The Essay as Art Form

Beginning with Montaigne’s essayistic dictum Que sais je? — ‘What do I know?’ — this PhD thesis examines the literary history, formal qualities, and theoretical underpinnings of the personal essay to both investigate and to practice its relevance as an approach to writing about art. The thesis proposes the essay as intrinsically linked to research, critical writing, and art making; it is a literary method that embodies the real experience of attempting to answer a question. The essay is a processual and reflexive mode of enquiry: a form that conveys not just the essayist’s thought, but the sense and texture of its movement as it attempts to understand its object. It is often invoked, across disciplines, in reference to the possibility of a more liberal sense of creative practice — one that conceptually and stylistically privileges collage, fragmentation, hybridity, chance, open-endedness, and the meander. Within this question of the essay as form, the thesis contains two distinct and parallel strands of analysis — subject matter and essay writing as research. At the core of the study lie two close-readings: Ana Mendieta’s Labyrinth of Venus (1982) and Le Couvent de la Tourette (1959) by Le Corbusier and Iannis Xenakis. In each case, the writing draws, in its tone and texture, on a range of literary influences, weaving together different voices, discussions, and approaches to enquiry. The practice of essay writing is presented alongside, part and party to, research: a method of interrogation that embraces risk and uncertainty, and simultaneously enacts its own findings as a critical-creative mode of study-via-form, and form-via-study. The thesis is presented as a book-length essay, in which the art in question is equal and intimately connected to the writing used to address it. Method and form are designed to respond to the oft-cited challenge of the essay as fundamentally unmethodical, ranging, and diverse. Research, critical study, writerly description, and storytelling are combined to elucidate and expose each other based not on surface continuity, but on a deep interconnection among ideas that, through language, cohere and become related — imbued with an affinity for one another. The consummate product is the argument, as it works across genres, disciplines, descriptive and critical models, to challenge the narrative structure and language used within contemporary writing about art.

Evaluating the efficiency of community-based HIV testing and counseling strategies in sub-Saharan Africa

Thesis (Ph.D.)--University of Washington, 2016-08

Integrated science and art education for creative climate change communication

An interdisciplinary field trip to a remote marine lab joined graduate students from fine arts and natural resource science departments to think creatively about the topic of climate change and science communication. We followed a learning cycle framework to allow the students to explore marine ecosystems and participate in scientific lectures, group discussions, and an artist-led project making abstract collages representing climate change processes. Students subsequently worked in small groups to develop environmental communication material for public visitors. We assessed the learning activity and the communication product using pre- and post-field trip participant surveys, focus group discussions, and critiques by art and communication experts of the products. Significant changes in knowledge about climate change occurred in program participants. Incorporating artists and the arts into this activity helped engage multiple senses and emphasized social interaction, as well as providing support to participants to think creatively. The production of art helped to encourage peer learning and normalize the different views among participants in communicating about climate change impacts. Students created effective communication products based on external reviews. Disciplinary differences in cultures, language, and standards challenged participating faculty, yet unanticipated outcomes such as potentially transformative learning and improved teacher evaluations resulted.

Development and application of sensitive genome-wide platforms to study the genetic and epigenetic (DNA methylation) makeup of gametes and early bovine embryos

Pour ce projet, nous avons développé une plateforme pour l’analyse pangénomique de la méthylation de l’ADN chez le bovin qui est compatible avec des échantillons de petites tailles. Cet outil est utilisé pour étudier les caractéristiques génétiques et épigénétiques (méthylation de l’ADN) des gamètes soumis aux procédures de procréation médicalement assisitée et des embryons précoces. Dans un premier temps, une plateforme d’analyse de biopuces spécifiques pour l’étude de la méthylation de l’ADN chez l’espèce bovine a été développée. Cette plateforme a ensuite été optimisée pour produire des analyses pangénomiques de méthylation de l’ADN fiables et reproductibles à partir d’échantillons de très petites tailles telle que les embryons précoces (≥ 10 ng d’ADN a été utilisé, ce qui correspond à 10 blastocystes en expansion). En outre, cet outil a permis d’évaluer de façon simultanée la méthylation de l’ADN et le transcriptome dans le même échantillon, fournissant ainsi une image complète des profils génétiques et épigénétiques (méthylation de l’ADN). Comme preuve de concept, les profils comparatifs de méthylation de l’ADN spermatique et de blastocystes bovins ont été analysés au niveau de l’ensemble du génome. Dans un deuxième temps, grâce à cette plateforme, les profils globaux de méthylation de l’ADN de taureaux jumeaux monozygotes (MZ) ont été analysés. Malgré qu’ils sont génétiquement identiques, les taureaux jumeaux MZ ont des descendants avec des performances différentes. Par conséquent, l’hypothèse que le profil de méthylation de l’ADN spermatique de taureaux jumeaux MZ est différent a été émise. Dans notre étude, des différences significatives entre les jumeaux MZ au niveau des caractéristiques de la semence ainsi que de la méthylation de l’ADN ont été trouvées, chacune pouvant contribuer à l’obtention de performances divergentes incongrues des filles engendrées par ces jumeaux MZ. Dans la troisième partie de ce projet, la même plateforme a été utilisée pour découvrir les impacts d’une supplémentation à forte concentration en donneur de méthyle universel sur les embryons précoces bovins. La supplémentation avec de grandes quantités d’acide folique (AF) a été largement utilisée et recommandée chez les femmes enceintes pour sa capacité bien établie à prévenir les malformations du tube neural chez les enfants. Cependant, plus récemment, plusieurs études ont rapporté des effets indésirables de l’AF utilisé à des concentrations élevées, non seulement sur le développement de l’embryon, mais aussi chez les adultes. Au niveau cellulaire, l’AF entre dans le métabolisme monocarboné, la seule voie de production de S-adénosyl méthionine (SAM), un donneur universel de groupements méthyles pour une grande variété de biomolécules, y compris l’ADN. Par conséquent, pour résoudre cette controverse, une forte dose de SAM a été utilisée pour traiter des embryons produits in vitro chez le bovin. Ceci a non seulement permis d’influencer le phénotype des embryons précoces, mais aussi d’avoir un impact sur le transcriptome et le méthylome de l’ADN. En somme, le projet en cours a permis le développement d’une plateforme d’analyse de la méthylation de l’ADN à l’échelle du génome entier chez le bovin à coût raisonnable et facile à utiliser qui est compatible avec les embryons précoces. De plus, puisque c’est l’une des premières études de ce genre en biologie de la reproduction bovine, ce projet avait trois objectifs qui a donné plusieurs nouveaux résultats, incluant les profils comparatifs de méthylation de l’ADN au niveau : i) blastocystes versus spermatozoïdes ; ii) semence de taureaux jumeaux MZ et iii) embryons précoces traités à de fortes doses de SAM versus des embryons précoces non traités.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

Synthesis and Characterization of Nanostructured Electro-active Materials

Thesis (Ph.D.)--University of Washington, 2016-08

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.