Dissertations / Theses on the topic 'Visual arts practice'
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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Daniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.
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This practice-led research project investigates how new postcolonial conditions require new methods of critique to fully engage with the nuances of real world, 'lived' experiences. Framed by key aspects of postcolonial theory, this project examines contemporary artists' contributions to investigations of identity, race, ethnicity, otherness and diaspora, as well as questions of locality, nationality, and transnationality. Approaching these issues through the lens of my own experience as an artist and subject, it results in a body of creative work and a written exegesis that creatively and critically examine the complexities, ambiguities and ambivalences of the contemporary postcolonial condition.
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Stevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
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There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist.
Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.
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Le, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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Bell, S. "The promise of the short text : writing risk into visual arts practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/06d7767a-9941-4ab8-892e-e73767b48aa7/1.
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In this study I aim to see if writing can enhance visual arts practice. Much UK Quality Assurance Agency and Higher Education visual arts documentation recommends risk, as do many practitioners. I hypothesise that very short, tightly-structured essays will foster risk by combining radical format, content demand and writing’s esteem. I experimented with essays by Foundation visual arts students at Coventry University in 2011. Half the group was assigned a short essay as above, the other half a 1,000-word, conventional essay. Both groups had the same essay topic choices; both were taught in the same way as far as possible; both assignments were individual. Practice-based presentations took place shortly after the essays, and students were advised of potential connections between the tasks. Quantitative data was taken from all essay and presentation grades; qualitative data from essay drafts, questionnaires and interviews with selected 128-word essay students. The grades show the 128-word essay students slightly outperforming the others. Four themes emerged from the qualitative data: provisional meaning, risk, practice parallels and project process. Drafts and questionnaires showed improvisation and keen engagement; interviews (loosely following Bryman’s ‘unstructured’ model) considered content, form, convention, risk and transferability of writing to practice. The main problems students faced when writing the short essays were how to say enough and how to mix tradition with innovation. There was evidence that some students connected the short essay with their practice – but to connect is not necessarily to enhance. The short essays were very diverse, some radically inventive, others less so – yet the study recommends caution when rethinking traditional writing assignments because some students respect traditional writing, and may find the extreme form of the very short essay patronising unless it can promise more. The study’s contribution to knowledge is to promise more by making writing a metaphor for practice and evaluated as such, taking writing beyond mimicking or analysing practice. The study also induced a supporting theory that absolutes and variables need careful balance, extending the bisociative notion of mixing tradition with innovation. The study showed that these short essays could enhance practice by fostering risk, but also that risk is very variable. This questions how such risks are evaluated, and even whether an enforced risk is a risk at all, and not just ingenuity. The thesis has six chapters: Introduction; Literature review; The short story in visual arts practice; The short essay in action; Student responses; Conclusion. Appendices contain three associated papers and all drafts with comments, questionnaires with responses, and full interview transcripts annotated to demonstrate emerging themes and connections to research questions. The study draws on reader-response as a theoretical framework, and is informed by the study of visual arts academic writing, risk-taking in visual arts practice, Koestler’s bisociative understanding of creativity, provisional meaning and the short story.
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Le, Roux Neil. "A case of emergence : autonomy and self-organisation in conceptual art practice." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86383.
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Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.
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Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
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Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.Includes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.
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Farr, Alisa. "The ear that you are able to hear me with : theorising art practice through auto/ethnography." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2347.
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Thesis (MA (VA)(Visual Arts))--Stellenbosch University, 2008.This thesis investigates social aspects of the production and distribution of artworks, approaching these from the context of the every-day life of the artist. Its main aim is to form a theoretical framework and personalised application of auto/ ethnography to enable the artist to study her own practice within a specific context. The thesis serves as a counterpart to the practical work that is expected of a Master of arts student at this particular university and in this department, the University of Stellenbosch, Department of Visual Arts. As such, it works in tandem with the practical component to posit an understanding of the artworks as they have been formed in a complex postmodern society. I, as the artist and writer, discuss my work by drawing from autobiographical experiences and theoretical frameworks as texts. Auto/ethnography, the chosen methodology, is informed by post-structuralism, Marxist and neo-Marxist theories and feminist discourses, among others. It calls for researchers to apply self-reflexivity in their practice and, hence, must include the situated position of the ‘I’ of the researcher, as this inevitably impacts on research findings. My writing on my art-making process becomes a form of ‘emergent’ research that studies the relationship between the self and the social. This takes place through the use of autobiographical texts and the above-mentioned theoretical frameworks, combined with relational and dialogical theories of art, and frameworks that study art production and distribution from sociological perspectives. I write myself as constituted within ideology and subject to societal structure, but also possessing agency. I write on my art as a product determined by my position in society; my intentions and aims for the artwork and considerations on how its distribution might affect me; and its function as a text that carries meanings that differ from those which I, at any given time, might ascribe to it. The framework in which I write on my art-making process also draws on complexity theory. Within this framework I approach the self as relational, society and the environment as a complex self-structuring process, and the meaning of text as created and re-created in a web of interactions, between the self (of the writer/artist and reader/viewer) and the society (as built up of different interrelating subsystems). Writing auto/ethnographically to produce an academic dissertation within this specific academic community can, I believe, serve as a means through which I can question my own objectivising claims, or claims that lie in theoretical and personal frameworks that I draw from. Implicit in this thesis is the question: how can an artist, working within the confines of an academic framework, ensure that an ethical component exists between the self and other in her working practice?
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Van, der Merwe Catrina (Nini). "Recollections of home : a study of the use of domestic objects and needlework in contemporary jewellery and my art practice." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80023.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is motivated by my own art practice, which exhibits a keen interest in objects and activities historically associated with the domestic, specifically with relation to needlework, in the making or producing of contemporary jewellery. Visual analysis of the work of other contemporary jewellers resulted in my realisation that the use of domestic objects and needlework in contemporary jewellery can refer to the idea of “home” through the use of phenomenological devices such as memory and nostalgia. My own art practice makes specific use of memory and nostalgia, and references trauma as experienced in the home. I investigate these themes specifically as they are depicted in contemporary jewellery. I begin my study by discussing how humans go about forming relationships with the objects with which they surround themselves. I discuss Martin Heidegger’s theory of hermeneutic phenomenology, regarding human interaction with objects and our relationship to them with regard to their specific functionality. I argue that taking the domestic objects out of their context, and in so doing ‘removing’ their functionality, allows the subject (maker, viewer, wearer) to suggest a new ‘background or horizon’ (Thomas 2006: 47) against which the object can now be read and understood. I discuss how jewellery can function as a mnemonic device, and how the domestic objects used in the specific jewellery pieces that I discuss add to this reading, identifying memory and nostalgia as the main devices facilitating a discussion of these themes. From here I work towards a definition of the domestic. By tracing the ways in which the domestic has come to denote a “space” traditionally gendered female, I look at the material culture represented within this “space” and how it relates to women. I draw on Svetlana Boym and Susan Stewart’s thoughts regarding nostalgia and its appearance in contemporary culture. Trauma and how it manifests in individual identities is then discussed with the aid of Michael S. Roth and his discussion surrounding Memory, Trauma, and History (2012). I discuss specific contemporary jewellery projects by Manon van Kouswijk (Lepidoptera Domestica, 2007); Gesine Hackenberg (Ceramic Jewellery, 2006-2011); Esther Knobel (My Grandmother is Knitting too, 2000-2002); and Iris Eichenberg (Heimat,2004). In my final chapter I discuss my own work, and highlight the ways in which I use domestic objects and needlework to reference memory, nostalgia and trauma thematically with relation to my own recollections of home.
