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
Monetary policy and microfinance in Sub-Sahara Africa: Ghana’s perspective
- Authors: Wiredu, Nana Kwame
- Date: 2018
- Subjects: Monetary policy -- Ghana , Microfinance -- Ghana Ghana -- Economic policy
- Language: English
- Type: Thesis , Masters , MPhil
- Identifier: http://hdl.handle.net/10948/36037 , vital:33884
- Description: Ghana, like many other developing countries in Sub-Sahara Africa, recognises the important role that the micro, small and medium-sized enterprises (MSMEs) play in economic development. These enterprises need an environment conducive to thriving and growth, to contribute to employment and overall output. A key pillar to this is access to affordable credit. Credit in itself is thought to be affected by monetary policy formulated and put forth by the central bank, on behalf of government. The pass-through effect of monetary policy on commercial banking rates, as charged by bank and non-bank financial institutions (NBFIs), is a concern for MSMEs. Therefore, this study sought to highlight cause and effects relationship between monetary policy, the lending rate and private sector credit, and also sought to find a possible cushion for MSMEs through the microfinance targeting approach. Annual aggregate monetary time series data from the Bank of Ghana (BoG) was analysed. Multiple linear regression and analysis of variance test results reveal evidence of a significant and proportional effect of both the monetary policy rate and commercial banking rate on credit to the private sector. The key implication of the findings is that the pass-through effect of monetary policy negatively affects MSMEs. The study recommends that governments in Sub-Sahara Africa (SSA), and particularly the government of Ghana, should take into consideration the effects of monetary policy on MSMEs, when formulating monetary policies. It is also recommended that governments in SSA should formulate policies that enhance MSMEs access to adequate and affordable credit to enable it contribute more to economic growth. Perhaps, this can be done through microfinance.
- Full Text:
- Date Issued: 2018
- Authors: Wiredu, Nana Kwame
- Date: 2018
- Subjects: Monetary policy -- Ghana , Microfinance -- Ghana Ghana -- Economic policy
- Language: English
- Type: Thesis , Masters , MPhil
- Identifier: http://hdl.handle.net/10948/36037 , vital:33884
- Description: Ghana, like many other developing countries in Sub-Sahara Africa, recognises the important role that the micro, small and medium-sized enterprises (MSMEs) play in economic development. These enterprises need an environment conducive to thriving and growth, to contribute to employment and overall output. A key pillar to this is access to affordable credit. Credit in itself is thought to be affected by monetary policy formulated and put forth by the central bank, on behalf of government. The pass-through effect of monetary policy on commercial banking rates, as charged by bank and non-bank financial institutions (NBFIs), is a concern for MSMEs. Therefore, this study sought to highlight cause and effects relationship between monetary policy, the lending rate and private sector credit, and also sought to find a possible cushion for MSMEs through the microfinance targeting approach. Annual aggregate monetary time series data from the Bank of Ghana (BoG) was analysed. Multiple linear regression and analysis of variance test results reveal evidence of a significant and proportional effect of both the monetary policy rate and commercial banking rate on credit to the private sector. The key implication of the findings is that the pass-through effect of monetary policy negatively affects MSMEs. The study recommends that governments in Sub-Sahara Africa (SSA), and particularly the government of Ghana, should take into consideration the effects of monetary policy on MSMEs, when formulating monetary policies. It is also recommended that governments in SSA should formulate policies that enhance MSMEs access to adequate and affordable credit to enable it contribute more to economic growth. Perhaps, this can be done through microfinance.
