A bargain that dissolves into a poem unwritten: a critique of bargain retail practices and homemaking through critical design
- Authors: Hawley, Ami Jessica
- Date: 2019
- Subjects: Stores, Retail -- Designs and plans -- South Africa , Interior decoration -- South Africa House furnishings -- South Africa -- 20th century Furniture -- South Africa Store decoration Interior architecture
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/40349 , vital:36146
- Description: Although bargains commonly manifest as loud advertisements and trivial objects, as a moment of exchange they provide a basis to critique economic relations and judgements of taste. This research presents a document study of “bargains” in the context of bargain retail practices and homemaking, illustrated in the case of OK Furniture in South Africa; further situated by Julier’s study of economy and class within design culture, and Bourdieu’s fields of cultural production. The investigation builds to a discussion of the research practice, alluded to in the research project’s title, “A bargain that dissolves into a poem unwritten”. The title is an entry from this practice’s journal that conveys how the everyday experience of a bargain might find a connection to poetry when its exchange is seen as a performance; as a moment or encounter “unwritten”, capable of generating different modes of meaning and sociability. Using critical design strategies, the research practice explores the manifesting discountproduct cultures and retail practices associated with homes as a way to inhabit richer interpersonal relationships and unscripted sociability. This is discussed through four critical design proposals and 26 thought experiments, resulting in Text me when you see this, an online concept store that sells bargains, personal agreements, quality time, conversation and curio: www.textmewhenyouseethis.com. The research explores the limits to a bargain’s economic and emotional exchange by asking What if a bargain represented other forms of sociability, and How else might this mode of exchange look? These questions are used in the critique to model critical design towards both poetic expression and pragmatic embodiment of criticality in the project of reflecting on everyday life and what it might “dissolve into”.
- Full Text:
- Date Issued: 2019
- Authors: Hawley, Ami Jessica
- Date: 2019
- Subjects: Stores, Retail -- Designs and plans -- South Africa , Interior decoration -- South Africa House furnishings -- South Africa -- 20th century Furniture -- South Africa Store decoration Interior architecture
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/40349 , vital:36146
- Description: Although bargains commonly manifest as loud advertisements and trivial objects, as a moment of exchange they provide a basis to critique economic relations and judgements of taste. This research presents a document study of “bargains” in the context of bargain retail practices and homemaking, illustrated in the case of OK Furniture in South Africa; further situated by Julier’s study of economy and class within design culture, and Bourdieu’s fields of cultural production. The investigation builds to a discussion of the research practice, alluded to in the research project’s title, “A bargain that dissolves into a poem unwritten”. The title is an entry from this practice’s journal that conveys how the everyday experience of a bargain might find a connection to poetry when its exchange is seen as a performance; as a moment or encounter “unwritten”, capable of generating different modes of meaning and sociability. Using critical design strategies, the research practice explores the manifesting discountproduct cultures and retail practices associated with homes as a way to inhabit richer interpersonal relationships and unscripted sociability. This is discussed through four critical design proposals and 26 thought experiments, resulting in Text me when you see this, an online concept store that sells bargains, personal agreements, quality time, conversation and curio: www.textmewhenyouseethis.com. The research explores the limits to a bargain’s economic and emotional exchange by asking What if a bargain represented other forms of sociability, and How else might this mode of exchange look? These questions are used in the critique to model critical design towards both poetic expression and pragmatic embodiment of criticality in the project of reflecting on everyday life and what it might “dissolve into”.
- Full Text:
- Date Issued: 2019
An examination of the visual representation of young white Afrikaner women
- Authors: Jordan, Nicole
- Date: 2019
- Subjects: Photography of women -- South Africa , Photography, Artistic -- South Africa Photography -- South Africa Photography, Artistic -- 21st century Women -- South Africa -- Social conditions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/39972 , vital:35622
- Description: The purpose of this qualitative research study is to comment on the visual representation of women between the ages of twenty and thirty within white contemporary Afrikaans culture. This will be achieved through an analysis of stereotypes evident in Afrikaner culture. Examples of this include but are not limited to the text and visuals in the Goeie Maniere en Etiket (1981) book by Emsie Schoeman and dated Afrikaans magazine issues by Huisgenoot (Issue XLII, 2 June 1961) and Sarie Marais (Issue 17/19, 30 March 1966). Interviews were conducted with five white young Afrikaner women using a collaborative approach, to gain a better understanding of the influences that cultural and visual stereotypes have on an individual. The research aims to comment on how the emerging post-apartheid generation of young Afrikaner women are responding to the cultural expectations and engaging with their Afrikaner identity in the way they choose to represent themselves through tableau portrait photography. The study is based on a practice-based research method, which encompasses two components: a written output and a practical output. These function as a unity, where the written component guides the development of the practical body of work. The written document provides the foundation and framework in which the practical work functions, creating a conceptual framework that guides the process of collaboration between the visual artist and subject to construct a contemporary visual representation that focuses on how young Afrikaner women react to traditional cultural roles and develop an understanding of self. The study makes use of Gillian Rose’s visual analysis framework as a critical analysis tool to determine the visual representation that emerges from the collaboration between the visual artist and the subject. Ultimately, the aim of this research is to facilitate the potential for the subject to critically engage with visual identity by collaborating with the visual artist. This research presents a unique approach to communicate an evolving post-apartheid identity and has contributed to an understanding of the feminine identity construction of the emerging Afrikaner generation in a democratic South Africa.
