11,444 research outputs found
Grasping nothing: a study of minimal ontologies and the sense of music
If music were to have a proper sense â one in which it is truly given â one might reasonably place this in sound and aurality. I contend, however, that no such sense exists; rather, the sense of music takes place, and it does so with the impossible. To this end, this thesis â which is a work of philosophy and music â advances an ontology of the impossible (i.e., it thinks the being of what, properly speaking, can have no being) and considers its implications for music, articulating how ontological aporias â of the event, of thinking the absolute, and of sovereigntyâs dismemberment â imply senses of music that are anterior to sound. John Cageâs Silent Prayer, a nonwork he never composed, compels a rerethinking of silence on the basis of its contradictory status of existence; Florian Hecker et al.âs Speculative Solution offers a basis for thinking absolute music anew to the precise extent that it is a discourse of meaninglessness; and Manfred Werderâs [yearn] pieces exhibit exemplarily that musicâs sense depends on the possibility of its counterfeiting. Inso-much as these accounts produce musical senses that take the place of sound, they are also understood to be performances of these pieces. Here, then, thought is musicâs organon and its instrument
Metaphors of London fog, smoke and mist in Victorian and Edwardian Art and Literature
Julian Wolfreys has argued that after 1850 writers employed stock images of the city without allowing them to transform their texts. This thesis argues, on the contrary, that metaphorical uses of London fog were complex and subtle during the Victorian and Edwardian periods, at least until 1914. Fog represented, in particular, formlessness and the dissolution of boundaries. Examining the idea of fog in literature, verse, newspaper accounts and journal articles, as well as in the visual arts, as part of a common discourse about London and the state of its inhabitants, this thesis charts how the metaphorical appropriation of this idea changed over time. Four of Dickens's novels are used to track his use of fog as part of a discourse of the natural and unnatural in individual and society, identifying it with London in progressively more negative terms. Visual representations of fog by Constable, Turner, Whistler, Monet, Markino, O'Connor, Roberts and Wyllie and Coburn showed an increasing readiness to engage with this discourse. Social tensions in the city in the 1880s were articulated in art as well as in fiction. Authors like Hay and Barr showed the destruction of London by its fog because of its inhabitants' supposed degeneracy. As the social threat receded, apocalyptic scenarios gave way to a more optimistic view in the work of Owen and others. Henry James used fog as a metaphorical representation of the boundaries of gendered behaviour in public, and the problems faced by women who crossed them. The dissertation also examines fog and individual transgression, in novels and short stories by Lowndes, Stevenson, Conan Doyle and Joseph Conrad. After 1914, fog was no more than a crude signifier of Victorian London in literature, film and, later, television, deployed as a cliche instead of the subtle metaphorical idea discussed in this thesis
Building body identities - exploring the world of female bodybuilders
This thesis explores how female bodybuilders seek to develop and maintain a viable sense of self despite being stigmatized by the gendered foundations of what Erving Goffman (1983) refers to as the 'interaction order'; the unavoidable presentational context in which identities are forged during the course of social life. Placed in the context of an overview of the historical treatment of women's bodies, and a concern with the development of bodybuilding as a specific form of body modification, the research draws upon a unique two year ethnographic study based in the South of England, complemented by interviews with twenty-six female bodybuilders, all of whom live in the U.K. By mapping these extraordinary women's lives, the research illuminates the pivotal spaces and essential lived experiences that make up the female bodybuilder. Whilst the women appear to be embarking on an 'empowering' radical body project for themselves, the consequences of their activity remains culturally ambivalent. This research exposes the 'Janus-faced' nature of female bodybuilding, exploring the ways in which the women negotiate, accommodate and resist pressures to engage in more orthodox and feminine activities and appearances
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Co-design As Healing: Exploring The Experiences Of Participants Facing Mental Health Problems
This thesis is an exploration of the healing role of co-design in mental health. Although co-design projects conducted within mental health settings are rising, existing literature tends to focus on the object of design and its outcomes while the experiences of participants per se remain largely unexplored. The guiding research question of this study is not how we design things that improve mental health, but how co-designing, as an act, might do so.
The thesis presents two projects that were organized in collaboration with the mental health charity Islington Mind and the Psychosis Therapy Project (PTP) in London.
The project at Islington Mind used a structured design process inviting participants to design for wellbeing. A case study analysis provides insights on how participants were impacted, summarizing key challenges and opportunities.
