Master of Visual Arts / Abstract of Dissertation Where a person is situated in space and time determines the way an artwork is perceived. The result of this experience implies a relationship between the viewer and the artwork, thereby creating a liminal space. The terms liminal space and nonduality in this paper refer to the threshold, or in-between space that both separates and unites two opposing forces, creating a unique place that transcends memory and time. An artwork can serve as a mediatory object between artist and viewer because with each encounter, a unique meeting occurs. Thus, the meeting of audience and art object is transitory, ephemeral and temporal by nature and will be discussed in relation to the artwork as a vehicle to foster a subjective perception. Using my ancestral memories as a starting point, I refer to the art object as a means to explore time as a cross section of experience. Like dreams, where time is non-linear and memories exist side by side, I refer to the nondual space that exists between artist, artwork and audience as an opportunity to access an intuitive reaction to perception. The yearning to represent subjective space stems from my desire to understand perception and the brain. By presenting an overview of approaches from art history and contemporary art, this paper will discuss the various philosophical approaches that have been employed to represent space and time. I emphasise the ability of visual art to record the multifarious nature of experience, and the ability of the picture plane as a means to employ illusory and abstract space simultaneously. I have approached the research of time, memory and space through the lens of my own ancestry, which is essentially a combination of eastern and western in origin. Through this model I explore the tendencies throughout art history to depict space and time and the influences that culture and science have had upon the visual arts. My own paintings, and the work of Louise Bourgeois, Amy Cutler and Mamma Andersson are discussed with the intention of describing how the subjectivity of space can be expressed through a method that embraces the theories of nonduality and liminal space. Between the junction of east/west and abstract/illusory space, lies a point of union that I will refer to as ‘transcendent space’. By existing in the nondual, access is granted into a field that transcends the ‘either/or’ and allows access into a temporal space that permeates all experience. Studio work The studio component of the MVA will comprise of a series of paintings and an installation entitled, Only the memories are new. The paintings are of small scale and play with depictions of flatness and illusion. I have referenced Arabic miniatures as a means to employ a vertical perspective, whilst the inclusion of windows and doorways imply an opening to the nondual and the liminal. For the installation, components of the paintings come to life and occupy a space that invites the viewers’ participation. The installation presents an environment that asks the viewer to navigate the space that they occupy by way of memory and time.

Master of Visual Arts / Abstract of Dissertation Where a person is situated in space and time determines the way an artwork is perceived. The result of this experience implies a relationship between the viewer and the artwork, thereby creating a liminal space. The terms liminal space and nonduality in this paper refer to the threshold, or in-between space that both separates and unites two opposing forces, creating a unique place that transcends memory and time. An artwork can serve as a mediatory object between artist and viewer because with each encounter, a unique meeting occurs. Thus, the meeting of audience and art object is transitory, ephemeral and temporal by nature and will be discussed in relation to the artwork as a vehicle to foster a subjective perception. Using my ancestral memories as a starting point, I refer to the art object as a means to explore time as a cross section of experience. Like dreams, where time is non-linear and memories exist side by side, I refer to the nondual space that exists between artist, artwork and audience as an opportunity to access an intuitive reaction to perception. The yearning to represent subjective space stems from my desire to understand perception and the brain. By presenting an overview of approaches from art history and contemporary art, this paper will discuss the various philosophical approaches that have been employed to represent space and time. I emphasise the ability of visual art to record the multifarious nature of experience, and the ability of the picture plane as a means to employ illusory and abstract space simultaneously. I have approached the research of time, memory and space through the lens of my own ancestry, which is essentially a combination of eastern and western in origin. Through this model I explore the tendencies throughout art history to depict space and time and the influences that culture and science have had upon the visual arts. My own paintings, and the work of Louise Bourgeois, Amy Cutler and Mamma Andersson are discussed with the intention of describing how the subjectivity of space can be expressed through a method that embraces the theories of nonduality and liminal space. Between the junction of east/west and abstract/illusory space, lies a point of union that I will refer to as ‘transcendent space’. By existing in the nondual, access is granted into a field that transcends the ‘either/or’ and allows access into a temporal space that permeates all experience. Studio work The studio component of the MVA will comprise of a series of paintings and an installation entitled, Only the memories are new. The paintings are of small scale and play with depictions of flatness and illusion. I have referenced Arabic miniatures as a means to employ a vertical perspective, whilst the inclusion of windows and doorways imply an opening to the nondual and the liminal. For the installation, components of the paintings come to life and occupy a space that invites the viewers’ participation. The installation presents an environment that asks the viewer to navigate the space that they occupy by way of memory and time.

