The digital and the hyperreal, with reference to artwork by Signe Pierce and Lauren King
- Authors: King, Lauren Pascal
- Date: 2020
- Subjects: Women in art , Femininity in art , Figurative art , Cyberspace -- Social aspects , Feminine beauty (Aesthetics) , Online identities , Photo-realism , Computer art , Virtual reality in art , Reality in art , Art, Modern -- 21st century , Feminist art criticism , Pierce, Signe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147939 , vital:38688
- Description: This MFA is a visual art critical investigation of digital representations, manipulations, and exploitations of feminine figures in cyberspace. The particular focus of this study is centred on the work of self-titled reality artist Signe Pierce, as well as my own practical body of work: The Digital Feminine. Case studies of Pierce’s practice include Big Sister (2016), Halo (2018), American Reflexxx (2013) and Reality Hack (2016). Through these case studies I examine the nature of identity formation online as underscored by notions of performativity as well as arguments for the use of feminine aesthetics as feminist critique, specifically through the use of the ‘Venus Flytrapping’ method. Jean Baudrillard famously theorised the hyperreal and the simulacra, claiming that human experience is a simulation of reality1. My MFA thesis addresses contemporary concerns relating to issues of reality, perception, the gaze, and identity in an increasingly virtual world. The 20th century witnessed massive changes in technology, and its subsequent commercialisation marked new territories for mass media, politics, entertainment, social life, and the art world. Avant-garde modern art movements shattered previously held standards of traditional artistic production, thus ideas surrounding the ‘art object’ and the role of artists themselves were fundamentally changed. In a postmodern world where nothing is sacred and life is experienced through the simulacra of the screen, the hyperreal takes over. I investigate how real-world socio-political issues, particularly those related to gender, transcend into the digital realm of cyberspace through discussions of Donna Harraway’s ‘cyborg feminism’ and Judith Butler’s ideas of gender performativity, as well as Erving Goffman’s ideas of everyday performativity. My final body of work for the professional art practice component of this MFA is realised in the form of an immersive installation that straddles the virtual and the real. Influenced by digital and hyperreal aesthetics (such as VapourWave), this installation also explores various expressions of femininity that an individual can express both online and in real life.
- Full Text:
- Date Issued: 2020
- Authors: King, Lauren Pascal
- Date: 2020
- Subjects: Women in art , Femininity in art , Figurative art , Cyberspace -- Social aspects , Feminine beauty (Aesthetics) , Online identities , Photo-realism , Computer art , Virtual reality in art , Reality in art , Art, Modern -- 21st century , Feminist art criticism , Pierce, Signe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147939 , vital:38688
- Description: This MFA is a visual art critical investigation of digital representations, manipulations, and exploitations of feminine figures in cyberspace. The particular focus of this study is centred on the work of self-titled reality artist Signe Pierce, as well as my own practical body of work: The Digital Feminine. Case studies of Pierce’s practice include Big Sister (2016), Halo (2018), American Reflexxx (2013) and Reality Hack (2016). Through these case studies I examine the nature of identity formation online as underscored by notions of performativity as well as arguments for the use of feminine aesthetics as feminist critique, specifically through the use of the ‘Venus Flytrapping’ method. Jean Baudrillard famously theorised the hyperreal and the simulacra, claiming that human experience is a simulation of reality1. My MFA thesis addresses contemporary concerns relating to issues of reality, perception, the gaze, and identity in an increasingly virtual world. The 20th century witnessed massive changes in technology, and its subsequent commercialisation marked new territories for mass media, politics, entertainment, social life, and the art world. Avant-garde modern art movements shattered previously held standards of traditional artistic production, thus ideas surrounding the ‘art object’ and the role of artists themselves were fundamentally changed. In a postmodern world where nothing is sacred and life is experienced through the simulacra of the screen, the hyperreal takes over. I investigate how real-world socio-political issues, particularly those related to gender, transcend into the digital realm of cyberspace through discussions of Donna Harraway’s ‘cyborg feminism’ and Judith Butler’s ideas of gender performativity, as well as Erving Goffman’s ideas of everyday performativity. My final body of work for the professional art practice component of this MFA is realised in the form of an immersive installation that straddles the virtual and the real. Influenced by digital and hyperreal aesthetics (such as VapourWave), this installation also explores various expressions of femininity that an individual can express both online and in real life.
- Full Text:
- Date Issued: 2020
Adaptive realities : effects of merging physical and virtual entities
- Authors: Fletcher, Lauren Jean
- Date: 2015
- Subjects: Virtual reality in art , Reality in art , Art, Modern -- 21st century , Art, Modern -- 21st century -- Themes, motives , Perception
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2509 , http://hdl.handle.net/10962/d1018557
- Description: In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
- Full Text:
- Date Issued: 2015
- Authors: Fletcher, Lauren Jean
- Date: 2015
- Subjects: Virtual reality in art , Reality in art , Art, Modern -- 21st century , Art, Modern -- 21st century -- Themes, motives , Perception
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2509 , http://hdl.handle.net/10962/d1018557
- Description: In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
- Full Text:
- Date Issued: 2015
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