FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W766754519> ?p ?o ?g. }

• W766754519 abstract "This written thesis constitutes a practice-led PhD. Many practice-led PhDs in art and design are comprised of two things – artistic practice in some form or other, for example an artist’s book or a film – and an accompanying theoretical text. By contrast, what I present here is a single text. The artistic practice is embedded within this document, taking the form of an intermingling of theoretically-informed and personally-informed writing.The thesis looks at the photograph through writing; and at writing through photography, thereby forming a deterritorialization of both worlds. The contribution to knowledge, broadly made within two areas, art writing and material culture studies, turns on presenting the world of photography as one informed by nurturing aspects of photographic practice. It looks at past experiences of being loved and loving; and at how these things link to the evocative qualities of the photograph.Within this text, words and writing (as things and actions) are linked back to personal experiences of learning to read and write, and to books as safe places, providing intimations of what could be, and of hope. The formation of letters and reading is directly linked to women’s gestures of care and attendance, and to my own present-day experiences of motherhood and my son’s first understanding of the formation of letters and words.It is as an artist, that I have pursued the possibility of a continuity between writing and the photograph. I have found a space opening up between them that has been focused through my approach to theory. This space has come to constitute my research methodology, referred to in the thesis as evaporation, and writing in waiting.This methodology is used to create a subjective imagery that ‘transcribes’ the entwining of subjective and theoretical voices relating to the experience of being in writing. Theory is understood here as an inhabiting of the space of ‘in between’ – a space before words, a space of ‘attempting to make sayable.’ In this sense theory is approached in this study as a mode of experiencing: aspects of theory are perceived as belonging to everyday places, while at the same time, everyday3places come to form an improvisatory place from within which to produce a response to aspects of affecting theory.Three overlapping tensions are developed through the research:- Barthes’ notion of punctum in Camera Lucida ([1980] 2000, pp.96). While retaining the power of the punctum in relation to loss as read in Barthes, I seek to unsettle fixed readings of the object (arguably suggested by Barthes’ account). To do this I draw on my own understanding of the punctum and Maria Lind’s considerations about Christine Borland’s work From Life (Glasgow), 1994, (Lind, 2006, pp.38-40) in relation to Barthes’ noeme of photography as ‘that-has-been’. Lind writes: ‘while the objects that I have in my hands are certainly not photographs, their Modus Vivendi is much the same – they function as spectra and they are proof that this individuality really existed’ (2006, p.39). In the study punctum is used to suggest a movement beyond the photograph’s surface and beyond Barthes’ notions of representation, as something extending outside the medium of photography (a transferability signalled by evaporation in the research).- Deleuze’s notion of multiplicity ([1966] 1991; Deleuze and Guattari, [1980] 2004) as an assemblage of elements deterritorializing, yet attaining some consistency for a pre-indeterminable duration. The research attends to, but also departs from Deleuze’s notion of multiplicity. For Deleuze, the first pronoun is potentially centralizing and directing, and the third pronoun conveys the potentiality to become inhered in the abstract folding and unfolding of connections (Deleuze, 1980b, part 6). In this study, while acknowledging notions of multiplicity, close relations between subject and object are understood as part of the folding and unfolding of relational connections. By exploring the use of the first pronoun, affect through gestures is viewed as a nourishing force, carrying with it an intention for language as a bridging between places.- Ingold’s view of the object as something regulated by representation (2007a; 2010). For Ingold, the object is positioned exclusively within representation, which in his eyes is directly opposed to the openness of the ‘worlding thing’ (Ingold, 2010, p.3). He rejects the object as an analytical tool and as an everyday term, favouring instead the concept of ‘material’ which allows for a translating of lived experience, through tracing the flow of materials (ibid, pp.12-13). In this thesis, the opposition Ingold sets up between object and material is revealed as problematic,4in as much as it places language, ideas and imaginaries further apart from the gestures of everyday affects, a distance I seek to narrow.In placing the photograph in a state of possibility between objects and things, the study comes to view material objects as temporary surfaces of things, close to the vulnerability of skin (and therefore of hope) and of everyday gestures. Following on from this state of possibility, acts of creativity through photography and writing can then be understood to be both form-making and un-forming. Surfaces are the material where the gestures of those who have manipulated or kept objects, are portrayed; but also where in attempting to disclose a connection with objects, a space in between is formed.In coming to consider the photograph as a material, affect comes to the fore of the research. Affect is viewed not only as a force, a movement of inclusion – ‘found in (...) intensities that pass body to body (human, nonhuman, part-body, and otherwise), in those resonances that circulate about, between, and sometimes stick to bodies and words (...)’ (Greg and Seigworth, 2010, p.2) – but also as a sentiment of everyday places, allowing a sort of attentiveness to language when, from vulnerability, language steps aside from the literal, creating marginal spaces, operating as an improvisatory continuation of form.The format of the research, a series of notes where some elements re-appear and re-occur throughout the chapters – for example grains of sand, the tree, the glass – forms an improvisatory response to theory. These responses foment returns to a series of situations and places positioned in-between ‘familiar and foreign’ territories.The thesis has emerged out of encounters between notions and places inside and outside books, inside and outside the academe, continuing (and confounding) each other, rather than separating from one another. ‘Place’ refers to such sites, often physical, geographical and material, but crucially, sites which carry an affective and imaginative charge.Theory takes place in the writing of this thesis as ‘systematic’ language (Nyrnes, 2006, p.17). It is ‘implemented’ in the work and informs the work, despite not always being outwardly denoted or explicitly present. In this respect, it keeps faith5with artistic research practices which seek to welcome qualities that formal research produces in terms of structure, rigour and constraints but retains artistic creativity’s ‘wide-eyed, experiential way of being in the world’ (Coessens et al., 2009, p.57). While the awareness of theoretical frames helps to challenge those frames and the artistic practice, theory forms informative and motivational movements to create a place both beside and within the art work." @default.