- Full Text:
- Date Issued: 2019
- Authors: Jordan, Nicole
- Date: 2019
- Subjects: Photography of women -- South Africa , Photography, Artistic -- South Africa Photography -- South Africa Photography, Artistic -- 21st century Women -- South Africa -- Social conditions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/39972 , vital:35622
- Description: The purpose of this qualitative research study is to comment on the visual representation of women between the ages of twenty and thirty within white contemporary Afrikaans culture. This will be achieved through an analysis of stereotypes evident in Afrikaner culture. Examples of this include but are not limited to the text and visuals in the Goeie Maniere en Etiket (1981) book by Emsie Schoeman and dated Afrikaans magazine issues by Huisgenoot (Issue XLII, 2 June 1961) and Sarie Marais (Issue 17/19, 30 March 1966). Interviews were conducted with five white young Afrikaner women using a collaborative approach, to gain a better understanding of the influences that cultural and visual stereotypes have on an individual. The research aims to comment on how the emerging post-apartheid generation of young Afrikaner women are responding to the cultural expectations and engaging with their Afrikaner identity in the way they choose to represent themselves through tableau portrait photography. The study is based on a practice-based research method, which encompasses two components: a written output and a practical output. These function as a unity, where the written component guides the development of the practical body of work. The written document provides the foundation and framework in which the practical work functions, creating a conceptual framework that guides the process of collaboration between the visual artist and subject to construct a contemporary visual representation that focuses on how young Afrikaner women react to traditional cultural roles and develop an understanding of self. The study makes use of Gillian Rose’s visual analysis framework as a critical analysis tool to determine the visual representation that emerges from the collaboration between the visual artist and the subject. Ultimately, the aim of this research is to facilitate the potential for the subject to critically engage with visual identity by collaborating with the visual artist. This research presents a unique approach to communicate an evolving post-apartheid identity and has contributed to an understanding of the feminine identity construction of the emerging Afrikaner generation in a democratic South Africa.
- Full Text:
- Date Issued: 2019
An exploration of the materiality of forged steel as medium for visual artists
- Authors: De Lange, Neil
- Date: 2019
- Subjects: Blacksmithing , Art -- 21st century Art -- Sculpture
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/39425 , vital:35245
- Description: This research is an exploration into the materiality of forged steel, and is aimed at the preservation of traditional blacksmith forging techniques and methods by incorporating these methods as added skill set during the making of three dimensional visual art. An investigation into the history of traditional forging (iron works) serves as background aimed at the identification of the various techniques and methods utilized during the processes found in traditional blacksmith forging. The practice of this research consists of three parts: firstly, a textual investigation to establish the basics (note taking- visual journal); secondly, practical exercises to gain a better understanding of the behaviour of various steels by utilizing traditional methods of forging to explore the potential applications for the forge as a tool in service of the visual arts; and lastly, reflection on the process to modify and adapt processes (methods and techniques) to promote further interest in the use of a forge as tool during the making of three-dimensional visual art.
- Full Text:
- Date Issued: 2019
- Authors: De Lange, Neil
- Date: 2019
- Subjects: Blacksmithing , Art -- 21st century Art -- Sculpture
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/39425 , vital:35245
- Description: This research is an exploration into the materiality of forged steel, and is aimed at the preservation of traditional blacksmith forging techniques and methods by incorporating these methods as added skill set during the making of three dimensional visual art. An investigation into the history of traditional forging (iron works) serves as background aimed at the identification of the various techniques and methods utilized during the processes found in traditional blacksmith forging. The practice of this research consists of three parts: firstly, a textual investigation to establish the basics (note taking- visual journal); secondly, practical exercises to gain a better understanding of the behaviour of various steels by utilizing traditional methods of forging to explore the potential applications for the forge as a tool in service of the visual arts; and lastly, reflection on the process to modify and adapt processes (methods and techniques) to promote further interest in the use of a forge as tool during the making of three-dimensional visual art.
- Full Text:
- Date Issued: 2019
Challenging the aesthetics and functionality of metals in contemporary blacksmithing
- Authors: Lucas, Justin
- Date: 2019
- Subjects: Art metal-work , Blacksmithing Ironwork
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/40533 , vital:36180
- Description: A forge allows the creation of both utilitarian craftwork and artworks. It is difficult to find blacksmiths who are willing to pass on their knowledge, particularly in South Africa where the art of blacksmithing is practised by a small number of individuals who rely on their labour for an income. This dissertation documents the building of a forge and what is needed to practise the art of blacksmithing, sourcing of the materials, and the application of blacksmithing to make pleasing artefacts. The document includes the processes of forge tool-making, providing an avenue for future students to fabricate tools and use the processes for art-making as well as list of suppliers and list of blacksmiths in South Africa.
- Full Text:
- Date Issued: 2019
- Authors: Lucas, Justin
- Date: 2019
- Subjects: Art metal-work , Blacksmithing Ironwork
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/40533 , vital:36180
- Description: A forge allows the creation of both utilitarian craftwork and artworks. It is difficult to find blacksmiths who are willing to pass on their knowledge, particularly in South Africa where the art of blacksmithing is practised by a small number of individuals who rely on their labour for an income. This dissertation documents the building of a forge and what is needed to practise the art of blacksmithing, sourcing of the materials, and the application of blacksmithing to make pleasing artefacts. The document includes the processes of forge tool-making, providing an avenue for future students to fabricate tools and use the processes for art-making as well as list of suppliers and list of blacksmiths in South Africa.
- Full Text:
- Date Issued: 2019
Resistance: revealing and exposing the constructions of societal control
- Authors: Vaghmaria, Nishil Rishik
- Date: 2019
- Subjects: Art, Modern -- 21st century -- Research , Aesthetics Artists -- South Africa -- Exhibitions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/43710 , vital:37035
- Description: This practice based visual arts investigation was triggered by the researcher’s social understandings and personal concern about societal control on the individual, and his resistance to the negative effects of consumerism and capitalism. Through this research project he aims to reveal and expose the workings of those systems of control visually. He pays particular attention to our current global, cultural and socio-political, economic order and the limitations that are imposed on the individual in terms of freedom of choice and expression, and through both the written work and the practical work he aims to influence a revolution of the mind and to encourage critical consciousness and awareness on the part of its audience regarding how individuals are manipulated, distracted and seduced into conformity. As an outcome of his research, and of his intention to act as an agent for socially aware creative practice, he presents a tentative framework for the use of emerging, socially conscious artists and educators. The practical component of this study is focused around the creation and display of graffiti-influenced images in both public and gallery spaces. The researcher makes extensive use of the SI’s subversive artistic technique of Détournement as he engages with the notion of ‘distraction’. This project, with its dual focus on text and on the creation of artworks in both public and gallery spaces, is intended as a contribution to the search for new critical understandings and diagnostic terminologies around social control.
