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Abstract
Abstract
The writing that follows is intended to provide a theoretical framework for the motives behind my practice. The primary concerns addressed are the reception, transmission, and physical shape of knowledge. I will discuss a human condition that exists as a byproduct of both the legacy of representation as well as the innate biology of the brain. I will argue that as a society we are governed by the residue of an extreme logic, and that this condition places severe margins on our potential for creative solutions. I will propose that our ability to create meaning is stifled by the nature of representation itself—and that the overwhelming presence of logic in the mind fosters an unfavorable environment for radical ideas to occur. Through focusing on the limitations of language and habits of the mind topics will explore my work, and the role of art, as a site for the emergence of an unconventional kind of relearning.
Committee Chair
Arny Nadler
Committee Members
Arny Nadler
Degree
Master of Fine Arts (MFA) in Visual Art
Author's Department
Graduate School of Art
Document Type
Thesis
Date of Award
Spring 5-2015
Language
English (en)
Recommended Citation
Schultz, Eric Lyle, "Presence-at-hand" (2015). Graduate School of Art Theses. ETD 46.
The definitive version is available at https://doi.org/10.7936/K7D21VSP
Included in
Aesthetics Commons, American Art and Architecture Commons, Art and Design Commons, Art Practice Commons, Cognition and Perception Commons, Cognitive Neuroscience Commons, Cognitive Psychology Commons, Contemporary Art Commons, Desert Ecology Commons, Epistemology Commons, Fine Arts Commons, Linguistic Anthropology Commons, Metaphysics Commons, Philosophy of Language Commons, Philosophy of Mind Commons, Syntax Commons, Theory and Criticism Commons, Theory, Knowledge and Science Commons, Visual Studies Commons
Comments
Eric Lyle Schultz, MFA Visual Art 2015, was born in Portland, OR. He received a Bachelors in Visual Art with a minor in Contemporary Art History in 2009, and a BFA in Sculpture from the University of Oregon in 2010. He currently lives and works in the desert. His work takes thematic shape by using the desert as a metaphor for both an austere yet mystifying location, as well as a definition for a kind of pacing. His focus is on the slow emergence of a strange environment, which occurs when the physical and symbolic properties of material coalesce into a virtual encounter with presence. His installations are auto-poetic systems that oscillate between logic and fantasy, emphasizing the gap between the grammar and anatomy of representation.
Permanent URL: https://doi.org/10.7936/K7D21VSP