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Paradox in the Cathexis of Longing

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Paradox in the Cathexis of Longing Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2018 The photographic other: Paradox in the cathexis of longing Alex Cilla Bradley Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Photography Commons Recommended Citation Bradley, A. C. (2018). The photographic other: Paradox in the cathexis of longing. https://ro.ecu.edu.au/ theses/2054 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2054 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. The photographic other: Paradox in the cathexis of longing This thesis is presented for the degree of Doctor of Philosophy Alex Cilla Bradley Edith Cowan University School of Arts & Humanities 2018 !ii ABSTRACT A photographic and written examination of paradox in relation to the photograph This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolved contradictions in terms of photography’s often powerful affect and meaning. Situated within the paradigm of qualitative research, the research employs the theoretical perspective of post-structuralist psychoanalysis, combined with the methodology of critical analysis, as an approach appropriate to illuminating latencies within representation. Photographs by Jeff Wall, Pat Brassington, Patricia Piccinini, Roger Ballen, and Bill Henson, are critically analysed as information- rich case studies of the use of photographic paradox. The creative component of the research is presented in the form of a web site consisting of photographs and animations of photographs, that collide aesthetic constructions of the body as an objective, external, object of an other’s vision with a more sensory, and personal, experience of the body as the site of inner subjectivity. As such, the camera lens functions as a metaphor for each of these constructions, while body parts and fluids vie with objects of memory and optical imaging, repeating and transforming existing objects into new aesthetic forms. As with the case studies of photographic paradox, this photographic project makes explicit the workings of paradox, revealing repeated and unresolved contradictions that serve to create contemplative and often powerfully affective experiences of viewing. !iii DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; or iii. contain any defamatory material; 5 February 2018 !iv ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my Principal Supervisor, Professor Lelia Green, whose approach led me to understand that my creative process was not only relevant to my artistic practice, but also to academic writing, and whose detailed, insightful, feedback assuredly developed, and deepened, my writing skills; all serving to completely enrich my experience of developing this thesis. I could not imagine a better supervisor, or a better model of academic professionalism, and I am deeply grateful for her tremendous encouragement and support. I am also deeply grateful to my Associate Supervisor, Ms Tania Visosevic, whose intelligence, creativity, and experimentation, in regard to her own creative practice, has been a constant source of inspiration. I am honoured to have been the beneficiary of her mentoring, encouragement, and of her incredible practical support when I was severely ill, including frequent delivery of library books and blueberry-cheesecakes. I would also like to thank: Dr Thomas Becker, Dr Paul Thomas, Dr Perdita Phillips, and Mr Kevin Raxworthy, from the Nanochemistry Research Institute and Collaborative Research in Art, Science and Humanity at Curtin University of Technology for the incredible opportunity to use an Atomic Force Microscope and for training in its use and nano-image processing; the University of Western Australia for the opportunity to partake in an IAS Postgraduate Masterclass on photo-imaging; Dr Kevin Hayward for his enthusiasm and willingness to support proposed 3D models and access to 3D printing equipment; Linda and Kelly Jaunzems for administrative assistance and a seemingly inexhaustible willingness to help; the staff of the Edith Cowan University Graduate School and Library for producing genuinely helpful and informative training and resources for post- graduate students; and UWA’s SymbioticA for ongoing intellectual and artistic inspiration. I am also grateful to have been a recipient of an Australian Post Graduate Award and an Edith Cowan University Post Graduate Excellence Award, without which, this research would not have been possible. I would also like to express my thanks and appreciation to; Jemma Tyley-Miller, Max McKenzie, Matias Kewe, Simone Eyssens, Michelle Outram, Adrian Bedford, Lauren Clarke, Romana Stransky, and Kate Booker, for beta-testing my website and offering invaluable feedback; Max McKenzie for his help outwitting devious !v Word for Mac technical issues; Simone Eyssens for checking my layout and formatting; Jasmina Brankovich and Claire McCormick for their critical and generous help in proofreading my thesis and references and, along with their partners Alan Fyfe and Josh Credaro, for being such incredible disability allies and friends; my photographic models, unnamed as requested, for their willingness, generosity, and their boundless enthusiasm for partaking in creative projects; and David Haworth Kershaw for the always surprising gifts of our intellectual cross- pollination. I am also deeply grateful to: Nina, Kate, Simone, Romana, Jen, and Penelope – thank you for your friendship, your phenomenal empathy, and your delightful company; and to all my dear friends, including online, who have been a wonderful cheer-squad, particularly since I fell ill – I passed the finish-line thanks to your remarkable support and community. Lastly, Jason Paul Simons, I wish you were here to read this, but in lieu of that, of you, this thesis is dedicated in your honour. !vi TABLE OF CONTENTS Abstract .......................................................................................ii Declaration................................................................................. iii Acknowledgements ....................................................................iv Table of Contents .......................................................................vi Research Outputs ......................................................................ix Conference Presentations Exhibitions INTRODUCTION, LITERATURE REVIEW & METHODS Introduction .................................................................................1 Purpose Literature Review .......................................................................5 Abjection & Paradox in Art Photography & Paradox Conclusion Research Questions ...................................................................15 Theoretical perspective .............................................................16 Criticisms & Relevance ............................................................20 Materials & Methods ...............................................................21 Design Procedure Creative Practice Methods Data Analysis Limitations !vii Significance ...............................................................................25 CHAPTER 1: THE VISUAL & THE UNCONSCIOUS The Dream ................................................................................27 The Mirror .................................................................................32 The Eye .....................................................................................40 The Word ...................................................................................43 Two Levels of Paradox .............................................................45
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