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   <subfield code="a">Miano, Nomar B.</subfield>
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   <subfield code="a">The nomadic church of everyday eschatology</subfield>
   <subfield code="b">a dialogue with ideological and religious modalities in cross-media work</subfield>
   <subfield code="c">Nomar B. Miano ; Romanlito S. Austria, adviser.</subfield>
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   <subfield code="a">Quezon City</subfield>
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   <subfield code="a">iii, 169 leaves</subfield>
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   <subfield code="a">Bibliography: leaves 165-169</subfield>
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   <subfield code="a">Thesis Classification: I - This thesis is not available to the public. Please ask the library for assistance.</subfield>
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   <subfield code="a">I am fascinated by the idea of incarnation in that I see the human person as a being that is both capable of transcendence and emanation; a being that sees her way through the world as a free, contriving, and evolving agent but, at the same time, an objectified entity (an incarnate object) who finds herself prey to contraptions of discourse, culture, and language. This project engages the &quot;situatedness&quot; of the human experience. It aims to dialogue with the paradoxes of incarnation as they manifest in religious and/or ideological artefacts of life--artefacts that express the iterant promises of emancipation or redemption.&#13;
&#13;
This project revisits certain ways of making and doing (i.e. furniture for ritual) that predate the public exhibition as the default destination of the art object. The project does this by hacking the religious and/or ideological affordances of furniture work so as to reconfigure the use-values and meanings of spaces or ecologies. Here, the methodology of production is shaped by a nomadic mode of thinking/doing which implicates the cross-literacies that shape the practice of the artist and unravels a certain pre-understanding that inform the notion of art as an emancipatory practice.</subfield>
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   <subfield code="a">Incarnation.</subfield>
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