Thesis (M.F.A.)--Washington State University, May 2010. / Title from PDF title page (viewed on May 14, 2010). "Department of Fine Arts."

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2015. / This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. The scope of this study will be limited to the use of art to create awareness around repurposing found objects. However, these repurposed found objects will not become physical utility products. Rather, this study aims to discuss and explore ways in which art can be used to generate an ethos of 'redesigning' into a work of art which gives it an aesthestic value. An undertone of this study is the dilemma encountered in attempting to establish clear delineations between art and design in both pedagogic and professional practice domains. ABSTRACT This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. Key topics discussed in this mini-thesis are the noticing of and engagement with decayed found objects and sustainability. Other topics explored are repurposing and design for repurposing. Debates around the concept of 'design thinking' are ever current. Design thinking was employed in the study, which resulted in a process that examined the richness of my individual artistic journeys. My ontological stance is that all chosen found objects should have a life. This study is epistemologically situated within the interpretive paradigm since the study makes meaning of my experiences as I interact with found objects. The study drew on a qualitative design paradigm of embodied experience, phenomenological research and employed qualitative methodologies of reflective journaling, lived experience and a process-orientated art approach. The research method adopted a convenience or accidental sample, which is not representative of a population of found objects as the objects were presented by accident. All artworks created for the purpose of the study incorporated found objects that were selected randomly. The design analysis and findings verified the likelihood of a thematic approach by using comparisons of the choice of collected found objects. The general contribution(s) of this mini-thesis to the knowledge toward the direction design needs to take is three-fold: firstly, the study confirmed an awareness of using discarded banal found objects and giving these objects new life through design thinking; secondly, it emphasises the awareness around the critical concerns of sustainability and social responsibility; and, lastly it engages curricula development in robust dialogue that advances the sustainability agenda in a multi-disciplinary context in the Faculty of Informatics and Design, at the Cape Peninsula University of Technology, Cape Town, South Africa. In order to initiate further dialogue, this study argues and proposes that student learning can be enhanced through using a found object as catalyst to ignite creative expression and as a result positively contribute to the sustainability agenda. Typically the study could also propose through means of arguments in literature that creative practical activities structured around found objects and design thinking will allow students to adopt a deep approach to learning. These educational arguments will exceed the objectives of this mini-thesis. They are, nevertheless, considered a worthwhile theme for further research or a doctoral thesis.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 28).

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates adults who play. Through my investigation, I discovered that play for adults is not distraction or a waste of time as is generally accepted. It is a basic need and necessary for survival. Although there are different forms of play, such as sport matches, hobbies and gambling, I specifically focus on play where objects can be created. This type of play is inherently more creative and stimulates lateral thinking. In play there is a freedom and safe environment which is not necessarily tied to reality. At the same time it is a self-reflective discovery process which stimulates brain activity. In my practice I use plastic bags as an accessible and malleable material to design and make contemporary jewellery. It is a way to act as an active agent in the world, rather than a passive consumer. The discussion of my art pieces forms the primary research of the thesis and is supported by theoretical research. In the process of making a deeper understanding and knowledge is extracted, which can be established through ritual play. New connections are formed in the brain and contrasting ideas can be linked which would otherwise not have happened. Play has value because it does not only stay in ‘play state’. It can spill over to the confrontation, questioning and uniting of the sociological, economical, cultural and political contrasts in my immediate South African environment. Consequently play contributes to our ability to adapt, process everyday contradictions (such as social inequality) and find creative solutions. Furthermore, it possesses the potential to contribute to our social wellbeing, happiness, trust, the will to share and to live empathetically. / AFRIKAANSE OPSOMMING: Hierdie tesis handel oor volwassenes wat speel. Deur my ondersoek ontdek ek dat spel vir volwassenes nie afleiding of ʼn mors van tyd is soos algemeen aanvaar word nie. Dit is ʼn behoefte en noodsaaklik vir oorlewing. Alhoewel daar verskillende vorme van spel is, soos byvoorbeeld sportkragmetings, stokperdjies, dobbelary, fokus ek spesifiek op spel waar objekte gemaak word. Dié tipe spel is inherent kreatief en stimuleer laterale denke. In spel is daar is ʼn vryheid en veilige ruimte wat nie met die werklikheid verenig hoef te word nie, maar terselfdertyd is dit ʼn self-refleksiewe ontdekkingsproses wat breinaktiwiteite verhoog. In my praktyk maak ek gebruik van plastieksakke as toeganklike en vervormbare materiaal om kontemporêre juweliersware te ontwerp en te maak. Dit is ’n manier om as ʼn aktiewe agent in die wêreld op te tree, eerder as ’n passiewe verbruiker. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. In die maakproses word daar ʼn dieper begrip en kennis ontgin wat vasgelê kan word deur rituele spel. Nuwe konneksies word in die brein gevorm en kontrasterende idees kan verbind word wat nie andersins sou plaasvind nie. Spel is waardevol omdat dit nie net in die ‘spel toestand’ bly nie. Dit kan oorspoel na die konfrontasie, bevraagtekening en vereniging van sosiologiese, ekonomiese, kulturele en politiese kontraste in my onmiddellike Suid-Afrikaanse omgewing. Gevolglik dra spel by tot ons vermoë om aan te pas, alledaagse teenstrydighede (soos sosiale ongelykheid) te verwerk en kreatiewe oplossings te vind. Dit besit verder die potensiaal om by te dra tot ons sosiale welstand, gelukkigheid, vertroue, die wil om te deel en empaties te lewe.

The Second-Hand Society tells the stories of people in Portland, Oregon who redefine waste by making use of objects others discard. The author spends time in repair shops watching craftsmen hammer and polish broken typewriters, vacuum cleaners and shoes back to life. She follows book scouts, clothes pickers and liquidators as they gather merchandise to resell and spends hours at nonprofits that collect and redistribute unwanted electronics and building supplies. She watches junk artists and fashion designers assemble found objects into display pieces, accompanies Dumpster divers and "freegans" along their regular collection routes and visits the homeless encampment by the airport to see how an entire community of people survives on nothing but reclaimed materials. The members of the second-hand society challenge the traditional conception of things as "broken" or "unwanted" and assert that forward movement and new-new-new is not always optimal. By examining the motivations and practices of the people who make use of our discards and looking at the contradictions they run up against, this thesis develops a more complete understanding of the reality that's possible if we think differently about our waste.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

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 & Musicology / M.A. (Visual Arts)

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)