Evoking the sacred : the artist as shaman

This thesis examines, via a feminist theoretical framework, the systems in existence that permit the ongoing exploitation of the environment; and the appropriateness of ceramics as a medium to reinvigorate dormant insights. I argue that the organic nuances expressed through clay; the earthy, phenomenological and historic ritual connotations of clay; and the tactile textured surfaces and undulating form, allows ceramics to conjure responses within the viewer that reinvigorates a sense of embedment in the Earth.Doctor of Philosoph

Randomness as a generative principle in art and architecture

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves [87]-[98]).As designers have become more eloquent in the exploitation of the powerful yet generic calculating capabilities of the computer, contemporary architectural practice seems to have set its mind on creating a logic machine that designs from predetermined constraints. Generating form from mathematical formulae thus gives the design process a scientific twist that allows the design to present itself as the outcome to a rigorous and objective process. So far, several designer-computer relations have been explored. The common designer-computer models are often described as either pre-rational or post-rational. Yet another approach would be the irrational. The hypothesis is that the early design process is in need of the unexpected, rather than iron logic. This research investigated how the use of randomness as a generative principle could present the designer with a creative design environment. The analysis and reading of randomness in art and architecture production takes as examples works of art where the artist/designer saw uncertainty or unpredictability as an intricate part of the process. The selected works incorporate, mostly, an instigating and an interpreting party embedded in the making of the work.(cont.) The negotiations of boundaries between both parties determine the development of the work. Crucial to the selected works of art was the rendering of control or choice from one party to another - whether human, machine or nature - being used as a generative principle. Jackson Pollock serves as the analog example of a scattered computation: an indefinite number of calculations, of which each has a degree of randomness, that relate in a rhizomic manner. Pollock responds to each of these outcomes, allowing the painting to form from intentions rather than expectations. This looking and acting aspect to Pollock's approach is illustrated in the Jackson Pollock shape grammar. Ultimately the investigation of randomness in art is translated to architecture by comparing the Pollock approach in his drip paintings to Greg Lynn's digital design process in the Port Authority Gateway project. In the Pollock approach to digital design agency is given to the tools at hand, yet at the same time, the sheer indefinite number of designer-system interactions allows the design to emerge out of that constructive dialogue in an intuitive manner.by Kenny Verbeeck.S.M

Food - Media - Senses: Interdisciplinary Approaches

Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches

Software curating : the politics of curating in/as (an) Open System(s)

The thesis examines how Information technologies have changed the practice of curating. It proposes an Interdisciplinary approach that directly links curating (often understood as an activity of artistic programming), computing (the activity of computer programming) and a relatively recent Interest In software art (in which programming Is understood as artistic practice). Although there Is much contemporary critical work and practice that Is described as art-oriented programming or software art, the thesis aims to explore a perceived gap In discussions around software curating. Curators working with online technologies are presented with the challenge of how to respond to new artistic forms that Involve programming: for Instance program-objects that display dynamic and transformative properties, and that are distributed over socio-technological networks. Although there are many examples of social platforms and highly relevant examples of online 'art platforms', these still largely operate In display mode replicating more conventional models of curating and the operations of art Institutions In general. The tendency Is for these curatorial online systems to concentrate on the display of executed code and pay less attention to source code. New sensibilities are required that simultaneously reflect the significance of source code as art, and software not as a production tool or a display platform but as cultural practice that Is analogous to curating. What Is distinctive about the thesis Is that It speculates on a curatorial model that emphasises the analogy to programming. Consequently, the thesis argues for online software systems that display properties of curating but reprocess established definitions by deliberately collapsing firm distinctions between the fields of programming, artistic practice and curatorial practice. To consider these Issues, the thesis brings together a number of Inter-related fields of critical Inquiry and situates curating In the context of theories of immateriality, a critical discourse around software art practice, and an understanding of open systems. The key Issue for the thesis becomes how power relations, control and agency are expressed In new curatorial forms that Involve programming and networks; In other words, the thesis Is concerned with the politics of curating In/as (an) open system(s). Indeed, curating Itself can be described In terms of open systems, Implying a state In which there Is continuous Interaction with the soclo-technological environment. The system Is opened up to communicative processes that Involve producers/users and to divergent exchanges that take place and that disrupt established social relations of production and distribution. Thus, and Importantly for an understanding of the power relations Involved, software opens up curating to dynamic possibilities and transformations beyond the usual Institutional model (analogous to the model of production associated with the industrial factory) Into the context of networks (and what Is referred to by the Autonomists as the 'social factory'). The suggestion Is that the curatorial process Is now closely Integrated with the dynamic soclo-technological networks and with software that Is not simply used to curate but demonstrates the activity of curatIng In Itself Consequently, the thesis offers an expanded description of curating with respect to software In which agency Is reconstituted to Include alternative dynamics of networks. The curatorial model Is not only theorlsed but also deployed In the production of experimental software for curating source code (kurator) that forms the practical part of the doctoral research. in addition to a written thesis and software, two further projects produced during the registration period 2002-2008 are Included in support of the overall thesis: a conference CuratIng, Immaterlafity, Systems (CIS) (Tate Modern, London 2005) and an edited book Curating immateriality: The Work of The Curator In the Age of Network Systems (CI) (Autonomedia, New York 2006). The kurator software Is a further development of the conference and subsequent book, and offers an online, user-moderated curatorial system for further public modification. In so doing, the argument Is that the curatorial process Is demonstrably a collective and distributed executable that displays machinic agency. This Is what Is referred to in the thesis as software curating.Faculty of Technology and Faculty of Arts, University of Plymouth

