As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

That consciousness is ubiquitous, and relevant to autopoietic self-organisation and embodiment within every living being and/or organism, is a prevalent idea in contemporary consciousness research. However, because ‘consciousness’ as a word is derived from con or cum, meaning ‘with’ or ‘together’ and scire, ‘to know’ or ‘to see’ it infers the experience of knowing with an ‘other’ and/or ‘others’. The narrative that follows, while expressing a life of its own, documents the interdisciplinary research conducted and questions who and/or to what ‘other’ might infer. My visual diary, Dust from dust: Microorganisms and other tales: An Artist’s diary, created as the visual component of a creative practice-as-research undertaking, was silently performed amidst ‘others’ in the Unisa gallery, in an attempt to render visible, the autopoietic, self-organising embodiment essential to the conscious self-developmental component of the project. Once upon a time, I grew bacterial yeast cells in a glass vitrine to observe how they self-organised their own embodiment and photographed the process. At the same time, I conducted interdisciplinary research into consciousness as a self-developmental process, and utilising the cellular symbiosis unfolding in the vitrine as a self-reflexive mirror, came to visualise how indispensable bodily feelings are to conscious self-development, and being-in-the-world-with-others processes. As a creative-practice-as-research undertaking, I grew, manipulated and photographed the cellular imagery in the vitrine over many years in an attempt to unfold personal bodily feeling associations the imagery held captive, while gathering photographic footage I considered capable of expressing the primordial nature of certain emotive feeling experiences. Once obtained, I choreographed and performed a stop-frame video, entitled Dust from Dust: Microorganisms and other tales. An artist’s diary. The stop-frame video, along with a catalogue that focuses on the processes engaged with, accompanies the written narrative. Once edited, I macroscopically projected different phases of the video into a three-walled enclosure in the UNISA Art gallery. The three videos, representing a facet of my praxis, ran concurrently over a two week period. The fourth facet, presented with the video projections to emphasise conscious self-development as an in-the-world-with-others process, was the glass vitrine. It was positioned in a darkened enclosure in the gallery space, opposite the video projections. This narrative documents how I projected myself into the cellular imagery developing in the glass vitrine, in a way akin to how the ancient alchemists ‘projected’ themselves into the prima materia with which they worked. While the alchemists seemingly worked unconsciously, and my praxis initially started somewhat unconsciously, the process developed into a conscious attempt to embody the research findings. So, while the video choreographed, champions a microbial cell story, by referring to it as an artist’s diary, I emphasise the subjective nature of my praxis as a whole. In this creative-practice-as-research undertaking, I address the significance of bodily feelings and their relevance to being-in-the-world-with-others processes. In doing so, I aim to offer insight into how and why feelings are essential to inter-subjectivity and/or sociality, self-organisation and conscious self-development, as well as how and why conscious self-development can lead to immersive experiences, which I interpret as embodied adaptation to the rich diversity and/or fullness of life itself. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

In search of, the current and urgent, accompanied with our guiltless but potentially not agencies, we fight for the intelligence of reality. A zeitgeist that we try to ghostbust, that we hope to understand. A pandemonium circulated around the event, the now, the branches of time that flicker the possibilities and variations of expressions, that we as trajectories might solidify into a reality.  "So, one can start from a simple question, at which one does not care to conclude  with an answer: "why do we mark/trace a surface? Or for that matter, sculpt, think,  animate etc." What is the inclination behind it? And more importantly, why do we  cling to a specific preference?" In this essay I attempt a brief brush through from a number of familiar questions about art. And attempt to provide my own understanding, of art, creativity, society, and the ever newer intentions of the human expressive trajectories, that provide variations of possibilities and potentialities.

