This research project sets out to define a methodology for photographic imaging in the field of contemporary [me art that goes beyond utilising representational means and moves towards an encounter of lived experience. My original contributions to existing knowledge are: • Taking the photograph out of an abstracted system of representation and situating the photographic image in the immediacy of viewer's lived event of actuality. • Demonstrating a working dialogical model of photographic imaging in terms of the imaging event and the image encounter. • Combining the imaging event and the image encounter to form an all encompassing approach to photography in which the photographer, image and viewer hold collaborative positions of invested responsibility. • Formulating a model that combines ideas of becoming and synchronicity which can be used in art processes as a means to encounter what can be described as coincidence or patternicity in the locale event of the artwork, depending on the viewer's viewpoint. Using a strategy that incorporates Dialogical Practice, Performative Action, Mimesis and Methexis, this research places the image in the lived actuality of the receiver. Led by studio experiments, live action performance and exhibited projects, the research is augmented with textual essays and reports, examining the concepts at play and bringing light to those operations that are not so easily observable in the documentation of the practical research. Keywords: Contemporary [me art photography, improvised performance, performative action, mimesis, methexis, dialogism, Bakhtin, becoming, synchronicity, actuality, representation, aesthetics.
|Publisher||University of Ulster|
|Source Sets||Ethos UK|
|Type||Electronic Thesis or Dissertation|
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