dc.contributor.advisor | Barrar, Wayne | |
dc.contributor.author | Miles, Kevin | |
dc.date.accessioned | 2022-01-26T19:40:38Z | |
dc.date.accessioned | 2022-04-01T00:02:23Z | |
dc.date.available | 2022-01-26T19:40:38Z | |
dc.date.available | 2022-04-01T00:02:23Z | |
dc.date.issued | 2022 | |
dc.identifier.uri | http://hdl.handle.net/10179/17008 | |
dc.description | Listed in 2022 Dean's List of Exceptional Theses | en |
dc.description | Copyright Declaration:
© Kevin Miles (2021)
I certify that I have made all reasonable efforts to secure copyright permissions for third-party content included in this thesis and have not knowingly added copyright content to my work without the owner's permission. | en |
dc.description.abstract | This creative practice research shifts the cameraless image from being an
imponderable visual media already associated with experiential ’essences’ of the
sea from land or shoreline perspectives; to an assertive document associated with
the tangible, processual and material notion of a seaborne place experience.
Using a methodology in which haptic qualities and processes extend the field of
cameraless photography as a post-phenomenological aesthetic, I engage the skinlike
sensitivity of photographic materials to the place phenomena and materiality
of seaborne sites and activities.
My research explores the aesthetic and ecstatic potential of cameraless
photography, not as a critique of ‘the everyday’ as a concern, but as a retromodernist
application of photography’s potential to defamiliarise the everyday.
This attention to the common quality of things, and thus to perception and
experience, grounds my study in critical phenomenological aesthetics. This
approach of defamiliarisation underpins a unique cameraless interrogation of
photography; to provoke and register a latent ecstasis harboured in ‘everyday’
seaborne experience. The research has consequently developed a methodology
to confirm whether cameraless photography can be redefined in these terms.
I revise a standard photographic form by presenting a unique set of socio-autobiographical,
critical circumstances and methods, enhanced by living aboard
a sailing vessel. By extending previous and current enquiries beyond their
traditional terrestrial limits, I expand contemporary understanding of how
cameraless photography can be defined as a post-phenomenological aesthetic. | en_US |
dc.publisher | Massey University | en_US |
dc.rights | The Author | en_US |
dc.subject | Photography, Abstract | en |
dc.subject | Photograms | en |
dc.subject | Sea in art | en |
dc.subject | Experiential research | en |
dc.subject | Dean's List of Exceptional Theses | en |
dc.subject | Dean's List of Exceptional Theses | en |
dc.title | Along the waterline : cameraless photography and the haptic register of nocturnal seaborne activity : an exegesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Creative College of Arts Toi Rauwhārangi, Massey University, Wellington, New Zealand | en_US |
dc.type | Thesis | en_US |
thesis.degree.discipline | Photography | en_US |
thesis.degree.grantor | Massey University | en_US |
thesis.degree.level | Doctoral | en_US |
thesis.degree.name | Doctor of Philosophy (PhD). | en_US |
dc.confidential | Embargo : No | en_US |
dc.subject.anzsrc | 360699 Visual arts not elsewhere classified | en |