Home > Research > Publications & Outputs > The temporal conditions of the static image

Research

Associated organisational unit

Links

View graph of relations

The temporal conditions of the static image: Repetition as an engine of difference

Research output: Thesis › Doctoral Thesis

Published

Standard

The temporal conditions of the static image: Repetition as an engine of difference. / Quin, James; Quin, James.
Newcastle University, 2018. 309 p.

Research output: Thesis › Doctoral Thesis

Harvard

Quin, J & Quin, J 2018, 'The temporal conditions of the static image: Repetition as an engine of difference', PhD, Newcastle Univ, Newcastle University. <https://lancaster.academia.edu/JamesQuin>

APA

Quin, J., & Quin, J. (2018). The temporal conditions of the static image: Repetition as an engine of difference. [Doctoral Thesis, Newcastle Univ, Newcastle University]. Newcastle University. https://lancaster.academia.edu/JamesQuin

Vancouver

Quin J, Quin J. The temporal conditions of the static image: Repetition as an engine of difference. Newcastle University, 2018. 309 p.

Author

Quin, James ; Quin, James. / The temporal conditions of the static image : Repetition as an engine of difference. Newcastle University, 2018. 309 p.

Bibtex

@phdthesis{592e0a12359c4c52b4d3c7fa0e0630d5,
title = "The temporal conditions of the static image: Repetition as an engine of difference",
abstract = "This practice-based research project addresses what might be considered a reasonably straightforward question: what, if anything, can be achieved in painting from what is often perceived to be a most unpromising strategy for the visual artist - that of repetition? The emergence of repetitive strategies in my own painting practice generated three questions that form the basis of a PhD project that examines the relations between repetition, time, and painting:• How does repetition reposition the temporal conditions of the static painted image?• What are the operational means of repetition as an engine of difference? • How does repetition temporalise the space of its encounter? This thesis proposes that repetition is not only a force that unlocks a multiplicity of incidences in both space and time, but that it is an engine of difference. In order to address the research questions, and substantiate these claims for repetition, a series of forty paintings titled Repetition from Reproduction were produced in order to be apprehended within what I have described as an open labyrinth, an installation space wherein Repetition from Reproduction are encountered both sequentially and simultaneously. The open labyrinth operates as a material field in which the temporal conditions of painting are tested. Keywords: Repetition, Difference, Painting, Time, Space, Trompe L{\textquoteright}Oeil, Labyrinths",
author = "James Quin and James Quin",
year = "2018",
month = may,
day = "2",
language = "English",
publisher = "Newcastle University",
school = "Newcastle Univ, Newcastle University",

}

RIS

TY - BOOK

T1 - The temporal conditions of the static image

T2 - Repetition as an engine of difference

AU - Quin, James

AU - Quin, James

PY - 2018/5/2

Y1 - 2018/5/2

N2 - This practice-based research project addresses what might be considered a reasonably straightforward question: what, if anything, can be achieved in painting from what is often perceived to be a most unpromising strategy for the visual artist - that of repetition? The emergence of repetitive strategies in my own painting practice generated three questions that form the basis of a PhD project that examines the relations between repetition, time, and painting:• How does repetition reposition the temporal conditions of the static painted image?• What are the operational means of repetition as an engine of difference? • How does repetition temporalise the space of its encounter? This thesis proposes that repetition is not only a force that unlocks a multiplicity of incidences in both space and time, but that it is an engine of difference. In order to address the research questions, and substantiate these claims for repetition, a series of forty paintings titled Repetition from Reproduction were produced in order to be apprehended within what I have described as an open labyrinth, an installation space wherein Repetition from Reproduction are encountered both sequentially and simultaneously. The open labyrinth operates as a material field in which the temporal conditions of painting are tested. Keywords: Repetition, Difference, Painting, Time, Space, Trompe L’Oeil, Labyrinths

AB - This practice-based research project addresses what might be considered a reasonably straightforward question: what, if anything, can be achieved in painting from what is often perceived to be a most unpromising strategy for the visual artist - that of repetition? The emergence of repetitive strategies in my own painting practice generated three questions that form the basis of a PhD project that examines the relations between repetition, time, and painting:• How does repetition reposition the temporal conditions of the static painted image?• What are the operational means of repetition as an engine of difference? • How does repetition temporalise the space of its encounter? This thesis proposes that repetition is not only a force that unlocks a multiplicity of incidences in both space and time, but that it is an engine of difference. In order to address the research questions, and substantiate these claims for repetition, a series of forty paintings titled Repetition from Reproduction were produced in order to be apprehended within what I have described as an open labyrinth, an installation space wherein Repetition from Reproduction are encountered both sequentially and simultaneously. The open labyrinth operates as a material field in which the temporal conditions of painting are tested. Keywords: Repetition, Difference, Painting, Time, Space, Trompe L’Oeil, Labyrinths

UR - https://theses.ncl.ac.uk/jspui/handle/10443/4692

M3 - Doctoral Thesis

PB - Newcastle University

ER -