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Margin for Error: Rules-Based System...

Langridge, Emma Michelle.

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Margin for Error: Rules-Based Systems of Painting and the Anticipation of Irregular Outcomes.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Margin for Error: Rules-Based Systems of Painting and the Anticipation of Irregular Outcomes./
作者:	Langridge, Emma Michelle.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	193 p.
附註:	Source: Dissertations Abstracts International, Volume: 84-04, Section: A.
Contained By:	Dissertations Abstracts International84-04A.
標題:	Artists. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29409780
ISBN:	9798352651377

Margin for Error: Rules-Based Systems of Painting and the Anticipation of Irregular Outcomes.
Langridge, Emma Michelle.

Margin for Error: Rules-Based Systems of Painting and the Anticipation of Irregular Outcomes. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 193 p.

Source: Dissertations Abstracts International, Volume: 84-04, Section: A.

Thesis (Ph.D.)--The Australian National University (Australia), 2021.

This item must not be sold to any third party vendors.

My practice-led research explores modes of painting where restrictions on materials and methods generate unpredictable outcomes. I focus on non-objective, processed-based painting, employing rigorous and repetitive methodologies which, I will argue, are essentially a form of machine-mimicry. When the machine encounters a disrupting element, the task continues unabated, forming a glitch.This idea developed from an interrogation of my own art practice, in which a highly disciplined approach paradoxically precipitates the unpredictable bleed of paint, misalignments and inaccuracies. This has led me to explore self-imposed limitations and highly restricted visual vocabulary on the one hand, and the phenomena of glitch and malfunction on the other.I conduct an examination of motives, processes and materials in my own practice, determining the conditions which facilitate glitch and the particular form in which it is manifested. I focus on the history of glitch and malfunction in sound-related media, proposing that glitch can occur in the plastic arts under certain conditions created by the artist. I draw on the work of Sol Lewitt and Jack Whitten, as well as my contemporaries, in order to relate this tendency to a broader trend which confronts and ultimately embraces the aesthetics of decay, entropy, fracture and rupture.Initially I ask, what is glitch in non-objective, process-based painting and what criteria would need to be met for such a description? Coming to suspect that glitch may be an aesthetic dead-end, I develop tactics for development and expansion, via visual splits and ruptures, whilst maintaining my rules-based practice.

ISBN: 9798352651377Subjects--Topical Terms:

524768
Artists.

Margin for Error: Rules-Based Systems of Painting and the Anticipation of Irregular Outcomes.
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