Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.639727
Title: Towards a new way of thinking in painting through the application of analogous notions of listening and analysis in acousmatic music
Author: Bourbon, Amy Victoria
ISNI:       0000 0004 5365 1368
Awarding Body: Birmingham City University
Current Institution: Birmingham City University
Date of Award: 2014
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Abstract:
This thesis offers an interrogation of specific terms within Acousmatic Music leading to the redefinition and application of analogous notions within listening, viewing, creation and analysis. These analogies between disciplines refer to comparable ideas within creative practices, transferring and adapting terminologies from one discipline to reinforce the creation and analysis of my own painting practice. As such the ideas are similar, comparable or equivalent but the terms introduced from Acousmatic Music theory are placed in the altered painting context. The analogies involve production similarities including comparable application of source collection, gesture making and manipulation of materials in both disciplines. Further analogies include corresponding use of levels of reduction within creative practices and parallels between listening and viewing. The central modes of thinking invoked are adapted from Acousmatic Music, namely Modes of Listening, Spectromorphology and Surrogacy. These core ideas will be interrogated before adaptation and analysis within my painting practice. My central contribution is identified through my own painting practice, with the newly applied theory proving to be useful throughout the advancement of my practical research. The potential for a wider contribution to knowledge will be pursued as a result of the research within this thesis. My focal methodology involves the employment of terminology transferred from its original context. The research developed in stages: identifying and interrogating the relevant terminology, adapting the terminology for transference into my painting practice, testing the newly applied terminologies through my practice and reflecting upon the practical developments in turn informing the written thesis and reinforcing my research project. The newly developing theoretical knowledge informed my evolving practical work, which in turn fed into the understanding of the theory and the contribution to knowledge. This methodology was at the forefront throughout my research, constantly developing my knowledge and advancing my practice. My practice involves painting that incorporates source identification and remoteness, focussing on the identification of a process of reduction within the work. This investigation informs the creation of a redefined understanding of painting with an emphasis on applied energy, gesture and movement. Alongside this part of the thesis and integral to my contribution to knowledge is a body of artwork that stands alone as a self-contained exhibition, but that also responds to my theoretical developments concerning the creation and viewing of paintings. There are three points of focus within my thesis with regard to my painting practice, namely the development of Modes of Viewing, Spectromorphological Thinking and Surrogate Orders. The collated research is employed within a case study of my painting ‘Renouvellement’, demonstrating the integration of my newly defined modes of thinking within the critique of my own practice. The study tested and evaluated the effectiveness of my research showing the practical application of the terminology and reinforcing my contribution to knowledge. A more thorough consideration of my creative methodology is provided through a text included in Appendix H entitled ‘Practice Methodology’. This text outlines the development of my practical work from initial planning stages through to completion. I have set in place an organised methodology for painting discussion and for practical application within the painting process, fulfilling my intention to develop a concise structural foundation for the development of painting knowledge both for the artist and the audience.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.639727  DOI: Not available
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