- Full Text:
- Date Issued: 2019
- Authors: Vaghmaria, Nishil Rishik
- Date: 2019
- Subjects: Art, Modern -- 21st century -- Research , Aesthetics Artists -- South Africa -- Exhibitions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/43710 , vital:37035
- Description: This practice based visual arts investigation was triggered by the researcher’s social understandings and personal concern about societal control on the individual, and his resistance to the negative effects of consumerism and capitalism. Through this research project he aims to reveal and expose the workings of those systems of control visually. He pays particular attention to our current global, cultural and socio-political, economic order and the limitations that are imposed on the individual in terms of freedom of choice and expression, and through both the written work and the practical work he aims to influence a revolution of the mind and to encourage critical consciousness and awareness on the part of its audience regarding how individuals are manipulated, distracted and seduced into conformity. As an outcome of his research, and of his intention to act as an agent for socially aware creative practice, he presents a tentative framework for the use of emerging, socially conscious artists and educators. The practical component of this study is focused around the creation and display of graffiti-influenced images in both public and gallery spaces. The researcher makes extensive use of the SI’s subversive artistic technique of Détournement as he engages with the notion of ‘distraction’. This project, with its dual focus on text and on the creation of artworks in both public and gallery spaces, is intended as a contribution to the search for new critical understandings and diagnostic terminologies around social control.
- Full Text:
- Date Issued: 2019
The aesthetic manifestations of nothingness in contemporary visual arts practice
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art -- Research
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41625 , vital:36546
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art -- Research
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41625 , vital:36546
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
The aesthetic manifestations of nothingness in contemporary visual arts practice
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
An exploration of absence and presence through the mediums of bronze, glass and resin figurative sculpture, within a narrative of memory
- Authors: Walmsley, Sarah-Anne
- Date: 2018
- Subjects: Dualism in art
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/42439 , vital:36656
- Description: This research study was based upon three critical components. These include absence and presence, memory and the female nude. The problem statement aimed to determine how compositionally sound pairings and groupings of bronze, glass and resin figurative sculptures may be manipulated to create visual equilibrium in a work and communicate an inherent conceptual element. This necessitated the following research question which explored what the role of memory and the imago is within dualistic representations of the absent and present, as represented in the mediums of bronze, glass and resin. The creative and research processes culminate in the body of artwork, entitled Absence and Presence: in Search of Memory and the Imago, which is presented as a narrative installation and exhibition of sculptural work. This body of work was driven by the creation of a signifier and allegory for an absent presence or present absence which will always evoke the contemplation of this interplay between these two terms and the ways in which they define and become one another within the narrative of personal memory. Personal memories will always collide with the present and bring with them the memories of absence, but encourage the subject to make tangible this absence in order to confront it and in doing so, realise that it cannot be addressed separately from the presence which defines it
- Full Text:
- Date Issued: 2018
- Authors: Walmsley, Sarah-Anne
- Date: 2018
- Subjects: Dualism in art
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/42439 , vital:36656
- Description: This research study was based upon three critical components. These include absence and presence, memory and the female nude. The problem statement aimed to determine how compositionally sound pairings and groupings of bronze, glass and resin figurative sculptures may be manipulated to create visual equilibrium in a work and communicate an inherent conceptual element. This necessitated the following research question which explored what the role of memory and the imago is within dualistic representations of the absent and present, as represented in the mediums of bronze, glass and resin. The creative and research processes culminate in the body of artwork, entitled Absence and Presence: in Search of Memory and the Imago, which is presented as a narrative installation and exhibition of sculptural work. This body of work was driven by the creation of a signifier and allegory for an absent presence or present absence which will always evoke the contemplation of this interplay between these two terms and the ways in which they define and become one another within the narrative of personal memory. Personal memories will always collide with the present and bring with them the memories of absence, but encourage the subject to make tangible this absence in order to confront it and in doing so, realise that it cannot be addressed separately from the presence which defines it
- Full Text:
- Date Issued: 2018
Designing devotion: the visual mechanisms used to build a personality cult
- Authors: Muller, Ruehl
- Date: 2018
- Subjects: Design -- Social aspects , Design -- Human factors Communication in design Graphic arts
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22968 , vital:30158
- Description: This study develops a model that aims to prove that, regardless of sociopolitical system, where a cult of personality exists, the mechanisms that are used to construct it and to maintain it, from a visual communication perspective, exhibit a methodological sameness. Drawing on Collins’ (2004) theory of emotional energy and interaction rituals, and Márquez’s (2013; 2017) application of said theory as an explanation of the personality cult phenomenon, the model seeks to identify, with regard to affectiveemotional constructions, what is required from leader-based foci to initiate this process. To achieve this, artefacts (visual representations) of Kim Jongil, Ayatollah Khomeini, King Mswati III, and Saparmurat Niyazov and Gurbanguly Berdimuhamedow were collated from within North Korea, Iran, Swaziland and Turkmenistan respectively. Analyses of both the design and semiotic components of the artefacts were conducted and the findings used to develop the model. The model was tested through four unique case studies of personality cults not affiliated with its construction.
- Full Text:
- Date Issued: 2018
- Authors: Muller, Ruehl
- Date: 2018
- Subjects: Design -- Social aspects , Design -- Human factors Communication in design Graphic arts
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22968 , vital:30158
- Description: This study develops a model that aims to prove that, regardless of sociopolitical system, where a cult of personality exists, the mechanisms that are used to construct it and to maintain it, from a visual communication perspective, exhibit a methodological sameness. Drawing on Collins’ (2004) theory of emotional energy and interaction rituals, and Márquez’s (2013; 2017) application of said theory as an explanation of the personality cult phenomenon, the model seeks to identify, with regard to affectiveemotional constructions, what is required from leader-based foci to initiate this process. To achieve this, artefacts (visual representations) of Kim Jongil, Ayatollah Khomeini, King Mswati III, and Saparmurat Niyazov and Gurbanguly Berdimuhamedow were collated from within North Korea, Iran, Swaziland and Turkmenistan respectively. Analyses of both the design and semiotic components of the artefacts were conducted and the findings used to develop the model. The model was tested through four unique case studies of personality cults not affiliated with its construction.
