The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.

I have paid attention to artworks of Ivan Kafka especially to the problem of multiplicity. On the background of the reseach of Kafka's work I have described some aspects of his art work in more common way: dealing with time, with space and with multiplicity. I have shortly analyzed first two aspects. On the other hand is multiplicity much wider phenomena, I have defined with categories which were created specially for this work. The category of mass is defined by non-living unifique parts of one coplex without any autonomy. The second type labeled as crowd type, typically contains some level of individuality. On such background I tried to create a diagramatic structure, which was postulated according to Rolasind Krauss'es "expanded fields". This should better show the relations between terms like mass, crowd, seriality and serial type of multiplicity. I have also applied these categories on particular Ivan Kafka's artworks, but in the end I suggest to asser this system of multiplicity categories on other artists artworks as well.

Aborda-se aqui a trajetória do compositor Hans-Joachim Koellreutter (1915-2005) e as relações com o debate teórico e prático da arte e estética do século XX, a partir de seus textos e obras. Uma estética que se desenvolve em íntima colaboração com a formulação de uma filosofia da história da arte que o compositor, paralelamente à sua prática composicional, expressa em artigos, palestras e cursos. A filosofia da história que vai construindo apresenta-se como a articulação entre duas temporalidades: grandes e pequenos períodos (Introdução), cujos marcos são transições, caracterizadas por crises entre sistemas que se esgotam ou que emergem para sua superação. Entre uma modernidade e uma contemporaneidade anacrônicas, a trajetória do compositor acaba nos proporcionando um modelo paradigmático dessa caracterização de crise estética apresentando alguns sintomas dessa dupla temporalidade: (i) a ressonância anacrônica dos vanguardismos do século XX aproximação arte vida comum; dessacralização dos valores da arte; quebra de protocolos ou preconceitos; subversão do meio; denúncia ou reflexão sobre os modos de produção; arte contra o consumo (Caps. I e II) , ocorrendo junto com (ii) tópicos que se tornariam marcas na contemporaneidade: arte funcional; autoria em rede colaborativa; arte voltada para a circulação; campo expandido e site específico (Cap. III). Por serem momentos de crise, transformações e hibridismo entre o velho e o novo carregam forças opostas: o primeiro resistindo e constituindo oposição através das formalizações e regulações; o segundo subjetivando-se através de novos paradigmas de forma e performance, momentos onde pode constituir-se uma vanguarda (Caps. II e III): um grupo que, em sintonia com sua época, consegue ligar as aspirações estéticas e formais com os conteúdos relevantes para interferir diretamente nessas transformações. Koellreutter compôs três peças na década de 1980 aqui escolhidas como material básico para exemplos e modelos: Ácronon, Nova-mente e Rôdô, músicas que novamente anunciavam o novo, cinquenta anos depois que aportou no Brasil, já como fenômeno de novidade (Cap. III). Tenta-se mostrar (Considerações Finais) como o compositor, ao lidar com essas duas forças a tradição e a modernidade tenta constituir uma relação que ele denomina de alfa privativaseu conceito de contrário sem contradição onde ele pode integrar tradição e a ruptura assim como o ruído e informação, estabelecendo íntima relação entre a ética e a estética. / We analyze here the trajectory of the German composer emigrated to Brazil in 1937, Hans- Joachim Koellreutter (1915-2005), and his relations with the theoretical and practical debate about art and the aesthetics of the 20th century, based on his original texts and works. An aesthetic that was developed in close collaboration with the formulation of philosophical ideas and art history which the composer, in parallel with his compositional practice, expresses in many articles, lectures and courses. The philosophy of history that he proposes presents itself as an articulation between two temporalities: large and small time intervals, whose marks are transitions, characterized by crises among systems that are exhausted or that emerge one day only to be overcome the nexto day. Inside an modernity and contemporaneity, both considered anacronic, the trajectory of the composer ends up providing us with a paradigmatic model of the characterization of an aesthetic crisis presenting some symptoms of a double temporality: (i) the anachronistic echos of the avantgardes of the twentieth century - common life as art approach; desacralization of art values; breach of protocols and prejudices; subversion of the means of productions ; denunciation or reflection on modes of production; (Caps I and II) -, occurring along with (ii) topics that would become brands in the contemporary world: functional art; collaborative authoring network; art oriented to difusion; expanded field and site specific (Chapter III). Thanks to these moments of crisis, transformations and hybridity between the old and the new carry opposing forces: the first resisting and constituting opposition through formalizations and regulations; the second subjectivizing itself through new paradigms of form and performance, moments in which a vanguard can be constituted (Caps II and III): a group that, in tune with its time, manages to connect the aesthetic and formal aspirations with the contents to interfere directly in these transformations. Koellreutter composed three especial pieces in the 1980s here chosen as the basic material for examples and models: Ácronon, Nova-mente and Rôdo, works that once again announced the new, which fifty years after he introduced in Brazil again as a phenomenon of novelty (Chapter III). Attempts to show (Final Remarks) how the composer, in dealing with these two forces - tradition and modernity. Finally we build a relationship that he calls a retritive alpha. His concept of the opposite without contradiction where he can integrate tradition and rupture as well as noise and information, establishing an intimate relationships between ethics and aesthetics.

