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Thesis Info
- LABS ID
- 00067
- Thesis Title
- Bioglyphs: generating images in collaboration with nature's events
- Author
- Daro Montag
- E-mail
- daro AT falmouth.ac.uk
- 2nd Author
- 3rd Author
- Degree
- PhD
- Year
- 2000
- Number of Pages
- 195
- University
- University of Hertfordshire, UK
- Thesis Supervisor
- Dr Michael Biggs
- Supervisor e-mail
- Other Supervisor(s)
- Language(s) of Thesis
- English
- Department / Discipline
- Art
- Copyright Ownership
- Daro Montag
- Languages Familiar to Author
- English
- URL where full thesis can be found
- Keywords
- Art, Ecology, Reconstructive postmodern, indexical, process, event
- Abstract: 200-500 words
- Reconstructive postmodernism proposes an alternative to a mechanistic interpretation of the world. The mechanistic model, which assumes that the world consists of discrete objects, has led to a ‘disenchanted’ interpretation of nature. In contrast to this objectification, the reconstructive model interprets nature as being primarily constituted of interacting events. Since the 1960s ecological artists have developed strategies of representing this reenchanted view of nature through its phenomena or events. A number of these artists have sought to use photography to represent this view. However when such works are presented in photographic form I argue that the use of a camera tends to objectify the event. In order to avoid the objectifying tendency of photography a number of contemporary artists have developed photographic methods of image-making which dispense with the camera. Bioglyphs, the creative practice of this current research, have been linked to the work of this group because of a shared approach to the use of photographic materials. However, if we assess the role of icon and index within photography, we can see that this approach may not always be sympathetic to the project of these artists. Three key outcomes are identified. The first is the clarification of the concepts icon and index as applied to photography. Photographic images are shown to be primarily iconic rather than indexical. The thesis argues that iconic images tend to objectify the world whereas indexical images tend to represent the world as being constituted by events. Iconic photographic images therefore contribute to a disenchanted view of the world. The second is that this reassessment of icon and index highlights a clear distinction between bioglyphs and most of the other camera-less images with which they are associated. In contrast to the iconicity of camera-less photographs bioglyphs are shown to be radically indexical. The third outcome is to show that, methodologically and interpretationally, bioglyphs have more affiliation with other artworks that are primarily indexical. This realignment of bioglyphs with other indexical art proposes a new category of art practice. This new category of indexical art, which foregrounds nature’s events, suggests a method of art practice that is more supportive of reconstructive postmodern ideas.