The friction between fact and official fiction appears to be a critical factor in all our lives. Bearing artistic witness to contemporary geo political life necessitates the utilisation of the technologies that are deployed at us, as a mirror to deflect and reflect upon the ideologically mediated strikes carried out against us. I have digitally manipulated documentary photography at the microscopic level and reworked the evidence in a manner that remains undetectable. The documentary information digitised the matrices of data as if at a genetic level, causing simulation of the real. This manipulation of the photographic document is seen to critique our contemporary condition where official fictions can now be represented as historic fact. This work challenges the integrity of vision and the nature of evidence by producing fictional documentation at a high resolution, which gives the illusion and authority of a photographic non-fictional representation. From within my studio-based research, what is and will be possible, how a history is recorded and represented, has been interrogated, by using one form of evidence — in this case, the photograph. Artistic works developed throughout the DCA examined the way a visual history is recorded and in this case, photographically represented. Appreciating the ideology of territory was seen as critical, particularly within an international agenda. Territory was established as a site for research. A territorial containment methodology was established. The territorial containment methodology was to simply designate a physical territory and then produce works from within this designated space. The containment methodology started with 18th century Botany Bay moved around to the next bay Little Bay and forward in time to 1969 and the contemporary artists the Christo’s wrapping of the space. Employing the same methodology the research moved into the Australian Western desert then off island to the Middle East. The collective outcomes of the research are represented by solo and group exhibitions and related publications, all of which are recorded within this document. / Doctor of Creative Arts (DCA)

Thesis (MTech (Electrical Engineering))--Peninsula Technikon, 2003. / Word processed copy. Summary in English. Includes bibliographical references. Also available online.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

No description available.

A system is described for time-lapse stereoscopic cloud photography using 16-mm cameras, for rectification of the photographs for camera tilt, and for analysing them to obtain cloud dimensions by superimposing the projected images of stereo-pairs on a gridded screen. A discussion of theoretical photogrammetry as applied to cloud photography, and an analysis of the system errors and measurement uncertainties are given. [...]

The purpose of this creative project was to explore the possibilities of words and photographic images in expressing mood. The particular mood that was to be expressed came from the observation of small rituals. These small rituals are an avenue that humans tend to derive meaning and continuity. Beyond this, the use of the Platinum/ Palladium photographic process as an expressive tool was examined.

No description available.

Thesis (MA--Art and Design) -- Auckland University of Technology, 2004. / Also held in print (75 leaves, ill., some col., 21 x 30 cm.) in Wellesley Theses Collection. (T 770.1 AI)

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 29).

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaf 26).