Department of Visual Arts

Permanent URI for this community

https://scholar.sun.ac.za/handle/10019.1/647

Browse

Browsing Department of Visual Arts by Subject "Aesthetics"

Now showing 1 - 5 of 5
  • Thumbnail Image
    Item
    A case of emergence : autonomy and self-organisation in conceptual art practice
    (Stellenbosch : Stellenbosch University, 2014-04) Le Roux, Neil; Kaden, Marthie; Nyoni, Vulindlela; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts.
    ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
  • Thumbnail Image
    Item
    Designers and Instagram: exploring somaesthetics and thoughtful engagement
    (Stellenbosch : Stellenbosch University, 2023-03) Coetzee, Hestelle Heléne; Perold-Bull, Karolien; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts.
    ENGLISH ABSTRACT: As a result of the fast-paced lifestyle of the 21st-century, Instagram has become a popular platform for passive scrolling as a pastime. Consequently, the social platform is filled with so much noise, that engaging thoughtfully as part of our everyday experience has taken a backseat. With more creative labourers relying on social media for work than ever, the astronomic amount of content being shared on Instagram makes meaningful interaction through the platform challenging. This investigation set out to negotiate thoughtful engagement with/through IG by proposing somaesthetic interaction design as practice-based methodology. Supported by new materialism and affect theory, somaesthetic interaction design practices are theoretically and practically explored. Research on implementing somaesthetic interaction design in the sociodigital space is limited to cases where product design is the main focus alongside digital media (Tsaknaki et al. 2019; Höök et al. 2018). Their methods, however, may provide insight into how one might implement soma design principles to research in the sociodigital space. A first-person perspective and self-agency (Höök et al. 2018) in somaesthetic interaction design is vital in keeping the intent consistently clear when engaging through Instagram towards thoughtful engagement. Several insights uncovered through experimentation through/with Instagram shed light on a more subjective and personal experience with thoughtful engagement. Distraction from the intention with content can hijack thoughtful engagement in the content creator and user. Time is also a key factor in negotiating in-the-moment experiences; and sensory engagement through Instagram presents a stronger affinity for facilitating thoughtful engagement than static posts. In other words, “I” need to engage thoughtfully for others to be able to. In essence, the principle is that one needs to practise what is preached. Proposed methods for content creation that may negotiate thoughtful engagement in the content creator and user include textured/handmade properties in content, live-streaming, juxtaposing image and text towards a more authentic/vulnerable experience, and engaging the senses through a focus on smaller parts rather than the curated whole. Thoughtful engagement is an active process that needs to be practised continually, rather than a destination or a product of this investigation. Somaesthetic interaction design equips the content creator, and user, with a new outlook on their engagement with sociodigital materials. This thesis presents an explorative and moral project, through practice, towards Shusterman’s notion of “a better life” (2014).
  • Thumbnail Image
    Item
    Estetiese verwantskappe en dekonstruksie van juweliersware : ‘n praktyk-gebaseerde ondersoek
    (Stellenbosch : Stellenbosch University, 2012-03) Van der Merwe, Augusta Stephanie; Veldsman, Nanette; Terreblanche, Carine; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts.
    ENGLISH ABSTRACT: This thesis investigates the manner in which the function of jewellery (in both the wearing and owning of it) is complementary to the value, meaning and definition of jewellery. The function of jewellery can be regarded as two-fold, consisting of both a physical and social function. The physical function of a jewellery piece entails the way in which it is worn and the manner in which the piece is utilised. The social function of jewellery is not only the status or identity that the jewellery represents, but also how jewellery can symbolise and stimulate relationships. An investigation of the physical function of jewellery is undertaken by deconstructing archetypical jewellery pieces. This illustrates what characteristics define an object as a jewellery piece and show how some archetypical jewellery pieces may appear to be seemingly universal, timeless and natural. The social function of jewellery is investigated by considering the relational aesthetics of jewellery and thus showing how jewellery can testify and give rise to relationships. This study also sheds light on the way in which contemporary jewellery can question value systems. The research includes the designing, making and discussing of contemporary jewellery. The primary research for the thesis is formed by a discussion of my art pieces and is supported by theoretical research. In the conclusion of this study it is clear that jewellery can assume multiple definitions and meanings. These definitions and meanings are not only determined by the designer and maker of the jewellery piece, but also by the wearer/ owner and the viewer as well as the context within which the jewellery piece is worn or displayed.
  • Thumbnail Image
    Item
    Illusive objects: An investigation into the embodiment of memory through contemporary jewellery
    (Stellenbosch : Stellenbosch University, 2022-04) Landsberg, Lara Daryl; Groenewald, Joani; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts.
    ENGLISH ABSTRACT: This dissertation encompasses an investigation into the multifaceted and open-ended nature of memory. I interrogate my childhood memories, situated in the context of my grandparents’ home, through re-interacting with the objects from within their home. I use their objects in my jewellery praxis, as a means of externalising my childhood memories but I also distort and fragment their objects as a means of commenting on the fragmented, fragile nature of memory. In this regard, my Ouma’s diagnosis of dementia is a pivotal aspect throughout this study. The fragmented and fragile nature of memory demonstrates its unstable and inconsistent nature. As such, my theoretical investigation and my practical body of work inform one another and unpack the various elements that influence and manipulate memory. In this regard, these elements prompt the reconstruction, imagining, fictionalisation, and selection of the past rather than a consistent representation of the past.
  • Thumbnail Image
    Item
    Op weg na 'n kontemporere eko-estetiek
    (Stellenbosch : Stellenbosch University, 2003-12) Harley, Magdalena Johanna Gertruida; Dietrich, Keith; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Visual Arts.
    ENGLISH ABSTRACT: On the way to a contemporary eco-aesthetic. My thesis consists of three chapters; the first chapter contains a basic background study and philosophic research of concepts which are relevant to my work; the second chapter is a discussion of ecofeminism as political and spiritual phenomena (my work resorts in the genre of ecofeminism); and the third chapter is an analytic consideration and discussion where my works are presented as a visual explanation of my own interpretation of the dialogue between art and science with underlying geographical and ecological concepts. Some of these concepts purport the ritual of cycles and the aesthetic experience thereof. They deal with the earth as maternal patron where the layers of society (evidence of existence) becomes evident in the layering of the earth. This evidence of existence can be found in the waste generated from the cyclic existence of living beings and organisms. In addition, the traditional scrub or healing activities which are ascribed to women, are used as an argument to effectuate a consciousness of symbioses.