political context; 2) community ‘materiality’ presents an opportunity to bridge the notional public/private divide that is a core tenet of liberal theory; 3) the global corporation extends into plural territorialities and legal jurisdictions, and its public identity as interpreted through legal text sets the parameters for the accountability regimes devised to manage its impacts 4) pragmatist and aspirational legal agendas might be coordinated to advance issue-focused as well as case-based corporate liability reform. This work advances an account of the corporate-public relationship that carries relevance to a range of actors; corporations, public communities, policy makers and legal scholars. Each group has an integral part to play in addressing the challenges presented by the modern corporate arrangement and devising regimes that contain its public implications.

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Berger, Nicholas. "Modelling structural and policy changes in the world wine market into the 21st century." Title page, contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09ECM/09ecmb496.pdf.

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Includes bibliographical references. Addresses the question of what an economic model of the world wine market suggests will happen to wine production, consumption, trade and prices in various regions in the early 21st century. A subsidiary issue is what difference would global or European regional wine liberalisation make to that outlook, according to such a model. Accompanying CD-ROM comprises spreadsheet written by Nick Berger, November 2000, for the Windows and Office97 versions of Excel; a seven region world wine model (WWM7) - base version projecting the world wine market 1996-2005 as a non-linear Armington model. System requirements for accompanying CD-ROM: IBM compatible computer ; Microsoft Excel 97 or later.

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Majumder, Doyeeta. "The 'New Prince' and the problem of lawmaking violence in early modern drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11969.

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The present thesis examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. The thesis will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince'. I will demonstrate that while the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis', independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis' in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu' and through an act of law-making violence.

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Knijnenburg, Nicholas. "What are the issues that arise in the creation and presentation of a hybrid art work?" Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35838/1/35838_Digitised%20Thesis.pdf.

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As a creative expression, the multi or hybrid art form is in its infancy and still battling to achieve recognition and acceptance. This thesis recognises the importance of this new form and considers the place of artistic hybridity in history to constrnct a clear definition. This definition is used as a template for the construction of a new hybrid work, called Coma Neck 8. Using a Performance as Research methodology Coma Neck 8 provides data for the exploration of issues encountered in preparing and presenting a hybrid work. The issues are categorised as the intention of the work, form, amateur/professional status, logistical context and human context of the work. The synthesis and analysis of these issues then provides a series of best practice principles for future art makers to consider.

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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.

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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.

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Goulimaris, Rigas. "Perceptions of television news production and consumption : 'super-themes' in the Greek media landscape at the dawn of the 21st century." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589929.

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The thesis analyses perceptions of news in relation to everyday life as articulated by Greek news audiences and journalists. The model proposed here offers a testing and reconfiguration of an extant theoretical model ('super-themes') (Jensen, 1998b) which connects consumption of news to perceptions of everyday life. The thesis locates the schemes of perception of the Greek audience upon the axes of time, power, space and a threatened identity as they were articulated by the news audience and the newsmakers. A mixed-method approach is used primarily consisting of interviews and analysis of the news text, examining the creation of meaning as a negotiated dynamic process among news audience, news texts and newsmakers. Through thick description, the 'super-themes' of the Greek media landscape surface as underlying explanatory schemes encompassing the reception of television news. The analysis indicates that the Greek audiences perceive the news text and the news media in general as disempowering the individual and it also indicates an intention to apply critical and negotiated readings to the news texts. The 'super-themes' that surface on the basis of this research indicate that Greek news audiences and newsmakers oscillate between perceptions of an 'underdeveloped' and 'developed' self and nation which, however, is disempowered by widespread corruption. At the same time, the contributions of .. _---_._----.- - participants indicate perceptions of Greece as a small and threatened country in the periphery of Europe. The research was carried out in the aftermath of specific events that took place in 2004 and were presented as national successesl!2Jhe Greek media and the thesis analyses them as 'media events' potentially instigating changes in the self-perception of the Greeks at the dawn of the new millennium.

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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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Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts." Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.

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In this thesis I investigate collaborative ethnography through creative arts as a growing global field of practice, based on common influences from anthropology and contemporary art. I seek to understand the nature of this field and to critically examine some of the assumptions that we make as collaborative ethnography/art practitioners about our work as forms of collaboration and social change. Practices of collaborative ethnography through creative arts occur in diverse settings around the world and produce different creative forms such as books, films, photography and theatre. Despite this diversity they share similar ways of working, relationship dynamics and socio-political motivations. I examine the range of social and political agendas that are being furthered using collaborative ethno/art practices and consider the ways in which the motivations of project facilitators shape these agendas and the social relations surrounding projects. The original contribution that this thesis makes is a critical examination of notions of authorship in collaborative ethnographic/arts practice and the flow of benefits from this kind of work over time. I use the recent history of conflict surrounding control of materials from the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena and the Chiapas Photography Project in Mexico as a major case study. This case illustrates that the social, organisational and economic dynamics surrounding collaborative production, and the reception of resulting works by audiences and markets, shape the ways in which authorship and creativity are being understood within collaborative ethnographic/art projects over time. I argue that although collaborative ethno/art practices are acts of co-creation the nature of co-creativity in these projects is frequently obscured by modernist preoccupations with individual authorship. The complexities and potential of co-creativity as a growing form of contemporary cultural creation risks being obscured and misunderstood by the focus on this concern. Examining the social and organisational structures surrounding collaborative ethnographic/art projects, with a focus on the New Orleans based Neighborhood Story Project another major case study in my research, I argue that there is a professionalization of collaborative ethno/art practice occurring. The recent experiences of the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena reveal the institutional and organisational structures accompanying the professionalization of this kind of work risk reinforcing the very social and economic inequities that motivated the practices in the first place. The ways in which dynamics of control and flow of benefits from works created in collaborative ethno/art projects play out over time can inadvertently yet directly contradict the socio-political goals which motivated their original establishment. My research methods included participatory research with a number of projects in Australia, the USA and Mexico; interviews with twenty-five project facilitators from a range of international projects; and examination of the works and histories of a number of long running projects, including the twenty-year history of Chiapas Photography Project in Mexico.