AFRIKAANSE OPSOMMING: Hierdie studie is gemotiveer deur my eie kunspraktyk, wat my belangstelling toon in voorwerpe en aktiwiteite wat histories verband hou met die huis, spesifiek met betrekking tot naaldwerk, in die vervaardiging van kontemporêre juweliersware. Visuele analise van die werk van ander kontemporêre juweliers het gelei tot die besef dat die gebruik van huishoudelike voorwerpe en naaldwerk in kontemporêre juweliersware kan verwys na die idee van "huis" deur die gebruik van fenomenologiese idees soos herinneringe en nostalgie. My kunspraktyk maak spesifiek gebruik van herinneringe en nostalgie, en verwys na trauma soos in die huis ervaar. Ek ondersoek hierdie temas spesifiek soos hulle uitgebeeld word in kontemporêre juweliersware. Ek begin my studie deur die wyses te bespreek waarop mense te werk gaan in die vorming van verhoudings met die voorwerpe waarmee hulle hulself omring. Ek verwys na Martin Heidegger se teorie van hermeneutiese fenomenologie, ten opsigte van menslike interaksie met voorwerpe en die verhouding wat met hulle gevorm word met betrekking tot hul spesifieke funksies. Ek argumenteer dat deur die huishoudelike voorwerpe uit hulle oorspronklike konteks te neem, en sodoende hul funksie te ‘verwyder’, kan die subjek (maker, kyker, draer) 'n nuwe “agtergrond of horison" (Thomas 2006: 47) voor stel waarteen die voorwerp gelees en verstaan kan word. Ek bespreek hoe juweliersware kan funksioneer as 'n mnemoniese toestel, en hoe die huishoudelike voorwerpe wat gebruik word in die spesifieke juweliersware wat ek in hierdie studie bespreek kan toevoeg tot hierdie bespreking, deur die identifisering van herinneringe en nostalgie as die hoof toestelle. Van hier het ek gewerk aan 'n definisie van wat die huishoudelike behels. Deur ondersoek in te stel na die manier waarop die huishoudelike as 'n tradisioneel vroulike "ruimte" geïdentifiseer is, kyk ek na die materiële kultuur verteenwoordig binne hierdie "ruimte" en hoe dit verband hou met vroue. Ek verwys na Svetlana Boym en Susan Stewart se idees rakende nostalgie en die voorkoms daarvan in hedendaagse kultuur. Trauma en die maniere waarop dit in individuele identiteite manifesteer word vervolgens bespreek met die hulp van Michael S. Roth en sy bespreking van “Memory, Trauma, and History” (2012). Ek analiseer spesifieke kontemporêre juwelierswareprojekte deur Manon van Kouswijk (Lepidoptera Domestica, 2007), Gesine Hackenberg (Ceramic Jewellery, 2006-2011), Ester Knobel (My Grandmother is Knitting too, 2000-2002), en Iris Eichenberg (Heimat, 2004). In my laaste hoofstuk bespreek ek my eie werk, en verwys veral die maniere waarop ek huishoudelike voorwerpe en naaldwerk gebruik om tematies na geheue, nostalgie en trauma met betrekking tot my eie herinneringe van die huis te verwys.
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Staples, Adam. "A visual arts transformative learning practice in the aesthetic re-imagining of contemporary society." Thesis, Australian Catholic University, 2016. https://acuresearchbank.acu.edu.au/download/e39eefa0ec5ac33f1d8289d1fd5b64815c4089635bbabd866ac3bb57c2d04973/16546900/Staples_2016_A_visual_arts_transformative_learning_practice.pdf.
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This thesis is located in the areas of arts education, visual arts learning and society formation. The aims of the study were to undertake an analytical, empirical and conceptual study of the relationship between learning in the visual arts and contemporary society formation; to clarify the conceptual, policy, professional and practical issues relevant to the role of learning in the visual arts in stimulating learning and promoting contemporary society formation in a time of societal transition and change; and to generate theory and develop recommendations for theory, research, policy and practice. The study began with an examination of literature pertaining to the social, cultural and educational contexts of the study, with particular reference to Australia’s diversity, government policies relevant to culture and the arts, and to visual arts education and learning. This qualitative research study adopted an evolutionary epistemology and a meta-theoretical perspective based upon interpretivism. A Grounded Theory Method approach to data gathering and theory development was chosen. There were two distinct stages to the study. Data were gathered initially from teachers and secondary school students and then from a range of artists, senior arts administrators and visual arts educators. Two core categories were identified in the findings of the study. The first core category, Visual Arts Transformative Learning: Something Different and Significant, showed how learning in the visual arts can transform young people’s understanding of self, others and society and how learning in the visual arts itself can be transformed as a mode of learning. Such a transformative and transformed mode of learning can provide something different and significant both in stimulating learning and in contributing to society formation in a time of societal transition and change. The second core category, Re-Imagining Contemporary Society: The Distinctiveness of a Visual Arts Practice, based on data gathered from senior arts advocates, confirmed the relationship between visual arts learning and contemporary society formation, in particular the distinctive manner and form in which a visual arts practice might enable contemporary society to be re-imagined. The emergence of the substantive theory generated in this study, and the manner in which it addresses the central question of the nature of the relationship between learning in the visual arts and contemporary society, was assisted by reference to the metaphor of the loom, the warp and the weft, derived from the craft of weaving. From the examination of the findings, the substantive theory and the analysis of the relationship between the theory and the practice (practical wisdom) generated in this thesis, recommendations were put forward for the advancement of theory, research, policy and practice addressing a visual arts transformative learning practice and the aesthetic re-imagining of contemporary society.
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Schoch, Catherine M. "Medium and mode : relationships between visual experience and perception in an installation arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/70251/2/Catherine_Schoch_Thesis.pdf.
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Working primarily within the natural landscape, this practice-led research project explored connections between the artist's visual and perceptual experience of a journey or place while simultaneously emphasizing the capacity for digital media to create a perceptual dissonance. By exploring concepts of time, viewpoint, duration of sequences and the manipulation of traditional constructs of stop-frame animation, the practical work created a cognitive awareness of the elements of the journey through optical sensations. The work allowed an opportunity to reflect on the nature of visual experience and its mediation through images.
The project recontextualized the selected mediums of still photography, animation and projection within contemporary display modes of multiple screen installations by analysing relationships between the experienced and the perceived. The resulting works added to current discourse on the interstices between still and moving imagery in a digital world.
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Cheetham, April. "A veiling of identity : anamorphosis as double vision in contemporary art practice." Thesis, Liverpool John Moores University, 2012. http://researchonline.ljmu.ac.uk/6127/.
