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Subjective response to place through convergent strategies in digital imaging and print processes

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Ruffels, TD (2002) Subjective response to place through convergent strategies in digital imaging and print processes. PhD thesis, University of Tasmania.

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Abstract

and Print processes.
The project develops visual forms for expressing poetic response to a familiar
urban environment. The method evolved uses the convergent potential of
digital imaging processes, enabling the development of composite 'metaphoric'
imagery, to convey a sense of place.
The exposure to habitat provides fleeting and highly subjective insights. Lenscaptured
imagery associated with photography and video provides a means to
register these incidental truths without breaking the union between mind and
place. An additional attraction in using a photographic means of recording
source material is the fidelity it brings to the process.
Digital imaging technology has now been in use by artists for a sufficient period
for the novelty to subside and to permit a mature appraisal of its potential. The
considerable flexibility afforded facilitates the accommodation of a diverse
range of content and media. The capacity for convergence opens the door to
the possibility of bringing together the emotive and expressive warmth of
painting and the documentary coolness of photography. The advantage of
encompassing 'warm' and 'cool' approaches is the space it allows for both the
subject and the subjective to interact.
As these ideas evolved during the studio investigation, it became apparent that
it was the immediacy afforded by the free application of oil paint, which
permits the artist to give spontaneous expression to their subjective vision.
Although there were to be time lags between the various steps in the
methodology for this project, spontaneity within each step was given a high
priority.
These aims have been pursued through digital imaging processes with
photography and painting, culminating in digital prints. Methodologies, exploring the convergent potential of digital technology for representing
subjective response to intimacies uncovered in nature, were developed using
both still and video cameras, commercial image manipulation software, a range
of media and three generations of digital printers.
Hobart and its environment was the chosen site for engagement because this
incorporates urban, parkland, hill country and waterfrontage. Also, it was
familiar territory and conveniently accessible. The methodology requires many
repeat visits to selected sites. The main parameters for the project include the
above environment and the still, two-dimensional image. The context, working
processes and image developments are discussed in the body of the exegesis.

Item Type: Thesis (PhD)
Keywords: Place (Philosophy) in art, Landscapes in art, Landscapes
Copyright Holders: The Author
Copyright Information:

Copyright 2002 the Author - The University is continuing to endeavour to trace the copyright
owner(s) and in the meantime this item has been reproduced here in good faith. We
would be pleased to hear from the copyright owner(s).

Additional Information:

Available for library use only and copying in accordance with the Copyright Act 1968, as amended. Thesis (PhD)--University of Tasmania, 2003. Includes bibliographical references. 1. Central argument -- 2. Exploring the essence of place -- 3. Related art context -- 4. How the project was pursued -- 5. In the studio - the work -- 6. Conclusion - significance and outcomes

Date Deposited: 03 Feb 2015 03:18
Last Modified: 11 Mar 2016 05:54
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