Aborda-se aqui a trajetória do compositor Hans-Joachim Koellreutter (1915-2005) e as relações com o debate teórico e prático da arte e estética do século XX, a partir de seus textos e obras. Uma estética que se desenvolve em íntima colaboração com a formulação de uma filosofia da história da arte que o compositor, paralelamente à sua prática composicional, expressa em artigos, palestras e cursos. A filosofia da história que vai construindo apresenta-se como a articulação entre duas temporalidades: grandes e pequenos períodos (Introdução), cujos marcos são transições, caracterizadas por crises entre sistemas que se esgotam ou que emergem para sua superação. Entre uma modernidade e uma contemporaneidade anacrônicas, a trajetória do compositor acaba nos proporcionando um modelo paradigmático dessa caracterização de crise estética apresentando alguns sintomas dessa dupla temporalidade: (i) a ressonância anacrônica dos vanguardismos do século XX aproximação arte vida comum; dessacralização dos valores da arte; quebra de protocolos ou preconceitos; subversão do meio; denúncia ou reflexão sobre os modos de produção; arte contra o consumo (Caps. I e II) , ocorrendo junto com (ii) tópicos que se tornariam marcas na contemporaneidade: arte funcional; autoria em rede colaborativa; arte voltada para a circulação; campo expandido e site específico (Cap. III). Por serem momentos de crise, transformações e hibridismo entre o velho e o novo carregam forças opostas: o primeiro resistindo e constituindo oposição através das formalizações e regulações; o segundo subjetivando-se através de novos paradigmas de forma e performance, momentos onde pode constituir-se uma vanguarda (Caps. II e III): um grupo que, em sintonia com sua época, consegue ligar as aspirações estéticas e formais com os conteúdos relevantes para interferir diretamente nessas transformações. Koellreutter compôs três peças na década de 1980 aqui escolhidas como material básico para exemplos e modelos: Ácronon, Nova-mente e Rôdô, músicas que novamente anunciavam o novo, cinquenta anos depois que aportou no Brasil, já como fenômeno de novidade (Cap. III). Tenta-se mostrar (Considerações Finais) como o compositor, ao lidar com essas duas forças a tradição e a modernidade tenta constituir uma relação que ele denomina de alfa privativaseu conceito de contrário sem contradição onde ele pode integrar tradição e a ruptura assim como o ruído e informação, estabelecendo íntima relação entre a ética e a estética. / We analyze here the trajectory of the German composer emigrated to Brazil in 1937, Hans- Joachim Koellreutter (1915-2005), and his relations with the theoretical and practical debate about art and the aesthetics of the 20th century, based on his original texts and works. An aesthetic that was developed in close collaboration with the formulation of philosophical ideas and art history which the composer, in parallel with his compositional practice, expresses in many articles, lectures and courses. The philosophy of history that he proposes presents itself as an articulation between two temporalities: large and small time intervals, whose marks are transitions, characterized by crises among systems that are exhausted or that emerge one day only to be overcome the nexto day. Inside an modernity and contemporaneity, both considered anacronic, the trajectory of the composer ends up providing us with a paradigmatic model of the characterization of an aesthetic crisis presenting some symptoms of a double temporality: (i) the anachronistic echos of the avantgardes of the twentieth century - common life as art approach; desacralization of art values; breach of protocols and prejudices; subversion of the means of productions ; denunciation or reflection on modes of production; (Caps I and II) -, occurring along with (ii) topics that would become brands in the contemporary world: functional art; collaborative authoring network; art oriented to difusion; expanded field and site specific (Chapter III). Thanks to these moments of crisis, transformations and hybridity between the old and the new carry opposing forces: the first resisting and constituting opposition through formalizations and regulations; the second subjectivizing itself through new paradigms of form and performance, moments in which a vanguard can be constituted (Caps II and III): a group that, in tune with its time, manages to connect the aesthetic and formal aspirations with the contents to interfere directly in these transformations. Koellreutter composed three especial pieces in the 1980s here chosen as the basic material for examples and models: Ácronon, Nova-mente and Rôdo, works that once again announced the new, which fifty years after he introduced in Brazil again as a phenomenon of novelty (Chapter III). Attempts to show (Final Remarks) how the composer, in dealing with these two forces - tradition and modernity. Finally we build a relationship that he calls a retritive alpha. His concept of the opposite without contradiction where he can integrate tradition and rupture as well as noise and information, establishing an intimate relationships between ethics and aesthetics.