The design at PTP worked towards creating a collective brief in an emergent fashion, finally culminating in a board game. The experiences of participants were explored through Interpretative Phenomenological Analysis (IPA), using semi-structured interview data. The analysis served to identify key themes characterising the experience of co-design such as contributing, connecting, thinking and intentioning. In addition, a mixed-methods analysis of questionnaires and interview data exploring participants' wellbeing, showed that all participants who engaged fairly consistently in the project improved after the project ended, although some participants' scores returned to baseline six months later.
Reflecting on both projects, an approach to facilitation within mental health is outlined, detailing how the dimensions of weaving and layered participation, nurturing mattering and facilitating attitudes interlace. This contribution raises awareness of tacit dimensions in the practice of facilitation, articulating the nuances of how to encourage and sustain meaningful and ethical engagement and offering insights into a range of tools. It highlights the importance of remaining reflexive in relation to attitudes and emotions and discusses practical methodological and ethical challenges and ways to resolve them which can be of benefit to researchers embarking on a similar journey.
The thesis also offers detailed insights on how methodologies from different fields were integrated into a whole, arguing for transparency and reflexivity about epistemological assumptions, and how underlying paradigms shift in an interdisciplinary context.
Based on the overall findings, the thesis makes a case for considering design as healing (or a designerly way of healing), highlighting implications at a systems, social and individual level. It makes an original contribution to our understanding of design, highlighting its healing character, and proposes a new way to support mental health. The participants in this study not only had increased their own wellbeing through co-designing, but were also empowered and contributed towards healing the world. Hence, the thesis argues for a unique, holistic perspective of design and mental health, recognizing the interconnectedness of the individual, social and systemic dimensions of the healing processes that are ignited
Photography and Aesthetics: a critical study on visual and textual narratives in the lifework of Sergio LarraĂn and its impact in 20th century Europe and Latin America
The main focus of this study is a theoretical exploration of critical approaches applicable to the work of the Chilean photographer Sergio LarraĂn (1931-2012). It presents analytical tools to contextualise and understand the importance and impact of his work in photographic studies and his portrayal of twentieth-century Latin American and European culture. It inspects in depth a large portion of his photo work, which is still only partially published and mostly reduced to his "active" period as a photojournalist, aside from the personal photographic exploration of his early and late career (C. Mena). This extended material creates a broader scope for understanding his photographs and him as a canonical photographer. This study analyses the photographer's trajectory as discourses of recollection of historical memory in time (Mauad) to trace LarraĂn's collective memory associated with his visual production. Such analysis helps decode his visual imagery and his projection and impact on the European and Latin American culture. This strategy helps solve a two fold problem: firstly, it generates an interpretive consistency to understand the Chilean's photographic practice; secondly, it explores the power of images as an aesthetic experience in the installation of nationalist ideologies and the creation of imaginaries (B. Anderson 163)
Conscience and Consciousness: British Theatre and Human Rights.
This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of âhuman rights theatreâ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience.
This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fireâs testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmesâ work as director of Jericho House; Cardboard Citizensâ youth participation programme, ACT NOW; and Tony Cealyâs Black Menâs Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice.
The thesis is interested in the experience of coming to âconsciousnessâ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the âĂŠffectâ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry
Walking with the Earth: Intercultural Perspectives on Ethics of Ecological Caring
It is commonly believed that considering nature different from us, human beings (qua rational, cultural, religious and social actors), is detrimental to our engagement for the preservation of nature. An obvious example is animal rights, a deep concern for all living beings, including non-human living creatures, which is understandable only if we approach nature, without fearing it, as something which should remain outside of our true home. âWalking with the earthâ aims at questioning any similar preconceptions in the wide sense, including allegoric-poetic contributions. We invited 14 authors from 4 continents to express all sorts of ways of saying why caring is so important, why togetherness, being-with each others, as a spiritual but also embodied ethics is important in a divided world
BECOMEBECOME - A TRANSDISCIPLINARY METHODOLOGY BASED ON INFORMATION ABOUT THE OBSERVER
ABSTRACT
Andrea T. R. Traldi
BECOMEBECOME
A Transdisciplinary Methodology Based on Information about the Observer
The present research dissertation has been developed with the intention to provide practical strategies and discover new intellectual operations which can be used to generate Transdisciplinary insight. For this reason, this thesis creates access to new knowledge at different scales.
Firstly, as it pertains to the scale of new knowledge generated by those who attend Becomebecome events. The open-source nature of the Becomebecome methodology makes it possible for participants in Becomebecome workshops, training programmes and residencies to generate new insight about the specific project they are working on, which then reinforce and expand the foundational principles of the theoretical background.
