Project (M.F.A.) - Simon Fraser University, 2004. / Theses (School for Contemporary Arts) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ed. D.)--Teachers College, Columbia University, 1987. / Typescript; issued also on microfilm. Sponsor: Robert P. Taylor. Dissertation Committee: Maxine Greene. Bibliography: leaves 140-143.

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: Robert Morgan. Includes bibliographical references.

Thesis (M.A.)--University of Technology, Sydney, 2005.

Embodiment grows out from deep concerns about the body and embodied knowledge across disciplines. As both subject and object, the body demands explorations that move beyond the dichotomy of body and mind, surface and depth, outside and inside. The interaction, intensity, and interstanding in the middle activate the body to move, to feel, and to be with other bodies. In the information age, with the rapid change in digital, computerized, and networkable technology, coupled with our growing concerns about the environment, embodiment becomes more complex and shatters the boundaries between human and nonhuman. In a sense, embodiment becomes posthuman by extending itself to interactions and interstandings with other species. In this dissertation, I extend embodiment into aesthetics and media by thickening the notion of surface in all of its profundity, contentious forces, and intertextuality. I emphasize as well its significance in exploring what an embodied curriculum and pedagogy could become for schools and society. This dissertation points toward the interaction and interstanding between philosophy, art, and technology. It encourages a notion of experience that engages readers/viewers viscerally with a technically manipulated surface. The readers/viewers not only encounter the theoretical mapping of the content of this dissertation, but also imagine and investigate the metaphorical and metaphysical possibilities of curriculum and pedagogy.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Art History." Includes bibliographical references (p. 304-331).

Thesis (Ph.D.)--University of Waikato, 2010. / Title from PDF cover (viewed 28 July, 2010). Includes bibliographical references (p. 461-507)

This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.

The home is a material place of routine and isolation. Cyberspace, on the other hand, is associated with the lightness of disembodiment and engagement with others in virtual worlds. I am interested in the home as a locale of cyberspace in regard to the relationship between attaching and detaching, territorializing and de-territorializing, the smooth and the striated. My experimentation is about frozen moments in day-to-day situations. Through experiments with light, materials and installations, I intend to draw out a tactile perspective on cyberspace and domesticity. In terms of materials, I am particularly interested in the residues in everyday life. Light and materials are considered to be tactile as well as visual. Performativity, Heuristics and Active Documentation are my main methodological approaches. My work does not seek to fix a solution, but open up an area of ongoing discovery. The physical makings are the ignition for later developments. Once the installation has been set up, the performativity is transferred to the audience. The surrounding space becomes activated because of the energy released by the audience's engagement. Heuristic use of intuition and informal experience was applied in my working process to discover imperceptible traits of materials and daily situations. Active Documentation helps me to re-consider, re-negotiate, reflect and renew my work throughout the project. In this way, hidden codes can be brought out to the surface.

The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them. / Department of Art