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Guzman-Medrano, Gael. "Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.

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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region. Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.

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Heymans, Simone. "Habitual transience : orientation and disorientation within non-places." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013141.

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This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.

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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.

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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.

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Wedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.

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This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.

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Yu, Liwen, and 余麗文. "Politicizing poetics: the (re)writing of the social imaginary in modern and contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.

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Rauber, Rogério [UNESP]. "Do bagaço da pintura às pictocartografias." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/131959.

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Made available in DSpace on 2015-12-10T14:22:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-30. Added 1 bitstream(s) on 2015-12-10T14:28:58Z : No. of bitstreams: 1 000852999.pdf: 42160957 bytes, checksum: 1761b105afacbaf617d9c6ea8d8a7665 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias
In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias

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Rauber, Rogério 1960. "Do bagaço da pintura às pictocartografias /." São Paulo, 2015. http://hdl.handle.net/11449/131959.

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Orientador: Rosangela da Silva Leote
Banca: Lucimar Bello Pereira Frange
Banca: José Paiani Spaniol
Resumo: Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias
Abstract: In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias
Mestre

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Albuquerque, Ricardo Bezerra de 1963. "Auké - A Ilha Invisível : pintura e dramaturgia /." São Paulo, 2017. http://hdl.handle.net/11449/151137.

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Orientador: Sergio Mauro Romagnolo
Banca: Lúcia Regina Vieira Romano
Banca: Joasé Paiani Spaniol
Banca: Rosa Gabriella de Castro Gonçalves
Banca: Alvaro Seixas
Resumo: O trabalho apresenta o processo de criação do texto dramatúrgico Auké - A Ilha Invisível e a produção pictórica criada especificamente para ele. O texto dramatúrgico discute os desdobramentos que a comunicação cria a partir do encontro entre personagens oriundos de mundos diferentes e os desentendimentos relacionais consequentes. O trabalho busca integrar a pintura com a dramaturgia teatral para compor uma nova sintaxe estética tanto visual quanto teatral a partir das afinidades e diferenças entre as duas linguagens. A tese aborda também a transformação da pintura ao estar nesse novo lugar que não é o espaço expositivo tradicional público e/ou privado. A pesquisa revela o processo de escrita do texto dramatúrgico e o resultado obtido dessa inter-relação com a pintura. Assim, a dramaturgia e a pintura ao se fundirem num propósito comum criam um campo conceitual e experimental que se desdobra em uma nova práxis artística.
The work presents the process of creation of the dramaturgic text Auké - A Ilha Invisível ( Auké - The Invisible Island) and the pictorial production specially created for it. The dramaturgic text discusses the unfolding ways that communication creates from the meeting of the characters coming from different worlds and the consequent quarrels in their relationship; The work aims at integrating the painting with theatrical dramaturgy to compose a new aesthetics syntax both visual as well as theatrical starting with the similarities and differences between the two languages. The thesis also approaches the transformation of picture by being in that new place which is not the private and or public traditional space for exhibition. The research reveals the process of writing the dramaturgic text and the result obtained out of that interrelation with the painting. Therefore, the dramaturgy and the painting when merging in a common purpose create a conceptual and experimental field that unfolds into a new artistic practice.
Doutor

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Calabrese, Laura. "Le rôle des désignants d'événements historico-médiatiques dans la construction de l'histoire immédiate: une analyse du discours de la pensée écrite." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210172.

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Ce travail est divisé en deux grandes parties. La première explore la notion d’événement dans une perspective multidisciplinaire, à partir de l’histoire, la sociologie, l’ethnologie, la philosophie, la communication et la linguistique. Le but de ce parcours notionnel est double :tout d’abord, illustrer comment les sciences humaines évoluent (depuis les années 1950) vers une approche langagière de l’événement, et en deuxième lieu, nous doter des outils conceptuels nécessaires pour montrer que l’événement médiatique est une construction sociale dans laquelle le langage joue un rôle central. Cette construction est régulée par des routines de rédaction journalistiques, des contraintes matérielles (i. e. l’espace disponible pour rédiger des titres), des représentations et des habitus de lecture. En amont de la nomination par le média, des protocoles sociaux implicites règlent ainsi la mise en mots de l’événement. Cela explique l’énorme consensus dans la nomination d’événements à l’intérieur d’un même espace historico-géographique.