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2016-11-10T17:06:12Z No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-10T17:06:27Z (GMT) No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-10T17:06:27Z (GMT). No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-10-21 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / From a historical problem that dates back, in Brazilian art, the Concretism and the Neoconcretismo, I develop, since 1998, an artistic trajectory that uses the street like one laboratory of actions, manifestations and artistic interventions. My work is embodied in the relationship between the "expanded field of art" with the body, object and space. It turns out that during of the development of the thesis, I notice an obvious limits of this type of production to of the dissolution of the artistic field, increasingly subsumed by the sociological discourse, making it a sort of commodity to be traded as resistance art. The problem moves then to an investigation of appropriations that can be made that field - place without place - to incorporate them and transform them, at its base, so that art can still be produced once. And if, at first, the statement of a relationship between art and life becomes a militant way, programmatic and pragmatic, in a next moment requires a reflexive deepening method and language. The solution I found, caused by the tension of the current political moment, was to turn my attention to work betting on negativity, in exploring the dimension of emptiness and silence, thinking the lack as a possibility to add an idea, through the viewer's imagination. The practical result is the creation of a glass box, designed to fill the space of a door by means of resonance sound effect and vibration speakers, revealing a small continuous motion. My intention with this is to suggest a situation of instability and the imminence of a possible tragedy, condensing the premises of the field expanded into the critique of institutional debate. / A partir de uma problemática histórica que remonta, na arte brasileira, ao Concretismo e ao Neoconcretismo, desenvolvo, desde 1998, uma trajetória artística que utiliza a rua como laboratório de ações, de manifestações e de intervenções artísticas. Meu trabalho materializa-se na relação entre o “campo ampliado da arte” com o corpo do artista e do espectador, o objeto e o espaço. Acontece que, no desenvolvimento da tese, percebo um limite evidente desse tipo de produção à medida em que se dá a dissolução do campo artístico, cada vez mais subsumido pelo discurso sociológico, tornando-o uma espécie de commodity a ser negociada como arte de resistência. O problema desloca-se, então, para uma investigação das apropriações que podem ser feitas desse campo – lugar sem lugar – no sentido de incorporá-las e transformá-las, em sua base, para que a arte possa ser produzida ainda uma vez. E se, em um primeiro momento, a afirmação de uma relação entre arte e vida se faz de modo militante, programático e pragmático, em um momento seguinte exige-se um aprofundamento reflexivo de método e de linguagem. A solução por mim encontrada, motivada pela tensão do atual momento político, foi a de voltar a atenção para trabalhos que apostam na negatividade, na exploração da dimensão do vazio e do silêncio, pensando a falta como possibilidade de complemento de uma ideia, na imaginação do espectador. O resultado prático foi a criação de uma caixa de vidro, projetada para preencher o espaço de uma porta que, por meio do efeito de ressonância sonora e vibração de alto falantes, deixando transparecer um pequeno e continuado movimento. Minha intenção, com isto, é a de sugerir uma situação de instabilidade e iminência de uma possível tragédia, condensando as premissas do campo ampliado ao debate da crítica institucional.