- Full Text:
- Date Issued: 2018
The development of armature based ceramics using South African raw materials
- Authors: Luyt, Michelle
- Date: 2018
- Subjects: Pottery -- Research -- South Africa , Pottery craft -- South Africa -- Technique Ceramics in interior decoration -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22618 , vital:30028
- Description: The purpose of the research was to develop a procedure by which South African ceramicists can use locally sourced ceramic materials to create armature based art forms, without having to rely on the importation of raw materials. The study also investigated the suitability of wire armatures as well as variable temperature ranges applicable to this investigation. It was found that commercial clay slip bodies purchased from South African suppliers tended to crack when coated over wire armatures during the firing process. It was shown that by substituting South African ceramic raw materials in the John W. Conrad’s C25 casting slip and Jeremy Dubber’s Ascent casting slip formulae with the addition of paper pulp and potassium feldspar, reduced the problem of the clay cracking when applied to wire armatures. The addition of paper fibres gave the clay bodies strong adhesive qualities which allowed the clay them to adhere onto the wire armatures which prevented the dry clay coatings from chipping off prior to and after firing. The addition of potassium feldspar helped with the maturing point of both the clay bodies and helped fuse the clay particles together which strengthened the clay coatings after being fired to their respective maturing temperatures. A further application of hydrochloric acid 30% or Pro Grip Key Coat ® to the three wire armature types, being galvanized binding wire, galvanized diamond mesh and Kanthal wire prior to coating with the above two formulae improved the adhesion of the clay slips to the armatures. This prevented them from the tendency to slide off the wire during the dipping and pouring process and helped eliminate any cracks that formed during the firing process. However, the glazing of the clay slips above proved to be problematic where it was sought as a further enhancement of the clay coated wire armatures. A general-purpose earthenware glaze caused the fired clay coating to crack probably due to the increased tension between the wire, clay body and the glaze. This problem was solved by developing a low firing transparent glaze. Other decorative effects were achieved by the inclusion of 0.5% cobalt oxide into the low firing transparent glaze which produced a blemish free deep blue colour. A further effect was achieved using binding copper wire over the bisque ware and then glazing with the low firing transparent glaze. A smoke firing technique as well an application of a copper oxide wash to the bisque fired ware and then re-firing to the required maturing temperature produced pleasing results.
- Full Text:
- Date Issued: 2018
- Authors: Luyt, Michelle
- Date: 2018
- Subjects: Pottery -- Research -- South Africa , Pottery craft -- South Africa -- Technique Ceramics in interior decoration -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22618 , vital:30028
- Description: The purpose of the research was to develop a procedure by which South African ceramicists can use locally sourced ceramic materials to create armature based art forms, without having to rely on the importation of raw materials. The study also investigated the suitability of wire armatures as well as variable temperature ranges applicable to this investigation. It was found that commercial clay slip bodies purchased from South African suppliers tended to crack when coated over wire armatures during the firing process. It was shown that by substituting South African ceramic raw materials in the John W. Conrad’s C25 casting slip and Jeremy Dubber’s Ascent casting slip formulae with the addition of paper pulp and potassium feldspar, reduced the problem of the clay cracking when applied to wire armatures. The addition of paper fibres gave the clay bodies strong adhesive qualities which allowed the clay them to adhere onto the wire armatures which prevented the dry clay coatings from chipping off prior to and after firing. The addition of potassium feldspar helped with the maturing point of both the clay bodies and helped fuse the clay particles together which strengthened the clay coatings after being fired to their respective maturing temperatures. A further application of hydrochloric acid 30% or Pro Grip Key Coat ® to the three wire armature types, being galvanized binding wire, galvanized diamond mesh and Kanthal wire prior to coating with the above two formulae improved the adhesion of the clay slips to the armatures. This prevented them from the tendency to slide off the wire during the dipping and pouring process and helped eliminate any cracks that formed during the firing process. However, the glazing of the clay slips above proved to be problematic where it was sought as a further enhancement of the clay coated wire armatures. A general-purpose earthenware glaze caused the fired clay coating to crack probably due to the increased tension between the wire, clay body and the glaze. This problem was solved by developing a low firing transparent glaze. Other decorative effects were achieved by the inclusion of 0.5% cobalt oxide into the low firing transparent glaze which produced a blemish free deep blue colour. A further effect was achieved using binding copper wire over the bisque ware and then glazing with the low firing transparent glaze. A smoke firing technique as well an application of a copper oxide wash to the bisque fired ware and then re-firing to the required maturing temperature produced pleasing results.
- Full Text:
- Date Issued: 2018
The evolution of fashion discourse: examining vogue magazine’s role as fashion authority
- Authors: Wissink, Emma Seline
- Date: 2018
- Subjects: Fashion -- Research , Fashion -- Forecasting Clothing trade -- Forecasting Advertising -- Fashion Fashion writing
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/36026 , vital:33883
- Description: The aim of this study was to investigate the evolution of Vogue magazine’s role as a fashion authority. The methodology of Foucauldian discourse analysis motivated the enquiry into the establishment of Vogue’s fashion authority over time. The corpus of Vogue’s September Point of View editorials between the period of 1960 and 2015 was divided into four epochs using the period of editorship held by the four editors (Jessica Daves, Diana Vreeland, Grace Mirabella and Anna Wintour). Features of Vogue’s discourse were identified in literature and applied to the corpus using a concurrent embedded mixed methods approach, employing the quantitative and qualitative methods of content and discourse analysis respectively. The analysis suggested that Vogue maintained fashion authority through changing its discourse to suit changes occurring in the field of fashion and the evolving needs and perspectives of the reader. Changes in the way Vogue presents itself; addresses the reader; attributes material, commercial, or intellectual features to fashion; addresses concepts of time and novelty; and negotiates the relationship between American fashion and European or global fashion were the focus of the analysis. The findings conceptualise Vogue’s voice as evolving through the four roles of reporting, fictionalizing, translating and connecting fashion. The shift in Vogue’s voice suggests that the conceptualization of fashion in the publication shifts towards a more abstract and general conception of fashion and reader. The results suggest that Vogue’s fashion discourse shifts from a focus on the specific material features of fashion and craft and the conception of fashion as news and Vogue as a reporter towards a focus on the more abstract, general intellectual and commercial properties of fashion and the conception of fashion as commerce promoting Vogue’s role as a facilitating platform.
