The aesthetic manifestations of nothingness in contemporary visual arts practice
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
The four cycles of Herakles : towards the visual articulation of myth as psychological process
- Authors: Wentzel, Andrieta
- Date: 2006
- Subjects: Art -- Philosophy , Psychoanalysis and the arts , Mythology -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8500 , http://hdl.handle.net/10948/642 , Art -- Philosophy , Psychoanalysis and the arts , Mythology -- Psychological aspects
- Description: My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form
- Full Text:
- Date Issued: 2006
- Authors: Wentzel, Andrieta
- Date: 2006
- Subjects: Art -- Philosophy , Psychoanalysis and the arts , Mythology -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8500 , http://hdl.handle.net/10948/642 , Art -- Philosophy , Psychoanalysis and the arts , Mythology -- Psychological aspects
- Description: My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form
- Full Text:
- Date Issued: 2006
De-scribing the Timaeus: a transgression of the (phal) logocentric convention that discourse has only one form, language
- Authors: Ord, Jennifer
- Date: 2002
- Subjects: Discourse analysis , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10763 , http://hdl.handle.net/10948/115 , Discourse analysis , Art -- Philosophy
- Description: Like writing, art making is primarily a means of human expression, a means of communication – both “allow us to categorize our (inner and outer) environment as represented by symbols” (Appignanesi, 1999: 7). Yet it is language in the traditional Western garb of rational, philosophical discourse that has been perceived as the primary means of manifesting knowledge and positing truth, not only regarding the character of human existence, but also the nature of art. This infers the acceptance of both works as literally “truth of things”, and of “a language of reason” that “perfectly represents the real world” (Appignanesi, 1999: 77). Going against the grain of this traditional bias, Jacques Derrida holds that, firstly, “human knowledge is not as controllable or as cogent as Western thinkers would have it”: secondly, that language functions in “subtle and often contradictory ways” thus rendering certainty, truth, and perfect representation ever elusive to us (Lye, 1997: 2); and, thirdly, that “practices of interpretation which include art but are not limited to language, are extended discourses” (Appignanesi, 1999: 79). So, the “work of reason” (or rationalism) in this sense, is no longer the definitive “voice” of authority when it comes to ascribing meaning, proclaiming a message, defining truth, etc. Having the grip of its authority loosened and thus its rigid, imposing borders opened up, the communication of knowledge as a form of “aesthetic fiction” (Megill, 1987: 265) is allowed entry into the rarefied field of philosophical discourse. Moreover, if visual art (one such “aesthetic fiction”) is a process of sign-making, as is written and spoken language; if it therefore constitutes a signifying system, as does written and spoken language (Bal and Bryson in Preziosi, 1998: 242); and, if art is not just about autonomous, in-house formalism, then can it not, in any case, validly offer a form for discourse, albeit a different kind of discourse, a discourse that is not “truth seeking” (Sim, 1992: 33)? Here, the maker of the proposed artwork-asdiscourse would not be attempting to establish the truth or falsity of a philosophical position, but, as Derrida would have it, create a form which, without mimicry, would evocatively allude to Plato, his “deconstructor” and the maker of the proposed artwork. Discourse in this sense, then, would generate “active interpretation… infinite free association” (Megill, 1987: 283), because, as in Derrida’s writing, interpretation no longer aims at “the reconciliation or unification of warring truths (Sim, 1992: 10); in other words, it breaks with the (phal)logocentric tradition of discourse as dialectical and becomes questioning without closure. For visual art to enter the exalted arena of philosophical discourse, it cannot be selfreflexive in the Greenbergian or formalist sense – it has to be about something philosophical and this ‘something’ will be a deconstructive response to Plato’s doctrine of the two worlds in the Timaeus. What I propose presenting, then, is an imagographic rather than (phal)logocentric exposition of philosophical content where the aim is not to shape a certainty or to infer an absolute presence or essence of anything, but rather to suggest traces of the maker of the artwork reading Derrida, reading Plato. The proposed artwork as a response to texts will thus be a “pre-text” of my own endeavour.
- Full Text:
- Date Issued: 2002
- Authors: Ord, Jennifer
- Date: 2002
- Subjects: Discourse analysis , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10763 , http://hdl.handle.net/10948/115 , Discourse analysis , Art -- Philosophy
- Description: Like writing, art making is primarily a means of human expression, a means of communication – both “allow us to categorize our (inner and outer) environment as represented by symbols” (Appignanesi, 1999: 7). Yet it is language in the traditional Western garb of rational, philosophical discourse that has been perceived as the primary means of manifesting knowledge and positing truth, not only regarding the character of human existence, but also the nature of art. This infers the acceptance of both works as literally “truth of things”, and of “a language of reason” that “perfectly represents the real world” (Appignanesi, 1999: 77). Going against the grain of this traditional bias, Jacques Derrida holds that, firstly, “human knowledge is not as controllable or as cogent as Western thinkers would have it”: secondly, that language functions in “subtle and often contradictory ways” thus rendering certainty, truth, and perfect representation ever elusive to us (Lye, 1997: 2); and, thirdly, that “practices of interpretation which include art but are not limited to language, are extended discourses” (Appignanesi, 1999: 79). So, the “work of reason” (or rationalism) in this sense, is no longer the definitive “voice” of authority when it comes to ascribing meaning, proclaiming a message, defining truth, etc. Having the grip of its authority loosened and thus its rigid, imposing borders opened up, the communication of knowledge as a form of “aesthetic fiction” (Megill, 1987: 265) is allowed entry into the rarefied field of philosophical discourse. Moreover, if visual art (one such “aesthetic fiction”) is a process of sign-making, as is written and spoken language; if it therefore constitutes a signifying system, as does written and spoken language (Bal and Bryson in Preziosi, 1998: 242); and, if art is not just about autonomous, in-house formalism, then can it not, in any case, validly offer a form for discourse, albeit a different kind of discourse, a discourse that is not “truth seeking” (Sim, 1992: 33)? Here, the maker of the proposed artwork-asdiscourse would not be attempting to establish the truth or falsity of a philosophical position, but, as Derrida would have it, create a form which, without mimicry, would evocatively allude to Plato, his “deconstructor” and the maker of the proposed artwork. Discourse in this sense, then, would generate “active interpretation… infinite free association” (Megill, 1987: 283), because, as in Derrida’s writing, interpretation no longer aims at “the reconciliation or unification of warring truths (Sim, 1992: 10); in other words, it breaks with the (phal)logocentric tradition of discourse as dialectical and becomes questioning without closure. For visual art to enter the exalted arena of philosophical discourse, it cannot be selfreflexive in the Greenbergian or formalist sense – it has to be about something philosophical and this ‘something’ will be a deconstructive response to Plato’s doctrine of the two worlds in the Timaeus. What I propose presenting, then, is an imagographic rather than (phal)logocentric exposition of philosophical content where the aim is not to shape a certainty or to infer an absolute presence or essence of anything, but rather to suggest traces of the maker of the artwork reading Derrida, reading Plato. The proposed artwork as a response to texts will thus be a “pre-text” of my own endeavour.
- Full Text:
- Date Issued: 2002
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