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    The materialised temporality of dust: developing a biodesign methodology to spatialise time and temporalise space.
    (Cambridge University Press, 2025-01-27) Ramirez-Figueroa C; Nevin A; Orme C
    The paper uses the material and conceptual figure of dust and matter out of place to amplify more-than-human perspectives of time, to trace the changing orientations and ethos of a site. Dust contains a complex mixture of inorganic and organic material, made up of an exuberance of microbial life such as Penicillium, Aspergillus and Cladosporium and around 20 other fungal sources. We are interested in dust as a material and metaphorical device to situate and critique temporality and the way we narrate and investigate the past and future, from a non-human, microbial point of view. Dust implies residual matter, a contradiction to order often associated with dirt. It indicates something that needs to be removed, or rearranged, something that is “out of place,” an element that does not fit. Dust also indicates time and space and signals movement and life: dust hosts a medley of non-human particles and microbial communities that engage in their own worldmaking practices. The paper brings together methods of “un-cleaning” with archival research and spatial methods of 3D scanning, modelling and mapping, as an opportunity to decentre human hubris and explore the ways in which non-humans have and continue to inhabit “our” spaces.
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    A string of data_ : disrupting, altering and generating the photographic image : a thesis presented in partial fulfilment of the requirement for the degree of Doctor of Philosophy in Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2016) Nishioka, Mizuho
    Through a body of photographic work, this thesis examines how an engagement with photographic technology presents the opportunity to destabilise the established conceptions of the performance of the medium. Historically photographic technology is presented as a series of seamless mechanised transactions that is potentially free of human interaction and situated as a mute participant in the technical production of the photographic image. Acknowledging the role technology manifests in the production of photography, I examine through my work and critical reflection, how my creative practice can harness these technical processes to alter the aesthetic and theoretical positioning of a photographic practice. Three key bodies of work: Uninhabited Space, The Reflective Field and Machine Time_Nature Time explore a successive development of a studio practice through a series of Contextual developments to uncover and interrogate the procedures at play. The Contextual developments employed a range of fundamental materials, techniques and processes native to photographic practice. The first key work, Uninhabited Space explores the role film processes play in the authoring of a photographic image. The work specifically investigates the limitations of film technology as a means to demonstrate how a ‘void of information’ might be reinterpreted as visual information within a photographic image. The subsequent key work, The Reflective Field conceptually challenges the connection between the photographic image and its presentation to resituate the photographic image as a transformable surface. The final key work, Machine Time_Nature Time is presented through extended Contextual developments that examine the role of contemporary technology in the creation of the photographic image. Digital, electronic and computational processes are deployed to augment the capture of the photographic image. Reflection on the outcome of this final body of work led to the positioning that technological disruption was used as a creative strategy. This conceptual revision initiates a theoretical evaluation of photographic practice that allows the opportunity to resituate the subliminal role of technology in the production of the photographic image. The research concludes with a final body of work, Machine Time_Nature Time in which I argue the disruption of technology contributes to an alternative understanding of photographic practice and questions how might deviation of these subliminal processes alter or augment a body of creative photographic based work. By presenting a series of photographic works in exhibition format, the research incites a recursive questioning of what constitutes the photographic image, what is selectively included, and what is silently occluded. Key Words: Photography, Technology, Disruption, Generative, Archive, Digital
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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.