Punt, lyn en vlak : tekenpraktyk as demokratiese wyse van maak.

Gerber, Susan (2018-03)

Thesis (MA(VA))--Stellenbosch University, 2018.

Thesis

ENGLISH ABSTRACT: In this thesis I ask the question: How to move from a point of state to an expanded and changed field with new possibilities? In this study the standpoint is held that both design and art is transforming in nature. Not only does it serve an aesthetic purpose but also plays a vital role on a socio-political level. Such a viewpoint suggests that there exists an in-between space that allows for the overlapping of methods, researchfields and practices. As both researcher and investigator, this puts me in the expanded in-between space of drawing and design. The aim of this study is therefore not aimed at merely measuring and pointing out differences but rather to bridge, connect and activate the differences as well as the similarities that exist. This research starts with a social practice that uses walking as a means to bridge borders. I aim to show how walking and crochet work can be seen as an expansion of different forms of drawing. This chapter discusses the involvement of a small group of women from the informal settlement of Enkanini, outside of Stellenbosch, in a crochet-conversation. This study ties in with Chantal Mouff (2005,2007), advocating democratic antagonism, as well as John Dewey (1927) and Rosalind Deutsche’s (1992) philosophy on the public. In addition, Bruno Latour (2005), opens the conversation on boundary objects in his writing on ‘things’. The text maps the development from a diagrammatical way of thinking and connects it to Deleuze and Gauttari’s (1987) rhizome and assemblage theory to bring all the elements of my work together and into the right relationship. In line with their theory, I also develop the idea of bricolage as a complex network which constantly exists in a state of being. Jane Bennet’s writing in Vibrant Matter: a political ecology of things (2012), gives direction to the thoughts concerning the agency of materials. In closing I discuss my developing drawing practice, following Wassily Kandinsky's (1947) principle of point, line and plane. This principle is investigated as strands of complex delevelopments that bridges the divide between everyday practices. Drawing as a process and line that gives shape, establishes the discussion which leads to an investigation into drawing that moves into the spaces. I look at how it can lead to social relationships and create opportunity to share in community. I also investigate the possibility to activate drawing as an accessible meduim which can establish not only social connections between things but also bring concepts together.

AFRIKAANSE OPSOMMING: In hierdie tesis vra ek die vraag: Hoe beweeg ʼn mens vanaf ʼn punt van stasis na ʼn uitgebreide en veranderde veld met nuwe moontlikhede? Hierdie studie gaan eerstens van die standpunt uit dat beide ontwerp en kuns transformerend van aard is en dus, buiten ʼn estetiese, ook ʼn sosiaal-politiese funksie en posisie beklee. Só ʼn gesigspunt suggereer ʼn tussen-in ruimte wat oorvleueling van metodes, ondersoekvelde en praktyke toelaat. As navorser en ondersoeker, plaas dit myself in die uitgebreide tussenruimte van beide teken en ontwerp. As sulks, is die doel van hierdie studie nie daarop gemik om verskille uit te meet en aan te dui nie, maar eerder om verskille (en ooreenkomste), van watter aard ookal, te oorbrug, verbind en te aktiveer. Hierdie ondersoek begin by ʼn sosiale praktyk wat loop aanwend om grense te oorkruis. Hier dui ek aan op watter wyse loop en hekel ʼn uitbreiding of ander vorm van teken kan wees. Dit bespreek die betrokkenheid in ʼn hekelgesprek met ʼn klein groepie vroue in ʼn informele nedersetting buite Stellenbosch, naamlik Enkanini. Die studie sluit aan by Chantal Mouffe (2005, 2007) se voorspraak vir ʼn demokratiese antagonisme, John Dewey (1927) sowel as Rosalind Deutsche (1992) se filosofieë oor die publiek. Verder open Bruno Latour (2005) se skrywe rondom ‘dinge’ (Dingpolitik) die gesprek rondom grens-voorwerpe (boundary objects). Die teks karteer die ontwikkeling van ʼn diagrammatiese denkwyse uit en verbind dit met Deleuze en Gauttari (1987) se risoom en assemblage-teorieë om die verskillende elemente van my werk in verhouding en skaal saam te bring. Ter aansluiting ontwikkel ek ook die idee van bricolage as ʼn komplekse netwerk wat gedurig in wording verkeer. Jane Bennet se skrywe in Vibrant Matter: a political ecology of things (2012), dien as rigtingwyser vir denke aangaande die agentskap van materiale. Laastens bespreek ek my ontwikkelende tekenpraktyk na aanleiding van Wassily Kandinsky (1947) se beginsel van punt, lyn en vlak. Dit word as ʼn brug ondersoek wat komplekse verwikkelinge bewerkstellig wat oor grense van alledaagse praktyke kan strek. Teken as proses, en lyn wat vorm gee, rig die bespreking wat lei tot ʼn ondersoek na teken wat ín ruimtes in-beweeg. Ek ondersoek op watter wyse dit kan aanleiding gee tot sosiale verhoudings en die moontlikhede daarstel om in gemeenskappe te deel. Dit ondersoek die moontlikheid om teken as ʼn toeganklike medium te aktiveer wat konneksies kan maak tussen dinge wat nie noodwendig slegs sosiaal is nie, maar ook konsepte in verbinding met mekaar kan bring.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/103382
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