To Hear and be Heard: Listening, Embodiment, and Ceramics
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Author (aut): Oswald, Benjamin
Thesis advisor (ths): York, Julie
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Degree granting institution (dgg): Emily Carr University of Art and Design. Graduate Studies
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Abstract |
Abstract
This thesis is a phenomenological investigation of sound as a form of touch and the effects of close listening. A methodology for studio process is first proposed that relies on a background of memories and embodied experiences that contribute to a narrative about sonic observations and how one can materially visualize them through the creation of sculptural objects, instruments or vessels. Science is employed as part of the theoretical framework and as a generative guide to help map out a visual language, using clay as a conceptual medium, to express what it means to hear and be heard. This thesis addresses the sonic experience and considers several associated psychological meanings from it. Ultimately, the thinking and narratives discussed in this thesis contribute to both the fields of ceramics and sound art in rendering a body of non-auditory ceramic sculpture that considers how careful listening to sound acts as a form of resistance and suggests further explorations. |
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49 p.
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Physical Description Note
PRE-PUBLICATION
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DOI |
DOI
10.35010/ecuad:17482
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Use and Reproduction
This thesis is available to view and copy for research and educational purposes only, provided that it is not altered in any way and is properly acknowledged, including citing the author(s), title and full bibliographic details.
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Rights Statement
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Keywords
Surface design
Wheel throwing
Deep listening
Silence
Vessel
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Author (aut): Oswald, Benjamin
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Description / Synopsis |
Description / Synopsis
This thesis is a phenomenological investigation of sound as a form of touch and the effects of close listening. A methodology for studio process is first proposed that relies on a background of memories and embodied experiences that contribute to a narrative about sonic observations and how one can materially visualize them through the creation of sculptural objects, instruments or vessels. Science is employed as part of the theoretical framework and as a generative guide to help map out a visual language, using clay as a conceptual medium, to express what it means to hear and be heard. This thesis addresses the sonic experience and considers several associated psychological meanings from it. Ultimately, the thinking and narratives discussed in this thesis contribute to both the fields of ceramics and sound art in rendering a body of non-auditory ceramic sculpture that considers how careful listening to sound acts as a form of resistance and suggests further explorations. |
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Department
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Physical Form
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Use and Reproduction |
Use and Reproduction
This thesis is available to view and copy for research and educational purposes only, provided that it is not altered in any way and is properly acknowledged, including citing the author(s), title and full bibliographic details.
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Rights Statement
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English
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To Hear and be Heard: Listening, Embodiment, and Ceramics
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application/pdf
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18701425
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