This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. / Visual Arts / M.A. (Visual Arts)

This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. / Visual Arts / M.A. (Visual Arts)

Thesis (M. Tech.) -- Central University of Technology, Free State, 2007 / The lack of a standardized lighting instrument to be used in conjunction with existing photographic methods to document rock art, is a problem experienced in archaeological circles. Through interviews with archaeologists and an investigation into existing photographic methods concerning the photographing of rock art, a demand for a portable and modular lighting instrument was confirmed. The aim of this study, then, was to develop a prototype lighting instrument to fill this void. The design and manufacture of the modular lighting instrument entailed the harnessing of the technological advances made in the field of rapid prototyping. A brief overview of the San/Bushmen of Southern Africa is given to stress the importance of this study and to emphasise the importance of the art of the Bushman in our collective art heritage. An overview of the documenting of rock art and therewith an investigation into documented works of rock art and rock engravings by the San/Bushmen serves as a point of departure for the present inquiry. Tests undertaken with the modular lighting instrument, and a comparison of the results so obtained with existing photographic methods, showed that with the use of the modular lighting instrument, an improvement in illumination, rock-face texture and colour contrast in the images was obtained. The modular lighting instrument helps to create and regulate a suitable lighting environment irrespective of natural lighting circumstances and environments. It produces better results when it comes to documenting rock art in comparison to existing methods of documentation. Continued study for the development of the modular lighting instrument is recommended in order to produce more constant results.