Dora Lynnell Wilson (1883-1946) : a life in art

This thesis fills out Wilson's previously unresearched biography and argues for a reassessment of her standing as an important inter-war artist in Melbourne. The role of cultural gatekeepers in building and deconstructing artistic reputation is discussed, with examples of Wilson's art and an inaugural Catalogue of her known works.

An investigation into the origins of the British romantic tradition in art, its subsequent thematic legacy and its influence upon my own work

This study is comprised of a written exegesis and a folio of paintings and drawings. It explores the view that Romanicism in Britain survived its historical period and continues to influence contemporary British artists. Concentrates upon the prominence given by the Romantics to symbols, most commonly located in nature, which express spiritual impulses and ideas related to human destiny and feelings.

‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.

Evaluating virtuality in teams : a conceptual model

Major parts of teams deployed in contemporary organisations to some extent possess the attributes of virtuality. In this context, at high levels of virtuality, team requirements become quite different from those of face-to-face teams. Thus, evaluating virtuality in teams is a key prerequisite for assessing its requirements and defining the applicable managerial policies. Nonetheless, the concept of virtuality in teams has remained elusive within the extant literature. To address this, this paper deploys a qualitative meta-analysis to synthesise the relevant findings drawing upon an exhaustive review of the literature. The study conceptualises the phenomenon of virtuality through proposing a conceptual framework for evaluating the level of virtuality in teams. This paper contributes to the field by offering further insight into the concept of virtuality and directs future investigations by providing the ground for validating the presented conceptual model.

Factors affecting perceived level of virtuality in hybrid construction project teams (HCPTs) : a qualitative study

Purpose-Deploying hybrid construction project teams (HCPTs) in which the common pattern of interactions is a blend of face-to-face and virtual communications has been increasingly gaining momentum in the construction context. Evidence has demonstrated that effectiveness of HCPTs is affected by a perceived level of virtuality, i.e. the perception of distance and boundaries between members where teams shift towards working virtually as opposed to purely collocated teams. This study aims to provide an integrated model of the factors affecting perceived virtuality in HCPTs, to address the conspicuous absence of studies on virtuality in the construction context. Design/methodology/approach-An a priori list of factors extracted from existing literature on virtuality was subjected to the scrutiny of 17 experts with experiences of working in HCPTs through semi-structured interviews. Nvivo 10 was deployed for analysing the interview transcripts. Findings-The fndings outline the factors affecting virtuality in HCPTs and map the patterns of their associations as an integrated model. This leads to discovering a number of novel factors, which exert moderating impacts upon perceived virtuality in HCPTs. Practical implications-The fndings assist managers and practitioners dealing with any form of HCPTs (including building information modelling-based networks and distributed design teams) in identifying the variables manipulating the effectiveness of their teams. This enables them of designing more effective team arrangements. Originality/value-As the frst empirical study on virtuality in the construction context, this paper contributes to the sphere by conceptualising and contextualising the concept of virtuality in the construction industry. The study presents a new typology for the factors affecting perceived virtuality by categorising them into predictors and moderators.

Revelationary art of Joyce Lorraine Sullivan : an artist's experience of her inner dimensions, an inner journey of discovery

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Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Beyond the analogon; the "transfer of the referent" : the relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referen

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.