Visual literacy for the 1990\u27s

Visual aesthetics -- Whole-brain thinking -- Pictorial imaging -- Art and science, mathematics, social studies, and language arts

Embodiment and the Arts: Views from South Africa

Embodiment and the Arts: Views from South Africa presents a diversity of views on the nature and status of the body in relation to acting, advertisements, designs, films, installations, music, photographs, performance, typography, and video works. Applying the methodologies of phenomenology, hermeneutic phenomenology, embodied perception, ecological psychology, and sense-based research, the authors place the body at the centre of their analyses. The cornerstone of the research presented here is the view that aesthetic experience is active and engaged rather than passive and disinterested. This novel volume offers a rich and diverse range of applications of the paradigm of embodiment to the arts in South Africa.Publishe

Fragment / Part / Whole: Matter and Mediality in Michael Landy’s Break Down

This thesis investigates Break Down by Michael Landy (2001), in which the artist’s 7227 belongings were systematically catalogued, dismantled and granulated. Break Down, it is argued, opens up alternative modes of engaging with materiality and mediality; this thesis explores an array of related concerns arising from the work. Landy’s process of fragmentation elicits an inquiry into concepts of part and whole, single and multiple. The granulated material produced during Break Down provokes an account, via Deleuze and Guattari’s concept of affect, of the fragment as narrative matter. Further, Break Down is considered in terms of its operations between the textual and the material. With reference to Friedrich Kittler’s account of media as distributed and multilateral entities, this text explores the conventions pertaining to two textual forms deployed by Landy in relation to Break Down; the instruction manual and the inventory. Finally, Landy’s father’s sheepskin coat, the final object to be shredded during Break Down, is the fulcrum for an appraisal of the thing as an extension of personhood, and of human subjectivity as in some sense ‘thingly’. In this text, Break Down is constructed as an assemblage that operates at the intersection of a complex, mobile massing of currents and specificities; a framing that informs both the structure and the methodology of this thesis. Written, photographic and audio-visual source material is deployed here alongside close analysis of two important texts published by Landy in 2001 as accompaniments to Break Down itself: Michael Landy / Break Down, and Break Down Inventory. In addition, drawing upon Jane Rendell’s strategy of ‘site writing,’ passages of close observational writing are used intermittently throughout this text to relay what might in Deleuzo-Guattarian terms be called the becoming of the texts and subjects under discussion

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

An experimental approach to the generation of copying error during the manufacture of material culture: Implications for cultural evolution

Cultural evolutionary models are marked by an increased understanding that sources of variation such as cultural mutations, or copying error, form an integral part in generating population-level patterns of artefactual variation. Despite recognition that the manual manufacturing process is a fundamental component of material culture in the archaeological record, little is known about exactly how factors related to the manual manufacturing process affect rates of copying error, which potentially influence population-level trends. In addition, only a few studies have incorporated the study of shape variation into cultural evolutionary models even though artefactual shape is affected by evolutionary processes. Utilising an empirical framework that combined methods from the ‘psychology laboratory’ and morphometric shape data, it was shown on the basis of experimentally produced 3D cultural artefacts that a variety of manufacture-related components significantly impact rates of shape variation produced. Individual experiments confirmed hypotheses stating that differences in components of manufacture, such as contrasting manufacturing traditions, social learning mechanisms, economic factors associated with constraints placed on production time and distinct traditions of ‘equipment’ employed to produce material artefacts, all influence patterns of shape variation at statistically significant levels. The studies conclude that high mutation loads represent a potential cause for the ‘disintegration’ of shape traditions over repeated bouts of cultural transmission. Where shape traditions matter in the long-term (e.g., in the case of functional tools such as Acheulean handaxes or projectile points) high fidelity transmission mechanisms may become targets of selection processes associated with manual manufacture. A strong implication for cultural evolutionary models is that the study of the evolution of material culture may, therefore, not be fully characterised solely as the study of cultural transmission, but that it can be partly re-conceptualised as the study of the ‘management’ of the continuous production of mutation loads by various populations of artefact producers

Challenging Fragmentation: Overcoming the Subject-Object Divide through the Integration of Art-Making and Material Culture Studies

Full version unavailable due to 3rd party copyright restrictions.This practice-led thesis explores ways in which to integrate art and material culture studies as a manifestation of philosophy’s process thread. In doing so, its goal is to generate a praxis which is able to come to holistic terms with the fragmenting dualism of subject-object binaries. By seizing my own subjectivity in its representation of this problem, the thesis develops a performance-led practice which seeks to overcome the barriers that its divisive ‘I’ presents to process. This interdisciplinary project is an explicit response to the figure of Friedrich Nietzsche; his bearing helps to constitute its methodology and repertoire as his presence is creatively teased from the pages of his own books. Part One of the thesis discusses how the mimetic aims of artistic representation were harnessed to challenge my own subjectivity’s singular sense of authority. Thereafter, Nietzsche’s pre-modern temperament comes to enable a holistic consideration of the perceptual ambiguity within Jacques Lacan’s geometric model of ‘seeing things’. Part Two engages with representation as a method of making difference for the bridging of subject-object divisions. This occurs as subjective experience and is extended to some inorganic others, producing creative outcomes which aim to access a cosmological principle of affect that is identified with Nietzsche’s thesis of will to power. The third part of this thesis aligns the research aim, of making apparent the oneness of the cosmos, with the shamanic dimensions of some vintage slapstick cinema. In its development, it comes to terms with the subjective gaze and identifies process-led strategies for challenging and changing its outlooks. This provides a background for Part Four, which marks the beginning of my attempts to engage the gaze of other people in processes that procure and ideally affect their perspectives. While the first four parts of the thesis demonstrate the progress of the research project through the deployment of art and its affecting capacities, its final two parts put the work of philosophy into aesthetic effects, and represent artworks that constitute elements of the thesis itself. Part Five evidences my art practice re-engaging with the world through a project which holistically involves the outlooks of subjects, whilst nevertheless challenging their perceptual precepts. Part Six discusses a performative experiment that consolidates and tests the research findings in a potentially affective structure, expressed through Laurence Halprin’s RSVP cycle. Finally, as it reflects on the potential healing capacities of my practical research and the possibilities for ‘doing’ philosophy, the thesis details how an art-making that embraces both visual and material cultures through the eventness of performance might be able to overcome the problematic perceptual divides that limit the progress of process logics.AHRC, SCUD

Европейский и национальный контексты в научных исследованиях

В настоящем электронном сборнике «Европейский и национальный контексты в научных исследованиях. Технология» представлены работы молодых ученых по геодезии и картографии, химической технологии и машиностроению, информационным технологиям, строительству и радиотехнике. Предназначены для работников образования, науки и производства. Будут полезны студентам, магистрантам и аспирантам университетов.=In this Electronic collected materials “National and European dimension in research. Technology” works in the fields of geodesy, chemical technology, mechanical engineering, information technology, civil engineering, and radio-engineering are presented. It is intended for trainers, researchers and professionals. It can be useful for university graduate and post-graduate students