The Name is a Guest of the Substance brings together works of video, installation, live performance, sculpture, and print to investigate the constructions of kinship that organize us into the world as historical, ecological, and political subjects. Herter Gallery’s 1600 sq. ft space is utilized in full for this project. The work in both galleries evaluates systems of categorization in light of their power to foster or discourage kinship within overlapping local, global and ecological communities. While the West Gallery uses my own multi-racial American genealogy to challenge the authority of historical and autobiographical origins, the East gallery uses manipulations of scale to emphasize the overlooked and ungovernable ways non-human forms of life frustrate our constant attempts at establishing a stable hierarchy of biological relations.

My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.

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Plasticene is an alternative term for Anthropocene, the proposed epoch that follows the Holocene and designates the beginning of significant human impact on Earth. While this moniker carries numerous implications across a range of disciplines, the scholarship of this thesis project is motivated by the creation and exhibition of a body of work that investigates the materiality and physical presence of technological convenience. Plasticene is an exhibition of four looping, digital video animations alongside two interactive sculptural installations. The video-based pieces are explorations into the medium of digital video and how it functions as a carrier of visual information. They were created through iterative manipulations of how that information is digitally compressed, organized, archived, and revealed. The sculptural works are attempts to amplify the physical presence of technologies that can often be hard to see. They were built to perform simple gestures and rely on engaging multiple senses to call into question the routine way in which we interact with different technological devices. This paper examines the essay "The Question Concerning Technology" by Martin Heidegger as a philosophical influence for this investigation before discussing several works by other artists to frame the works in Plasticene within a contemporary context. The individual works from the exhibition are then discussed with regard to their intention, conceptual motivation, and the process of their creation. / Master of Fine Arts / Plasticene is an alternative term for Anthropocene, the proposed epoch that follows the Holocene and designates the beginning of significant human impact on Earth. While this moniker carries numerous implications across a range of disciplines, the scholarship of this thesis project is motivated by the creation and exhibition of a body of work that investigates the materiality and physical presence of technological convenience. Plasticene is an exhibition of four looping, digital video animations alongside two interactive sculptural installations. The video-based pieces are explorations into the medium of digital video and how it functions as a carrier of visual information. They were created through iterative manipulations of how that information is digitally compressed, organized, archived, and revealed. The sculptural works amplify the physical presence of technologies that can often be hard to see. They perform visually and aurally engaging gestures that prompt viewers to reconsider the routine way in which we interact with different technological devices.

This article is interested in the documentation necessary for exhibiting interactive, digital installations, how it is created and how it influences the way an artwork is deployed in an exhibition. Digital artworks can be extremely difficult to install. They require specific knowledge, variable materials and technological equipment. Moreover, digital artworks can be ephemeral and subject to change. Documenting digital art is not only important for preserving and restoring works for the future but also for installing digital artworks in the present. Documentation functions as a set of guidelines for limiting errors and misinterpretations. Therefore, documentation impacts the actualisation of each artwork by indicating which elements are needed and how they should be connected. By providing instructions regarding how to install an artwork, documentation also allows the artist or the collecting institution to exercise authority over an artwork.

It’s about how researching pipes, a part of infrastructure and everyday life, can be a tool to see inequality in our society. To see how class issues and the consequences of capitalism are present in every corner of our everyday lives.   It has to do with seeing our cities as organisms, as bodies, connected by systems. Systems, transferring matter around, making the organism live and function. But the systems can be infected, and that will affect us.    It’s about connecting systems, to expose what’s hidden; the pipes buried in the grown, together with corporations’ greed.   It’s about depicting systems, with systems. Using weaving to produce material. To make components. Give the work ability to be in a state of possible transformation.   To make a visual comment, to start a conversation through craft.   It’s about creating systems, to make systems, that speaks of systems.

This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.