• W766754519 created "2016-06-24" @default.
• W766754519 creator A5011893829 @default.
• W766754519 date "2013-01-01" @default.
• W766754519 modified "2023-09-23" @default.
• W766754519 title "The photograph of a loved one, a practice-led investigation through writing" @default.
• W766754519 cites W1544888367 @default.
• W766754519 cites W1559647230 @default.
• W766754519 cites W16349346 @default.
• W766754519 cites W1644932108 @default.
• W766754519 cites W1988980765 @default.
• W766754519 cites W1994546180 @default.
• W766754519 cites W2004935406 @default.
• W766754519 cites W2012257120 @default.
• W766754519 cites W2038405444 @default.
• W766754519 cites W2039081052 @default.
• W766754519 cites W2119180301 @default.
• W766754519 cites W2151870264 @default.
• W766754519 cites W2156400032 @default.
• W766754519 cites W2272019765 @default.
• W766754519 cites W2294400454 @default.
• W766754519 cites W2323816393 @default.
• W766754519 cites W2476104800 @default.
• W766754519 cites W262024742 @default.
• W766754519 cites W2773937883 @default.
• W766754519 cites W2795905271 @default.
• W766754519 cites W291231558 @default.
• W766754519 cites W3035400318 @default.
• W766754519 cites W3195692989 @default.
• W766754519 cites W648241399 @default.
• W766754519 cites W658623004 @default.
• W766754519 hasPublicationYear "2013" @default.
• W766754519 type Work @default.
• W766754519 sameAs 766754519 @default.
• W766754519 citedByCount "0" @default.
• W766754519 crossrefType "dissertation" @default.
• W766754519 hasAuthorship W766754519A5011893829 @default.
• W766754519 hasConcept C124952713 @default.
• W766754519 hasConcept C142362112 @default.
• W766754519 hasConcept C153349607 @default.
• W766754519 hasConcept C95457728 @default.
• W766754519 hasConceptScore W766754519C124952713 @default.
• W766754519 hasConceptScore W766754519C142362112 @default.
• W766754519 hasConceptScore W766754519C153349607 @default.
• W766754519 hasConceptScore W766754519C95457728 @default.
• W766754519 hasLocation W7667545191 @default.
• W766754519 hasOpenAccess W766754519 @default.
• W766754519 hasPrimaryLocation W7667545191 @default.
• W766754519 hasRelatedWork W140760153 @default.
• W766754519 hasRelatedWork W1602480115 @default.
• W766754519 hasRelatedWork W1978247998 @default.
• W766754519 hasRelatedWork W2136282528 @default.
• W766754519 hasRelatedWork W2313158100 @default.
• W766754519 hasRelatedWork W2515940436 @default.
• W766754519 hasRelatedWork W2596898858 @default.
• W766754519 hasRelatedWork W2603733405 @default.
• W766754519 hasRelatedWork W2604944533 @default.
• W766754519 hasRelatedWork W2609258576 @default.
• W766754519 hasRelatedWork W2791168005 @default.
• W766754519 hasRelatedWork W2805228974 @default.
• W766754519 hasRelatedWork W2900634053 @default.
• W766754519 hasRelatedWork W2911916517 @default.
• W766754519 hasRelatedWork W2964453924 @default.
• W766754519 hasRelatedWork W3027961349 @default.
• W766754519 hasRelatedWork W361883188 @default.
• W766754519 hasRelatedWork W617850675 @default.
• W766754519 hasRelatedWork W813113325 @default.
• W766754519 hasRelatedWork W2737218703 @default.
• W766754519 isParatext "false" @default.
• W766754519 isRetracted "false" @default.
• W766754519 magId "766754519" @default.
• W766754519 workType "dissertation" @default.