This thesis project explores, through art practice that is informed by sociological and theoretical considerations, a transition taking place on Waiheke Island, in Aotearoa, New Zealand. The project focuses on, and investigates change. The research examines the heightened public profile, which has impacted upon the development of the Island. The study explores states of human occupancy, in particular how we view and inhabit the land.As a photographer, it is my intent to consider how modern properties experience place, via the constructed aperture of the window.This is a creative production1 project, that utilises the medium of photography, to explore the notion of change through a representation of images. The exhibition of outcomes is divided into three distinct sections. I am employing analogue and digital technologies to contrast old and new Waiheke. The link between past and present, indicated by the movement of people to and from the Island, is delineated through a journey through the space of the installation. This passage, provides a metaphor for the transition.

This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.

Thesis (Ph. D.)--University of Michigan, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 387-405).

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Professor Josephine Stealey. Includes bibliographical references.

Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes. / Department of Architecture

This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.

This thesis project explores, through art practice that is informed by sociological and theoretical considerations, a transition taking place on Waiheke Island, in Aotearoa, New Zealand. The project focuses on, and investigates change. The research examines the heightened public profile, which has impacted upon the development of the Island. The study explores states of human occupancy, in particular how we view and inhabit the land.As a photographer, it is my intent to consider how modern properties experience place, via the constructed aperture of the window.This is a creative production1 project, that utilises the medium of photography, to explore the notion of change through a representation of images. The exhibition of outcomes is divided into three distinct sections. I am employing analogue and digital technologies to contrast old and new Waiheke. The link between past and present, indicated by the movement of people to and from the Island, is delineated through a journey through the space of the installation. This passage, provides a metaphor for the transition.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Includes bibliographical references (leaf 15).

Thesis (MFA)--Rochester Institute of Technology, 1988. / Includes bibliographical references.