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Proquest Dissertations INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi-om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UNO a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 FEMINIST AESTHETIC THEORY AS AN ALTERNATIVE AESTHETIC PARADIGM FOR COMPUTER-MEDIATED ART DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by J. Dawn Mercedes, B.F.A., M.A. The Ohio State University 1999 Dissertation Committee: Approved by Dr. Carol Gigliotti, Co-Advisor Dr. Terry Barrett, Co-Advisor o-Advisor Dr. Robert Arnold Dr. Patricia Cunningham Co-Advisor Department of Art Education UMI Number: 9931647 Copyright 1999 by Mercedes, J. Dawn All rights reserved. UMI Microform 9931647 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by J. Dawn Mercedes 1999 ABSTRACT As an in-depth philosophical inquiry into evolving aesthetic criteria for computer-mediated art, this study focuses on the question "how is feminist aesthetic theory applicable to computer-mediated art?" Specifically, 1 propose an alternative aesthetic paradigm for computer-mediated art that consists of five main principles based on feminist aesthetic doctrine. While currently there are no aesthetic "standards" for computer-mediated art and although we do not necessarily need explicit standards, we do need a framework for understanding this new media in order that we may enhance current practice. I contend that feminist aesthetic theory is the most appropriate philosophical and practical position to assume relative to art in general and to computer-mediated art in particular. Indeed, this dissertation investigates how feminist aesthetic theorizing would be beneficial to new, technology-based art forms and examines why the implementation of an alternative aesthetic paradigm, one with its basis in feminist theory, is significant for the fields of computer-mediated art, art and art education. I begin with a thorough examination of feminist aesthetic theory's key concepts, beliefs, and ideas. I then make a case for and present an alternative aesthetic paradigm for computer-mediated art based on feminist aesthetic tenets. Moreover, I clearly define the important principles of the alternative aesthetic paradigm that I recommend. Later on, I concentrate on artmaking and discuss how my alternative aesthetic theory would be applicable to actual works of computer-mediated art. In other words, in this study I u implement the aesthetic paradigm I have developed and explore the ways in which it applies to specific works of computer-mediated art. Additionally, I discuss the implications for art education and offer recommendations for further research. u i For Carol, advisor, mentor, and very dear friend; the world is a much better place with you in it IV ACKNOWLEDGMENTS I am deeply indebted to my advisor, Carol Gigliotti, for her infinite talent, patience, wisdom, and guidance throughout this entire process. Many thanks also to the members of my dissertation committee. Bob Arnold, Terry Barrett, and Trish Cunningham for their support and encouragement. In addition, I wish to acknowledge Louis Lankford for his helpful comments and invaluable suggestions along the way. Warmest thanks to my partner, Lauren Vitek, for her love, trust, and understanding. A special thank you to Chris, Karen, Cindy, and "the group" whose many unique gifts are truly invaluable. To GT who is always with me. And finally, I thank my colleagues in the Department of Art Education and at The Advanced Computing Center for the Arts and Design for their precious friendship. It is a blessing and a privilege to know you all. VITA October 4, 1959 ............................................... Bom - Indianapolis, IN 1990 ...................................................................B.F.A. Photography/Fikn/Electronic Media, University of ELLLnois at Chicago 1996 ...................................................................M.A. A rt Education, The Ohio State University & The Advanced Computing Center for the Arts & Design 1994 — 1998 ...................................................... Graduate Teaching Associate, Department of Art Education, The Ohio State University 1998 — present................................................. Graduate Administrative Assistant The Women's Place, The Ohio State University PUBLICATIONS Research Publication 1. Mercedes, D. (1996). Digital ethics: Computers, photographs, and the manipulation of pixels. Art Education. 49 (3), 44-50. 2. Mercedes, J. D. (1998). The application of feminist aesthetic theory to computer-mediated art. Studies in Art Education. 40 (1), 454-463. FIELDS OF STUDY Major Field: Art Education VI TABLE OF CONTENTS A bstract ....................................................................................................................................... ii D edication....................................................................................................................................iv Acknowledgments .......................................................................................................................v V ita ............................................................................................................................................... vi Chapters: 1. Introduction.......................................................................................................................1 1.1 Aesthetics and technology................................................................................ 2 1.2 Reframing questions...........................................................................................6 2. A feminist methodology................................................................................................. 9 2.1 Feminist values and principles...................................................................... 10 2.1.1 Approaches, assumptions, and goals............................................ 15 2.1.1.1 A ssum ptions....................................................................... 15 2.1.1.2 G o als.....................................................................................17 2.1.2 Research design, data collection, & data analysis ........................19 2.1.3 Conclusion............................................................................................23 3. Feminism, art, and aesthetic tradition ....................................................................... 24 3.1 Gender roles, "women's nature," and art.................................................... 25 3.1.1 A way of seeing...................................................................................28 3.2 Feminism and aesthetic tradition ..................................................................31 3.2.1 Cartesian dualisms and the power of language........................... 32 vii 3.2.2 Tradition in aesthetics......................................................................34 3.2.3 The beautiful and the sublime ........................................................ 36 4. Feminist aesthetic theory ............................................................................................. 40 4.1 Feminist aesthetics and "women's art" ..................................................... 40 4.2 What constitutes feminist aesthetics?........................................................43 5. Computer-mediated art: Making a case for feminist aesthetic theory ................ 51 5.1 Com puter-m ediated art and aesthetic tradition ........................................51 5.2 Breaking boundaries—Toward an alternative theory of art....................... 56 5.2.1 The role of experience in feminist aesthetic theory ..................... 59 5.3 An alternative aesthetic paradigm for computer-mediated art ..............63 5.4 Recommendations for further research ....................................................... 66 6. The application of feminist aesthetic theory to computer-mediated art............ 68 6.1 Lynn Flershm an...............................................................................................
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