Dissertationen: „Computer art“

1

Buchholtz, Carol A. „The integration of computer art in the art curriculum“. Online version, 1999. http://www.uwstout.edu/lib/thesis/1999/1999buchholtzc.pdf.

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2

Mao, Yuhan-Lin. „Computer art and creative tool making“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78802.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 124-126).
A digital paint package has been developed which places attention on the design of personal "brush " patterns. The user generates an image by iterating these pattern modules on the raster display. During the application of a pattern, it can grow, shrink, and change in opacity level under the user's control. This method of digitally creating images was developed in light of the problem of representing visual characteristics effectively while "painting" with a computer graphics system . Allowing the user to design personal brush patterns, which can be stored in a library of patterns, and to make marks by repeating them, expands the potential visual qualities of the image as demonstrated by sample images included in this thesis. Software functions are provided for creating and editing patterns through a menu of selections. These functions treat individual shapes and colors in a pattern as separate entities that can be manipulated. Shapes can be manipulated individually, or as a selected group. The manipulation functions include the following: move, copy, scale, and delete. Software functions are also provided for the editing of color components. One method allows a color's red, green, and blue components to be adjusted. And the other allows its hue, lightness, and saturation levels to be adjusted.
by Yuan-Lin Mao.
M.S.V.S.

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3

Greh, Deborah Ellen. „Computers in art education /“. Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778184.

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4

Bell, Stephen Charles Davenport. „Participatory art and computers : identifying, analysing and composing the characteristics of works of participatory art that use computer technology“. Thesis, Loughborough University, 1991. https://dspace.lboro.ac.uk/2134/7207.

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This research was initiated to determine the essential characteristics of participatory works of art that use computer technology. Through comparing ideas and practices which emerged during the practical development of a participatory work called Smallworld with those reported by makers and critics of existing works a need was identified for a general system of analysis of these works which can be remembered easily and applied in their critical evaluation and realisation. The thesis proposes a system of analysis in which the principal characteristics are considered to be those which contribute to the degree and manner of control afforded to participants. The system can be applied in the composition of works as well as in their analysis: it is demonstrated that the characteristics identified can be composed and that works can be considered to be compositions of changing degree and manner of control. The system proposed is intended to serve as a paradigm for the development of further systems to analyse such works and to contribute to the evolution of a language with which to discuss them. Although the thesis addresses a special class of the use of interactive computer technology it is intended to contribute to the broader discussion of the use of computer technology in participatory situations.

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5

Cai, Tengjiao. „Recognizing Art Pieces in Subway using Computer Vision“. Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-156433.

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We present a mobile application that automatically recognizes art pieces in the subway. Users can take a photo of an art piece with their mobile phones, and by using image recognition our system retrieves information about that particular art piece. By combining the location with image data, we can delimit the dataset of photos of art pieces to speed up the image recognition. The image recognition is based on feature detection using SURF, and by matching feature points using kd-trees for storing the interest points of the training data. We propose a method for selecting good training images when creating the database. In addition, we also cluster the training interest points by the k-means algorithm, which reduces the space of the kd-tree and increase the matching speed. We demonstrate the effectiveness of our approach with an application that allows users to enjoy the art pieces at different subway stations through image recognition.

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6

Margerison, Paul. „An algorithmic and interactive approach to computer art“. Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240001.

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7

Taylor, Grant D. „The machine that made science art : the troubled history of computer art 1963-1989“. University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.

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[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy

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8

Keating, Marla Jo Matlick. „Computers in college art and design programs /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11630.

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9

Hall, Jennifer A. „The human interface in three dimensional computer art space“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/74325.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Bibliography: leaves 61-68.
by Jennifer A. Hall.
M.S.V.S.

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10

Kent, Marina. „Evolving Art: Modifying Context Free Art with a Genetic Algorithm“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1033.

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Context Free Design Grammar (CFDG) is a programming language for defining recursive structures that can be used to create art. I use CFDG as a design space for genetic programming, experimenting with various options for crossover, mutation, and fitness. In this exploratory work, multiple generations are manually assessed to determine the usefulness of the mutation strategies and fitness functions. I find that simple value mutation and fitness that alters general program structure is not enough to produce an increase of interesting images in CFDG. I discuss these findings as well as future avenues of inquiry for genetic programming in artistic domains.

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11

Klütsch, Christoph. „Computergrafik ästhetische Experimente zwischen zwei Kulturen ; die Anfänge der Computerkunst in den 1960er Jahren /“. Wien : Springer, 2007. http://site.ebrary.com/id/10214311.

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12

Morse, E. Brandon. „Interaction, communication, and inluence in computer-generated environments“. The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389348748.

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13

Berman, Alan. „Generative adversarial networks for fine art generation“. Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32458.