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The thesis examines the trope of anamorphosis as a formal dimension of art practice and as a critical tool for exploring subjective vision. Anamorphosis is a technique of perspective that produces a distorted image that may only be corrected and made coherent when viewed from a specific angle. In order to re-form an oblique anamorph, it is necessary to view the image from a position that is markedly different from the conventional, frontal viewpoint. This process of eccentric viewing relies on the observer of the work to actively locate the viewing position that will re-form the image and confer meaning. The beholder of anamorphic images becomes aware of herself as a viewing subject and consequently, this act of viewing affirms the construction of vision as reflexive and self-critical. The thesis takes as its point of departure the claim of the influential art critic and theorist, Rosalind E. Krauss that the art practice of the German-American artist Eva Hesse, specifically the work, Contingent, 1969, represented a reinvention for its own time of an anamorphic condition through a mutual eclipse of form and matter. Krauss deploys the device of anamorphosis as a means of addressing the problematic of the relationship between the categories of painting and sculpture, and the debates into which Hesse's work intervened during the late 1960s. The thesis outlines the history of anamorphosis and its relation to geometric perspective from its genesis in the Renaissance to contemporary artists' engagement with anamorphic strategies of disruption. The psychoanalytical model of vision proposed by Jacques Lacan deploys anamorphosis as an exemplary structure in the elaboration of the gaze. The thesis discusses various dimensions of the anamorphic in art practice since 1970, with reference to works by Hannah Wilke, Richard Hamilton, Rachel Whiteread, Christine Borland and Shirazeh Houshiary.
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Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.
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Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.
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Preece, Georgia. "Women, painting and critical practice in Britain 1984-1992." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368175.
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Haikala, Eeva-Mari. "An attempt to mirror the painterly and stillness in autobiographical visual practice." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/an-attempt-to-mirror-the-painterly-and-stillness-in-autobiographical-visual-practice(9573f5c6-22c2-46d2-a871-e6425fecf397).html.
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An Attempt to Mirror the Painterly and Stillness in Autobiographical Visual Practice is a practice-as-research project consisting of a portfolio of videos, photographs, and the documentation of live performances, and a written thesis. The written part is intended to work as a supportive body of material for the portfolio – or ‘brackets’, as it will be referred in the text – revealing the creative process behind those artworks, and the central thinkers, writers and artists that are relevant to this study, as well as offering contextualisation through an exploration of the lineage of other artists and discussions within which my practice-as-research project resides. The writing is built around the idea of ‘attempts’, in a written interpretation of a method I have applied to many of the artworks. Another key word of the study, the aforementioned brackets, is inspired by Virginia Woolf’s use of brackets in her novel To The Lighthouse. In this thesis I will explain the way in which these brackets have inspired me in the creation of many of the artworks. This will also offer an insight into how I relate to the text from within a visual artistic practice generally, and how using the brackets as a concept has also become a tool for identifying relationships between the art pieces presented in the portfolio and the written thesis itself. The text also reveals the multifaceted role of the painterly within this study project. The painterly will be discussed as a poetic-atmospheric visual frame for the artworks, and will also be explored in terms of how it emerges if the movement or the moving image is slowed down, which in turn brings this painterly quality of the artwork into close parallel with the still life painting genre. Finally, I will demonstrate, through the exploration of three artists from the past – Gwen John, Helene Schjerfbeck, and Virginia Woolf – the complexity of the writings of art history, biographies, and autobiographies.
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Crowe, Elizabeth A. "Where There Is Design." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3315.
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Giving up a certain amount of control can be healthy, productive, and natural. Nature has an important part to play in our lives, and nature is random even as it obeys natural laws. In the same way, creating ceramic objects requires obedience to the laws of nature even as it benefits from freedom from control. Creation requires a certain amount of letting go of control, allowing nature to take its course, and recognizing when good things happen. I have learned that my most successful pieces emerge when I combine conscious control with serendipity. The work in this show reflects that symbiotic, natural relationship between control and serendipity, and it grew out of my struggles with unrealized expectations. I tend to be a problem solver, sometimes obsessively, and as I've worked through various surprises, challenges, disappointments, and disillusions, I've come to realize that I have little control over life's situations. I have learned to rely on the tender mercy of a greater designer and to value the less-than perfect; those lessons have influenced my ceramic art.
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Owens, Ruth M. MD. "Visual Pleasure and Racial Ambiguity." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2520.
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I struggle to present work that reflects a psychological expressivity which at the same time conveys intellectual concepts that are of concern to me. It seems that the fluidity of an image can communicate a certain pathos, and correspond to the fluid nature of one’s identity. Drippy paint, distorted bodies, and vertiginous video clips can give an indication about what a body feels like from within. Depictions of these bodily feelings help to communicate ideas about what it means to be alive in general, and a mixed race woman, in particular.
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McBride-Harris, Jenna Lynn. "Interdisciplinary Transfer and Cultivation: How Vocal, Writing, and Visual Arts Can Inform Horn Practice and Performance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492701963548168.
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Capra, Carmen Lúcia. "Ensino de artes visuais : experiência estética e prática docente." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12854.
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Esta dissertação alia-se às discussões contemporâneas da arte/educação, entendendo o professor como produto e produtor de significados por meio de sua experiência estética. Propõe uma compreensão de como o professor articula as suas experiências estéticas com a docência em artes visuais, através de estudo de caso – seis professoras da Rede Municipal de Ensino de Caxias do Sul - RS – e abordagem qualitativa. Fundamenta-se teoricamente na reflexão sobre os pensamentos moderno e pós-moderno na arte, na educação e no ensino de arte, considerando ainda os conceitos de experiência e de experiência estética. A pesquisa evidencia, em seu desenvolvimento, que o ensino contemporâneo de artes visuais constitui-se, de forma heterogênea, tanto de aspectos da pós-modernidade como da modernidade, assinalando que a experiência estética docente tem potencial para atuar positivamente na construção do conhecimento artístico na escola em consonância com a complexidade do mundo atual.This dissertation joins with the contemporary discussions of art/education understanding the teacher as the product and the producer of meanings by its own aesthetic experiences. Propose a comprehension of how the teacher articulates its aesthetic experiences with the visual arts teaching through case study – six teachers from Municipal Education System of Caxias do Sul - RS – and qualitative approach. It substantiates itself theoretically in the reflection about modern and post-modern thoughts in the art, education and art/education, also considering the conceptions of experience and aesthetic experiences. In its development the research evidences that the contemporary teaching of visual arts constitutes itself, in heterogeneous form, both post moderns and moderns’ aspects, remarking that the teacher’s aesthetic experience has the potential to act positively in the building of artistic knowledge in the school in consonance with the complexity of the nowadays world.
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Ferreira, Doret Jr (Johanna Dorothea). "The making of the maker : a practice-based exploration into the process of signification as a mutually constitutive process for artist and artwork." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20356.
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Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis is a practice-based investigation into the mutual coming into being of artist and artwork within the process of signification as described by Julia Kristeva. The investigation is done from an unstable subjective position and requires innovative research methodologies and a sustained close connection with the practice in order to accommodate the complexity inherent to the process. The exploration involves a closer look at the process of making of the work, the possible meaning embedded in the artworks and the impact on the maker of the work. The situated knowledge acquired through the praxis provides new insight supported by the theories of Julia Kristeva and others.
AFRIKAANSE OPSOMMING: Hierdie tesis is ’n praktykgebaseerde ondersoek na die wedersydse totstandkoming van kunstenaar en kunswerk binne die proses van signifikasie soos beskryf deur Julia Kristeva. Die ondersoek word gedoen vanuit ’n onstabiele subjektiewe posisie en vereis innoverende navorsingsmetodologieë en ’n volgehoue nóú verbintenis met die praktyk om voorsiening te maak vir die kompleksiteit inherent aan die proses. Die ontleding behels ’n verkenning van die werksproses, die moontlike betekenis verskuil binne die kunswerke en die impak op die maker van die werk. Die gesitueerde kennis wat uit die praxis voortspruit verskaf nuwe insigte, gesteun deur die teorieë van Julia Kristeva en ander.