This work deals with overlapping paintings in other media, while maintaining an emphasis on "the essence of painting" (Painting) approach. It remains crucial for the whole session, overlaps paintings will be investigated as a function of the new language of discourse, supplementing traditional painting as a medium.

No description available.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:22:56Z No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:40:39Z (GMT) No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-29T11:40:39Z (GMT). No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-15 / The present thesis proposes a trajectory through the work collection created by the North- American author Tony Smith from 1960 to 1970. The examination of this interval of his artwork is developed based on a bibliographical approach of the life and work of the same era in terms of the aesthetic and historical time in North-America. In addition, this thesis also investigates the interrelation of the analytical aspects of the theme and attempts make a critical review or essay on the topic, as it proposes not only an objective analysis of the subject but also a consideration on the poetic observed in the in the studied artworks. This reflection is built according to the paradox presence/absence of the artworks in the space they occupy. Such cogitation also takes into consideration the fact that the blackness of these artwork volumes could possibly confront their own existences. Finally, this research concentrates on the analysis of the expansion of Tony Smith's artwork in relation to both architectonic and urban spaces, with implications on their possible dialects and/or confrontations. / O projeto desta dissertação propõe um percurso pelo conjunto da obra do artista norte-americano Tony Smith produzidas entre a década de 1960 à 1970. Este recorte é desenvolvido mediante uma abordagem bibliográfica das obras e vida do artista inter-relacionado ao contexto estético e histórico norte-americano do período. No entanto o projeto é também uma inter-relação entre análise e ensaio, pois aqui desenvolvemos não apenas um levantamento objetivo como tambémuma reflexão a respeito da poética a qual percebemos nas obras analisadas. Tal reflexão é construída segundo o paradoxo presença e/ou ausência das obras no espaço que as contêm, considerando também que o negrume de suas volumetrias possivelmente confrontariam sua própria existência. A pesquisa se estende ainda na análise da expansão das obras e sua relação com o espaço arquitetônico e urbano, implicando suas possíveis dialéticas e/ou confrontos.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-06-28T12:24:40Z No. of bitstreams: 1 edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-03T15:22:59Z (GMT) No. of bitstreams: 1 edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5) / Made available in DSpace on 2018-07-03T15:22:59Z (GMT). No. of bitstreams: 1 edmonnetodeoliveira.pdf: 2073943 bytes, checksum: f29b61fae671ca6291653b60b67b9d7b (MD5) Previous issue date: 2018-05-14 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese é desenvolvida a partir de diversas leituras analíticas de escritos produzidos por diferentes autores nos últimos três séculos. Textos que no interior dos quais discutiram-se propostas para o ofício da crítica da literatura e das artes que se faz e se experimenta no bojo da inventividade. Em primeiro lugar nutre-se uma concepção, já compartilhada com autores de referência, de que é mais fecunda a crítica que se apropria de seu objeto referencial e a ele se funde, criando uma estrutura nova, dotada do mesmo status da obra abordada e, assim, sendo compreendida no limiar da literatura. A proposta que se torna o problema do trabalho de pesquisa, contudo, é um exercício crítico-performático com um poema sobre o surfe, escrito pelo poeta brasileiro Alberto Pucheu, a partir do qual se busca uma ideia de paradigma para a relação entre a produção crítica e a produção literária hoje. Para tanto, o parâmetro estético da tese mira no tom livre e rigoroso do ensaio, bem como no apelo às experiências corporais de modalidades esportivas acessadas numa correspondência com a experiência artístico-literária. Isso pode ser compreendido na medida do pareamento dessa experiência com os múltiplos movimentos do corpo, na manutenção de uma saúde, assim como preconizam pensadores como Gilles Deleuze. Em seguida, ensaios de envergadura experimental e heterodoxa são produzidos à luz dos parâmetros estabelecidos a priori, na medida em que tecem uma linha de leitura aproximativa entre os