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Telling Places

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Telling Places TELLING PLACES A PHOTOGRAPHIC EXPLORATION VOLUME I Anneke de Klerk Dissertation presented for the Degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisors: Prof Stella Viljoen and Dr Ernst van der Wal December 2019 Stellenbosch University https://scholar.sun.ac.za Abstract understanding of being, as well as postphenomenological developments that entangle technologies in this being, I tested the This thesis and accompanying exhibition explore landscape practice against the theory and the theory against the practice, as photography practice within the politically fraught context of the recommended for a phenomenology of practice by Max Van Manen Southern African landscape and equally fraught traditions of (2014: 66-68). For each of the three places – Morgenster, Mochudi, landscape representation, especially in previously colonised and Kempton Park in Southern Africa – selected for their role in countries. Ideological and political readings of landscape different times in my personal history, I chose a different photographs tend to automatically position the artist and, by photographic system with which to work that resonated with my extension, the viewer, in a distanced, contemplative relation to the individual experience of that place and facilitated distinctive landscape (Malpas, 2011a: 6). This kind of relation skews power expressions of the experience. I then produced three bodies of relations towards the viewer; in part due to the nature of the photographic works. photographic medium with its monocular, static, linear perspective. This thesis seeks to question this determinist position and to explore Phase 2 is titled Telling-of. This section deals with the process of through reflective photographic practice an alternative frame within bringing the work produced in Phase 1 into the public discourse on which to engage with places photographically. land in South Africa as well as on South African landscape photography. In this telling-of, physical places are represented as With this study I propose that a postphenomenological approach to ‘landscape’, with all its ideological and art historical ‘baggage’. To making and thinking about landscape photography can bring about contextualise the work created for this thesis, I consider this a co-constitutive relation between photographer, camera, and ‘baggage’ and relate it to the ideas and understandings developed environment through which places continue to become. Landscape in Phase 1, as well as a brief history of landscape photography in photography as representation of place is conceptualised as South Africa. UNSETTLED: One Hundred Year Xhosa War of consisting of two stages: firstly, the act of photographing in the Resistance (1776-1876) by Nunn is discussed as emblematic of South physical environment (Being-in) and secondly, the process of African photographers’ engagement with land from a highly political, preparing and presenting the works (Telling-of). personally involved stance, but also as a form of practice-based For the first phase, Being-in, I created three photographic events research. Curatorial practice is then explored as a form of telling-by- that allowed me, as a practising photographer, to engage with the showing in the work of Nunn, as well as the curation of my exhibition complexity of place in terms of Casey’s (2001: 417) definition, which that forms part of this research: Telling Places: A Photographic draws socio-political histories, personal histories, and the physical Exploration. I explore how the curatorial process becomes a environment together into individual embodied experience. In the phenomenological act of shaping relations between display cyclic process of engaging in the practice of photographing place technologies and viewers that tells of, and is telling, of places, and and reflecting on this practice in relation to phenomenological thereby ‘emplaces’ the viewer. i Stellenbosch University https://scholar.sun.ac.za Declaration Acknowledgements By submitting this thesis electronically, I declare that the entirety of I wish to acknowledge, with gratitude, the contributions of the following parties to this study: The National Research Foundation the work contained herein is my own, original work, that I am the sole (NRF) of South Africa for its contribution to the funding of this study, author thereof (unless to the extent explicitly otherwise stated), and and Vaal University of Technology (VUT) for continued support. that I have not previously in its entirety or in part submitted it for On a more personal level I want to express my gratitude for my colleagues at VUT for all their help, advice, and discussions. obtaining any qualification. Thank you to Kobus Oliphant for assistance with the website; Jon Jon Hess for assistance with the documentation of the exhibition; Niël Jackson for building the timing device for the projectors that _________________________ formed part of the exhibition. A further big thank you also goes to Grammar Guardians for assistance with the language editing and Date 2019-01-25 layout of the thesis. I am especially grateful to my supervisors, Prof Stella Viljoen and Dr Ernst van der Wal, for their insight, expertise, and patience. It has been a great privilege and pleasure to work with them and to have had the opportunity to do this project. I also want to thank my husband and son for their understanding and loving support without which this project would not have been possible. Then, a final thanks to Andrew and Margaret Kgari, who gave me a place to stay in Mochudi, and to Susan Murray who hosted me in Morgenster. IN LOVING MEMORY OF NIEL JACKSON Copyright © 2019 Stellenbosch University (1979 - 2019) All rights reserved ii Stellenbosch University https://scholar.sun.ac.za TABLE OF CONTENTS: Volume 1 2.2.2 Being-in-the-world as dwelling ..................................... 32 PHENOMENOLOGY OF PLACE .................................................... 39 ABSTRACT .............................................................................................. I BEING-WITH: MOVING AWAY FROM ANTHROPOCENTRICISM ......... 41 DECLARATION ...................................................................................... II POSTPHENOMENOLOGIES ......................................................... 48 2.5.1 Human-technology-world relations .............................. 48 ACKNOWLEDGEMENTS ....................................................................... II 2.5.2 Postphenomenology 2 .................................................. 60 TABLE OF CONTENTS: VOLUME 1 ..................................................... III AFFECT THEORY ...................................................................... 61 LIST OF FIGURES .................................................................................. V (POST)PHENOMENOLOGY AND PRACTICE-BASED RESEARCH (PBR) . 67 HAPTER SUMMARY INTRODUCTION ............................................................................ 1 C ................................................................. 72 BACKGROUND AND MOTIVATION ................................................. 1 THREE PLACES ............................................................................ 74 THE PROBLEM OF LANDSCAPE ...................................................... 3 MORGENSTER MISSION ............................................................ 76 POSTPHENOMENOLOGY AS FRAME FOR LANDSCAPE PHOTOGRAPHY . 8 3.1.1 Vulnerability and dwelling ............................................ 77 RESEARCH QUESTIONS AND AIMS ............................................... 11 3.1.2 A manifold of appearances ........................................... 83 METHODOLOGY ....................................................................... 12 3.1.3 Naming and mapping ................................................... 88 STUDY DESIGN AND CHAPTER OVERVIEW ..................................... 15 3.1.4 The View and the ‘landscape way of looking’ ............... 93 PHASE 1: BEING-IN ............................................................................. 21 3.1.5 The camera ................................................................. 109 3.1.6 Photography as modern technology and/or art? ........ 113 PREFACE TO BEING IN ....................................................................... 22 3.1.6 Control, surrender, and impotence ............................ 119 THEORETICAL PERSPECTIVES ..................................................... 25 3.1.7 Conclusion .................................................................. 129 PHENOMENOLOGIES ................................................................. 25 3.2 MOCHUDI AND NIETVERDIEND ................................................ 132 THEORIES OF BEING .................................................................. 30 3.2.1 Both sides of the border ............................................. 134 2.2.1 Dasein, or the ‘placedness’ of being ............................. 30 iii Stellenbosch University https://scholar.sun.ac.za 3.2.2 The home of my childhood ......................................... 139 3.2.3 Being with this camera, with this place ....................... 149 3.2.4 Being-with people ....................................................... 156 3.2.5 Photographing as Marking and Claiming .................... 158 3.2.6 Non-coincidence of life and land ................................ 161 3.2.7 Conclusion ..................................................................
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