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dc.contributor.advisorAllen-Spies, J.
dc.contributor.advisorVan den Berg, D. J.
dc.contributor.authorMellet-Pretorius, Louisa J.
dc.date.accessioned2016-01-11T09:02:48Z
dc.date.available2016-01-11T09:02:48Z
dc.date.copyright2005-11
dc.date.issued2005-11
dc.date.submitted2005-11
dc.identifier.urihttp://hdl.handle.net/11660/2095
dc.description.abstractEnglish: Connectivity is expanded through technological deve lopments converting the world into a global and interactive connectivity field. Each individual finds him- or herself to be a link in this network of connectivity. Using certain visual projects as an example, this particular project argues that man has, on the one hand, become entrapped in this network through technological developments, and is liberated by them, on the other, through the global mobility they facilitate. The applicability of “connectivity,” the mathematical loanword, to the visual arts is explored and depicted through art projects. In this project, representations of illustrations, paintings, photographs, installations and video art are employed as a form of artistic visualization of the experience of connectivity in post- modern society. Technological phenomena as extensions of the human body and central nervous system, and the implications of this for visual culture and the society of connectivity are explored. The spatial expansiveness of the network is visualized in the texture of Jackson Pollock’s paintings, which in this project are referred to as a metaphor for connectivity. The series of photographs by Danwen Xing, “disCONNEXION,” are described as the antithesis of connectivity, where computer parts are arranged separately from one another, eliciting the notion of a living organism. In representations of connectivity the symbiotic relationship between man and machine is brought to the fore. The mutual dependency of man and machine are symbolized in Eduardo Kac’s Teleporting an unknown state. Herein an attempt is made to foster a critical consciousness which sufficiently takes into consideration the man- made nature of the new media. Man builds technological information systems which creep across the earth, enfolding it in a web. In the photographic and installation-type depictions of Frank Thiel, Dan Graham and Peter Weibel, the omnipresence of the surveillance camera is fore grounded. It surrounds, captures and reads man into databases, forming a categorized, typified data image of the individual. In a more positive light, the media of connectivity creates an immediate though virtual presence through mobilization, where man is an absent presence who is simultaneously here and at the site of communication. Connectivity enables the immediate connections between individuals who are physically separated from one another, and is visualized in Draadwerk, where the implied communicator is overwhelmed and drawn in by the scale and mass of tin can telephone wires. Man is simultaneously here, physically, and, in thought, in the conversational space (i.e. cyberspace), where communication takes place through technological communication media. The greatest liberation of technological means is facilitated by the virtuality it creates. James Turrell’s light installations visualize illusory virtual spaces where the viewer enters a light-drenched space and the actual boundaries of the space are faded. In my own installation, Immersie, a virtual space is entered which becomes a connective plane between top/bottom and inside/outside. Ties which limit and entrap man are left behind as the virtual space is entered, and man creates, through technological media, new spaces in which freedom or liberation may be experienced.en_ZA
dc.description.abstractAfrikaans: Konnektiwiteit word deur middel van tegnologiese ontwikkelings uitgebrei om die wêreld as globale interaktiewe konnektiwiteitsveld te skep. Elke individu bevind hulself as knooppunt in hierdie konnektiwiteitsnetwerk. Aan die hand van visuele projekte argumenteer hierdie projek dat die mens aan die een kant deur tegnologiese ontwikkelings in die netwerk vasgevang word, en aan die ander kant vry word deur globaal te kan beweeg. Die toepaslikheid van die wiskundig wetenskaplike leenbegrip “konnektiwiteit” op die visuele kunste word ondersoek en deur kunsprojekte verbeeld. Afbeeldings van illustrasies, skilderye, fotos, installasies en videokuns word in hierdie projek gebruik as artistieke visualisering van die ervaring van konnektiwiteit in die postmoderne samelewing. Tegnologiese verskynsels as uitbreidings van die liggaam en die me nslike sentrale senuweestelsel en die implikasies daarvan vir die visuele kultuur en die konnektiwiteitsamelewing, word ondersoek. Die ruimtelike uitgebreidheid van die netwerk word gevisualiseer in die tekstuur van die skilderye van Jackson Pollock wat in hierdie projek geneem word as visuele metafoor vir konnektiwiteit. Die fotoreeks, “disCONNEXION,” van Danwen Xing word as teenstelling van konnektiwiteit beskryf, waar rekenaarkomponente los van mekaar gesorteer is om aan eens lewende organismes te herinner. In voorstellings van konnektiwiteit word die simbiotiese verhouding wat tussen mens en masjien ontstaan, na vore gebring. In Teleporting an unknown state van Eduardo Kac word die onderlinge afhanklikheid van mens en masjien gesimboliseer. Hierdeur word gepoog om ’n kritiese bewussyn te kweek wat die mensgemaakte aard van die nuwe media terdeë in ag neem. Die mens brei tegnologiese inligtingstelsels uit, wat oor die aarde kruip en dit in ’n web toevou. In Frank Thiel, Dan Graham en Peter Weibel se verbeeldings deur foto’s en installasies kom die alomteenwoordigheid van die bewakingskamera na vore. Die mens word daardeur omring, vasgevang en in databasisse ingelees om ’n gekategoriseerde, getipeerde databeeld van ’n individu te vorm. In ’n meer positiewe sin skep konnektiwiteitsmedia ’n onmiddellike maar virtuele teenwoordigheid deur mobilisering waar die mens ’n afwesige teenwoordige is wat gelyktydig hier maar ook daar waar gekommunikeer word, is. Konnektiwiteit lei tot die onmiddellike verbindings tussen individue wat fisies van mekaar geskei is en gevisualiseer word in Draadwerk waar die skaal en massa kolkende drade van die blikkiestelefone die geimpliseerde kommunikeerder oorweldig en inneem. Mens is gelyktydig fisies hier en in gedagte in die gespreksruimte – kuberruimte – waar deur middel van tegnologiese kommunikasiemedia kommunikeer word. Die grootste bevryding deur tegnologiese middele vind plaas deur die virtualiteit wat daardeur geskep word. Die lig- installasies deur James Turrell visualiseer illusionêre virtuele ruimtes waar die toeskouer ’n lig deurdrenkte ruimte betree en die werklike grense van die vertrek vervaag. In my installasie Immersie, word ’n virtuele ruimte betree wat ’n koppelvlak word tussen bo/onder en binne/buite. Bande wat die mens beperk en vasvang word agtergelaat wanneer die virtuele ruimte betree word en die mens skep deur tegnologiese media nuwe ruimtes waar bevryding ervaar word.af
dc.language.isoafaf
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectDissertation (M.A. (Fine Arts))--University of the Free State, 2005en_ZA
dc.subjectArt and societyen_ZA
dc.subjectArt and technologyen_ZA
dc.subjectSurveillanceen_ZA
dc.subjectConnectivityen_ZA
dc.subjectMobilityen_ZA
dc.subjectNetworksen_ZA
dc.subjectTechnological expansionen_ZA
dc.subjectTelecommunicationen_ZA
dc.subjectVirtualityen_ZA
dc.subjectExtensivenessen_ZA
dc.subjectVisualizationen_ZA
dc.subjectEmbodimenten_ZA
dc.subjectOmnipresenceen_ZA
dc.titleArtistieke visualisering van konnektiwiteitaf
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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