- Full Text:
- Date Issued: 2018
- Authors: Wissink, Emma Seline
- Date: 2018
- Subjects: Fashion -- Research , Fashion -- Forecasting Clothing trade -- Forecasting Advertising -- Fashion Fashion writing
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/36026 , vital:33883
- Description: The aim of this study was to investigate the evolution of Vogue magazine’s role as a fashion authority. The methodology of Foucauldian discourse analysis motivated the enquiry into the establishment of Vogue’s fashion authority over time. The corpus of Vogue’s September Point of View editorials between the period of 1960 and 2015 was divided into four epochs using the period of editorship held by the four editors (Jessica Daves, Diana Vreeland, Grace Mirabella and Anna Wintour). Features of Vogue’s discourse were identified in literature and applied to the corpus using a concurrent embedded mixed methods approach, employing the quantitative and qualitative methods of content and discourse analysis respectively. The analysis suggested that Vogue maintained fashion authority through changing its discourse to suit changes occurring in the field of fashion and the evolving needs and perspectives of the reader. Changes in the way Vogue presents itself; addresses the reader; attributes material, commercial, or intellectual features to fashion; addresses concepts of time and novelty; and negotiates the relationship between American fashion and European or global fashion were the focus of the analysis. The findings conceptualise Vogue’s voice as evolving through the four roles of reporting, fictionalizing, translating and connecting fashion. The shift in Vogue’s voice suggests that the conceptualization of fashion in the publication shifts towards a more abstract and general conception of fashion and reader. The results suggest that Vogue’s fashion discourse shifts from a focus on the specific material features of fashion and craft and the conception of fashion as news and Vogue as a reporter towards a focus on the more abstract, general intellectual and commercial properties of fashion and the conception of fashion as commerce promoting Vogue’s role as a facilitating platform.
- Full Text:
- Date Issued: 2018
The secret life of public sculpture: an explorative case study on what the “voting line” does in Central, Port Elizabeth
- Authors: Van der Merwe, Joy
- Date: 2018
- Subjects: Public art , Public art -- South Africa -- Port Elizabeth Art and society Sculpture -- South Africa -- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/36750 , vital:34050
- Description: To date, there has been little contemporary academic study on public art in Port Elizabeth. There have however been major art-led urban regeneration projects in the last ten years. This raises the question of what these artworks have been ‘doing’ in their relatively new homes. This study explores the function of the Voting Line, which was commissioned by the Mandela Bay Development Agency and made by Anthony Harris and Konrad Geel. The Voting Line is discussed as a key example of public artwork produced for Route 67. Using a case study design, four different approaches have been applied in this exploratory study. These include: document analysis, observation, interviews and a South African data making process called the Mmogo Method. The findings of this study suggest that the Voting Line is broadly considered as contributing towards nation building; cultural heritage tourism, and developing city identity.
- Full Text:
- Date Issued: 2018
- Authors: Van der Merwe, Joy
- Date: 2018
- Subjects: Public art , Public art -- South Africa -- Port Elizabeth Art and society Sculpture -- South Africa -- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/36750 , vital:34050
- Description: To date, there has been little contemporary academic study on public art in Port Elizabeth. There have however been major art-led urban regeneration projects in the last ten years. This raises the question of what these artworks have been ‘doing’ in their relatively new homes. This study explores the function of the Voting Line, which was commissioned by the Mandela Bay Development Agency and made by Anthony Harris and Konrad Geel. The Voting Line is discussed as a key example of public artwork produced for Route 67. Using a case study design, four different approaches have been applied in this exploratory study. These include: document analysis, observation, interviews and a South African data making process called the Mmogo Method. The findings of this study suggest that the Voting Line is broadly considered as contributing towards nation building; cultural heritage tourism, and developing city identity.
- Full Text:
- Date Issued: 2018
The use of photography as a vehicle for socio-cultural commentary on the stigmatisation of albinism in sub-Saharan Africa
- Authors: Pragnell, Robyn Monica
- Date: 2018
- Subjects: Photography -- Social aspects , Photography -- Digital techniques Photography -- Research Photography -- Africa Three-dimensional display systems
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22541 , vital:29998
- Description: This study provides an investigation into the current transition socio-culturally concerned photographers are making from traditional two-dimensional flat imagery, towards three-dimensional materiality based photographic installation artworks. According to Dr. Gillian Rose (2016), larger society is found to be in a state of oculacentrism, where vision and visuals are central to contemporary every day experience, resulting in the medium of photographic expression not being used and experienced by the average person as an art medium at all. So much so that these traditional photographic forms of visual communications have found a decline in visual engagement and subsequently visual impact. In an attempt to combat this change in the relationship between photographic imagery and audiences, select socio-cultural photographers are adopting practices incorporating three-dimensional, immersive installation techniques (Shore, 2014: 7-11), (Lister, 2007: 272). The aim is to provide a three-dimensional installation space, where the audience is encouraged to engage with socio-cultural issues. The study focuses specifically on two sociocultural photographers, Damien Schumann and Angelica Dass, who have communicated socio-cultural stories in this three-dimensional photographic installation space. In order to analyse and derive valuable techniques and approaches from their selected works The Shack (2010) and Humanae (2017) the study combines sections of Dr. Gillian Rose’s Visual Methodologies Framework (2016) as well as installation analysis tools designed by author Mark Rosenthal (2003). The same analytical criteria are then applied to the practical components socio-cultural topic communicating the Stigmatism Towards Persons With Albinism in Sub-Saharan Africa. The study concludes having created a three-dimensional photographic installation exhibition using similar techniques identified within the selected artists, moving beyond twodimensional forms to present a combination of three-dimensional techniques for enhanced socio-cultural visual communications.
