• Composer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You'

      Woods, Colin (Auckland University of Technology, 2018)
      In her introduction to Artificial Hells, Claire Bishop defines participation in art as that, “… in which people constitute the central artistic medium and material, in the manner of theatre and performance”. It is interesting ...
    • Digital disembodiment

      Munn, Luke (Auckland University of Technology, 2014)
      How does digital capitalism remap the body and how can contemporary art respond? As late capitalism continues its pervasive spread into spaces and temporalities not yet occupied, the limitations engendered by human bodies ...
    • The spaces in between

      Ceccato, Rudy (Auckland University of Technology, 2014)
      This exegesis reports the approach and describes the various aspects involved in the realization of a project submitted for the Master of Creative Technologies at Auckland University of Technology. The project focuses ...
    • Taking the Time: D.I.Y. Filmed Portraits for the GLAM Sector

      Cunningham, Ross (Auckland University of Technology, 2018)
      This practice-based Master of Philosophy project involves the design, production and dissemination of four filmed portraits of four individual New Zealand musicians. The increasing use of websites within the GLAM (Gallery, ...
    • Where’s the Criticality, Tracey? A Performative Stance Towards Contemporary Art Practice

      Loggie, Sarah (Auckland University of Technology, 2018)
      Tracey Emin’s bed is in the Tate Museum. Flanked by two portraits by Francis Bacon, My Bed (1998) is almost inviting. Displayed on an angle, it gestures for us to climb under the covers, amongst stained sheets, used condoms ...