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Watson, Katharina Joyce. "You Can't Teach What You Don't Know and You Can't Lead Where You Won't Go: Professional Development as Artists for Elementary Educators." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6734.
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Elementary educators often lack the confidence and skill to teach visual arts to their students because they received very little, if any, formal training in what is a diverse and complex field of study. Teachers who lack confidence in a subject matter will potentially avoid teaching it. As a result, the early visual arts education of entire classrooms of elementary students can become neglected. Giving elementary educators the time to develop their own artistic process and acknowledging the value of educators' artistic voice can benefit teachers by building personal confidence, generating creative flow, providing knowledge about art, promoting a growth mindset, and boosting their enthusiasm for teaching art. It can also build connections to new and invigorating ideas for integrating art into lessons in their own classrooms. As such, it should create benefit for students. Using a combination of a/r/tography, narrative, and action research methodologies, this study researches the experiences of elementary teachers who choose to participate in artistic professional development opportunities provided by the visual art specialist on the faculty in order to see any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual art as a teaching method. Surveys and interviews document their past experiences with visual art, and their responses prior to and during the proposed courses. Follow up surveys, observations, and interviews document any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual arts as a teaching method in the classroom. This study endeavors to discover two things; 1) best practices in giving elementary educators professional development in visual arts content and methodologies to boost their confidence in their own artistic endeavors, and 2) how visual-art professional development workshops translate into visual-art instruction being integrated into the general classroom setting for elementary aged students.
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Spencer, John Maurice. "Creative risk and ethics : the pedagogy of media practice and the visual arts within UK higher education." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/618330/.
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This study makes an original contribution to knowledge, by an examination of the relationship between 'creative risk' and ethical appraisal within media and visual arts pedagogy at a higher education level. A central aim was to explore a new discipline-‐specific model for ethical appraisal for use by visual arts researchers and students. 'The ethical dimension is an important aspect of research governance' (De Wet, 2010:301), however, Hedgecoe, (2008:874) argues that 'underpinning the sociological critique of ethics review is an alarming methodological lacuna'. The observation that ethical issues implicit in visual research are different than those derived from purely textual sources, (Wiles et al., 2008), together with the recognition that quality assurance may hinder creative approaches, (Hargreaves, 2008), necessitated the need to seek better solutions. A second allied aim of the study considered the role of 'creative risk' and how this might affect the ethical decision-‐making of visual arts researchers and staff? Finally, by analysing data assembled during the study, the research explores the creative and ethical risks associated with the display of problematical images. The study identified that within the visual arts an overwhelming majority of respondents considered creative risk-‐taking to be important yet exhibited a nuanced relationship to ethical regulation. Furthermore, whilst creative risk was greatly overlooked in the literature, a factor noted by Ellis and Meneely, (2015); creative risk may help us better understand the processes of teaching, research and making. The study proposes a series of recommendations for improved systems of ethical appraisal including the need to differentiate between a research context and art practice operating outside of the academy. The findings also statistically assess the incidence of ethical issues highlighted by postgraduate visual arts researchers and advance a new definition for creative risk. It is hoped the study's original interpretation of creative risk and recommendations for improved systems of ethical appraisal will assist others in the field.
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Di, Marco Paula J. "Educational theories and strategies in a reflective practice case study on teaching computers in the visual arts /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957197514.
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MacDonald, Juliet. "Drawing around the body : the manual and visual practice of drawing and the embodiment of knowledge." Thesis, Leeds Beckett University, 2010. http://eprints.hud.ac.uk/11506/.
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This thesis concerns drawing as a form of enquiry, figuration and knowledge, specifically relating to perceptions of the body and embodied experience. The primary method and object of research is the practice of direct mark-making in response to perceptual experience, here termed observational drawing. The skills and habits of this learnt practice have been destabilised: by attempting a phenomenological approach; by drawing faces and bodies in conditions of movement and change; by progressively subtracting elements of manual and visual control. Following from observational drawing, the creative research methodology incorporates other modes of drawing, re-working of scanned drawings, note-making, reading and writing. The thesis includes a written overview (Part I), and a digital archive of drawings (Part II), jointly comprising a narrative of the research process. The study starts by considering drawing as a cognitive process; as a means of understanding corporeality; and as constitutive of embodied knowledge. Through drawing, issues are raised regarding the contingencies and contexts of my own observational practice, and the histories that inhabit it. A retrospective investigation through reading and writing has produced twelve texts, interconnected to become one website/diagram (Part III). This research contributes to the growing recognition of art practice as enquiry. Part III of the thesis locates the manual/visual operations of drawing, and the rhetoric of the hand, eye and mind used to describe them, within an epistemological and historical context. This is done from the specific perspective of the creative practitioner. Reference is made to philosophical, art historical and feminist texts; to delineations of the animal and critiques of anthropocentric accounts of knowledge. The conclusion identifies paradoxes within my practice, and oscillations in modes of looking, that characterise its knowledge-making operations. It is suggested such provisionality enables a multiplicity of figurative outcomes that can contribute to understandings of corporeal experience.
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Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.
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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.
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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Zhao, Yue Qu. "Emptiness as a visual strategy an exploration of visual absence in contemporary art practice : Master of Arts in Art & Design, AUT University, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/483.
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Avgousti, Nicoleta. "Contemporary Cypriot video art : an investigation of artistic practice and its educational implications for the visual arts curriculum." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21231/.
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This qualitative project concentrates on the creative research processes of contemporary Cypriot video artists and on their interrelation with the field of visual arts education, examined through the triple role of artist/researcher/teacher. The project contains evidence of the achievement of a tangible research product in the form of an Educational Guide, accompanied by a DVD collection as a creative outcome that presents, in 10 DVDs, the video profiles of 10 local artists with a selection of their video artwork. The project adopts a pluralistic research methodology, and identifies and presents multiple results that are extracted from the artists’ case studies, together with a self-study concerning artistic research approaches to video art-making. The results are transformed through a hermeneutical and semiotic approach into educational suggestions for the employment of video art as an art form, and video as a medium into the visual arts educational context. The body of knowledge presented contributes to three major areas: the documentation and accessibility of the artistic practices of contemporary living Cypriot artists, the understanding of their artistic research processes, and the attribution of pedagogical value to video art’s content and context through the creation of educational materials that consider the availability of the artists’ video works. The outcome of the project is intended for general and visual arts educators, artists, art historians and gallery and museum professionals who wish to study the insights of video art in Cyprus through an audio-visual presentation. The overall contribution of the project to professional practice is summarised in the bridging of the gap between the sister fields of visual arts and contemporary visual arts education, by transforming everyday artistic practice in appropriate material for pedagogical contexts.
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Bandola, Alexandra Isabel Ratado. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo do ensino básico e secundário realizada nas Escola Secundária Gabriel Pereira e Escola Básica 2, 3 André de Resende : A ideia no desenho, diferentes desenhos no ensino das artes visuais." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/19025.
Full textAbstract:
O presente trabalho, onde foi desenvolvido o tema “A Ideia no Desenho, Diferentes
Desenhos no Ensino das Artes Visuais”; foi elaborado no âmbito da Prática de Ensino
Supervisionada do Mestrado em Ensino de Artes Visuais no 3º ciclo do Ensino Básico e
no Ensino Secundário, pretende dar a conhecer os aspetos inerentes à Prática de Ensino
Supervisionada desenvolvida no ano letivo de 2011/2012 na Escola Secundária Gabriel
Pereira e Escola Básica André de Resende.