fragmentos de Friedrich Schlegel, parte da obra autobiográfica de Henry Miller e os escritos e performances de Roberto Corrêa dos Santos, cada qual ilustrando uma atitude do corpo como sendo correspondente ao ofício de escritores, críticos e artistas que eles são. Cria-se, ao fim, um elo entre os recortes analisados de cada autor, que se solda numa parábola nietzschiana pensada junto com a imagem dos levantadores de peso olímpico. A tese pode, de alguma forma, contribuir para o debate inserido no campo expandido dos estudos literários contemporâneos. / The present thesis is developed from several analytical readings of writings from different authors in the last three centuries, inside which are discussed proposals for the metier of literary and arts review, made and experienced through inventiveness. Firstly, there is a fostered conception, already shared with authors of reference, which sees the criticism which appropriates its referential object and merges with it as more fruitful, creating a new structure endowed with the same status of the work approached and thus being understood at the threshold of the literature. The proposal that becomes the core of this research, however, is a critical and performative exercise with a poem about surfing, written by Brazilian poet Alberto Pucheu, from which a paradigm idea is sought for the connection between the critical and literary production today. Therefore, the aesthetic parameter of this thesis looks at the free and rigorous tone of the essay, as well as the appeal to the corporal experiences of sports modalities approached in correspondence with the artistic and literary experiences. This can be understood through the pairing of this experience with the multiple movements of the body, in the maintenance of health, as advocated by thinkers such as Gilles Deleuze. Subsequently, experimental and heterodox essays are produced in the light of the parameters established earlier, as they weave an approximate reading thread between the fragments of Friedrich Schlegel, part of Henry Miller's autobiographical work and the writings and performances of Roberto Corrêa dos Santos, each illustrating an attitude of the body as corresponding to the craft of writers, critics and artists they are. At the end, a link is created between the analyzed excerpts of each author, welded in a Nietzschean parable thought through the image of the Olympic weight lifters. This thesis may in some way contribute to the debate within the expanded field of contemporary literary studies.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The tensions I experienced as a Stellenbosch University student made me curious to delve into potential exchanges between the boundaries of worthwhile art and valid education. I explored the capacity of interactive artworks to contribute to realising the university‟s institutional vision. This research venture seeks to inspire innovative approaches to education that can potentially decrease discrepancies between institutional policy and practice. The primary question examines the nature and effect of students‟ responses to an interactive artwork placed on the Stellenbosch University campus. These reactions subtly exposed the particularity of the Stellenbosch University context and indicated aspects of art education in the expanded field that could aid higher education institutions in fulfilling their transformative role. An anti-colonial paradigm guided me through a crucial attentiveness of the power issues embedded in knowledge production, validation and dissemination. The reflexive process of qualitative research permitted a captivating interdisciplinary landscape that spans from policy documents to philosophical enquiries. I studied the lived experiences of students, lecturers and staff members at Stellenbosch University through individual and group interviews. A case study research design was employed to use the patterns picked up in these single cases to lead me toward more entrenched underlying issues and attitudes. Nuanced research findings were the result of the anti-colonial prism that caused me to place equal value on difference and coherence in my enquiry. Visual metaphors such as my interactive public artwork translate philosophical ideas into practice and communicate these ideas right to the heart. This is how art can bridge the divide between in- and out-of-class education and aid the university in preparing students to become purposeful citizens. Not only does this project signify the university‟s institutional transformation, but it also adds to the transformative