- Full Text:
- Date Issued: 2018
- Authors: Pragnell, Robyn Monica
- Date: 2018
- Subjects: Photography -- Social aspects , Photography -- Digital techniques Photography -- Research Photography -- Africa Three-dimensional display systems
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/22541 , vital:29998
- Description: This study provides an investigation into the current transition socio-culturally concerned photographers are making from traditional two-dimensional flat imagery, towards three-dimensional materiality based photographic installation artworks. According to Dr. Gillian Rose (2016), larger society is found to be in a state of oculacentrism, where vision and visuals are central to contemporary every day experience, resulting in the medium of photographic expression not being used and experienced by the average person as an art medium at all. So much so that these traditional photographic forms of visual communications have found a decline in visual engagement and subsequently visual impact. In an attempt to combat this change in the relationship between photographic imagery and audiences, select socio-cultural photographers are adopting practices incorporating three-dimensional, immersive installation techniques (Shore, 2014: 7-11), (Lister, 2007: 272). The aim is to provide a three-dimensional installation space, where the audience is encouraged to engage with socio-cultural issues. The study focuses specifically on two sociocultural photographers, Damien Schumann and Angelica Dass, who have communicated socio-cultural stories in this three-dimensional photographic installation space. In order to analyse and derive valuable techniques and approaches from their selected works The Shack (2010) and Humanae (2017) the study combines sections of Dr. Gillian Rose’s Visual Methodologies Framework (2016) as well as installation analysis tools designed by author Mark Rosenthal (2003). The same analytical criteria are then applied to the practical components socio-cultural topic communicating the Stigmatism Towards Persons With Albinism in Sub-Saharan Africa. The study concludes having created a three-dimensional photographic installation exhibition using similar techniques identified within the selected artists, moving beyond twodimensional forms to present a combination of three-dimensional techniques for enhanced socio-cultural visual communications.
- Full Text:
- Date Issued: 2018
The visual communication of environmental awareness issues in Jeff Orlowski's,Chasing Ice (2012) and Yann Arthurs -Bertrand's home (2009)
- Authors: Van der Walt, Nadia Elize
- Date: 2018
- Subjects: Visual communication , Environmentalism in motion pictures Documentary films -- History and critism
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/45547 , vital:38665
- Description: This study presents an investigation into the visual communication complexities within the genre of documentary film, specifically aimed at the development of a set of criteria of cinematic techniques for the visual communication of environmental awareness issues. This process utilises a theoretical approach to understanding the development and communicative possibilities of documentary film, as well as an analytical interpretation structured on semiotic film theory. The theoretical investigation reveals Bill Nichols’ (2010) documentary modes as an established analytical model. This study engages with four of Nichols’ six modes – namely, the poetic, the expository, the observational and the participatory modes, as the criteria for the extraction of scenes and/or images from Chasing Ice (2012) by Jeff Orlowski and Home (2009) by Yann Arthurs-Bertrand. Once Nichols’ modes have been identified, a semiotic reading is conducted. Gillian Rose’s (2016) visual analysis framework underpinned by Pieter J. Fourie’s (1988) sociological approach to film analysis, is utilised to read the selected film texts. A comparative analysis of Chasing Ice (2012) and Home (2009) reveals that the inclusion of different and multiple modes constructs the visualisation of environmental awareness issues in the documentary film genre. The cinematic techniques specific to the documentary modes represented in Chasing Ice (2012) and Home (2009) are appropriated in the construction of three film shorts within the researcher’s documentary film study, Karoo (2017). This combination of theory and practice yields the researcher a considered and informed approach to constructing documentary imagery aimed at visualising the current environment of the Karoo Basin prior to the possibility of shale gas exploration and/or exploitation.
- Full Text:
- Date Issued: 2018
- Authors: Van der Walt, Nadia Elize
- Date: 2018
- Subjects: Visual communication , Environmentalism in motion pictures Documentary films -- History and critism
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/45547 , vital:38665
- Description: This study presents an investigation into the visual communication complexities within the genre of documentary film, specifically aimed at the development of a set of criteria of cinematic techniques for the visual communication of environmental awareness issues. This process utilises a theoretical approach to understanding the development and communicative possibilities of documentary film, as well as an analytical interpretation structured on semiotic film theory. The theoretical investigation reveals Bill Nichols’ (2010) documentary modes as an established analytical model. This study engages with four of Nichols’ six modes – namely, the poetic, the expository, the observational and the participatory modes, as the criteria for the extraction of scenes and/or images from Chasing Ice (2012) by Jeff Orlowski and Home (2009) by Yann Arthurs-Bertrand. Once Nichols’ modes have been identified, a semiotic reading is conducted. Gillian Rose’s (2016) visual analysis framework underpinned by Pieter J. Fourie’s (1988) sociological approach to film analysis, is utilised to read the selected film texts. A comparative analysis of Chasing Ice (2012) and Home (2009) reveals that the inclusion of different and multiple modes constructs the visualisation of environmental awareness issues in the documentary film genre. The cinematic techniques specific to the documentary modes represented in Chasing Ice (2012) and Home (2009) are appropriated in the construction of three film shorts within the researcher’s documentary film study, Karoo (2017). This combination of theory and practice yields the researcher a considered and informed approach to constructing documentary imagery aimed at visualising the current environment of the Karoo Basin prior to the possibility of shale gas exploration and/or exploitation.
- Full Text:
- Date Issued: 2018
Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement
- Van der Walt, Jonathan Petra
- Authors: Van der Walt, Jonathan Petra
- Date: 2017
- Subjects: Art, Modern -- 21st century Sculpture -- South Africa -- Technique , Art and technology -- 21st century
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/21285 , vital:29471
- Description: Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
- Full Text:
- Date Issued: 2017
- Authors: Van der Walt, Jonathan Petra
- Date: 2017
- Subjects: Art, Modern -- 21st century Sculpture -- South Africa -- Technique , Art and technology -- 21st century
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/21285 , vital:29471
- Description: Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
- Full Text:
- Date Issued: 2017
Earth stewardship in prepress:a model for Nelson Mandela Metropolitan University graphic design lectures
- Authors: Lottering,John Barry
- Date: 2017
- Subjects: Curriculum planning--South Africa-- Port Elizabeth Graphic arts--Study and teaching--South africa-- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/44471 , vital:37842
- Description: A lack of prepress understanding is responsible for a great deal of wasted resources in the graphic design and printing industries in Nelson Mandela Bay. As the term “prepress” extends to such a vast range of design activities, it is quite difficult to ascertain where prepress begins or ends. Asking the question “What is prepress?” is like asking “How long is a piece of string?” Defining the scope of prepress can present a formidable challenge for any graphic design lecturer hoping to equip students with the necessary prepress understanding and skills required by the graphic design industry. Also, even if the academic has a sound knowledge of prepress theory and practice, how does one guarantee that all of the required knowledge is covered during the course of the student’s graphic design education, and that it is done so in a manner that meets the needs of the graphic design industry? Added to this, educators have a responsibility to consider the environmental consequences of sending graduating designers, without industry required prepress knowledge, into the design industry, an industry that has grown accustomed to training junior designers in prepress practice through trial and error. Such trial and error equates to mistakes and wasted resources, as a result this learning curve comes at the expense of the environment. The intention of this research is to provide an accessible resource for graphic design lecturers, by way of a list of prepress best practice topics, required for inclusion in the graphic design syllabus at NMMU, such that earth stewardship and sustainable design-for-print are an implicit component. This list of topics is a product of research which drew on local industry experts in Nelson Mandela Bay.