O relatório integra a preparação científica, pedagógica e didática; caraterização do
concelho de Évora; caraterização do contexto educativo, planificação, condução de
aulas, avaliação de aprendizagens e conclui com a análise da prática de ensino e
desenvolvimento profissional.
Possui ainda dois apêndices finais com informação citada e evidências significativas das
atividades desenvolvidas na escola. /ABSTRACT:The present work in which we develop a theme "The Idea in Drawing, Different
Drawings in Visual Art Education"; was prepared to achieve de Master Degree on
Teaching of the Visual Arts in the 3rd Cycle of Basic and Secondary Education, and it is
focused in the teaching supervised practice developed at the Escola Secundária Gabriel
Pereira and Escola Básica André de Resende Schools, during the academic year of
2011/2012. The report includes scientific, educational and didactical preparation;
characterization of the municipality of Évora; school planning, conducted lessons and
learning evaluation; and concludes with teaching analysis and professional
development.
It also includes two final appendices with quoted information and significant evidence
of the schooling activities. NOTA: em virtude de esta Tese conter apêndices de formatos diversos e incompatíveis para a introdução no repositório, só poderão ser consultados na Biblioteca Geral da Universidade de Évora.
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Qasim, Samir H. "The effect of martial arts practice on global self-esteem in people with visual impairment and the associated mechanisms and strategies." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/22026.
Full textAbstract:
The effect of exercise programmes on psychosocial characteristics, namely self-esteem, of people with visual impairment (VI) is limited. Martial arts practice has been found to improve global self-esteem among different age groups and among people with different abilities, but not for people with VI. This presents a notable gap in the research literature on people with VI. This thesis conducted three studies with the aim of investigating whether martial arts practice improves self-esteem in people with VI, including martial arts mechanisms and strategies for self-esteem improvement. Study one (n = 5) investigated the effect of a martial arts (karate) 10-week programme on the exercise and self-esteem model components (EXSEM) in young adults with VI (age range 19-40 years) following a non-concurrent multiple baseline approach. Visual inspection and graphical approach analysis showed that four participants improved their global self-esteem. Physical self-worth improved for all five participants. Exercise self-efficacy was improved in three participants whereas the other two had high exercise self-efficacy before participation in the karate programme. Exercise self-efficacy and physical self-worth maintained higher scores than the baseline for all five participants for 3 months upon completing the programme. The 3-month follow up results of global self-esteem were lower than the baseline scores for two participants whereas the other three participants achieved higher global self-esteem scores than the baseline scores. Study 2 (n = 12) aimed to identify the mechanisms for self-esteem improvement from the perspective of martial artists with VI following a narrative approach. Results identified two main factors that contributed in the improvement of self-esteem found in this group. Firstly, social self-esteem impacted global self-esteem as instructors unconditionally accepted the martial artists with VI, motivated them and created relationships based on trust. In addition, participants reported that team work in the dojo, trustful relationships among martial arts peers, and feeling respected impacted their social self-esteem. The resultant was improved global self-esteem of the martial artists with VI. The second factor identified showed that global self-esteem improvement was related to intellectual self-esteem, as the martial artists increased their self-achievement awareness and body and spatial awareness and thus helped martial artists in achieving their maximal potential. Study 3 (n = 6) aimed to provide strategies that martial arts instructors utilize to improve self-esteem of their students with VI using an interpretative phenomenological approach (IPA). Participants reported that the first step for global self-esteem improvement of martial artist with VI was social inclusion which needed to be rooted in a personal perception about the abilities of individuals with VI. Most of the strategies that were utilized by the instructors were focused either on social relationships, for example peer tutoring, or martial arts philosophy such as teaching real situations. Furthermore, instructors reported that improvement of the other cognitive and psychological characteristics, namely body awareness and self-confidence improvement, positively affected global self-esteem of individuals with VI. Supporting the multidimensional hierarchical construct of self-esteem, this thesis reports a positive influence of martial arts styles on social self-esteem, physical self-worth, intellectual self-esteem, and consequently global self-esteem in people with VI. Therefore, it is recommended that instructors focus on these three domains to improve global self-esteem of people with VI.
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Knox-Williams, Charlotte. "Slip, split, snag : diagramming the time image between Deleuzean theory and fine art practice." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/346353/.
Full textAbstract:
The project has engaged critically and reflectively in a series of investigations through Deleuzean theory and fine art practice. It has explored the functions of the diagram in relation to direct images of time, identifying novel perspectives on these aspects of Deleuzean theory through interconnections and a reciprocally transformative engagement with art practice. The research offers fresh insight into the complicated temporal shifts that become apparent through practice by layering visual and discursive elements. The work is concerned with the interrelation and transformation of different temporalities across surfaces and screens, and is situated in the intersections between text, film and drawing. <- Text functions in, about and as practice, and theory feeds and folds through processes of making. The interactions between analogue and digital, and the superposition and overlaying of the surfaces of drawings with projection are of particular importance. Digital film projections are traced and drawn, and the resulting layered surfaces are filmed again, repeatedly marked over and superimposed. The research addresses how these complex interrelationships might be understood as time images, and how different functions of the diagram can be seen to activate or make possible these direct perceptions of time. The diagram, in a Deleuzean sense, is characterised by a continual splitting that is simultaneously a divergence. Coming apart just as it runs together, the diagram is a marking out or working through that is provisional, temporal and engages with what is yet to be. The time image is identified as an instance in film where the virtual, or pure past and possibility, is perceived in the present. A stable, interwoven structure is developed through Bergson's theories of perception, recognition and memory, and this acts as a surface across, on and within which the main body of the text takes place. This is separated into three parts and each section proposes the interrelationship of a different diagrammatic function and a particular imaging of time. These are seen to arise through: slips, or loose, errant linkages; splits, or simultaneous bifurcations between
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Mantas, Francisco André Estrela. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo e secundário. Cultura visual no ensino das artes visuais: que relações?" Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16375.
Full textAbstract:
Na contemporaneidade, a informação e o conhecimento chegam aos jovens por meios essencialmente visuais. A escola tende a deixar de ser o principal espaço para o desenvolvimento das aprendizagens, que encontra agora novos contextos nas visualidades e ritmo da sociedade contemporânea.
As teorias pedagógicas baseadas na Cultura Visual constituem-se como uma tentativa de aproximar a escola a esta nova realidade. À educação cabe fornecer aos alunos ferramentas que lhes permitam analisar as imagens que consomem, evitando o afastamento com os conteúdos escolares tradicionais.
As Artes Visuais assumem um papel fundamental neste processo. Este relatório procura refletir sobre a experiência em Prática de Ensino Supervisionada para o Mestrado em Ensino de Artes Visuais para o 3º ciclo e secundário, realizada na Escola Secundária de Vendas Novas e na Escola Básica André de Resende, procurando uma reflexão abrangente sobre o papel da Cultura Visual nos currículos e na gestão pedagógica das escolas; ABSTRACT: Nowadays, the information and knowledge reach the youth essentially through visual means. The School becomes less and less the ideal learning place, which is now defined by modern society’s rhythms and aesthetics.
Pedagogic theories based on visual culture represent an attempt to bring school closer to this new reality. Education’s role becomes that of providing students with tools that allow them to reflect on and analyze the images they absorb, thus avoiding further estrangement with traditional school content.