La réflexion théorique sur l’événement a également permis d’observer le fonctionnement singulier du discours d’information, notamment en regard du discours historique, tout spécialement à partir de leur saisie particulière du temps, à savoir, les temps courts des médias et les temps long ou mi-longs de l’histoire. Cette forme d’appréhender le temps n’est pas sans conséquences sur les modes de nomination des médias, car ils ont besoin de nommer toute occurrence jugée événementielle, souvent sans le recul nécessaire pour les intégrer dans un récit global. La pratique conduit en effet le discours de l’information à produire une grande quantité de désignants qui pourront être mémorisés par les lecteurs sans pour autant produire de véritables connaissances. Malgré cette hypertrophie, l’événement médiatique constitue un repère collectif primordial pour organiser le vécu public. En ce sens, il est à distinguer du fait divers, qui n’organise pas le temps social mais produit, au contraire, des discours répétitifs, ancrés sur des archétypes et non sur l’actualité. Dans sa fonction cathartique, le fait divers présente une mise en récit du dysfonctionnement de la société et, dans sa répétitivité, n’a pas besoin d’être mémorisé par le discours social. Comme corollaire, il produit moins de dénominations et plus de séquences narrativisées. Ainsi, un fait divers peut accéder au statut d’événement en fonction de la place que le discours d’information −et la société− lui accorde, à la fois dans l’espace public et dans la matérialité du support écrit.

En tant que construction sociale, l’événement médiatique n’est pas un objet discret. Non seulement il n’est pas disponible tel quel avant l’acte de nomination, mais il n’est pas immédiatement disponible et perceptible. Comme d’autres réalités sociales ou institutionnelles, les événements ont une « ontologie subjective » mais sont perçus comme objectifs. Dans ce cadre, l’instance de médiatisation est fondamentale pour donner corps à l’événement et l’ériger en objet d’intérêt public. La question qui se pose est celle de la mise en forme de l’événement en consensus avec le corps social. Si nous considérons les événements comme des faits institutionnels, il devient évident que leur mode de donation est médiatisé par le biais d’une instance socialement légitimée à laquelle on accorde cette mission :les médias. Le mécanisme de médiation qui intervient ici est la déférence :nous déférons aux journalistes la tâche d’identifier, de décrire et de nommer les événements publics.

L’analyse des désignants d’événements dans une perspective linguistique (sémantique et syntaxique) s’avère ainsi fondamentale pour interroger les représentations mobilisées par le média. En effet, ces séquences linguistiques, largement partagées par le corps social, sont des prêts-à-dire capables de condenser une énorme quantité d’information sur l’événement, de ses données les plus objectives (où, quand, quoi) aux plus subjectives (images, représentations) mais partagées intersubjectivement. La deuxième partie de cette thèse aborde la description de ces séquences linguistiques, dans une démarche qui va de la sémantique lexicale à la sémantique discursive. Les désignants d’événements sont envisagés sous leur forme expansée, c’est-à-dire comme des expressions définies formées à partir d’un nom événementiel, nom qui dénote un événement en langue (attentat, catastrophe, crise, etc.). Cette base lexicale sert à catégoriser l’événement −en fonction de cadres cognitifs communs−, orientant le sens et affectant les représentations des lecteurs.

Parmi les différentes formes, nous distinguons des expressions définies complètes (la guerre en Irak, le massacre de la place Tiananmen, les attentats du 11 septembre, l’affaire du voile) et incomplètes (la crise, la canicule, le tsunami). Ces dernières se caractérisent par la présence d’un opérateur indexical qui fait référence au moment de l’énonciation et ont donc une capacité plus faible à stocker la mémoire de l’événement. Une fois le moment discursif passé, ces expressions ont tendance à être complétées par un complément (i. e. la canicule de 2003). Les expressions définies complètes présentent, elles, une tendance à la condensation. Elles produisent ainsi des mots-événements :des toponymes et des dates en fonction événementielle (que nous appelons héméronymes), ainsi que des désignants occasionnels (Tiananmen, le 11 septembre, le voile, respectivement). Malgré l’effacement du nom événementiel présent dans la dénomination originelle (massacre, attentat, affaire), celui-ci est pour ainsi dire enregistré par l’expression restante, et sert par là à orienter le sens de l’expression. La preuve qu’un sens notionnel a été enregistré par ces expressions est qu’elles peuvent être réutilisées dans des emplois métaphoriques, pour des événements de même nature (le 11 septembre de l’Europe, un Tiananmen à l’iranienne, tsunami financier). L’approche discursive permet également de distinguer des dénominations et des désignations, moins figées et à plus forte valeur axiologique, mais qui contribuent également à la construction de l’événement. Si Mai 68 peut être catégorisé comme une révolte, une révolution ou un mouvement par la presse et par les principaux acteurs sociaux, il peut également être qualifié de coup d’épée dans l’eau ou de rupture culturelle. Les premières constituent des séquences largement partagées dont le but est de catégoriser, mémoriser et retracer l’événement, tandis que les secondes expriment surtout le point de vue d’un énonciateur ou groupe, et ont par là un contenu axiologique plus évident.

Nous essayons de montrer que la description linguistique est une condition nécessaire pour décrire la capacité mémorielle de ces désignants, qui ont des degrés de stabilité et de figement différents. L’établissement des différentes catégories (expressions définies complètes et incomplètes, xénismes, mots-événements accidentels, toponymes événementiels et héméronymes) permet d’étudier leur capacité mémorielle en fonction de leur morphologie. En effet, moins le désignant a de contenu lexical, plus il a de facilité à circuler dans des contextes qui ne sont pas celui d’origine. Ainsi, les toponymes et les héméronymes ont une plus grande capacité d’évocation, en raison de leur proximité avec le nom propre. Dans le discours d’information, ils fonctionnent comme des outils cognitifs qui servent à mémoriser des événements, des images et des discours sur les événements.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Morelatto, Felipe 1989. "Pintura e apropriação : a ação poética na interface entre o pessoal e coletivo /." São Paulo, 2019. http://hdl.handle.net/11449/190954.