- Full Text:
- Date Issued: 2017
- Authors: Lottering,John Barry
- Date: 2017
- Subjects: Curriculum planning--South Africa-- Port Elizabeth Graphic arts--Study and teaching--South africa-- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/44471 , vital:37842
- Description: A lack of prepress understanding is responsible for a great deal of wasted resources in the graphic design and printing industries in Nelson Mandela Bay. As the term “prepress” extends to such a vast range of design activities, it is quite difficult to ascertain where prepress begins or ends. Asking the question “What is prepress?” is like asking “How long is a piece of string?” Defining the scope of prepress can present a formidable challenge for any graphic design lecturer hoping to equip students with the necessary prepress understanding and skills required by the graphic design industry. Also, even if the academic has a sound knowledge of prepress theory and practice, how does one guarantee that all of the required knowledge is covered during the course of the student’s graphic design education, and that it is done so in a manner that meets the needs of the graphic design industry? Added to this, educators have a responsibility to consider the environmental consequences of sending graduating designers, without industry required prepress knowledge, into the design industry, an industry that has grown accustomed to training junior designers in prepress practice through trial and error. Such trial and error equates to mistakes and wasted resources, as a result this learning curve comes at the expense of the environment. The intention of this research is to provide an accessible resource for graphic design lecturers, by way of a list of prepress best practice topics, required for inclusion in the graphic design syllabus at NMMU, such that earth stewardship and sustainable design-for-print are an implicit component. This list of topics is a product of research which drew on local industry experts in Nelson Mandela Bay.
- Full Text:
- Date Issued: 2017
The development of a co-ordinated communication campaign to enhance participation in netball: applicable to schools in Port Elizabeth
- Authors: Opperman, Ansu
- Date: 2017
- Subjects: Sports -- Public relations -- South Africa -- Port Elizabeth Communication in sports -- South Africa -- Port Elizabeth , Mass media and sports -- South Africa -- Port Elizabeth School sports -- South Africa -- Port Elizabeth -- Communication
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/19828 , vital:28977
- Description: Public relations play an intricate role in communication development strategies within sport, especially netball. The objective of the research is to create a communication campaign incorporated in a public relations programme in aid of the development of netball in Port Elizabeth schools. The significance of the research is to create an understanding of the challenges faced by the learners to participate in netball and to develop the sport. The development of players at a young age is not up to standard when compared to countries where netball is already a professional sport. There is a lack of communication between the different stakeholders, namely the players, coaches and external publics. Qualitative research methods were implemented where primary and secondary data was used to conduct the research. Focus groups were utilised to gather primary data from netball players and coaches. These interviews proved that communication gaps do exist between the different stakeholders of school and netball. An introduction about netball will be discussed. Literature about public relations and communication will be presented. The research methodology will be presenting the research design and research methods used to conduct the research. Characteristics of the schools used in the interviews will be discussed. The research analysis, findings and discussions will present a guideline to be implemented by schools to enhance communication and therefore help develop netball. The research will then be concluded and summarised. Limitations to the study will be discussed as well as recommendations for further study on the topic. Communication plays an important role when trying to build mutual beneficial relationships between the various stakeholders. The results in this research bring to the conclusion that effective communication is needed to enhance and develop netball to ultimately become a professional sport.
- Full Text:
- Date Issued: 2017
- Authors: Opperman, Ansu
- Date: 2017
- Subjects: Sports -- Public relations -- South Africa -- Port Elizabeth Communication in sports -- South Africa -- Port Elizabeth , Mass media and sports -- South Africa -- Port Elizabeth School sports -- South Africa -- Port Elizabeth -- Communication
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/19828 , vital:28977
- Description: Public relations play an intricate role in communication development strategies within sport, especially netball. The objective of the research is to create a communication campaign incorporated in a public relations programme in aid of the development of netball in Port Elizabeth schools. The significance of the research is to create an understanding of the challenges faced by the learners to participate in netball and to develop the sport. The development of players at a young age is not up to standard when compared to countries where netball is already a professional sport. There is a lack of communication between the different stakeholders, namely the players, coaches and external publics. Qualitative research methods were implemented where primary and secondary data was used to conduct the research. Focus groups were utilised to gather primary data from netball players and coaches. These interviews proved that communication gaps do exist between the different stakeholders of school and netball. An introduction about netball will be discussed. Literature about public relations and communication will be presented. The research methodology will be presenting the research design and research methods used to conduct the research. Characteristics of the schools used in the interviews will be discussed. The research analysis, findings and discussions will present a guideline to be implemented by schools to enhance communication and therefore help develop netball. The research will then be concluded and summarised. Limitations to the study will be discussed as well as recommendations for further study on the topic. Communication plays an important role when trying to build mutual beneficial relationships between the various stakeholders. The results in this research bring to the conclusion that effective communication is needed to enhance and develop netball to ultimately become a professional sport.
- Full Text:
- Date Issued: 2017
The development of a translucent low fired porcelain casting slip using South African raw materials
- Authors: Ruiters, Mellaney Bualin
- Date: 2017
- Subjects: Arts -- Research -- South Africa , Pottery -- Research -- South Africa , Ceramics -- Research -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/20004 , vital:29026
- Description: The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists are therefore compelled to import their porcelains from overseas suppliers if they require a white translucent porcelain but this is still requires a firing temperature well above 12000C. It has been shown that by using South African ceramic raw materials and adjusting a Parian ceramic formula using a selected frit; a low fired translucent porcelain can be made that matures below 12000C. The addition of paper fibres to the non-plastic porcelain was necessary to reduce the high shrinkage rate and prevented the clay from cracking and tearing in the firing process. With the further adjustments to the formula by the addition of calcium triphosphate true white translucent porcelain was produced. Without this last adjustment the porcelain would be an off-white colour due to the impurities found in the South African ceramic raw materials which are mainly contaminated with iron oxide. It was found that the following formula produced a white translucent porcelain which vitrified at 11900C and satisfies the original concept in the title stated above.
