Motopomo: the historical-theoretical background to contemporary graphic design practices
- Authors: Economou, Inge
- Date: 2005
- Subjects: Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:10764 , http://hdl.handle.net/10948/179 , Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Description: This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.
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- Date Issued: 2005
The ibali of Nongqawuse: translating the oral tradition into visual expression
- Authors: Nhlangwini, Andrew Pandheni
- Date: 2003
- Subjects: Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10761 , http://hdl.handle.net/10948/237 , Nongqawuse, 1841-1898 , Xhosa (African people) -- History , Oral tradition -- South Africa -- Eastern Cape , Oral history -- South Africa -- Eastern Cape , Art -- South Africa -- Eastern Cape
- Description: The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.
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- Date Issued: 2003
De-scribing the Timaeus: a transgression of the (phal) logocentric convention that discourse has only one form, language
- Authors: Ord, Jennifer
- Date: 2002
- Subjects: Discourse analysis , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech (Fine Art)
- Identifier: vital:10763 , http://hdl.handle.net/10948/115 , Discourse analysis , Art -- Philosophy
- Description: Like writing, art making is primarily a means of human expression, a means of communication – both “allow us to categorize our (inner and outer) environment as represented by symbols” (Appignanesi, 1999: 7). Yet it is language in the traditional Western garb of rational, philosophical discourse that has been perceived as the primary means of manifesting knowledge and positing truth, not only regarding the character of human existence, but also the nature of art. This infers the acceptance of both works as literally “truth of things”, and of “a language of reason” that “perfectly represents the real world” (Appignanesi, 1999: 77). Going against the grain of this traditional bias, Jacques Derrida holds that, firstly, “human knowledge is not as controllable or as cogent as Western thinkers would have it”: secondly, that language functions in “subtle and often contradictory ways” thus rendering certainty, truth, and perfect representation ever elusive to us (Lye, 1997: 2); and, thirdly, that “practices of interpretation which include art but are not limited to language, are extended discourses” (Appignanesi, 1999: 79). So, the “work of reason” (or rationalism) in this sense, is no longer the definitive “voice” of authority when it comes to ascribing meaning, proclaiming a message, defining truth, etc. Having the grip of its authority loosened and thus its rigid, imposing borders opened up, the communication of knowledge as a form of “aesthetic fiction” (Megill, 1987: 265) is allowed entry into the rarefied field of philosophical discourse. Moreover, if visual art (one such “aesthetic fiction”) is a process of sign-making, as is written and spoken language; if it therefore constitutes a signifying system, as does written and spoken language (Bal and Bryson in Preziosi, 1998: 242); and, if art is not just about autonomous, in-house formalism, then can it not, in any case, validly offer a form for discourse, albeit a different kind of discourse, a discourse that is not “truth seeking” (Sim, 1992: 33)? Here, the maker of the proposed artwork-asdiscourse would not be attempting to establish the truth or falsity of a philosophical position, but, as Derrida would have it, create a form which, without mimicry, would evocatively allude to Plato, his “deconstructor” and the maker of the proposed artwork. Discourse in this sense, then, would generate “active interpretation… infinite free association” (Megill, 1987: 283), because, as in Derrida’s writing, interpretation no longer aims at “the reconciliation or unification of warring truths (Sim, 1992: 10); in other words, it breaks with the (phal)logocentric tradition of discourse as dialectical and becomes questioning without closure. For visual art to enter the exalted arena of philosophical discourse, it cannot be selfreflexive in the Greenbergian or formalist sense – it has to be about something philosophical and this ‘something’ will be a deconstructive response to Plato’s doctrine of the two worlds in the Timaeus. What I propose presenting, then, is an imagographic rather than (phal)logocentric exposition of philosophical content where the aim is not to shape a certainty or to infer an absolute presence or essence of anything, but rather to suggest traces of the maker of the artwork reading Derrida, reading Plato. The proposed artwork as a response to texts will thus be a “pre-text” of my own endeavour.
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- Date Issued: 2002
Imaging the metaphysical in contemporary art practice : a comparative study of intertextuality, poststructuralism and metaphysical symbolism
- Authors: Opperman, J. A.
- Date: 2002
- Subjects: Mind and body , Metaphysics in art
- Language: English
- Type: Thesis , Masters , MTech (Fine Art, Painting)
- Identifier: vital:10762 , http://hdl.handle.net/10948/101 , Mind and body , Metaphysics in art
- Description: It was then that I decided to investigate how contemporary forms of metaphysical imaging have evolved formally and stylistically. I began to question how such approaches might be informed by current philosophical thought, given that many contemporary theorists have adopted a sceptical view towards metaphysical discourse. This point of contention presented me with the initial challenge of finding an artist whose exploration of metaphysical content is supported by topical philosophical thought. I intended this inquiry to serve as a basis from which to develop my own approach to imaging metaphysical content and to situate it within the context of contemporary thought.
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- Date Issued: 2002
Effective application of digital printing techniques for fine artists in the South African context
- Authors: Giloi, Susan Louise
- Date: 1999
- Subjects: Photography -- Digital techniques
- Language: English
- Type: Thesis , Masters , MTech (Photography)
- Identifier: vital:10760 , http://hdl.handle.net/10948/15 , Photography -- Digital techniques
- Description: The question to be answered by this research is how would a fine artist working in South Africa, identify and use the correct digital printing techniques to accurately print their work?
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- Date Issued: 1999