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Orientador(a): Sergio Mauro Romagnolo
Banca: Agnaldo Valente Germano da Silva
Banca: Mônica Soares Tinoco Sanovicz
Resumo: Esta dissertação consiste numa análise de minha produção plástica preexistente do corpo de obras realizadas no período de dois anos do curso do mestrado. Esse estudo tem como foco um aprofundamento na investigação da apropriação de imagens prontas como procedimento artístico, tema extremamente relevante para produção artística atual, pois consiste como um dos eixos que norteiam a minha produção artística, já se fazendo presente em meus primeiros estudos e trabalhos artísticos, realizados desde a época da graduação. Para explorar todo esse panorama optei por focar no pensamento de críticos que se aprofundam no estudo dessas práticas como Douglas Crimp e Nicholas Bourriaud, bem como na obra de Marcel Duchamp e Andy Warhol, que são artistas que inauguram aspectos chave para esse contexto
Abstract: This dissertation consists of an analysis of my preexisting plastic production of the body of work done during the two years of the Master's degree course. This study focuses on deepening the investigation of the appropriation of ready-made images as an artistic procedure, witch is a extremely relevant theme for the current artistic production, and it also consists of the axes that guide my artistic production, and has been present since my first studies and artistic works as a graduate student. To explore this whole panorama, I have chosen to focus on the thinking of critics who delve deeper into the study of such practices as Douglas Crimp and Nicholas Bourriaud, as well as the work of Marcel Duchamp and Andy Warhol, who are artists who inaugurate key aspects of this context
Mestre

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Satorras, Pons Alícia. "La piel y la piedra. Una poética de la incertidumbre en la poesía de Guillermo Carnero." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668076.

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Esta investigación traza un perfil de la obra del poeta y ensayista Guillermo Camero que explica su esencial poética de la incertidumbre como origen y fin de su escritura poética. Nos encontramos ante una poética que se sustenta sobre la voluntad de conocimiento, un ejercicio de objetivación que arranca de la más humana y profunda voluntad de nombrar el universo pero en el que la duda ya no constituye un simple estadio hacia la certidumbre según regía el paradigma positivista sino que deviene la materialización de un deseo abstracto de verdad. La actitud escéptica del poeta germina en el marco de una sensibilidad posmodema que radica en la crisis de la identidad concebida en términos ontológicos que se hace patente en aspectos diversos, complementarios y complejos. Su poesía es reflejo de la crisis de la referencialidad entre mundo y palabra, del consecuente derrumbe de los sistemas ideológicos, del desvanecimiento de los límites identitarios con que la mirada positivista definía el individuo y el mundo, de la correlativa indefinición entre creador y creación, tan propia del fenómeno culturalista, y de la consiguiente fragmentación de índole fenomenológica de que es objeto el mundo posmodemo. En definitiva, del nacimiento de una mirada escéptica que de ningún modo anula el concepto de verdad sino que lo convierte en la quimera que explica la esencial búsqueda de sentido y que hace de la razón el más genuino motor de la expresión literaria. De forma coherente, a la luz de ciertas problemáticas en tomo a las máscaras estéticas del surrealismo y del simbolismo, veremos cómo la emoción es insoslayable de la razón, cómo el relativismo mal entendido constituye un prejuicio devastador, cómo el mito de la ruptura resulta ser un absurdo y cómo la realidad artística puede constituirse como la más vívida de las experiencias.
This research traces a profile of the work of the poet and essayist Guillermo Camero explaining his essential poetic of uncertainty as the origin and end of his poetic writing. We are faced with a poetic that is based on the will of knowledge, an exercise of objectivation that starts from the most human and profound will to name the universe but in which doubt no longer constitutes a simple stadium towards certainty as governed by the positivist paradigm but it becomes the completion of an abstract desire far truth. The sceptical attitude of the poet germinates in the context of a postmodem sensibility that comes from an identity cns1s conceived in ontological terms, which is evident in diverse, complementary an complex aspects. His poetry reflects the crisis of reference between world and word, the consequent collapse of the ideological systems, the fading of the identity boundaries with which the positivistic gaze defined the individual and the world, of the correlative vagueness between creator and creation, so typical of the culturalismo phenomenon, and the consequent fragmentation of phenomenological nature that the postmodern world is subject to. In short, the birth of a sceptical look which does not nullify the concept of truth but makes it the Chimera that explains the essential search for meaning and makes reason the most genuine engine of literary expression. In a coherent way, in the light of certain problems around the aesthetic masks of surrealism and of symbolism, we will see how emotion is unavoidable of reason, how misunderstood relativism constitutes a devastating prejudice, how the myth of rupture tums out to be absurd and how artistic reality can be the most vivid of experiences.

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Lima, Vera Ferreira 1967. "Espaços expositivos contemporâneos." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285317.

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Orientador: Mauricius Martins Farina
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015
Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas
Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained
Mestrado
Artes Visuais
Mestra em Artes Visuais

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Andres, Kelly Jaclynn, and University of Lethbridge Faculty of Arts and Science. "Desiring machinations of Matertekhnologi." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2008, 2008. http://hdl.handle.net/10133/729.

