(I’m)permeable: How can a contemporary installation practice provide understandings of permeability through the embodiments of rituals?

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Authors
Lee, Chang Hwan
Author ORCID Profiles (clickable)
Degree
Master of Creative Practice
Grantor
Unitec Institute of Technology
Date
2022
Supervisors
Tan, Leon
Smith, Emma
Type
Masters Thesis
Ngā Upoko Tukutuku (Māori subject headings)
Keyword
permeability
rituals
installation art
autoethnobiographies
ANZSRC Field of Research Code (2020)
Citation
Lee, C. H. (2022). (I’m)permeable: How can a contemporary installation practice provide understandings of permeability through the embodiments of rituals? (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Creative Practice). Unitec Institute of Technology, New Zealand. https://hdl.handle.net/10652/5916
Abstract
Artists, thinkers, and everybody, vaguely works under the same conditions we agree upon as life. As does the matter that composes them and their worlds. (I’m)permeable—is a body of shorthand long-form written observations in the form of the exegesis. A provisional response to the research question: How can a contemporary installation practice provide understandings of permeability through the embodiments of rituals? Working definitions of the ritual, embodying, and permeability, and their manifestations throughout contemporary landscapes are taken to be movements of currency through the ever-present precedents. The field of influences regard the intangible and physical materials in the same manner, realising a potential for them in present spaces and embodiments. While being present is becoming more of a checkbox, performance review, or mindfulness app interaction. An alertness, awareness, or an understanding solicits a keenness to the fore. The putting together of a thing, or an -ism, a bunch of references and touchstones cobbled together over time. Systems and frameworks, like symbols and their meanings, are expected to have their duration and powers, like trendy ingredients and far-right imagery they are fickle and rapidly phase between things and their embodiments. The architecture of the cobbling of touchstones imagery is more modular and serviceable, now with design flair. Readily available and more than inspired, understandings are available to all forms of bodies like fast fashion, and the selection of “clean cars” these days—systems of references have “finite” and almost disposable qualities, having. subsequent effects on their embodiments and signifiers. The research identifies the temporalities of states and spaces in which these movements and points of stasis occur through an identifying of permeability. Machinations of culture, craft, and the climates in which they operate, and how they produce and service the identities that comprise their relations, are focussed through an individual perspective. Applying personal experiences through an autoethnographic model is a process within the processes of understanding and embodying rituals —through which I have produced this body of research and the subsequent bodies of work.
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