Visual Arts assume a fundamental role in this process. This report aims to reflect upon the knowledge gained from Supervised Teaching Practice for the Masters in Visual Arts Teaching for “3º Ciclo” and highschool, carried out in “Escola Secundária de Vendas Novas” and in “Escola Básica André Resende”, looking for a more far-reaching study on the impact of visual culture on curricula and on the school’s pedagogic management.
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Alberto, Marta Sofia Rego. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo do ensino básico e secundário. Educação para uma melhor compreensão da arte contemporânea." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16372.
Full textAbstract:
No âmbito do Mestrado de Ensino de Artes Visuais, no 3º ciclo do ensino Básico e
Secundário, surge o desenvolvimento do relatório de estágio onde se procurará executar uma
análise reflexiva de todo o trabalho executado durante a prática de ensino supervisionada
(PES).
Este relatório é composto por um discurso pessoal, que descreverá experiências e
reflexões vividas no âmbito da PES. Em conformidade com o tema que se pretende
desenvolver durante a mesma, tem-se como objectivo, a criação de estratégias pedagógicas
direccionadas para o desenvolvimento, da cultura visual dos alunos, actualizada e focada na
arte nacional e internacional, pretendendo-se assim uma melhor Compreensão da Arte
Contemporânea.
Este relatório visa assim reflectir, experiências vivenciadas durante a PES, abrangendo
também referências dos projectos desenvolvidos no âmbito da prática docente das disciplinas
de Desenho A e de Educação Visual, que comportam uma prática pedagógica curricular,
adaptada, com vista a uma melhor Educação Artística; ABSTRACT: As a part of the Master of Visual Arts Education in the 3rd cycle of primary and
secondary school, this report has been developed, where it will seek to implemented a
reflective analysis of all work performed during the supervised teaching practice (PES).
This report consists of a first person account, describing, experiences lived through the
PES. In the context of the theme to be developed, the aim is to reflect upon new strategies for
teaching methods. These will focus on increase and update of visual culture focus on national
and international art. This report includes the experiences collected during PES, but also
projects that have been developed within the teaching of the discipline of Drawing A, and the
discipline of Visual Education, which both include a practical approach of the curriculum,
adapted so that it can better the students education and improve a better comprehension of
contemporary art.
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Kiteley, Robin J. "An investigation of intersections between reanimation practice and queer theory in a moving image work." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27014/.
Full textAbstract:
This practice-informed research establishes points of intersection between reanimative practices within moving image work and queer theoretical positions. It frames this within autoethnographic understandings of memories pertaining to my adolescent experience of gay acculturation via textual sources. A bricolage methodology deriving from the work of Kincheloe and Berry (2004) is used. Multiple methods of investigation are employed including alternative archive creation, moving image tests and prototypes, processes of reading and re-reading and autoethnographic, reflective and academic writing practices. Analysis and evaluation are informed by selected queer theoretical concepts which correspond to the broad structural phases of reanimation. Research outputs deriving from these processes are i) moving image tests, ii) autoethnographic vignettes, iii) a moving image piece entitled Unbounded and iv) a written thesis. The research aims to build on current understandings of the term “reanimation” (Cholodenko, 1991, 2004, 2007a, 2007b, 2007c, 2009; Skoller, 2013; Wells, 1998; Wells & Hardstaff, 2008), particularly within moving image practices using “found” material, and to articulate these within a queer perspective. A contextual review assesses previous work on reanimation in research, scholarship and queer-related animation. A series of moving image tests establish a relationship between animation, deanimation and reanimation which, I propose, constitutes the reanimative process. I consider this practice-informed understanding in relation to analogous patterns and motifs in queer theoretical literature. Finally, evaluation of the evidence from my practice tests and the terminal piece, Unbounded, corroborate a proposed set of intersections. The conclusion offers a conceptualisation of the process of reanimation in my moving image practice and establishes that the reanimated outcome attests to its reanimated status through the “temporal composite” (Skoller, 2013). I build on work concerning queer forms of evidence (Muñoz, 1996, 2009), alternative archive creation (Cvetkovich, 2003), queer temporality (Freeman, 2010; Rohy, 2009; Stockton, 2009) and futurity (Bansel, 2012; Edelman, 2004; Muñoz, 2009) to demonstrate that this reanimative principle is reflective of contemporary queer concerns with historicity. This practice-informed research contributes to knowledge by extending a modest body of animation literature addressing sexuality (de Beer, 2014, 2015, January 21; Griffin, 1994; Halberstam, 2011; Padva, 2008; Pilling, 2012b; Takahashi, 2014; Wells, 1998; Wood, 2008) through its focus on the formal aspects of reanimation and interconnections with the queer, as opposed to the more frequently addressed issue of queer representation.
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Derby, John K. "Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd733.pdf.
Full text
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Brown, Diana J. "The role of visual art works in the theory and practice of education with reference to the perceptions of Western Australian primary visual arts specialist teachers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/895.
Full textAbstract:
The study examines the role of visual art works in primary education. This involves three levels of investigation. Level 1 examines the role of these art works in the main philosophies of visual arts education; Level 2 examines the role of visual art works in the Western Australia Art and Crqft K-7 Syllabus; and Level 3 examines visual arts primary specialist teachers' perceptions of the role of visual art works in their teaching programmes. The purpose is to establish the relationships between these three levels of analysis so as to contribute towards an explanation of the disparity between the high commitment towards the use of art works at the level of curriculum framework, and the apparently minimal use of visual art works in classroom art teaching. The first level of analysis deals with the role assigned to the use of visual art [unreadable] four major philosophical theories of art education, namely: hand-eye training, child-centred art education, discipline-based art education (DBAE), and contextualist art education. The second level of analysis examines the influences of this theoretical debate on the structure of the Western Australian Art and Crafts Syllabus K-7, and also examines attempts to implement policy regarding the use of visual art works in schools. This is based on an examination of the relevant curricula documents, and interviews with four art educators involved in curriculum development The third level of analysis is based on interviews with visual arts primary specialist teachers. These interviews sought to discover their understanding of the role of visual art works in primary art education and in their own teaching.
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O'Mahony, Deirdre. "New ecologies between rural life and visual culture in the West of Ireland : history, context, position and art practice." Thesis, University of Brighton, 2012. https://research.brighton.ac.uk/en/studentTheses/649dfc06-1bd3-4126-a743-a4a5f4e2a4b0.
Full textAbstract:
Can a mode of trans-disciplinary visual inquiry, shifting and subjective, serve as an enquiry into location, an interrogation into the mechanics of belonging, and a reflection upon the relational connections between the local/rural and the national/global? This thesis provides a critical account of the role of a socially engaged 'activist' arts practice that seeks to address the tension between differing perspectives on place and space in the Burren, Co. Clare, in the West of Ireland. A body of work, Viscqueux, is a reflection upon my personal, psychological identification with the landscape of the region. This informed and underpinned two subsequent public artworks, Cross Land and X-PO. Both projects were catalytic actions that created or revived public space for exchange and collective interaction. Cross Land examined the agricultural and natural consequences of changes in landscape regulation and farming practices. X-PO is an interstitial space enabling new connections and social exchange between various 'publics' in the locality. It is a central argument of this thesis that expanded and inclusive definitions of arts practices play a key role in this new formation, producing new understandings of overlooked and often disregarded local knowledge. The research makes use of transdisciplinary and dialogical modes of visual inquiry as a reflexive enquiry into location, an interrogation of the mechanics of belonging and a reflection upon the relationship between the local/rural and the national/global. The thesis describes and sets this project within a particular context, one that reflects upon histories, circumstances, positions and socially engaged arts practices of both local and wider Significance. The physical demonstration of this body of work (the thesis) takes the form of exhibition documentation, video, photographic documentation of events, images and paintings together with a written text providing a critical account of/argument about the role of socially engaged 'activist' arts practice in a unique and specific site.