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Desiring Machinations of Matertekhnologi is an Individualized Multidisciplinary thesis that synthesizes feminist frameworks with new media art to investigate the mediated body in relation to communications technology. The thesis illustrates contemporary, twenty-first century artists working with feminist strategies, the body, performance and technological media. Theoretical discussions are developed that imagine or suggest new forms of subjectivity that could be experienced through artistic appropriation of communicative, networked and technological media. These discussions include my studio investigations and unfold around the following themes: corporeal feminism, body-based philosophy, a subversion or manipulation of consumer technologies through intervention, appropriation and performance, the politics of space and location through networked interaction, and the mediated body in relation to communication technologies through a valorization of embodiment and the senses.
vii, 161 leaves : ill. ; 29 cm. --

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Válio, Luciana Benetti Marques 1978. "Renata Lucas e os espaços públicos : intrincamento e fissura." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285212.

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Orientador: Maria José de Azevedo Marcondes
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T17:11:03Z (GMT). No. of bitstreams: 1 Valio_LucianaBenettiMarques_D.pdf: 19188044 bytes, checksum: 89dc378e5989e4e90bc9d6f5cca49e49 (MD5) Previous issue date: 2014
Resumo: Pretende-se na tese "Renata Lucas e os espaços públicos: intrincamento e fissura" discutir o conjunto dos trabalhos da artista que se configuram como instalações e intervenções no espaço, com ênfase nas intervenções nos espaços públicos. Parte-se das premissas de que tais trabalhos se instituem como um intrincamento específico com o lugar onde se inserem, e de suas configurações enquanto potencial político. Assim, o objeto da pesquisa decorre das relações que o trabalho artístico estabelece com o espaço, seja em sua fisicalidade ou em sua discursividade. A análise do conjunto dos trabalhos de Renata Lucas, produzidos entre 2001 e 2013, baseia-se em teorias de áreas diversas (filosofia, antropologia, história e, fundamentalmente, nas teorias do campo da arte). Por meio de leituras distintas, tenciona-se ressaltar na poética da artista: a percepção corporal do espectador/participante no espaço; a possibilidade de irromperem-se socialidades; a tentativa de criar uma fricção com o espaço por meio da alteração dos códigos representacionais pré-ordenados. Investigam-se as problematizações decorrentes da intervenção no espaço pré-ordenado, que possibilitem novas leituras e percepções. Procura-se defender, inclusive, o potencial político do trabalho de Renata Lucas como contido em estado de latência, no sentido de um potencial a ser desencadeado para o político, tanto pela produção de novos espaços, quanto pela subversão da ordem espacial preestabelecida, assim como pela constituição de uma esfera pública. Conclui-se que os trabalhos artísticos de Renata Lucas contêm muito do estranhamento, da incerteza, da fragmentação, da irrupção. Portanto, desvelar as camadas dos trabalhos da artista possibilita também desvelar camadas subjetivas, não aparentes, aflorar a emergência da "situação na qual estamos imersos". Inferiu-se, com isso, que o trabalho de Renata Lucas concretiza-se na oscilação entre o intrincamento e a fissura, o imiscuir-se e o friccionar
Abstract: The purpose of the thesis "Renata Lucas and the public spaces: intricacy and fissure" is to discuss the collection of the artist¿s works that configure as installations and interventions of space, with emphasis on interventions of the public space. It is assumed that such works consist of specific intricacy of the space with which they deal, and of their configurations as to their political potential. Thus, the objective of the study results from the relationship that the artistic work establishes with the space, whether in its physicalness or its discursiveness. The analysis of the collective works of Renata Lucas, produced between 2001 and 2013, is based on theories in diverse areas (philosophy, anthropology, history, and, fundamentally, on theories in the field of art). By means of distinct interpretations, the aime was to highlight the poetical aspects of the artist: the corporal perception of the spectator/participant in the space; the possibility of interrupting socialities; the attempt to create a friction with the space through the alteration of pre-organized representational codes. An investigation was conducted of the problematics resulting from the intervention in the pre-organized space that permit new interpretations and perceptions. An attempt was also made to defend the political potential of Renata Lucas¿ works as contained in the latent state, in the sense of a potential to be released in its political aspect, as much through the production of new spaces as to the subversion of pre-established spacial order, as well as for the constitution of a public sphere. It is concluded that the artistic works of Renata Lucas contain much of the surprise, the uncertainty, the fragmentation, the irruption. Therefore, uncover the layers of the artist¿s works enables us also to reveal subjective layers, not apparent, to treat the emergence of the "situation in which we are immersed". It is inferred, as such, that the work of Renata Lucas is concentrated on the oscillation between intricacy and fissure, intromission and friction
Doutorado
Artes Visuais
Doutora em Artes Visuais

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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

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Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.

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This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

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Nieto, Alarcón Maria Dolores. "En la trama del lenguaje. Desdoblamiento y repetición en la escritura de Chantal Maillard." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/393858.