1 Leo Vaniš: Abstrakt dizertace (EN): The dissertation theses "ART EDUCATION - LITERARY EDUCATION: The subjects of" higher "culture in aesthetic education on the example of geometric art" is based primarily on the field of educational sciences, focusing on two areas of the educational process: art and literary education. Two equivalent school subjects matters (which the very graphic concept of the name by capital letters suggests, as well as the intentional duplication of the word education) is based on the study of culture, which is conceived on two levels - "higher" and "lower," possibly simple, unprofessional, but not necessarily of lower quality. The intentional introduction of the word "higher" in quotation marks already in itself suggests that it will be a problem of defining what such a culture means, what it can look like and how it can be understood in an educational context. collection of so-called canonically anchored works, in the field of verbal and artistic creation, while cross-sectionally focusing on one researched aspect - geometry. Whith the concept of dual geometry (often referred to in the theses as the "phenomenon of simple and artistic geometrization") the author tries to show the projection of already established great artistic values into contemporary educational reality, defining...

Text in English with abstracts in English, Afrikaans and Setswana. Translated titles in Afrikaans and Setswana supplied / Dataset link: https://doi.org/10.25399/UnisaData.14101913.v1 / The gap between diverse cultures living in a globalized world is not intransigent nor unassumingly flexible. This space is an arena of dissimilarities and correlations, which result in interactions that incite unusual expectations. ‘Cultural hybridity’ is clearly mirrored within contemporary society. New methods and approaches are required to comprehend the lived experiences of escalating displacement. This research traces the trajectory of migration, identity, self and other from the point of view of contemporary diasporic artists. Notions of ethnicity, authenticity, identity, transnationality, singularity and duality are debated against the backdrop of the creative practices of Anish Kapoor and Yinka Shonibare. Informed by Homi K. Bhabha’s concept of the third space, and also theories of hermeneutic translation by Georg Gadamer and Paul Ricoeur, this dissertation creatively and critically investigates the ambiguities and ambivalences in this field of inquiry. / Die gaping tussen uiteenlopende kulture wat in ’n geglobaliseerde wêreld woon, is nóg onversetlik nóg pretensieloos veerkragtig. Hierdie ruimte is ’n arena van ongelykhede en korrelasies wat lei tot interaksies wat ongewone verwagtings ontketen. “Kulturele hibridisme” word duidelik in die eietydse samelewing weerspieël. Nuwe metodes en benaderings word vereis om die werklike ervarings van toenemende ontheemding te verstaan. Hierdie navorsing spoor die trajektorie van migrasie, identiteit, self en ander vanuit die oogpunt van eietydse diasporiese kunstenaars na. Idees rondom etnisiteit, egtheid, identiteit, transnasionaliteit, enkelvoudigheid en tweevoudigheid word teen die agtergrond van die kreatiewe praktyke van Anish Kapoor en Yinka Shonibare bespreek. Hierdie verhandeling, wat geïnspireer is deur Homi K. Bhabha se konsep van die derde ruimte, asook teorieë van hermeneutiese verplasing deur Georg Gadamer en Paul Ricoeur, ondersoek op ’n kreatiewe en kritiese wyse die dubbelsinnighede en teenstrydighede in hierdie ondersoekveld. / Sekgala magareng ga ditso tse di farologaneng tse di tshelang mo lefatsheng le le susumetsanang ga se a tsepama le mme ga se obege bonolo. Sebaka seno ke serala sa dipharologano le dikamano tse di lebisang kwa dikgolaganong tse di tlhosetsang ditsholofelo tse di sa tlwaelegang. Tota 'motswako wa setso' o bonala sentle mo setšhabeng sa sešweng. Go tlhokega mekgwa le selebo se sentšhwa go tlhaloganya maitemogelo a phuduso e e oketsegang. Patlisiso eno e lebelela motlhala wa bofudugedi, boitshupo, jwa sebele le jo bongwe go tswa mo mogopolong wa batsweretshi ba sešweng go tswa mo mafelong a bofudugedi (diaspora) Go ganetsanwa ka megopolo ya lotso, boammaaruri, boitshupo, boditšhaba, bongwefela le bobedi go lebeletswe ntlha ya ditiragatso tsa boitlhamedi tsa ga Anish Kapoor le Yinka Shonibare. Thesisi eno e e theilweng mo mogopolong wa ga Homi K. Bhabha wa sebaka sa boraro, le ditiori tsa saense ya boranodi ka Georg Gadamer le Paul Ricoeur, e batlisisa ka boitlhamedi le ka tshekatsheko, ketsaetsego e e mo lephateng leno la dipatlisiso. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

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