impact of the university on all its stakeholders; a necessary process that enables greater social impact. Belonging is a crucial aspect in this regard, because it enables students to internalise the knowledge acquired through higher education. And one of the key underlying messages of higher education is that graduates are citizens that should contribute their skills and knowledge to positively enhance society. The interview feedback revealed that the artwork was successful in guiding students‟ thoughts and conversations to form new knowledge because it was an honest space where people could articulate their opinions. Interdisciplinary learning is a powerful tool that enriches curricula and increases the impact of university education. The university needs to allow students to belong and then develop responsibility and empathy toward societal needs, and it appears that the artwork roused some of these sentiments. In order to become an institution that launches the thought leaders of the future, Stellenbosch University needs to harness all collaborators that collectively contribute to an integrated understanding of life and an expanded appreciation of knowledge. / AFRIKAANSE OPSOMMING: Die spanning wat ek as „n Stellenbosch Universiteit‟s student ervaar het, het my nuuskierig gemaak om dieper in die moontlike wisselwerking tussen die grense van betekenisvolle kuns en ware opvoeding te delf. Tydens my studie het ek die vermoë van interaktiewe kunswerke om tot die verwesenliking van die universiteit se institusionele visie by te dra, ondersoek. Hierdie navorsing poog om innoverende benaderings tot opvoeding te soek wat die gapings tussen instititionele beleid en praktyk potensieël kan verminder. Die primêre vraag analiseer die aard en effek van studente se reaksies op „n interaktiewe kunswerk wat op die kampus van die Stellenbosch Universiteit geplaas was. Hierdie reaksies het die besonderse konteks van die Stellenbosch Universiteit blootgestel. Hierdeur is aspekte van kunsonderrig in die uitgebreide veld aangedui, wat moontlik hoër onderwys institute in hulle transformatiewe rol behulpsaam kan wees. „n Anti-koloniale paradigma het my deur „n kritieke bewustheid van die magsstryd waarin kennisvorming, geldigheid en verspreiding gewikkel is, begelei. Die terugskouende proses van kwalitatiewe navorsing het „n fassinerende interdissiplinêre landskap toegelaat wat strek vanaf beleidsdokumente tot filosofiese ondersoeke. Die ervaring van die studente, lektore en personeel van die Stellenbosch Universiteit is deur onderhoudsvoering met individue en groepe bestudeer. „n Gevallestudie navorsingsontwerp is gebruik om patrone in hierdie enkel gevalle in te span om versteekte onderliggende vraagstukke te ontbloot. Genuanseerde navorsings bevindings is na vore gebring deur anti-koloniale prisma wat my gelei het om gelyke waarde op beide verskille en ooreenkomste te plaas. Visuele metafore, soos my interaktiewe publieke kunswerk, het filosofiese idees in praktyk oorgeplaas. Dit is hoe hierdie idees reguit na die hart van die deelnemer spreek. Kuns kan so die skeiding tussen binne- en buite-klastyd onderrig oorbrug en die universiteit ondersteun in hul poging om studente as doelgerigte landsburgers voor te berei. Hierdie projek dui terselfdetyd op die universiteit se intitusionele transformasie nie en op die transformatiewe impak van die universiteit op al sy belangegroepe. Om aan „n groep te behoort „n belangrike aspek omdat dit studente in staat stel om die kennis, wat hulle deur hoër onderwys verkry het, te internaliseer. Dit sluit by een van die onderliggende sleutelboodskappe van hoër onderwys aan naamlik dat graduandi landsburgers is wat hulle vaardighede en kennis tot positiewe uitbouing van die samelewing moet aanwend. Die terugvoer van die onderhoude weerspieël dat die kunswerk suksesvol was in die begeleiding van studente se gedagtes en gesprekke, om nuwe kennis te vorm. Dit is moontlik gemaak deur die eerlike spasie waarin die mense opinies kon lig. Inter-dissiplinêre kennisverryking is „n kragtige werktuig wat kurrikulums versterk en wat die impak van universiteitsonderrig verbreed. Die universiteit behoort studente te laat voel asof hulle behoort en om verantwoordelikheid en empatie vir die samelewing se behoeftes by hulle te kweek. Dit blyk dat hierdie kunswerk sekere van daardie sentimente na die oppervlak gebring het. Vir Stellenbosch Universiteit om a instelling te word wat denkleiers van die toekoms vorm, verg dat al die deelnemers wat kollektief bydra tot „n geïntegreerde verstaan van die lewe uitbrie op die waardering van kennis.