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Esta tesis doctoral propone una lectura de la obra de Chantal Maillard desde la perspectiva de la incidencia de los desdoblamientos y las repeticiones en la escritura de la autora. Maillard (Bruselas, 1951) cuenta con una amplia obra que explora la poesía, el ensayo y los diarios. En cualquier género que ensaya, su escritura acusa siempre gestos desdoblados y movimientos repetidos. El estudio de esta particularidad responde a la hipótesis de que estas marcas construyen un universo hipertextual al mismo tiempo que borran la figura del sujeto en la trama del lenguaje. La tesis se divide en tres capítulos, ocupándose cada uno de ellos de los ejemplos más importantes de desdoblamiento y repetición en la escritura maillardiana. En el primer capítulo, se aborda la estructura interna fractal de muchos de los libros de la autora. Maillard suele dividir sus libros en dos partes donde cada una consiste en la traducción a niveles simbólicos distintos de la otra, creando así un juego de espejos, una repetición desencajada o un desdoblamiento desenfocado. En el segundo capítulo, el foco de estudio es el observador, una singular modulación del sujeto que se pliega sobre sí mismo para observar su propio yo como si de un actor se tratara, abriendo la misma distancia estética que las representaciones procuran. Con este desdoblamiento de la voz, Maillard sondea sus vaivenes mentales y traza una estrategia de observación de la conciencia que se convierte, finalmente, en una herramienta de deconstrucción del sujeto. En el tercer capítulo, el análisis está centrado en las reescrituras, un proceso por el que la autora vuelca a poema ciertos pasajes en prosa de sus diarios. Maillard reescribe su propia escritura llevando a cabo modificaciones mínimas que señalan la naturaleza hipertextual y condicionada de su obra y, asimismo, demuestran que las palabras son metáforas, es decir, que adquieren sentido puestas en relación con otras, en la tensión que genera la trama lingüística. El sentido, entonces, surge del contexto. Estos tres casos de desdoblamiento y repetición en la escritura de Chantal Maillard singularizan su obra y la convierten en una de las apuestas más atrevidas y originales de la literatura española actual.
This thesis proposes a reading of Chantal Maillard's literature works from the splitting and repetitions perspective. Maillard (Brussels, 1951) has an extensive work that explores poetry, essays and diaries. In either gender, her writing always accuses splitting gestures and repeated movements. This thesis responds to the hypothesis that splitting and repetitions build a hypertext universe and also delete the subject in the frame of language. This study is divided into three chapters, each one analyzing the most important examples of splitting and repetition in Maillard's work. In the first chapter, I examine the fractal internal structure of many of her books. Maillard's books tend to divide themselves in two parts: each one of them is the translation into different symbolic levels of the other, creating a set of mirrors, a disengaged repetition or duplication focus. In the second chapter, the focus of study is the observer, an odd modulation of the subject that folds back on itself to observe its own self as if it were an actor, opening the same aesthetic distance that representations imply. With this split voice, Maillard probes mental fluctuations and draws an observation strategy of consciousness that becomes a tool of subject deconstruction. In the third chapter, the analysis is focused on rewrites, a process by which the author turns to poem prose passages from her diaries. Maillard rewrites his own writing with little modifications that mark the hypertextual and conditional nature of her work and also show that the words are metaphors; they only have sense in relation with the other words of the linguistic plot. The sense, then, emerges from the context. These three cases of splitting and repetition in Chantal Maillard's writing make her work one of the most daring and original in current Spanish literature.

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Cardoso, Silvia Helena dos Santos. "Estrada, paisagem e capim - = fotografias e relatos no Jalapão." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284439.

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Orientador: Luise Weiss
A biblioteca do IA acompanha 2 DVD-R
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011
Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético
Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic
Doutorado
Artes Visuais
Doutor em Artes

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Kühn, Carol. "Digital sculpture : conceptually motivated sculptural models through the application of three-dimensional computer-aided design and additive fabrication technologies." Thesis, [Bloemfontein] : Central University of Technology, Free State, 2009. http://hdl.handle.net/11462/50.

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Pereira, Adriana Camargo 1974. "Inhotim e sensorialidade : um estudo do corpo na arte contemporânea." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284628.

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Orientador: Maria de Fátima Morethy Couto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:20:26Z (GMT). No. of bitstreams: 1 Pereira_AdrianaCamargo_M.pdf: 5246882 bytes, checksum: cf0d620ec8d8535bb1019ffa7415bdf4 (MD5) Previous issue date: 2014
Resumo: Esta dissertação reflete sobre a necessidade de pensar, investigar e estudar o corpo na arte contemporânea. O local que se elegeu para abordar o objeto de estudo foi o Instituto Inhotim - Centro de Arte Contemporânea, que se encontra em Brumadinho - MG. O texto está dividido em quatro capítulos. O primeiro capítulo busca compreender de quais corpos se está tratando, das suas especificidades, dos seus entrelugares e de que forma esses corpos se manifestam na arte contemporânea. O segundo capítulo aborda a discussão do corpo, seus reflexos e sua duplicidade segundo as instalações das artistas Valeska Soares e Yayoi Kusama. No terceiro capítulo, trava-se uma discussão entre os artistas e as respectivas obras de Matthew Barney e Tunga, onde o corpo se coloca em constantes questionamentos e diálogos entre o híbrido e o metamorfoseado. E no quarto e último capítulo, referendam-se questões acerca do corpo e da tecnologia onde novas geografias sonoras e audiovisuais são pensadas e executadas como forma de incorporar os dispositivos e os meios eletrônicos quase inseparáveis e indispensáveis para os indivíduos, hoje, no espaço da arte e como prolongamento do corpo; para tanto foram selecionados o casal Cardiff & Miller e o artista Doug Aitken
Abstract: This essay shows the need that one has to think, investigate and study the body in contemporary art. Inhotim Institute - Center of Contemporary Art, located at Brumadinho - MG was the chosen place for this thesis. The text has been divided into four chapters. The first chapter searches to understand which bodies are being discussed; their specificities, their "in-between-places" and most of all how these bodies are manifested in contemporary art. The second chapter addresses the discussion of the body, its reactions and its duplicity; all in accordance with the installations of the artists Valeska Soares and Yayoi Kusama. The third chapter welcomes you into a debate between the artists Matthew Barney and Tunga, and their works. Where the body is put into questioning, and an open dialogue surges between the hybrid and the modified. The fourth and final chapter indorses questions about body and technology; where the new sound and audiovisual characteristics are thought and executed as a way to integrate gadgets and electronic media. Showing that it could become almost an inseparable and indispensable tool for anybody in today's art; where art is an extension of the body; for this, I've selected the couple Cardiff & Miller and the artist Doug Aitken
Mestrado
Artes Visuais
Mestra em Artes Visuais

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42

Lhote, Florence. "Poétique de la distance: la guerre d'Algérie et les lettres françaises, 1987-2010." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209009.