Secondly, as it pertains to the scale of the Becomebecome framework, which remains independent of location and moment in time. The method proposed to access Transdisciplinary knowledge constitutes new knowledge in itself because the sequence of activities, described as physical and mental procedures and listed as essential criteria, have never been found organised
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in such a specific order before. It is indeed the order in time, i.e. the sequence of the ideas and activities proposed, which allows one to transform Disciplinary knowledge via a new Transdisciplinary frame of reference.
Lastly, new knowledge about Transdisciplinarity as a field of study is created as a consequence of the heretofore listed two processes.
The first part of the thesis is designated âBecomebecome Theoryâ and focuses on the theoretical background and the intellectual operations necessary to support the creation of new Transdisciplinary knowledge. The second part of the thesis is designated âBecomebecome Practiceâ and provides practical examples of the application of such operations. Crucially, the theoretical model described as the foundation for the Becomebecome methodology (Becomebecome Theory) is process-based and constantly checked against the insight generated through Becomebecome Practice.
To this effect, âinformation about the observerâ is proposed as a key notion which binds together Transdisciplinary resources from several studies in the hard sciences and humanities. It is a concept that enables understanding about why and how information that is generated through Becomebecome Practice is considered of paramount importance for establishing the reference parameters necessary to access Transdisciplinary insight which is meaningful to a specific project, a specific person, or a specific moment in time
Strung pieces: on the aesthetics of television fiction series
As layered and long works, television fiction series have aesthetic properties that are built over time, bit by bit. This thesis develops a group of concepts that enable the study of these properties, It argues that a series is made of strung pieces, a system of related elements. The text begins by considering this sequential form within the fields of film and television. This opening chapter defines the object and methodology of research, arguing for a non-essentialist distinction between cinema and television and against the adequacy of textual and contextual analyses as approaches to the aesthetics of these shows. It proposes instead that these programmes should be described as televisual works that can be scrutinised through aesthetic analysis. The next chapters propose a sequence of interrelated concepts. The second chapter contends that series are composed of building blocks that can be either units into which series are divided or motifs that unify series and are dispersed across their pans. These blocks are patterned according to four kinds of relations or principles of composition. Repetition and variation are treated in tandem in the third chapter because of their close connection, given that variation emerges from established repetition. Exception and progression are also discussed together in the fourth chapter since they both require a long view of these serial works. The former, in order to be recognised as a deviation from the patterns of repetition and variation. The latter, In order to be understood in Its many dimensions as the series advances. Each of these concepts is further detailed with additional distinctions between types of units, motifs, repetitions, variations, and exceptions, using illustrative examples from numerous shows. In contrast, the section on progression uses a single series as case study, CarnivĂ le (2003-05), because this is the overarching principle that encompasses all the others. The conclusion considers the findings of the research and suggests avenues for their application
The empty space in abstract photography: a psychoanalytical perspective
The aim of the research that this thesis is based on is to explore the theoretical problems raised by the concept of photographic abstraction. These consist in the tension between the two aspects of the photographic sign, the indexical and iconic, and are examined in the context of the particular exploration of the empty space in abstract photography which I have pursued through my practice. The investigation draws mainly upon the psychoanalytic theory of transitional phenomena as proposed by Winnicott, as well as other art theories (Deleuze & Guattari, Ehrenzweig, Fer, Fuller, Greenberg, Joselit, Kuspit, Leider, Worringer) of abstraction. It explores the relationship of the abstract photographic image to notions of exteriority and interiority as these relate to the transition from the unconscious to conscious reality. The development of this research suggests the psychoanalytical concept of potential space as a contribution to an aesthetic model of abstraction. This concept is employed as a methodological tool in the development of the practical work and creates a framework for its interpretation. The concept of potential space is based on Winnicott's ideas around "playing with the real" in an intermediate area of experience between the internal and external reality, where creativity originates as a zone of fictive play that facilitates the subject's journey from "what is subjectively conceived of' to "what is objectively perceived. " The outcome of this investigation constitutes the production of a series of photographs describing an empty abstract space, one that is invested with a psychic dimension that produces the effect of ambiguity between its representational and abstract readings. It provides a redefinition of abstraction in a space of tension between the iconic and indexical aspects of the sign and opens up the space of abstraction in photography as one in which the relationship between inner and outer reality can be performed and can become a space of action and intervention
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