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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

Thesis (M.F.A.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaf 24). / vi, 24 leaves, bound ill. (some col.), map 29 cm

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript.

Thesis (M.V.A.)--University of Sydney, 2008. / Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.

The power of the relationship between the photographic apparatus and migration is situated at a metaphorical crosslink between the two-dimensional outcome of marking borders on a map, or printing an image on a flat surface, and the time that affects the events that shape the very heart of that crosslink. The rigidity of borders, and sometimes their false ideas of flexibility can be seen on how recently Europe has proved (again) that ‘open boundaries’ is a non specific inclusive idea. The experience of migrants going through conflict situations is representative of the relationship between the ‘having to deal with’ the happenings, in most cases forced, and at the same time changing, transforming the landscape, leaving or bringing old and new values. Therefore the democratic power in this work is intended as the collective recognition of the importance of simple acts of looking, bringing values to the transformative nature of human beings. Because of its mechanical nature and the stillness of the images it produces, photography has the capacity to show transformation, with the quality of its materiality, which continuously challenges the users of photography in accessing different formats, since its invention. In the context of this work (Cartographers), photography becomes an inspiration for the concept, planning and making of the film process. Film can embrace elements that photography doesn’t have, like sound and duration, added to landscape and to portraits. These elements may help the viewer to understand a narrative that grows from a single trunk, the film, whose roots are holding onto the lightness of the sky instead of the thickness of the ground by representing, filmically, the expressions of the people who speak about their experiences. The ‘democratization of cartography’ – is in this written text considered as a shift of attention from the act of cartography to who makes it, the cartographers. Therefore map-making does not function as a merely two-dimensional outcome but as a nuance of an experience that is individual and collective. Cartographers reveals a map visible through the memory of a community of people who originate from the same place and have lived the same conflict (WWII) while being scattered across several different countries (Italy, France, Scotland). The work Cartographers, a film and series of archival aerial image, makes available the maps of these happenings, which memories are pulled together and suggest a reflection towards a democratic act of cartography making. The aim of this research is opposite to the creation of a cartography newly created by joining points from different journeys, experiences or concepts: in this work as the director of the film I have attempted to make emerge that the cartographers are aware of each other, their map is drawn collectively and everyday, and it does not join different points, but it starts from a single one and it explodes in different directions. The exploration of this work and research was made by attempting to represent what can be felt with the connection they have with the starting point. This is not only a process that looks at a certain community but is a dialogue with the memory of that community of cartographers which aids the understanding of the landscape that we traverse in our daily lives. With their memories, the subjects of the interviews - which I refer to as the Cartographers - leave a transparent but permanent trace that remains fixed in the landscape and makes it what it is today. The role of the artist in this case, is not the one of the ‘creator’ of a certain map, but the one that wipes the dust about to reveal the map of the treasure, and finds a way to show to the public, that the suspended moment of revelation, is the treasure itself.

This thesis culminates in an exhibition resulting from the artist’s investigation of the relationship between space and time, and on perception and experience of space with connections to ‘everyday’ ideas of space. A recurring link in this paper is the process of ‘being present’ in relation to spatial viewing. The artist’s studio practice focuses on the visual changes she sees within a particular space or spaces, and how these visual changes are perceived and experienced when presented to the viewer in a photographic image. The intention is to present a photographic image to the viewer that not only changes the space from which it originally came, but also highlights the beauty of the space that may be missed or overlooked. The research questions the way people see, the visual representation of the ‘void’ or ‘empty space’, and spatial representation. The paper also discusses how the artist visually perceives and experiences space. The work of other artists and writers who research space, time and perceptual consciousness are also considered. / Master of Arts (Hons)

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

Thesis (Ph.D.)--Ohio University, June, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 205-239)

Thesis (Ph. D.)--Texas Woman's University, 2004. / Includes bibliographical references (leaves 178-185). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.