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Kidd, Ferdinand. "Introverted explorations." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20256.
Full textAbstract:
Thesis (MA (VA))--Stellenbosch University, 2012ENGLISH ABSTRACT: This thesis investigates a variety of different texts I find interesting, and reveals how these texts provide insight into my artistic practise. This thesis investigates what the combination of a collection of texts that interest me can reveal about my concerns and artistic practice. Most of the primary research takes the form of utilising seemingly randomly selected texts, although the selection process is far from arbitrary. The motivation for the initial selection of the specific texts derives from one common source: my personal and artistic interest. These texts all interest me in very specific ways. This implies that there must be something that they all have in common. The central factor that brought these texts together is my own preoccupations. The themes that arise from the comparison and juxtaposition of these texts will thus be themes of my own creation. If these themes are generated by me, then they will inevitably be self-reflexive and reveal as much about me as about their own subject matter. Because my personal interest is the driving factor behind the research process, the thesis takes the shape of an individuated response to the specific texts, and as such the results are unexpected and dynamic. The nature of the research is closely related to that of my practical work. This is why I use my artistic practice as a central vehicle to bring all the threads and ideas together in the second half of the thesis. The themes that arise from the writing process, when viewed in conjunction with my artistic practice, not only place this practice within a theoretical context, but also clarify (for myself as much as for viewers) Ferdinand Kidd. Introverted Explorations. Stellenbosch University. 2011 many obscurities. In the end this process helps me to better understand and answer the question that has been with me since I started making art: When I can do anything, why do I do what I do?
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die kombinasie van 'n versameling tekste wat my interesseer. Die fokus is op wat hierdie versameling tekste oor my eie spesifieke belangstellings en kunspraktyke uitwys. Alhoewel die grootste gedeelte van die aanvanklike navorsing blyk na 'n onwillekeurige seleksie van tekste, is hierdie seleksie-proses geensins arbitrêr nie. Die oorspronklike seleksie van tekste vir die tesis het een aspek in gemeen: my belangstelling. Die tekste is vir my op 'n sekere en spesieke manier interessant. Hieruit volg die afleiding dat die tekste 'n kenmerk in gemeen het en as die sentrale faktor wat hierdie tekste byeengebring het, myself is, is die temas wat ontwikkel uit die vergelyking en jukstaponering van die tekste dus temas wat ek geskep het. As ek dus die temas geskep het, is dit noodwendig self-reflektiewe temas wat net soveel oor myself as hul eie onderwerpe onthul. Aangesien my eie belangstelling die dryfveer agter die navorsingsproses is, is die tesis in wese 'n geïndividualiseerde respons op spesifieke tekste met die gevolg dat die resultate onverwags en dinamies is. Hierdie aard van die navorsing stem ooreen met die aard van my praktiese werk. Gevolglik gebruik ek my eie kunspraktyk as 'n sentrale tema om die verskeidenheid idees en gedagtes byeen te bring in die tweede helfte van die tesis. Met behulp van die temas wat uit die navorsing- en skryfproses ontstaan en dan binne verband met my eie kreatiewe praktyk geplaas word, word my kreatiewe praktyk binne 'n teoretiese konteks geplaas, en terselfdetyd word obskure konsepte sinvol toegelig. Uiteindelik bewerkstellig hierdie proses 'n antwoord en beter begrip vir die vraag wat sedert die aanvang van my kunspraktyk ontstaan het: Wanneer ek enigiets kan doen, hoekom doen ek wat ek doen?
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Rye, Caroline. "Living cameras : a study of live bodies and mediatized images in multi-media performance and installation art practice." Thesis, Edinburgh Napier University, 2000. http://researchrepository.napier.ac.uk/Output/5886.
Full textAbstract:
This thesis is concerned with multi-media performance and installation art practices which foreground the live body in combination with mediatized images. The research is conducted through the making and examination of a number of the researcher's own art works. Practical multi-media performance and installation projects are analysed within the context of specific performance and visual cultural theories in order to advance their contribution to critical and cultural fields. The research champions a symbiotic relationship between theory and practice. Practical works were undertaken and exhibited as solo or collaborative art projects. These works then formed the basis for individual ‘case studies' and were subjected to a critical review informed by a variety of theoretical frameworks including feminist, psychoanalytic and poststructuralist philosophy. This practice-based methodology is contextualised by the mapping of historical and contemporary critical discourses for the field of multi-media performance. The ‘reflection-on-action' results in an understanding of the mechanisms and effects of multi-media performance as a cultural practice. Specifically this thesis aims to answer the question as to whether multimedia performance can form the basis for an ‘interrogation' of our contemporary media dominated society? Through a practice-led enquiry it unpacks the dynamics between a meeting of live bodies and mediatized images, concentrating on the differences and similarities of their experiential sensory qualities. The research then extends these findings into social and political contexts through a comparison with other ‘reality' and ‘identity' re/producing cultural practices. The study concludes that cameras and recorded images used within live and/or time based art contexts can counteract the conventional constitution of mediatized images. To the extent that mediatized images can also be said to reflect and in turn constitute human subjectivity, multi-media performance, therefore, can provoke a re-evaluation of culture and its associated human activities and behaviours.
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Murray, Sarah. "Using Video Enhanced Reflective Practice (VERP) to support the development of consultation and peer supervision skills." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6947/.
Full textAbstract:
This study aims to seek trainee Educational Psychologists’ (EPs) views about their experiences of using Video Enhanced Reflective Practice (VERP) to support the development of consultation and peer supervision skills. VERP is a new pedagogical approach. Limited research has focused on professionals’ experiences of using VERP, alongside exploring the supervisors’ views regarding VERP. Trainee EPs’ are studying a doctoral training course to become qualified EPs. Participants engaged in three cycles of VERP reflecting upon their practice, using video clips of themselves. An action research design was implemented and views from trainee EPs’ and the Video Interaction Guidance (VIG) supervisor were sought, using semi-structured interviews. A form of thematic analysis was used in order to analyse the data. Findings suggest that VERP was generally a positive experience for trainees and their experiences highlighted the impact of observing themselves in practice, as oppose to retrospective reflection. Trainee EPs’ acknowledged factors to consider within a ‘shared review’, their experiences of being filmed and using technology: the strengths and the challenges of which are considered. The findings are discussed in relation to the existing literature surrounding VERP and the potential limitations are also considered, whilst highlighting implications for educational psychology professional practice and research.
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Kane, Nina R. "'F- f- felt it' : breathing feminist, queer and clown thinking into the practice and study of Sarah Kane's Cleansed and Blasted." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19287/.
