Conventions of pictorialism (iconic imagery, perceived space and the picture plane) deconstructed and reconstructed as alternative models of perception, embodied in paintings and drawings

This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.

Women's silence : in the space of words and images

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Liberating from literalness : making space for meaningful forms of abstraction

There is a need for some alternative approaches to the way that undergraduate teacher education programs have traditionally been delivered. Our warrant for this assertion is derived, in the first instance, from the work of Aronowitz and Giroux who have argued that there are many different signs of a crisis of cognition within all levels of education. Twenty years later the conditions that they described seem even more entrenched. This paper argues for a fresh inquiry into the deeper logics of learning and teaching, by drawing primarily on the work of James, Dewey, Kierkegaard, Britzman and Mackay. There is also a brief inclusion of anecdotes from some initial applications of these theories into our own practice.

An Arakawa and Gins experimental teaching space - a feasibility study

Many researchers and practitioners currently teaching at Universities use the works of Arakawa and Gins within their courses and some go as far as structuring entire courses on their work. This indcates the value of Arakawa and Gins’ insight which offers many opportunities to intensify the relationship of theory to practice, disciplinary inquiry to knowledge and art to life. Having spent time in each of Arakawa and Gins’ built works, I have experienced and evaluated the benefits of constructing relationships among bodily movement, tactically posed surrounds and the discursive sequences that best constrain them. Based on my experience, I advocate going beyond the study of finished products towards the practice of coordinating history, community, person and body that occurs when inventing and assembling architectural procedures. This paper will outline my efforts over the last eighteen months to produce a feasibility study for building an experimental teaching space at my University (Griffith University, Australia). The experimental teaching space that I am proposing would commission and enact the architectural procedures of Arakawa and Gins in a constantly changing built (in-the-process-of-being-built) environment, where the guided construction of the teaching space is the curriculum. This approach would offer an alternative to the design trend in teaching and learning environments toward technologically driven smart spaces. An experimental space based on “perceptual learning”, “sited awareness” and “daily reserach” would address the disconnection between current research from the life sciences, developmental psychology, rehabilitation science and blended learning—and the enrivonments in which learning occurs. My discussions will address two issues: the link between pedagogical concerns of advanced study with the production of commual space (organism-person-surrounds) and how these goals can be implemented within the institutional planning processes while adhering to new federal funding guidelines, new performance indicatiors, and public tender guidelines. Throughout my paper, I argue that an experimental teaching space would accentuate multidisciplinarity and offer budding teachers, life scientists, sociologists, historians, and artists the enactive tools by which to affect change and provide grounded cultural leadership.

The double sensor-a non-invasive device to continuously monitor core temperature in humans on earth and in space

The objective of our study was to establish whether rectal temperature recordings in humans could be replaced by a non-invasive skin temperature sensor combined with a heat flux sensor (Double Sensor) located at the forehead to monitor core body temperature changes due to circadian rhythms. Rectal and Double Sensor data were collected continuously for 24h in seven men undertaking strict head-down tilt bed-rest. Individual differences between the two techniques varied between -0.72 and +0.55 degrees C. Nonetheless, when temperature data were approximated by cosinor analysis in order to compare circadian rhythm profiles between methods, it was observed that there were no significant differences between mesor, amplitude, and acrophase (P>0.310). It was therefore concluded that the Double Sensor technology is presently not accurate enough for performing single individual core body temperature measurements under resting conditions at normal ambient room temperature. Yet, it seems to be a valid, non-invasive alternative for monitoring circadian rhythm profiles.