This poetry thesis explores the relationship of the Buddhist concept of nonduality to polar mood disorders by employing motifs of bomb testing, war crimes, spiders, and seascapes. A critical preface credits Sylvia Plath, Emily Dickinson, and Mary Ruefle as influences. The manuscript favors free-verse poetry and field composition, though also includes a lyric essay and two formal poems.

Text in English / Summary: This work aims at establishing Jung's importance as a Nietzsche commentator. Although Jung's work is generally unacknowledged by the mainstream of Nietzsche scholarship, a number of philosophers have joined him in recognizing the relevance of Iranian religious lore to Nietzsche; the visionary nature of Nietzsche's experiences of Zarathustra; and the link between these experiences and his criticism of ethics. Jung sees Nietzsche as something of a kindred spirit, "and refers to that philosopher again and again throughout his writings. In his seminar on Nietzsche's Also sprach Zarathustra, Jung analyzes that work much as he would a patient's dream. While this approach allows Jung to project his own views onto Nietzsche, it also succeeds in restoring essential aspects of Nietzsche's thought which other, less foolhardy commentators fail to capture. Nietzsche and Jung both speak of going "beyond good and evil" (jenseits von Gut und Bose) as an integral part of their respective conceptions of human fulfillment. The notion that we ought to try to transcend the distinction between good and evil, rather than obstinately cling to the good, potentially constitutes an immense, fundamental challenge to our ordinary beliefs about ethics. At the same time, Jung's elaboration of this into a more general form of nonduality suggests a solution to that most basic problem of ethics--which Nietzsche raised most forcefully--namely that of how ethical standards might be justified without falling prey to such basic obstacles as the "is/ought" problem. / Philosophy, Practical & Systematic Theology / D.Litt. et Phil. (Philosophy)

Text in English / Summary: This work aims at establishing Jung's importance as a Nietzsche commentator. Although Jung's work is generally unacknowledged by the mainstream of Nietzsche scholarship, a number of philosophers have joined him in recognizing the relevance of Iranian religious lore to Nietzsche; the visionary nature of Nietzsche's experiences of Zarathustra; and the link between these experiences and his criticism of ethics. Jung sees Nietzsche as something of a kindred spirit, "and refers to that philosopher again and again throughout his writings. In his seminar on Nietzsche's Also sprach Zarathustra, Jung analyzes that work much as he would a patient's dream. While this approach allows Jung to project his own views onto Nietzsche, it also succeeds in restoring essential aspects of Nietzsche's thought which other, less foolhardy commentators fail to capture. Nietzsche and Jung both speak of going "beyond good and evil" (jenseits von Gut und Bose) as an integral part of their respective conceptions of human fulfillment. The notion that we ought to try to transcend the distinction between good and evil, rather than obstinately cling to the good, potentially constitutes an immense, fundamental challenge to our ordinary beliefs about ethics. At the same time, Jung's elaboration of this into a more general form of nonduality suggests a solution to that most basic problem of ethics--which Nietzsche raised most forcefully--namely that of how ethical standards might be justified without falling prey to such basic obstacles as the "is/ought" problem. / Philosophy, Practical and Systematic Theology / D.Litt. et Phil. (Philosophy)