Full textAbstract:
This thesis uses studio practice, scholarly research, close reading of text, performance observation and conversation with practitioners to establish diverse readings of Sarah Kane’s Cleansed. It includes original material from the 2012 productions of Cleansed in Japan (Kamome-za Fringe Theatre), and in Ireland (Bare Cheek Theatre). It notes practice on Cleansed in gallery spaces (Cast-Off Drama, UK). It offers a dramaturgical approach to workshopping the play from a feminist and queer position, informed by theories of gender and transgender, and the marginalised, loving and delinquent practice of clowning. The research discusses principles of breath, voice and sexuate difference drawing primarily on the philosophies of Luce Irigaray, on the voice practice of Cicely Berry and the clown teaching of Sue Morrison. The work challenges the ‘in-yer-face’ theatre discourse on Kane arguing that it represents a McDonaldization of its subject matter, and an insidious trivialisation of her texts. It offers new thinking on the opening night of Blasted (1995), suggesting that the ‘furore’ was fuelled by collective male hysteria and superstition; its roots centred in mourning. Analysing Cleansed in relation to Edward Bond’s Saved and Lear, it explores tropes of ghosts, stitching and the silent scream, and argues that Kane militates for gynocentric time and becoming. It analyses the symbol of the perimeter fence as a feature of 1980s Britain, noting the strength of binary associations configured in it with reference to both English football hooliganism (male) and the Greenham Common Women’s Peace Camp (female). It argues that Kane sets up heteronormative binaries in Cleansed to debate and contest them. A key conclusion of the thesis is that Cleansed politically addresses and dramatises issues of transgender experience presenting accounts of gender violence, mutability, transitioning, the sharp fractures and silences of gender dysphoria, but also, ultimately, queer desire, love and optimism.
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Nitzan-Green, Yonat. "Saying it through the maternal body : understanding maternal subjectivity through art practice." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/165505/.
Full textAbstract:
In referring to psychoanalyst and theorist Julia Kristeva‟s claim that the maternal body has no subject, this research aimed at finding answers to the following question: in what ways might a maternal subjectivity be understood through art practice? The research focused on three themes: fragmentation, invisibility and boundaries. Initially, these themes were researched in the context of the maternal body and the abject. The engagement with the maternal body has led to expanding the inquiry to include kibbutz childhood memory, in general, and bodily memories, in particular. This has led to revealing a childhood trauma. It was established that fragmentation, invisibility and questions of boundaries are rooted in trauma. Trauma has been further explored, to be revealed as a sequence of traumas, including the Israeli-Palestinian conflict and intergenerational trauma, which span private and public spheres. The methodology research in action has been developed through the use of the „observer-participant‟ position, as well as the methods of persona and performative acts. Installation has been developed as a shared space, where traumatic memory has been re-visited and audience became witness. The research contributes to new knowledge in the field of trauma, in the contexts of maternal subjectivity, kibbutz childhood and the Israeli-Palestinian conflict. The text provides a critical reflection for the practice, both construct this research.
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Tietyen, Ann Christianson. "APPLYING SPECIFIC ARTS ACTIVITIES TO IMPROVE THE QUALITY OF LIFE FOR INDIVIDUALS WITH ALZHEIMER’S DISEASE AND DEMENTIA." UKnowledge, 2012. http://uknowledge.uky.edu/art_etds/3.
Full textAbstract:
This study examined the effectiveness of a combination of seven different visual art activities, hat decoration, collage, embossing, painting, ceramics, photography, and printmaking, on quality of life for eight veterans with Alzheimer’s disease and dementia. The eight veterans were selected from the population of residents at the Thomson‐ Hood Veterans facility in Wilmore, Kentucky. These veterans were administered the seven art activities mentioned above, which ranged from less difficult to increasing difficulty. Three standard self‐reporting instruments, the Quality of Life‐AD, the Rosenberg Self‐Esteem Scale, and the Smiley‐Face Mood Assessment, as well as systematic observation and surveys were used to explore the effectiveness of the activities in improving quality of life and to identify other relevant domains. The results suggest that the combination of art activities improved the quality of life of the participants, including observed domains of focus and concentration, problem‐solving skills, memory, imagination, motor skills, self‐esteem, mood, and social interaction. The educational approach used simple to more complex problem‐solving skills and seemed to enhance cognitive performance and contribute to improved quality of life.
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Elliott, Hilary. "The place from which I see : a practice-led investigation into the role of vision in understanding solo performance improvisation as a form of composition." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/18063/.
Full textAbstract:
The Place From Which I See is a practice-led investigation into performance improvisation in which I have asked the question: ‘What is the role of vision in understanding solo performance improvisation as a form of composition?’ The research is encompassed and presented in two different, but interwoven, modalities, which function as a total thesis. These are: (1) a written thesis, which is divided into the four main chapters outlined in the Introduction and (2) a sharing of studio-based investigations and performances - included on the accompanying DVD - and a live performance. This sharing of practical work is designed to illuminate how the practice has functioned as a methodology for research and as a means of embodying and making public the research outcomes. Together, it is intended that these different articulations form a clear and useful prism through which the practical and theoretical terrain of the project can be distilled. In this thesis I argue that working pragmatically and creatively with vision within the specificity of the immediate space and situation of performance can function as an efficacious means of understanding solo improvised performance as a form of composition, and the research offers five strategies that collectively function as a template of approaches for generating and shaping improvisational material. The strategies have been developed through instigating a practice/theory feedback loop with the phenomenology and artistic paradigm offered by French philosopher Maurice Merleau-Ponty. I introduce his model of painterly composition as a particular rubric of what I call vision/action responsiveness against which I situate my own compositional approaches. I also outline five of the key ideas that infuse both this rubric and his phenomenology more generally - the significance of the entwining of a ‘questioning’ vision with movement; the chiasm; the visible; the ‘invisible’ and the ‘I can’ - and illuminate the way in which the practice has been developed and refined through a pragmatic interaction with these ideas. The thesis also outlines how these aspects of the phenomenological discourse have been re-framed through this interaction with the practical investigations and I situate my working of Merleau-Ponty’s ideas within the context of other treatments within both dance and theatre. More broadly, I relate this doctorate’s methodological approach and aesthetic concern with vision as a core compositional tool in and for performance to the compositional strategies, aesthetics, methodologies and philosophies of a range of other practitioners, locating the research within the wider field of improvisational performance. As an outcome, this research offers the template of strategies, layered with my particular re-framings of Merleau-Ponty’s phenomenology, as an original contribution to the practice and discourse of solo performance improvisation.
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Mahony, Jacqueline Eleanor. "'Reunion of broken parts' (Arabic al-jabr) : a therapist's personal art practice and its relationship to an NHS outpatient art psychotherapy group : an exploration through visual arts and crafts practice." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520790.
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McBride, Emily. "so much apparent nothing." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4238.
Full textAbstract:
This document contains reflections on motivations behind selected works leading up to and including my thesis exhibition so much apparent nothing. Through journal excerpts and analysis of my own psychology, I attempt to put into words my thoughts concurrent to my making, indirect as they may be. The following text shares my personal conflicts and ideologies surrounding art-making, the permanence of objects, and the acceptance of an identity in flux.
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Jeon, Minjee. "Ultrasound—Re:viewing Bodies." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5434.
Full textAbstract:
A medical evaluation of physical impairment imposes the additional burden of “labeling” the patient with the condition. The binary nature of the normal versus abnormal label emphasizes difference and can lead to trauma. Understanding differences, however, can lead to the generation of new forms and thus, more sensitive differentiation and representation. Tension is created by exploring different bodily forms—a dialectic between form and essence. I am designing a space that visualizes and illuminates difference as a source of trauma and amplifying the tension by comparing figures that represent varying degrees of normalcy. This forms a critique of idealized form and creates a context for people unaffected by this type of trauma to reflect on possible realities outside of their assumptions of normality.
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies