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    The gardens' eyes : an alternative guidance system : a thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Xie, Alexandra Yuchen
    The ancient gardens of Suzhou in the Jiangnan region of China are mysterious and time-honored. Many visitors to these ancient gardens, in particular overseas visitors, want to understand and explore them more deeply. They also want to view them in a simple way (Song, 2015). This thesis project aims to enable this through an informed symbolic visual guidance system. The system is both material and symbolic. The visual guidance system design integrates the culturally symbolic and spatial meaning of the leak windows of four famous Suzhou classical gardens as well as the visual effect, aesthetic, functional value of those leak windows. In the thesis project, I investigate how the essence of four of the classical Suzhou gardens can be communicated through symbolic graphic design, materiality and spatial installation. In it, I aim to convey the history and cultural values contained in these different period gardens by combining visual effects, aesthetic and functional values. This design exploration takes the form of a unique artwork composed of patterns, symbols and shapes that combine to convey each garden’s historical value and cultural heritage through modern expression. The symbolic shapes, material form, and images specific to each garden are then synthesized into a visual guidance system at the center of which is the leak window.
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    Framing traces : exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Sharples, Monique
    Framing Traces explores the way in which the physical object of the picture frame, in combination with site, becomes an object through which an individual could experience the past. This is achieved by playing with the relationship and balance between presence and absence. Visual cues from site, geographical location and the picture frame itself form conditions for viewer reflections. These are what make up the conditions of engagement. As the viewer selects, analyses and categorises aspects of these cues in the context of their own experiences, biases and emotions they are able to attach an idiomatic meaning to the picture frame. Through the writing component, the analysis of picture frames is located within a material culture framework. The personal and cultural layering within one's own interpretation and the coexistence of the two alongside place creation is considered in the authorship of the work.
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    Aesthetically potent environments : an exploration of technology, meaning and embodied interaction : a thesis presented in partial fulfillment of the requirements for the postgraduate degree of Master of Fine Arts at Massey University, Wellington campus, New Zealand
    (Massey University, 2011) Bennewith, Christopher David; Bennewith, Christopher David
    When an artistic or aesthetic experience no longer relies on an audience to “passively” consume it, but rather entices the viewer to become an active participant in the artwork, how is the perception of the work and, subsequently, the audience affected? How does the audience encounter and make meaningful these types of experience? Squidsoup have, for the past 10 years, been exploring these questions through their practice-­-based research. Their interactive artworks engage the audience as part of a sociotechnical network, as both a component of the overall aesthetic experience and as a catalyst for compositional change within the artwork. In our everyday lives we experience the world as a physical and social space. In order to elicit the greatest action and interaction from an audience Squidsoup attempt to make the intangible tangible, and create works where social interaction between the participants is encouraged. As computing becomes more ubiquitous, moves away from the desktop and starts to occupy the “physical” spaces around us, the ways in which people engage with technology, and each other, will change. Squidsoup’s most recent work – Ocean of Light: Surface – seeks to explore the interrelationship between people, technology and space and how this could manifest as a potential aesthetic experience. Ocean of Light: Surface looks to bring digital interactive artworks into the physical and spatial realm of the audience in order to explore the effect this has on the way they interact with, and consequently understand, the work. This research will draw on my current and previous practice as part of Squidsoup and locate it within a wider historic, artistic and theoretical context. The thesis will detail the development of the concepts underpinning our artistic practice by relating case study examples to historic and contemporary art practice and relevant theoretical literature. Ocean of Light: Surface will be the physical and practical manifestation of this research embodied within an artwork.