My doctoral thesis is comprised of two bodies of research: two artworks taking the form of installations (videos, audio recordings, textiles, texts), which will be exhibited for viva. Femme Fabrications, 2016, is made from research into the American artist Joseph Cornell's (1903-1972) source materials held in the Smithsonian American Art Museum alongside research on Jean Wilkinson's 1977 book Flower Fabrications. A series of textile works encased in silk lined boxes trace my step-by-step construction of a rose from organdie. The floral emblem of the white rose (dried), 'death is preferable to a loss of innocence' , becomes an editing device, which I use to consider a number of possible recipients for the rose, such as Cornell himself. Spoken word audio recordings, which ruminate on how his sexuality pertain to the criteria of the rose are edited together with home-camcorder video footage of the house that Cornell lived in for most of his life - the house he made the entirety of his artworks within. Central to The Cesspool of Rapture, 2017, are moving-image studies of zippers, stains, rips, abrasions, openings, and closings in a series of dresses made by the American couturier Charles James (1906-1978). These videos register and move through the material research, the garments, at alternating speeds. The changing speed is registered in sound by clicks synced to each individual frame. It is at times violent and at other times tentative and gentle as the uncovering of the damage to the dresses unfolds. Audio recordings of James explicating his interests in eroticism and sexuality persistently interject the footage. This work includes the installation of a series of reconstructions of James's 1932 Taxi dress. Its black linen body is reconfigured and abstracted as the splayed design makes unfinished seams and unzipped zippers visible. In each artwork I configure viewing and consuming as a mode of authorship. I show how these diverse processes of identification become authored acts. When drawn into intimate relation with the leftover material of these historical authors, my contamination proves deviant: I gain possession of the capacity to speak for them, to expose, idolise, misrepresent, and fictionalise them. My thesis is composed of this group of methodologies, which were found and developed within the production of the artworks.

Made available in DSpace on 2014-07-29T16:27:58Z (GMT). No. of bitstreams: 1 Iniciais_Lucia_bertazzo.pdf: 836147 bytes, checksum: 1e6907f2b3f657c55b25e7a44cf4e96e (MD5) Previous issue date: 2009-06-26 / Siron Franco is an artist who has, in a parallel with his pictorial work, always produced pieces that denounced social grievances and pieces of political nature which, placed in public settings, aimed at inducing the media to broadcast protests. The artist has for very long championed the environmental cause, what has led him to produce a series of pieces on the theme: paintings, demonstrations, stickers, installations, video-sculptures. This dissertation sets out to review the historical moment in which these pieces come out and presents them as postmodern art work produced in line with environmental activism. This research intends to analyze the insertion of artistic protests which have the environment as a cause, into the press and in contemporary art production / Siron Franco é um artista que, paralelamente ao seu trabalho pictórico, produz obras que denunciam problemas sociais e obras de cunho político. Colocadas em locais públicos, têm o objetivo de induzir os meios de comunicação a veicular protestos. O artista assumiu desde sempre a causa ambiental, o que o levou a produzir uma série de obras, pinturas, passeatas, adesivos, instalações, vídeoescultura que abordam o tema. O presente trabalho visa rever o momento histórico em que as ações e instalações de Siron Franco (1986-2008) se inserem e as apresenta como produções de arte desenvolvidas junto com o ativismo ambiental. A pesquisa pretende analisar a inserção dos seus protestos artísticos, que têm como tema o meio ambiente, dentro da imprensa e da produção de arte contemporânea

Esta dissertação tem por objetivo analisar o trabalho artís tico Projeto para a Ocupação de uma Casa, realizado dentro do programa de mestrado em Poéticas Visuais entre 2004 e 2005. Através desse trabalho pretendeu-se compreender e aprofundar o interesse no ambiente doméstico presente na produção que o antecedeu. Para isso, foi feita uma revisão crítica dessa produção, onde foram identificados os principais assuntos, recursos e problemas que formaram o interesse no ambiente doméstico. Essa revisão constitui a primeira parte desta dissertação. Na segunda parte, é analisado o Projeto. Partindo de um conjunto de referências prioritariamente literárias, uma série de objetos foi elaborada para ocupar cada um dos cômodos de uma casa escolhida, de modo que, ao percorrê-la, uma narrativa de caráter ficcional se formava. No texto, verificam-se as intenções e resultados de cada peça e ambiente; se elas cumpriram a meta de aprofundamento e entendimento da questão doméstica, as suas soluções formais, os sentidos que engendraram e o papel que desempenharam na constituição da narrativa. / The objective of this thesis is to analyze the art work Project for the Occupation of a House, which was developed within the masters program in Visual Poetics, between 2004 and 2005. The thesis has aimed at understanding and deepening the interest in the domestic environment that was present in the production that preceded it. In order to achieve this, a critical review of the production was carried out, in which the main subjects, resources and problems involved in the interest in the domestic environment were identified. This review constitutes the first part of the thesis. In the second part, the Project is analyzed. With the background of a number of primarily literary references, a series of objects was elaborated to occupy each of the rooms of a chosen house, in a way that as the house was visited, a narrative of fictional character was formed. In the text, the intentions and results of each piece and surrounding are checked: whether or not they have achieved the result of deepening the understanding of the domestic question, their formal solutions, the meanings that were generated, and the role they played in the cons titution of the narrative.