Thesis (Ph.D.)--University of Texas at Dallas, 2007. / Includes vita. Includes bibliographical references (leaves 113-116)

Thesis (Ed. D.)--Illinois State University at Normal, 1965. / Title from title page screen, viewed July 6, 2004. Dissertation committee: Stanley G. Wold (chair), Gordon Kensler, Perry Ragouzis. Includes bibliographical references (leaves 131-137). Also available in print.

Thesis (M.S.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 78-83).

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (64 leaves : col. ill. ; 22 x 30 cm.) in City Campus Collection (T 709.93 CUN)

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 17 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 15).

Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture. / During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art. / The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.

Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture. / During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art. / The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.

Thesis (M.CA.-R.)--University of Wollongong, 2006. / Typescript. Includes bibliographical references: leaf 23-24.

Univ., Diss--Essen, 1999.

Thesis (Ed. D.)--Illinois State University, 1979. / Title from title page screen, viewed Jan. 27, 2005. Dissertation Committee: Frances E. Anderson (chair), Max R. Rennels, William L. Tolone, Dorothy Lee, Barry E. Moore. Includes bibliographical references (leaves 74-79) and abstract. Also available in print.