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Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Barbosa, Andrea Lombardi. "Narrativas do desencontro: o MAM e as novas mídias." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.

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Made available in DSpace on 2017-07-27T12:24:08Z (GMT). No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) Previous issue date: 2017-06-21
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos

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Bersch, Danielle. "A Promenade for Isolation." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23673.

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This building emerges as a solitary work from obscurity. Its form is a composition of disjointed rooms connected by common themes: frontality, obscurity, artifice, and seclusion.

In the first part, the plan appears as a map of a promenade which is the main ordering device of the building structure.

In the second part, the internal spaces are presented as isolated from each other as is the building from any external reference.

In the sections, which constitute the third part, the building appears as layered facades emerging from planes of strata.
Master of Architecture

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45

Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

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46

Faura, Sánchez Francisco Manuel. "Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.

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El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores. Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.
The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators. To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.

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Rios, Edna Maria 1966. "A Finitude e seus Afetos : entre sabores e falas." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285324.

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Orientador: Francisco Elinaldo Teixeira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação, apropria-se da experiência audiovisual do dispositivo-jantar como objeto de reflexão, perpassa as seis cerimônias realizadas entre as cidades de Salvador e São Paulo, e encontra, nos rituais instalados em situação de rua, a possibilidade tanto de situar-se no devir criativo do projeto aqui esboçado: Entre ruas e calçadas, como de penetrar diferentes territórios audiovisuais com montagens e apropriações de sua malha imagética. O que o presente texto oferece é o sopro de uma criação que tem a incompletude como condição, a incerteza como única certeza. Em seu começo, uma disposição primeira: a cerimônia do jantar. Em seu percurso, a escultura de uma força criativa que se fez e refez no encontro com seus intercessores. Da inoperância temática, a abertura de possibilidades de seu dispositivo de escritura em diferentes montagens, por entre diferentes domínios do audiovisual
Abstract: This present work is resulted by the reflection about the audiovisual experience acquired from using the dinner ritual as a dispositif. It passes through six dinner rituals that took place in São Paulo and Salvador, two of which being done in the street with homeless people. These two particular dinners opened the possibility to go through a more creative path, here drawn by the Entre ruas e calçadas project, or to get into other audiovisual territories with different settings and different uses of its imagetic grid. This text offers a glimpse of a creation having the incompleteness as a condition, the uncertainty as the only assurance. When the project began, there was just one thought: the dinner ritual. During its course: the sculpture of a creative strength that elaborates and re-elaborates itself while understands its intermediators; of its thematic ineffectiveness: the possibilities opened to fit the installation dispositif to other different settings and different audiovisual domains
Mestrado
Multimeios
Mestra em Multimeios

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Ruthven, Andrea. "Representing Heroic Figures and/of Resistance: Reading Women’s Bodies of Violence in Contemporary Dystopic Literatures." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/298592.

