School of Art - Theses
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ItemThe introverted kinetic sculpture( 2013)“The Introverted Kinetic Sculpture” investigates the notion of “introversion” in kinetic sculpture, presenting the research outcomes through exhibition and dissertation. The term “introverted kinetic sculpture” is used by this author to describe the body of work developed throughout this PhD project that argues for a distinctly new form of kinetic sculpture that has arisen from this research. Within both the exhibition and dissertation which comprise this thesis, introverted kinetic sculptures are kinetic sculptures defined by specific qualities of their systems (circularly-causal, autopoietic systems with analogue manifestations) and the environmental conditions through which these systems emerge (articulated throughout as the “medium” of the introverted kinetic sculpture). These specific qualities allow each individual introverted kinetic sculpture to function as a concrete site through which to explore posthumanist considerations of agency, medium, systems and empathy in the kinetic work of art. The exhibition component of this thesis, "Introverted", was exhibited at the VCA Margaret Lawrence Gallery in February 2013. It comprised four works: "Shallows" and "Underwing", which emerged early in the PhD project, impacting upon the project’s formation; and two developed specifically for the exhibition, "Web (Encore)" and "Vessel", which acted as sites to test and further explore considerations developed throughout the project. The dissertation component explores and contextualises the research undertaken in-studio and in-exhibition. The first chapter, “The Introverted Kinetic Sculpture: Development, Processes and Emergences,” chronologically describes the emergence of each work, and in doing so articulates how the research considerations developed through the works of art. The second chapter, “Introverted Systems,” articulates the emergence of systems within each introverted kinetic sculpture and in the project overall. It contextualises these emergences through the work of Theo Jansen and Philip Beesley, and within neocybernetic discourse, positioning the “introverted systems” which emerge within each introverted kinetic sculpture in a posthumanist consideration of both “system” and “medium.” I argue that these introverted systems uniquely provide concrete sites through which to explore particular aspects of neocybernetic discourse—particularly “medium” and “system”—in relation to contemporary kinetic art. The third chapter, “Empathy and Behaviour In the Introverted Kinetic Sculpture,” underscores initial investigations into the relationship between empathy and kinetic sculpture. It proposes, rather than presumes, the potential for an empathic relationship between the introverted kinetic sculpture and the viewer. These explorations are contextualised through a consideration of empathy in the work of Len Lye and Philip Beesley, and through Donna Haraway’s writing. Unique to kinetic sculpture in exploring empathy, I propose, is the provision of a “body” that is not of the human or animal—a body that, though it may have similar qualities to existing bodies (similarities which, I speculate, are due to that system’s emergence in the same physical world as that of the animal body), provides a space in which to consider empathy beyond a mere human/animal-human/animal response. In considering the relationship between empathy, kinaesthesia and behaviour, this chapter tests the proposition that the introverted kinetic sculpture might embody the potential for an empathic response, and that in doing so, it may contribute to discussions around posthumanist approaches to artistic practice, emergence, agency, and empathy.
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ItemProsthetic propulsion: mechanistic sculpture and interactive installation( 2008)This paper elucidates upon the research processes undertaken and artistic outcomes developed throughout the Masters of Fine Art project, accompanying the exhibition Pulse, held at Bus Gallery, Melbourne in November 2008. This project has focused primarily on interactive art and the role of the machine within works of art. The machine manifests as both an actual, kinetic element and as a symbolic means to explore the relationship between humankind and technology. The first chapter discusses interactive art, its potentials and difficulties, and relationships between interactive art and installation art. It explores the work of artists such as Jean Tinguely and OIafur Eliasson. At the end of the chapter, the term 'multi-motive' is proposed as a replacement for 'interactive art', to better encompass the work developed during the project. The second chapter deals with the machine within works of art, and in the broader social context, as both an emancipatory and threatening force. The machine is defined throughout as a prosthetic device. Artists that deal with machines and prostheses are discussed, including Jean Tinguely, Stelarc, Louise Bourgeois, Rebecca Horn, Richard Goodwin and OIafur Eliasson. It also briefly covers concepts such as the machine as parasite, the amputated prosthesis, visualisations of the human body as a machine, and the contemporary cyborg, looking at the work of relevant theorists such as Peter Weibel and Donna J. Haraway. These considerations lead to a discussion regarding the use of kinetics within this project, and the potential of kinetics as a means of exploring human nature, the human body, and its inter-relationships with technology. The final chapter explores artistic considerations encountered throughout the project, and experimentation and decisions made in light of these considerations. These include materials, processes, sound, lighting and exhibition within a gallery, referencing artists such as Jean Tinguely and Mona Hatoum. The investigations put forward throughout the paper bring numerous ambiguities to light. The concept of 'multi-motive' artwork blurs distinctions between artist, artwork and viewer. The machine as prosthesis is considered as an ambiguous symbol, destabilising the roles of prosthesis, parasite and host, thus bringing the pre-eminence of the human body into question. The decisions made in regards to artistic considerations also embrace ambiguity, particularly in the notion of twilight as a state of indistinctiveness. The use of these concepts in artwork created throughout the project led to a final body of work that embraces ambiguity, bringing the nature of humankind and its relationship with technology into question.