Simulation FX: Cinema and the R&D Complex

This study looks at the ongoing development of tools and practices used to animate nonlinear physical phenomena, such as the crash of ocean waves or the movement of human hair, in the visual effect and animation industries. These tools and practices are developed in a nexus between public funding, research universities, the film industry, and various other sectors, such as aerospace and meteorology. This study investigates how technological development became integrated with film production, and in turn how epistemic paradigms were shared between the film industry, scientific research institutions and other industries. At the heart of these animation tools and practices, and the networks of institutions that developed them, is a way of thinking that seeks to make use of unpredictable nonlinear complexity by shaping it toward specific applications. I observe this in the way animation and visual effect studios seek the realistic appearance of nonlinear natural movement through simulation, while also implementing technologies and practices to direct the look of these simulations. I also observe this in a variety of related examples, from the way the concept of research and development unites science and application, to the way management science promotes hands off approaches that preserve the unpredictable nature of creative work. My methods consist of charting the circulation of ideas, technologies, moving images and people through contact zones such as the computer science special interest group ACM SIGGRAPH, using archival research of trade communications, scholarly publications and conference proceedings, as well as interviews with industry workers

Blogging art and sustenance : artful everyday life (making) with water

In the local area of Western Port Catchment, Victoria, Australia, I engaged in an arts-based qualitative inquiry over seven years. As a marine ecologist, educator, maker and mother, I looked to artists who created artworks in relation to water to investigate how art-making might contribute to traditional science-based Sustainability Education. Initially I examined: What alternative relationship is negotiated and knowledge attained between an artist and a waterway in the art-making process? Artworks, photographs and transcripts of time spent with seven women – each of whom creatively encounter their local waterways in their everyday lives – were captured on my private research blog. A new query surfaced: How can I sustain waterways if I am not sustaining myself? An alternative methodology of blogging formed (bodyplaceblogging). I used an awareness of my body and its inclusion in the ecology of the world around me (place) through Somerville’s (1999) embodied response to place which asserts a body’s right to know place. With the bodyplaceblogging process, I moved through a post-structural/ (post)qualitative style onto a posthuman platform. I began to think with-water, moving playfully through an initial methodological frame of sustainable education (Sterling, 2001); beauty in everyday life (Rautio, 2009); post modern emergence (Somerville, 1999); and material thinking (Carter, 2004), into an emerging methodology that continued to be reframed as I encountered the words and images of the local artists, my children, the academic and theoretical literature (e.g. Grosz; Barad; Bachelard; Rautio; Deleuze and Guattari), and an emerging critical, embodied, place-aware everyday life. Data analysed in the blog was discovered to be data again in the thesis-writing process, leading to an a-typically formed and formatted thesis: a blogged, knitted blanket of space, place and body-squares. A linear notion of time became disrupted in a space of virtual time preserved in the past (blog posts) and actual time passing in the present (academic/prose) (Grosz, 2005). Here there is an abundance of matter made with, and making, all that I encounter in my mothering, artful, ecological, everyday life with water. Sustainability, as a movement, is traditionally defined as resisting the catastrophe before the end, sustaining what we have in rations – a provocation for lack. New possibilities for sustenance and for what is becoming, and unbecoming, emerge here in the making processes of everyday life

