Vanishing Acts

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dc.contributor.advisor Milojevic, M en
dc.contributor.advisor McKay, B en
dc.contributor.author Xie, Yumeng en
dc.date.accessioned 2014-07-20T20:17:26Z en
dc.date.issued 2013 en
dc.identifier.citation 2013 en
dc.identifier.uri http://hdl.handle.net/2292/22503 en
dc.description Full text is available to authenticated members of The University of Auckland only. en
dc.description.abstract Investigating the landscape of misanthropy, escapism and self-imposed exile I endeavour here the remembrance of the unacquainted while highlighting the geography of loss and contexts of isolation. The first part of this thesis discussion serves to speculate on the issues surrounding disengagement and current environments of identity and anonymity through a Disappearance Clinic, where identity becomes commodity. Discarded identities of the disappeared are held in heavy canisters serving as patient files for archiving in an Antarctic island. The notion of vessel and artefact evoked is examined through reliquaries to demonstrate that containers are emblematic of not only preservation but also, devotion. Part two of this thesis investigates the landscape of solitude – an Archive for Discarded Identities on Deception Island serve to examine isolation through geographical remoteness, and reveries and remembrance of the disappeared. Islands are a myriad of varying projections, the heterotopics of utopia and dystopia within the same topology. The proposed archive contends with the traditions of collection, organisation and systemisation affiliated with deep storage. Deception Island tourists may partake in an Antarctic pilgrimage to the eighteen stations of the archive along the interior coastline of a submerged caldera. The stations mark out revealed and vanished sites read off the superimposition of historical maps where cartographic deceit, and misrepresentation reveal the intrigue of early expeditions of Antarctic discovery. Along the beach pilgrimage one would come across, for example, the Sea Foam Combs, the Snow Catcher, the Tea Tower, and the Shouting Stairs to “drown the wakeful anguish of the soul”. First, when the canisters are being carried and contemplated, there is an emphasis on emotional weight and burden, which is discussed through funeral rites and mourning customs. Canisters containing the detritus of discarded identities are deposited on the artificial floating Requiem in the middle of the vast watery theatre. Images of Charon and Ophelia are recalled by the reference to water burials and the passage through the Styx. Thereafter notions of weightlessness and unbearable lightness take effect. Experiences, activities and functions are divided in this way. In this thesis, casting drove my practice of design by making; refinement took the form of detailed graphite studies on layers of Mylar, encouraging opportunities for miscommunication. This thesis proposes the state of isolation to be not one of absolute dislocation reached through geographical remoteness, rather an opportunity to engage in the dialogue between absence and presence, solid and void, lost and not found. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Available to authenticated members of The University of Auckland. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ en
dc.title Vanishing Acts en
dc.type Thesis en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The Author en
pubs.elements-id 447220 en
pubs.record-created-at-source-date 2014-07-21 en


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