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    Mr Webster's marvellous photo booth : an exegesis submitted in partial fulfilment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand
    (Massey University, 2015) Webster, Tam
    In Mr Webster’s Marvellous Photo Booth, photographic portraiture provides a basis for exploring the process of image making using analogue photography. The relationship between the photographer and sitter allows performative and educational aspects in the role of photographer to mediate image production. Time/space is allowed for the examination and discussion of photographic practice by explicitly revealing the process of image making. This space is created in two ways, by including the audience in the darkroom experience and through the resulting aesthetics embedded in the final photographic print. The exegesis begins by providing a background to the project, describing the testing and exploration of home-made cameras resulting in the design and construction of the 10 x 10 inch camera employed in this specific body of work. The following section examines the relationships and engagement between photographer and sitter by referencing some influential precedents, and examining performative aspects in relation to the role of photographer. This extends to a consideration of academic discussion around art-based pedagogical practice and socially engaged art practice. The subsequent section examines portrait photography and the sociology of this particular project through an examination of the techniques of historical photographers. Finally, it positions the medium and the influence of aesthetics, with particular reference to the hand made and material paper object. “Since photography usually involves a two-step process of creating a negative and then using it as a template to create a reversed (positive) version, innovation could take place all along the sequence,” (Rexer, 2002, p. 12.). The particular impact of the wet negative when combined with the wet positive in this specific project defines a unique outcome compacted to fit the timeframe of the sitter so that their experience can include the processing of the negative and creation of a print that uniquely reflects their presence in the photographic studio and the aesthetic central to the process.
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    Indifferent attitude : the readymade, the tableau, and the photographic medium : a [i.e. an] exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2012) Waugh, Shaun
    This thesis considers the notion of the ‘pictorial’. This sits in opposition to conceptual art’s more deliberate, rationalised, and theoretical working methods. My aim is to explore a balance through the combination of both ‘pictorial’ and ‘conceptual’ strategies. The studio submission Indifferent Attitude uses subtle shifts in production techniques to present a fractured suite of photographic works. In so doing, it plays with the convention of photographic practice and resists any requirement to provide a clear sense of limits.
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    Sight unsound : an enquiry into our relationship with our perceived reality : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2013) Chubb, Jessica
    There is an overwhelming potential for letting the mind flood with what is, as opposed to what is visible. This research investigates that space: those points where our engineering sees no purpose in telling us what’s there: speaking to our senses’ perimeter of visibility. This thesis is an in depth questioning of; the nature of seeing and its fragile relationship to the external world; the position photography plays in aiding and extending corporeal vision; and an experimentation with the photograph’s function as an instrument of critique on perception. The questions asked within this work also offer grounds for reflexivity and consideration of our sensitive interaction with the world.
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    The sum of things : an exegesis presented in partial fulfillment of the requirements for the postgraduate degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2012) McQuillan, Thomas
    Consumption as witnessed under advanced capitalism is seemingly insatiable. Consumer desire, coupled with a burgeoning world population and increasing demands on ever scarcer resources heralds dark days ahead. What compels us to consume at such a tireless rate? This thesis seeks to unpack contemporary consumer culture, citing key thinkers and artists on the subject in order to shed light on the phenomenon. Referencing Guy Debord’s incendiary critique of the Spectacle, and its ongoing influence over public conciousness, photography is discussed as a potential tool for consumption related critique. However, photographs are entrenched in the consumer realm, illustrating commodities and perpetuating spectacular culture. This thesis explores the ramifications of this convoluted relationship, examining various strategies for overcoming the baggage of the spectacle, including: detournement, ambiguity, banality, and the poetic.
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    The tyranny of fascination : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2012) Davidson, Emily Maria
    In this exegesis I will discuss the photographic works that I have constructed during my research into the photograph as a reproducible object, I will also be discussing the ability that photographic reproducibility has to unlimber assigned or received meaning whilst also questioning and mediating the assigned meaning of the original artefact that it depicts. This questioning happens in part because of the ability that the photograph has to stand in for the object that it is derived from; and in part because of the ability that the re-produced photograph has to speak with comparable authority to the original photograph. I believe that the reproducibility of the photograph allows the photographic object to move out into the world allowing an image to presented in many places simultaneiously, and that this allows it’s meaning to be contested intertextually in as much as the image is able to exist plurally, to interact with many different scenarios, to be used for many different functions, and to exist in scenarios which an original or unique object could not. For the sake of simplicity and brevity I often use the terms photographic, photography and camera in this essay; When I use the term photographic, I intend it to mean any form of photographic production, this could be a traditional black and white photograph, or it could be a silkscreen print, I am not attempting to categorise or classify these things. My intent with this is to be inclusive of technologies, methods, and images – not exclusive. The photograph, as I use the term herein can be taken to mean ‘an image which is produced photographically’ – In this I am speaking to images that are photographic objects, unless noted I am not speaking to a particular photograph.
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    Metadata_photography and the construction of meaning : a thesis presented in partial fulfilment of the requirements for the degree Master of Fine Arts to Massey University, College of Creative Arts, School of Fine Arts, Wellington, New Zealand
    (Massey University, 2010) Nishioka, Mizuho
    Photographic technology is increasingly respondent to a desire for the production and consumption of information. The current age of photography not only possesses the ability to capture the image, but also to capture photographic metadata as supplemental information. Engaging in the premise that the photographic image exists as an incomplete medium to the transfer of information, this research identifies the acquisition of data as a means to resolve interpretation and quantify the photographic image. Inhabiting a complex territory within this structure, the photographic image manifests multiplicity and operates as source, production, and capture of information. This work challenges the perceptions of how to engage with the dialogues created between the photographic image, and the externally appended metadata.