• Abstract and Figures
• Public Full-text

Haptic tactility: how design processes can remediate identities past and present Marcia Swaby A thesis in fulfilment of the requirements for the degree of Master of Philosophy School of Art and Design Faculty of Art and Design January 2018 I PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet I Surname or Family name: Swaby First name: Marcia Other name/s: Annette I Abbreviation for degree as given in the University calendar: MPhil School:.School of Art and Design Faculty: Faculty of Art and Design Title: Haptic tactility: how design processes can remediate I identities past and present Abstract 350 words maximum: (PLEASE TYPE) There is little known of the prehistory of the Caribbean and the Taino people- the firstinhabitants of the region. From the island of Jamaica, significantTaino artefacts are currently held in storage in the British Museum. This project explores how one 'brings to life' their identities, and how this may engage with contemporary jewellery and object making practices. The project has wider implications forminority communities- particularly for those subjugated by western imperialism from the end of the fifteenth Century to the late nineteenth century and, arguably, formany up to and including the various independence movements fo11owingWorld War Two. This period has contributed to the many factors that create an invisibility of black artists and their contributions to a wider art history. In addressing the significant problem of 'invisibility', the aim of this thesis is to investigate how contemporary jewellery and object making processes, methods and outcomes can act as catalysts forre-integrating fragmented and dispersed relationships. In addition, the thesis aims to examine and challenge the invisibility referredto above, by refusing historically entrenched hegemony and Euro-centricity, while foregroundingthe early history of the Caribbean and its artefacts and what relationship they may have to contemporary practice.· Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to.archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed.....................................................................Date.................................................... ii COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.’ Signed.....................................................................Date.................................................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed.....................................................................Date.................................................... iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ....................................................................................... V TABLE OF FIGURES ............................................................................................. VI CHAPTER 1 - INTRODUCTION .............................................................................. 1 1.1 The Problem of Invisibility ................................................................................ 1 1.2 Key Related Artists ............................................................................................ 3 1.3 The Method ....................................................................................................... 9 1.4 The Outcome ................................................................................................... 14 CHAPTER 2 - CONTEXTUAL REVIEW .............................................................. 15 2.1 Taino Culture .................................................................................................. 15 2.1.1 Taino relationship with haptic materials ....................................................... 17 2.1.2 Taino Historical Background ....................................................................... 22 2.1.3 Timelines ..................................................................................................... 24 2.1.4 Revival of Taino Culture.............................................................................. 24 2.2 Haptic Visuality ............................................................................................... 31 2.3 Heidegger on Technology ................................................................................ 33 2.4 The View from the Museum ............................................................................ 38 CHAPTER 3 - THE TAINO ENCOUNTER ........................................................... 41 3.1 Introduction to Process .................................................................................... 41 3.2 The Artefacts ................................................................................................... 43 3.3 Encountering the Artefacts .............................................................................. 44 3.3.1 First British Museum Visit (19 May 2015) ................................................... 47 3.3.2 My Second Visit (27 May 2015) .................................................................. 54 3.4 Reflection on Encountering the Taino Objects ................................................. 60 CHAPTER 4 - THE PRACTICE ............................................................................. 61 4.1 Visible Meditations – Introduction to the Practice ............................................ 61 4.2 Communicating with Dots ............................................................................... 62 4.3 Wax Making Master ........................................................................................ 65 4.4 Copper Celestial Bowl ..................................................................................... 66 4.5 Metal Faces, Clay Faces .................................................................................. 70 4.6 Clay Works ..................................................................................................... 71 4.7 The Difference Between Ceramic and Metal .................................................... 73 4.8 Reflections on Made Objects ........................................................................... 75 CHAPTER 5 - CONCLUSION................................................................................. 76 5.1 The Value of Connecting with History ............................................................. 76 5.2 Possible Next Steps ......................................................................................... 77 BIBLIOGRAPHY ..................................................................................................... 79 APPENDICES ..........................................................................................................

Load more

  101

Copy Link