Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532899
Title: Mapping the visible : vision and perception within lens-based practice
Author: Vossen Wood, Veronica
Awarding Body: University of East London
Current Institution: University of East London
Date of Award: 2008
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Abstract:
In this report I intend to investigate a relationship between visual consciousness, perceptual experience and the ocularity of lens-based media. The research is a trans-disciplinary study that draws on photo-media in visual art, the neurobiology of vision and the phenomenology of visual perception and consciousness. In chapter 2I give an autobiographical context, outlining my creative practice over the sixteen years previous to the course. I discuss the development of content, and changing methodology and processes as I move from material based work to lens-based practice. In Chapter 3- Mapping the Visual, I begin by giving the wider context to my research and practice, outlining the broader field of enquiry to which I have referred. In Section 1 of the chapter I discuss the core theoretical concerns and references that form the conceptual framework of my practice. These core concern within my conceptual framework and creative practice relate the processes of perception and the construction of visual consciousness to my practice in photo-based processes and media. I first considered the concern with visual perception and ambiguity within lens-based media': I refer to the context of neurobiology to understand the processes of visual perception. I highlight a concern with ambiguity as a perceptual and experiential attribute, and draw a parallel with its utilisation in photo-based imagery, drawing on references to other artists' work. `Stillness and Time' considers key concepts on perceptions and experience of stillness within the still photobased image. I consider concepts of `interval', `becoming' and `duration' in relation to the temporal construction of the work, and the spectator's embodied experience of time interval and duration within the time-based work. In Section 2 of Chapter 3I discuss the development of my creative practice in relation to the developing conceptual framework and to the influences of specific references. I discuss the influence of the work and practice of other artists, and how technological developments have changedt he methodology and content of my practice.I consider the processes of change, synthesis and transformation in my creative practice within specific series of work in relation to the developing conceptual framework. In Chapter 4 Professional Practice there is a synopsis of my Professional activity leading up to and during the Professional Doctorate Course.
Supervisor: Not available Sponsor: Not available
Qualification Name: Professional Doctorate (Fine Art) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.532899  DOI: Not available
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