An artwork does not obliterate the traces of its making. In the contemporary technological context such "untidiness" is effectively erased through instrumental methods of production. A great divide exists between instrumental and poetic modalities of disclosure which is no more apparent than in the arts of cinema and architecture. The motion picture camera is the emblem par excellence of the voyeuristic sensibility of the disembodied 20th century spectator who inevitably is the very same "body" which inhabits the built world. The British artist-filmmaker Peter Greenaway calls into question numerous aspects of traditional and technological ways of looking and making relevant to architectural creation as similarly constitutive of both functional and poetic realms. Rather than suppress or deny the traces left upon a work, he valorizes and amplifies them to create a self-reflexivity between work and working as an intertwining of the process and work horizons. His ultimate concern is for "content" or poetic meaning as the aesthetic experience of depth which he sees as a matter of the form and style of making.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.30134 |
| Date | January 2000 |
| Creators | Jemtrud, Michael. |
| Contributors | Perez-Gomez, Alberto (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Architecture (School of Architecture.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001746018, proquestno: MQ64116, Theses scanned by UMI/ProQuest. |
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