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Observation, distillation, aggregation : Framing aesthetic encounters in the atmospheric millieu through expanded art practice

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Krouzecky, CE (2013) Observation, distillation, aggregation : Framing aesthetic encounters in the atmospheric millieu through expanded art practice. Research Master thesis, University of Tasmania.

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Abstract

Drawing from a range of light-based and atmospheric phenomena observed
in everyday situations, this research project explores the threshold across
which the ordinary and the extraordinary intersect. It examines art’s role
in framing these alignments and its potential to help us understand what
constitutes aesthetic experience. Acknowledging the highly specific,
ephemeral and often ineffable character of such encounters, the research
has been conducted as experimental fieldwork.
The setting for this fieldwork is defined by that which is familiar, provisional
and durational by nature – the immediate everyday environment. These
qualities also define the subject matter (which include the rainbow, dust,
and birds in flight) and methodological tools (such as the chair, the window,
and the camera obscura). The practical research is centred on familiar
manifestations of the light and air. Diverse media have been employed,
including series of paintings and drawings, voice recordings and video
documentation of chance atmospheric encounters, gallery-based sitespecific
installation and performance.
The project draws together a field of artists and theoreticians who reject
representational models in favour of directly framing experience. Central
to the research has been the philosophical thought of Gilles Deleuze and
Félix Guattari, and its interpretation as an approach to art practice by Simon
O’Sullivan. Other writers informing the project include Alva Nöe, Brian
Massumi, Richard Holmes, Jörg Heiser, and Anna Dezeuze. The contextual
field is further defined with visual examples that apprehend the light and/or
air, discussed through selected works by John Ruskin, Gabriel Orozco,
Spencer Finch, Ariane Epars, Francis Alÿs, Robert Barry and Olafur
Eliasson, as well as the methods of Romantic scientist Humphry Davy.
The research has implemented open-ended working systems that allow an
accumulation of responses over time. With an intention to communicate
personal aesthetic encounters, parameters were established through which
I could respond, intervene, and often push against. Expanding the research
to consider how others’ experiences might be included, frameworks for
participation were introduced. These methodological systems or ‘armatures’ were themselves investigated for their potential to both contain and
stimulate aesthetic awareness.
The research unfolded as a series of related encounters. As such, the project
seeks to extend the creative ‘moment of meeting’ into the presentation of
these processes. The submission does not bring together a series of resolute
works but instead assembles multiple responses to phenomena at different
stages of inquiry, with the intention of setting in motion complex reencounters,
where viewers engage in the here-and-now collectively.
Expanding on existing models of art practice that resist definition and
permanence, the project contributes a new experiential body of work.
The research does not arrive at objective knowledge but instead a place
of subjective awareness, proposing this place of un-knowing might be
conclusive in itself.

Item Type: Thesis (Research Master)
Keywords: expanded art practice, atmospheric phenomena, fieldwork
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Date Deposited: 17 Feb 2014 05:08
Last Modified: 15 Sep 2017 01:06
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