Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549699
Title: Immersive intensities and trans-disciplinary adventure : extended voice, tactility and poly-artistic practice from the living to the dead
Author: Bonenfant, Yvon Rud Barton
Awarding Body: University of Winchester
Current Institution: University of Winchester
Date of Award: 2010
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Abstract:
This submission for Doctor of Philosophy by Work in the Public Domain brings together a wide variety of creative outputs which sit alongside a number of peer-reviewed, published articles and writings and a published artists" book. These linked with one another via an accompanying text. Together, these elements form and chart a cohesive research-through-creative-practice trajectory. The contents are framed by an argument that the contents of the submission must all be treated as creative practice outputs. This argument is situated within affinities among Arlander"s (2008) and Kershaw"s (2009) appellation "artistic research", as related to Miereanu"s (2009) argument that artworks themselves contain specific knowledge that it is our job to engage with and decode; this suggests these know ledges are what art-making in academia has to offer the other disciplines. The body of the submission elucidates these knowledges by positing the works as varied, experimental manifestations of the notion of bioemotional activism in performance. The works test the tenets of bioemotional activism - conjugating principles from Gerda Boyesen"s biodynamic psychology, extended voice practice, and compositlonal/devlsing practices for sound, body and image - within a framework that extends them across media. It also extends them into dialogues with other artists and disciplines, including painting, video art, dance/choreography, street art, costume and other areas. The overarching concern is to explore the application of a haptic, bioemotional strategy for working with extended voice in performance composition and realisation to experiments with the vocally haptic, confrontations with engagements among voice visual art and tactile art, and confrontations with digital and other archiving technologies. In so doing, the works embody the results of how this approach to extended, extra-normal voice, when voyaging across what Mieranu calls "poly-artistic" (2009) territories, confronts technologies of mediation and in so doing, migrates from the realm of the lived body to dialogue with the absent and the gone; indeed, the "dead". The works included here thus elucidate the results of the experiments and demand to be read as forms of embodied theory.
Supervisor: Boyce-Tillman, June Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.549699  DOI: Not available
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