Cyborg Music: A Future Musicotechnographic Aesthetic

This dissertation-assemblage is a rhizo-text of a rhizo-enquiry. It is part musicoethnography and part philosophical analysis. It looks at the work(ing practices) of four contemporary musickers. It situates a rhizo-analysis of their work, as described in four vignette studies, in discussions of, inter alia, rhizo-aesthetics, cyborgs, and boundaries in Entangled Network Space. It includes a speculative consideration of what might happen to music and musicking in the future, especially in the light of current trends in the expansion of technicity in their methods of composition, production, and distribution. It draws particularly on the philosophical writings of Alfred North Whitehead, Gilles Deleuze (particularly in association with Félix Guattari), Bernard Stiegler, Bruno Latour, Manuel DeLanda, Christopher Vitale, and Ian Hodder

Organic growth and form in abstract painting

This doctorate explores 'Organic Growth and Form in Abstract Painting', as the focus of my studio-based research, and which has resulted in two significant series of paintings, Organica and Streaming. The accompanying exegesis addresses experiences that are realized within the studio practice, and complements the two series of paintings. In the exegesis I describe the innovative and distinctive painting processes I have developed, and explain my motivation for working this way. I cite the writing of the philosopher of science, Henri Bortoft, in particular his description of 'active' seeing, which I suggest can be understood as a kind of modeling of my processes of making the Organica and Streaming paintings. Key to my research has been an investigation into the work of the early Russian avant-garde artist, musician, theorist and teacher, Mikhail Matyushin, who promoted an 'organic' vision of painting during the early years of modernist experimentation, insisting that perception cannot be separated from the body's inherent connection with nature. I discuss how the artists in the Organic studio, led by Matyushin, tested their sensitivity to perceptual and sensory experience with controlled experiments. Philosophically, they considered their findings to be congenial with the latest scientific discoveries of their time. Although my paintings are constructed very differently from those of Matyushin, my approach to perception and interpretation in painting is in sympathy with his thinking. The constructive and perceptual approach I have taken to both series of paintings has been directly influenced by immersion in natural environments. My exegesis provides a detailed account of this working process: how I work with geometric templates for the coordination of colours, and my systematic approach to their application, leading to uncontrived 'organic' extensions in the detail. I discuss my interest in the implicit knowledge garnered through perception of colours and the connective fabric underlying surface appearances in nature. I argue that these observations are generative resources for painting, and emphasise the fact that our sensory and thinking bodies are also part of nature. - provided by Candidate

Points on my Curve to Find: A Journey around the Self to Find the World

My creative practice has undergone a chronological series of transformations that has entailed experiments in several modes of self-expression. This has included the writing of prose-text, lyrics, song-writing, musical performance as a vocalist, work in film-making and visual documentation and work as a visual artist. In a life that has so far spanned living for substantial periods in different countries and cultures, my creative practice has been strongly influenced by that international and inter-cultural existence. Whilst on the one hand, different cultures nevertheless manifest 'languages' of communality with each other (especially in non-verbal communication, global 'signs, signals' and 'symbols'), on the other hand, there are distinctive and specific cultural patterns (and arts outcomes) that serve to delineate differences between one culture and another. My research and practice has been equally divided between a study of both commonalities and 'difference'. Consequently, the two series of works that have been submitted move regularly between dealing with particular and specific focus on forms and ideas embodied in the art-works of several cultures (particularly the first series), and forms and ideas resulting from a kind of introspective and reflective condition of art-making. From the outset of my research, I was concerned with an 'arts/science' set of paradigms- a practice that engaged with and between scientific method and contemporary arts practice. At some point(s), my research took the form of film-maker, Flamenco student; tourist; overseas worker (Namibia), song-writer and lyricist, but none of these modes ultimately formed the nucleus of my outcomes. The visual works submitted are intended to reflect the inter-cultural and cross-disciplinary modality of my practice. But they are also, a 'chronicle' of 'a life'; in this particular case, my own. The written thesis fluxes between reflective study and analysis and a critical evaluation of the sources, influences and techniques embodied by all works in the two series. Naturally, there is always an element of 'travelogue' about both the practical work and the written documentation. But there is also an intentional discourse on and about sources of inspiration and the affect those sources have on form, content and technique in my work as a visual artist