Wounding and healing as paradox: towards the visual articulation of synthesis
- Authors: De Lange, Bev
- Date: 2010
- Subjects: Psychology
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:8531 , http://hdl.handle.net/10948/1655 , Psychology
- Description: The very notion of wounding can be argued to imply a process of healing. Indeed some wounds are at the outset designed to be instruments of healing. As ten years of my professional life were spent assisting in the surgical creation of such „wounds‟ in an operating theatre it is from this memory timeframe that I initiated the process of developing visual equivalents that become reflective of both wounding and healing. The operation theatre was also an environment from which I developed increased awareness of mind or psyche as an entity conceptually comprising both conscious and unconscious components. Within this context, it can be argued that the patient‟s state of mind moves between consciousness and forms of unconsciousness induced through anaesthesia. Through research into the writings of the psychoanalyst Carl Jung, I began to develop a greater understanding of the concepts surrounding the conscious and unconscious mind in relation to the development of consciousness as well as to the integration of opposites. It is from this understanding of a dynamic process within the mind itself that I have attempted to develop visual signifiers of paradox in order to give expression to symbols that are reflective of these processes and in so doing indicate the psychological journey towards synthesis and individuation.
- Full Text:
- Date Issued: 2010
- Authors: De Lange, Bev
- Date: 2010
- Subjects: Psychology
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:8531 , http://hdl.handle.net/10948/1655 , Psychology
- Description: The very notion of wounding can be argued to imply a process of healing. Indeed some wounds are at the outset designed to be instruments of healing. As ten years of my professional life were spent assisting in the surgical creation of such „wounds‟ in an operating theatre it is from this memory timeframe that I initiated the process of developing visual equivalents that become reflective of both wounding and healing. The operation theatre was also an environment from which I developed increased awareness of mind or psyche as an entity conceptually comprising both conscious and unconscious components. Within this context, it can be argued that the patient‟s state of mind moves between consciousness and forms of unconsciousness induced through anaesthesia. Through research into the writings of the psychoanalyst Carl Jung, I began to develop a greater understanding of the concepts surrounding the conscious and unconscious mind in relation to the development of consciousness as well as to the integration of opposites. It is from this understanding of a dynamic process within the mind itself that I have attempted to develop visual signifiers of paradox in order to give expression to symbols that are reflective of these processes and in so doing indicate the psychological journey towards synthesis and individuation.
- Full Text:
- Date Issued: 2010
The ibali of Nongqawuse: translating the oral tradition into visual expression
- Authors: Nhlangwini, Andrew Pandheni
- Date: 2003
- Subjects: Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10761 , http://hdl.handle.net/10948/237 , Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Description: The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.
- Full Text:
- Date Issued: 2003
- Authors: Nhlangwini, Andrew Pandheni
- Date: 2003
- Subjects: Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10761 , http://hdl.handle.net/10948/237 , Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Description: The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.
- Full Text:
- Date Issued: 2003
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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