record

Thesis Info

LABS ID
00379
Thesis Title
Modularity and Space Juxtaposition: Beyond Site-specificity in Art
Author
On Ni Wan
2nd Author
3rd Author
Degree
Doctor of Philosophy (Digital Arts and Experimental Media)
Year
2012
Number of Pages
69
University
University of Washington
Thesis Supervisor
James Coupe
Supervisor e-mail
Other Supervisor(s)
Language(s) of Thesis
English
Department / Discipline
Digital Arts and Experimental Media
Copyright Ownership
On Ni Wan
Languages Familiar to Author
English, Chinese
URL where full thesis can be found
Keywords
Locative arts, networks of sites, modular structure, site-specific art, mobile technologies
Abstract: 200-500 words
“Modularity and Space Juxtaposition: Beyond Site-specificity in Art” suggests a modular structure that constructs and presents digital artworks related to spatial practice. This structure involves multi-layered space, interconnected modules and nomadic qualities. This dissertation discusses the discourses of site-specific art, cultural specificity and spatial practices in an artwork. The research analyzes characteristics of locative artwork, such as the unstable relationship between spatialized narrative and its site, the temporal shift in multilayered space, and the significance of this modularity in an artwork. Chapter 1 of this dissertation, Introduction reveals the importance of the origin of locative arts while presents a critical analysis of the art practice in the 60s. Chapter 2, The Bonds, describes artistic approach to everyday life and argues that the everyday-ness in art projects as the bond that connect different elements. In Chapter 3 Characteristics of Locative Art suggests a new art discipline, which originates from site-specific art and provides a theoretical framework. This analytical structure manifests in technological advancement of mobile technology, spatialized narrative and its modular structure. While in Chapter 4, The Art Projects, describes the dissertation's art projects both conceptually and technologically. It also explains the diagnostic art-making process and justifies its contribution to history of art, in relation to the domains covered in the previous chapters. The last chapter foresees how to extend the boundaries of the suggested framework and practice. It includes both possible technological developments and exploration in concepts discussed.