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This thesis analyses heroic women in contemporary popular culture, specifically within dystopic texts. Relying on the use of feminist theory to interrogate the texts of the corpus, a clear distinction will be drawn in the introduction between postfeminist discourse and rhetoric and Third Wave feminist intervention. The heroines of the novels Pride and Prejudice and Zombies (2009), Sense and Sensibility and Sea Monsters (2009), Jane Slayre (2010), The Life and Times of Martha Washington in the Twenty-First Century (1990-2007), and The Hunger Games trilogy (2008, 2009, 2010), will serve as the focus for an itnerrogation of female heroism, violence, and posthumanity. Each of the three chapters dedicated to textual analysis considers how the various heroines’ violence is mobilised, and how its representation works to reinscribe or resist patriarchal discourse. My argument is that the discourse which constructs violent women works as a form of violence in and of itself, to which the heroic female body is subjected. The focus on dystopic texts written between 1990 and 2010 serves as the basis for an analysis that seeks to consider how the heroine is a construction of the contemporary moment, and how popular culture and media are driving forces in the way in which postfeminism occupies a central role in the narrative surrounding strong, violent heroines. The range of sub-genres, contemporary Gothic, comic books, and young adult fiction, offer a broad field for interrogating this ubiquitous figure. Chapter one, ‘Spectres of Feminism: Postfeminism and the Zombie Apocalypse’ considers how the integration of posthuman monsters (zombies primarily but also vampires, sea monsters, and the she-wolf) manipulates the potential for agentic heroines such that their violence is reinscribed within heteronormative and Humanist frameworks. The matrimony plot so prevalent in the texts highlights how the active heroine’s violence is only permissible within the bounds of heteronormativity. Chapter two, ‘Violent Heroines, Comic Books and Systemic Violence’ considers the construction of the super heroine of the comic book genre and considers the way in which a racialised female body disrupts the norm and yet is still subjected to patriarchal strategies for containing representations of heroic women’s bodies and violence. The introduction of the cyborg as the posthuman enemy further emphasises how violence is mobilised in the postfeminist heroine as a means of sustaining patriarchal culture and anthropocentric normativity. The analysis in Chapter three, ‘Katniss Everdeen and The Hunger Games: Dystopia and Resistance to Neoliberal Demands,’ brings to light the potential for a heroine that disrupts the postfeminist model seen in the previous two chapters. Through an interrogation of the way in which the novels are critical of spectator culture and the romance plot, a space for resistance is opened up. The representation of a heroine who eschews the individualist notions of postfeminist heroism by privileging the formation of affective bonds, as well as embracing the posthuman condition rather than fighting against it, offers the potential for a Third Wave feminist protagonist. Considering, in the conclusion, the way in which heroines and viragos are represented in contemporary texts, whether they be fighting zombies, enemies of the state or the state itself, it is clear that the way in which women’s violence is often offered as a postfeminist depiction of women’s equality and power serves to reinscribe women within a patriarchal framework. For the late-capitalist, globalised culture, it is imperative to represent a postfeminist vision of women as powerful, independent and equal without actually challenging the socio-political structure. This dissertation identifies the ways in which postfeminist versions of heroic women are constructed and offer a possible alternative, one which coincides with a Third Wave feminist understanding of the heroine’s role in contemporary society.
Esta tesis toma como punto de partida el análisis de las mujeres heroicas en la cultura popular contemporánea, específicamente en los textos distópicos. Aplicando las teorías feministas al análisis de los textos, se hará una distinción clara entre el discurso postfeminista y la intervención del feminismo de Tercera Ola. Me centraré en las heroínas de las novelas Pride and Prejudice and Zombies (2009), Sense and Sensibility and Sea Monsters (2009), Jane Slayre (2010), The Life and Times of Martha Washington in the Twenty-First Century (1990-2007), y la trilogía de The Hunger Games (2008, 2009, 2010) para analizar la violencia y el heroísmo femeninos, así como el posthumanismo. Cada uno de los tres capítulos dedicados al análisis textual reflexiona sobre el modo en que se concibe la violencia de las distintas heroínas, y cómo su representación intenta reinscribir o resistir el discurso patriarcal. Mi argumento es que el discurso que construye a las mujeres violentas funciona como una forma de violencia en y por sí misma, a la que se somete el cuerpo heroico femenino. El estudio de textos distópicos escritos entre 1990 y 2010 sirve de base para un análisis que busca interrogar no sólo a la heroína como construcción del momento actual, sino también el modo en que la cultura popular y los medios constituyen agentes clave en el predominio que el postfeminismo ha conseguido dentro de la narrativa de heroínas fuertes y violentas. La variedad de sub-géneros (Gótico contemporáneo, cómics, y ficción juvenil) ofrece un campo amplio para el análisis de esta figura ubicua. Al considerar el modo en que las heroínas y viragos se representan en los textos contemporáneos queda claro que el modo en que la violencia de las mujeres se ofrece como instancia postfeminista de igualdad y empoderamiento de las mujeres funciona en realidad como re-inscripción de las mujeres dentro de un marco patriarcal. Esta tesis identifica las maneras en que se construyen las versiones postfeministas de las mujeres y ofrecer una posible alternativa, una que coincide con la visión del feminismo de Tercera Ola, acerca del papel de la heroína en la sociedad contemporánea.

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Nixon, Karla. "Re- an exploration of transience in the work of selected artists." Thesis, 2017. http://hdl.handle.net/10321/2497.

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Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017.
The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art.
M

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Frederick, Ursula K. "On and off the road : creative intersections between cars and art." Phd thesis, 2013. http://hdl.handle.net/1885/156072.

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Thesis: Over the past decade there has emerged a growing body of scholarship concerned with the impacts and influences of automobility. Its purpose has been to understand the dominance of the car not simply as a technology of transport but as a system of actors, materials, objects, ideas and infrastructure. While much of this research recognises the pervasive presence of the car in our lives in terms of different representational formats, relatively little consideration has been given to what creative artists might contribute to this research. Adopting an interdisciplinary framework incorporating contemporary art, visual anthropology and the archaeology of the contemporary past, this study explores the intersection of car cultures and creative practice to consider how cars can operate as a form of art. In doing so the author proposes that artistic engagements with the car provide unique insight into the experiences of contemporary life. This argument follows from the understanding that art is not simply a mirror of or response to the socio-cultural and political context in which it is manifest. Art is also a conceptual tool for thinking about the very substance and conditions of contemporary existence. Incorporating research undertaken across numerous car culture sites and communities along with a detailed analysis of six case studies, the project makes extensive use of photography as a mode of research. Within the accompanying exegesis the author discusses how her own artwork engages with the influence of automobility in our daily lives. She identifies her working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds is informed by her training and sensibility as an archaeologist. The artist explores this idea as a general influence on her practice and more specifically through her investigation of car cultures. The signature of the automobile is all around us, but through its very ubiquity it often goes unnoticed. It is this affect of the everyday - the power to hide in the light - that has especially influenced the artist's approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility the artist aims to reflect on the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. The artist's photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how she came to develop her practice in response to this topic, the artist concludes that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research. Exegesis: This exegesis discusses how I came to develop a body of work that engages with the influence of automobility in our daily lives. I identify my working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds in informed by my training and sensibility as an archaeologist. I explore this idea as a general influence on my art practice and more specifically through my very ubiquity it often goes unnoticed. It is this effect of the everyday - the power to hide in the light - that has especially influenced my approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility I aim to reflect upon the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. My photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how I came to develop my practice in response to this topic, I conclude that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research.

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Dissertations / Theses on the topic 'Modern 21st century Themes'

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