- Full Text:
- Date Issued: 2017
- Authors: Ruiters, Mellaney Bualin
- Date: 2017
- Subjects: Arts -- Research -- South Africa , Pottery -- Research -- South Africa , Ceramics -- Research -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/20004 , vital:29026
- Description: The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists are therefore compelled to import their porcelains from overseas suppliers if they require a white translucent porcelain but this is still requires a firing temperature well above 12000C. It has been shown that by using South African ceramic raw materials and adjusting a Parian ceramic formula using a selected frit; a low fired translucent porcelain can be made that matures below 12000C. The addition of paper fibres to the non-plastic porcelain was necessary to reduce the high shrinkage rate and prevented the clay from cracking and tearing in the firing process. With the further adjustments to the formula by the addition of calcium triphosphate true white translucent porcelain was produced. Without this last adjustment the porcelain would be an off-white colour due to the impurities found in the South African ceramic raw materials which are mainly contaminated with iron oxide. It was found that the following formula produced a white translucent porcelain which vitrified at 11900C and satisfies the original concept in the title stated above.
- Full Text:
- Date Issued: 2017
A study of the art object as performative
- Authors: Minkley, Emma Smith
- Date: 2016
- Subjects: Arts -- Miscellanea , Art objects
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/12042 , vital:27022
- Description: My research project explores conventions in art-making and viewing via the notion of the performative art object. The performative (derived from J.L. Austin and Judith Butler’s formulations of the word) is here used predominantly as a term to denote a generative, experiential and iterative process (in this case outlined by art theorist Barbara Bolt) in which intuitive or playful actions of both artist and spectator dictate the route of research. The project, following an A/r/tographical cycle of theoriapraxis-poesis (or theory/research - doing/learning - art/making) as defined by Rita Irwin, thus investigates the relations inherent between artists, spectators or viewers, and objects, and how these may change according to the spaces they are conceived in; from art gallery to urban “non-art” environments. It deals with the inclusion of process or performativity within, or in relation to the art object and how this take on the traditionally static object may have the capacity to change how artworks are envisaged, and more significantly, how they are received, in terms of the effects they (in combination with the viewer) have on the world around them. Blurred in the context of performativity, the art object may become a means of documenting process and in a sense may act as a ‘prop’ for artistic research. This enquiry has involved the study of process and play, as related to creative practice, via a series of object-based events or interventions (including gallery exhibitions and other “non-art” events initiated by the artist outside of conventional art-related space) which have been documented and included in the theoretical research as a means of providing a first-hand narrative of theoretical ideas put into practice. Here Diana Taylor’s understanding of interrelated modes of storing and enacting knowledge as posed in the notion of the archive and repertoire has been utilised as a means of collecting and collating performative and ephemeral research. These events/interventions have further served as a means of gauging viewer interaction and participation, thus actively involving the viewer in the creative act. Jacques Rancière’s notion of the emancipated spectator is here utilised to activate the role of the viewer. In this regard, Martin Heidegger’s concept of handiness or handling serves as a means of “emancipating” spectators by encouraging tactile viewership. It is my intent to open up or reveal new modes of thinking or doing within the viewer when he or she enters a state of performative play within these events. Here the status of the art object is challenged and in this way has the potential to subvert or confront problematic repetitions, both in the identity of the viewer and the space occupied in each event.
- Full Text:
- Date Issued: 2016
- Authors: Minkley, Emma Smith
- Date: 2016
- Subjects: Arts -- Miscellanea , Art objects
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/12042 , vital:27022
- Description: My research project explores conventions in art-making and viewing via the notion of the performative art object. The performative (derived from J.L. Austin and Judith Butler’s formulations of the word) is here used predominantly as a term to denote a generative, experiential and iterative process (in this case outlined by art theorist Barbara Bolt) in which intuitive or playful actions of both artist and spectator dictate the route of research. The project, following an A/r/tographical cycle of theoriapraxis-poesis (or theory/research - doing/learning - art/making) as defined by Rita Irwin, thus investigates the relations inherent between artists, spectators or viewers, and objects, and how these may change according to the spaces they are conceived in; from art gallery to urban “non-art” environments. It deals with the inclusion of process or performativity within, or in relation to the art object and how this take on the traditionally static object may have the capacity to change how artworks are envisaged, and more significantly, how they are received, in terms of the effects they (in combination with the viewer) have on the world around them. Blurred in the context of performativity, the art object may become a means of documenting process and in a sense may act as a ‘prop’ for artistic research. This enquiry has involved the study of process and play, as related to creative practice, via a series of object-based events or interventions (including gallery exhibitions and other “non-art” events initiated by the artist outside of conventional art-related space) which have been documented and included in the theoretical research as a means of providing a first-hand narrative of theoretical ideas put into practice. Here Diana Taylor’s understanding of interrelated modes of storing and enacting knowledge as posed in the notion of the archive and repertoire has been utilised as a means of collecting and collating performative and ephemeral research. These events/interventions have further served as a means of gauging viewer interaction and participation, thus actively involving the viewer in the creative act. Jacques Rancière’s notion of the emancipated spectator is here utilised to activate the role of the viewer. In this regard, Martin Heidegger’s concept of handiness or handling serves as a means of “emancipating” spectators by encouraging tactile viewership. It is my intent to open up or reveal new modes of thinking or doing within the viewer when he or she enters a state of performative play within these events. Here the status of the art object is challenged and in this way has the potential to subvert or confront problematic repetitions, both in the identity of the viewer and the space occupied in each event.
- Full Text:
- Date Issued: 2016
An investigation of the history and works of the Keiskamma Art Project
- Authors: Osner, Heather
- Date: 2016
- Subjects: Community arts projects -- South Africa -- Eastern Cape , Artists and community -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/13038 , vital:27146
- Description: This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.
- Full Text:
- Date Issued: 2016
- Authors: Osner, Heather
- Date: 2016
- Subjects: Community arts projects -- South Africa -- Eastern Cape , Artists and community -- South Africa
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/13038 , vital:27146
- Description: This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.
- Full Text:
- Date Issued: 2016