- Full Text:
- Date Issued: 2018
An analysis of the views of Minibus Taxi drivers and commuters to road safety : a case study of the Northern Areas of Port Elizabeth
- Authors: Ferreira, Bernice Aloma
- Date: 2010
- Subjects: Transportation -- South Africa -- Public opinion , Transportation -- South Africa -- Port Elizabeth , Urban transportation -- South Africa -- Port Elizabeth , Commuters -- South Africa -- Port Elizabeth , Commuting -- South Africa -- Port Elizabeth , Transportation -- Safety measures , Traffic safety -- South Africa
- Language: English
- Type: Thesis , Masters , MPA
- Identifier: vital:8191 , http://hdl.handle.net/10948/1402 , Transportation -- South Africa -- Public opinion , Transportation -- South Africa -- Port Elizabeth , Urban transportation -- South Africa -- Port Elizabeth , Commuters -- South Africa -- Port Elizabeth , Commuting -- South Africa -- Port Elizabeth , Transportation -- Safety measures , Traffic safety -- South Africa
- Description: People without private transport are dependent on public transportation. Public transport, particularly minibus taxis, is the most popular mode of transport in the Northern Areas of Port Elizabeth. The objective of the minibus taxi industry is to provide public transport to minibus taxi commuters in an economically, reliable and safe manner. The focus of this case study was to explore and determine the views of minibus taxi commuters who utilised minibus taxis as a form of public transport, as well as the views of minibus taxi drivers in terms of adhering to road safety requirements on Stanford Road in Port Elizabeth. The literature survey revealed that transport in South Africa has had a political dimension arising from the Group Areas Act 41 of 1950. One consequence of this Act, which imposed residential segregation on the country, was that poor black commuters were forced to live far out of town, forcing them to travel long distances to places of work and commercial centres, with a commensurate increase in transport costs. Data was collected by means of two structured questionnaires which were administered to minibus taxi drivers and minibus taxi commuters to explore their views and experience of road safety on Stanford Road in Port Elizabeth. A discussion on the minibus taxi industry, minibus taxi associations and law enforcement agencies in Port Elizabeth, as well as the sustainability of the minibus taxi industry, followed in Chapter Three. Through this case study, valuable insight was gained regarding the minibus taxi industry and road safety in Port Elizabeth. Finally, recommendations to improve road safety were made.
- Full Text:
- Date Issued: 2010
- Authors: Ferreira, Bernice Aloma
- Date: 2010
- Subjects: Transportation -- South Africa -- Public opinion , Transportation -- South Africa -- Port Elizabeth , Urban transportation -- South Africa -- Port Elizabeth , Commuters -- South Africa -- Port Elizabeth , Commuting -- South Africa -- Port Elizabeth , Transportation -- Safety measures , Traffic safety -- South Africa
- Language: English
- Type: Thesis , Masters , MPA
- Identifier: vital:8191 , http://hdl.handle.net/10948/1402 , Transportation -- South Africa -- Public opinion , Transportation -- South Africa -- Port Elizabeth , Urban transportation -- South Africa -- Port Elizabeth , Commuters -- South Africa -- Port Elizabeth , Commuting -- South Africa -- Port Elizabeth , Transportation -- Safety measures , Traffic safety -- South Africa
- Description: People without private transport are dependent on public transportation. Public transport, particularly minibus taxis, is the most popular mode of transport in the Northern Areas of Port Elizabeth. The objective of the minibus taxi industry is to provide public transport to minibus taxi commuters in an economically, reliable and safe manner. The focus of this case study was to explore and determine the views of minibus taxi commuters who utilised minibus taxis as a form of public transport, as well as the views of minibus taxi drivers in terms of adhering to road safety requirements on Stanford Road in Port Elizabeth. The literature survey revealed that transport in South Africa has had a political dimension arising from the Group Areas Act 41 of 1950. One consequence of this Act, which imposed residential segregation on the country, was that poor black commuters were forced to live far out of town, forcing them to travel long distances to places of work and commercial centres, with a commensurate increase in transport costs. Data was collected by means of two structured questionnaires which were administered to minibus taxi drivers and minibus taxi commuters to explore their views and experience of road safety on Stanford Road in Port Elizabeth. A discussion on the minibus taxi industry, minibus taxi associations and law enforcement agencies in Port Elizabeth, as well as the sustainability of the minibus taxi industry, followed in Chapter Three. Through this case study, valuable insight was gained regarding the minibus taxi industry and road safety in Port Elizabeth. Finally, recommendations to improve road safety were made.
- Full Text:
- Date Issued: 2010
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