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Generative Adversarial Networks (GANs), a generative modelling technique most commonly used for image generation, have recently been applied to the task of fine art generation. Wasserstein GANs and GANHack techniques have not been applied in GANs that generate fine art, despite their showing improved GAN results in other applications. This thesis investigates whether Wasserstein GANs and GANHack extensions to DCGANs can improve the quality of DCGAN-based fine art generation. There is also no accepted method of evaluating or comparing GANs for fine art generation. DCGAN's, Wasserstein GANs' and GANHack techniques' outputs on a modest computational budget were quantitatively and qualitatively compared to see which techniques showed improvement over DCGAN. A method for evaluating computer-generated fine art, HEART, is proposed to cover both the qualities of good human-created fine art and the shortcomings of computer-created fine art, and to include the cognitive and emotional impact as well as the visual appearance. Prominent GAN quantitative evaluation techniques were used to compare sample images these GANs produced on the MNIST, CIFAR-10 and Imagenet-1K image data sets. These results were compared with sample images these GANs produced on the above data sets, as well as on art data sets. A pilot study of HEART was performed with 20 users. Wasserstein GANs achieved higher visual quality outputs than the baseline DCGAN, as did the use of GANHacks, on all the fine art data sets and are thus recommended for use in future work on GAN-based fine art generation. The study also demonstrated that HEART can be used for the evaluation and comparison of art GANs, providing comprehensive, objective quality assessments which can be substantiated in terms of emotional and cognitive impact as well as visual appearance.

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14

Lucas, Richard Edward. „Evolving aesthetic criteria for computer generated art : a Delphi study“. Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1157038631.

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15

Babic, Kristopher T. „InterDraw - An Online, Interactive, Collaborative Art Program“. Digital WPI, 2000. https://digitalcommons.wpi.edu/etd-theses/825.

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InterDraw is an art program that facilitates the artistic collaboration of multiple users. The goal of this collaboration is the creation of one unique computer image that represents a combination of the ideas and images provided by each of the users. InterDraw extends the already collaborative nature of the World Wide Web through the use of the Java programming language, which provides InterDraw with its cross-platform capabilities. Previously, collaborative art-like programs have been developed for specific operating systems or environments. This limitation prohibits any collaboration with users from other operating systems or environments. InterDraw breaks this limitation by using the power of Java to provide program access from any computer with an Internet connection and a Java enabled browser. The InterDraw clients collaborate by transforming objects drawn by a user into compressed binary strings that are then transported over the Internet to a server application. This server maintains a database of artist contributions and updates all other InterDraw clients collaborating on the same image. These binary strings provide a reliable transmission format that allows the drawn objects to be recreated by the InterDraw clients. Through user testing, InterDraw has been shown to provide an effective and entertaining forum for the creation of collaborative, dynamic images.

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16

Davis, Paul B. „Turing-completeness as medium : art, computers and intentionality“. Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13523/.

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This PhD is a practice-based study of how the computer functions in art practice, which takes on the notion of a fine art computing “medium”. Current research, while sometimes referencing the computer as a potential art medium, mostly defines it non-explicitly as a type of “hybrid” media device or some sort of “multimedia” machine. These terms leave the existence of a specific computing medium in art practice undefined and have historically led the analysis of artworks that employ computers to rely on critical frameworks that were either developed for earlier physical media, or have no structural similarities to computers. Such approaches can fail to examine unique ontological issues that arise - especially at a structural level - when using a computer to produce art. To achieve a formal description of a hitherto loosely defined (or non-defined) art medium, the research employs a range of critical and theoretical material from fields outside art practice, chiefly among them Alan Turing’s definition of a "a(utomatic)-machine", (nowadays called a “Turing machine”) from his 1936 paper "On Computable Numbers, with an Application to the Entscheidungsproblem". Turing described a machine which can “simulate” any other computing machine including all modern computers. His machine is here used to propose a ‘Turing-complete medium’ of art, of which every computer is a computationally equivalent member. Using this perspective/definition, the research undertook an investigation of a ‘Turing-complete medium’ by developing creative practice in the form of individual works that explored specific aspects of computing systems. The research then engaged in a written analysis of the practice, again employing the concept of a ‘Turing-complete medium’, working towards the development of medium-specific critique of any art made with any computer. In foregrounding the nature and functions of computing machines, the research explores how these elements can be made intrinsic to our interpretations of computer-based art while also being aware of the limitations of medium-specific critique as exposed within the modernist tradition.

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17

Lambert, Nicholas. „A critical examination of computer art : its history and application“. Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273456.

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18

Stewart, Marilyn Galvin. „The computer-generated image : an analysis for art education pedagogy /“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487595712158337.

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19

Shumard, Sally L. „A Collaborative PDS Project About Computer Networking in Art Education /“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487928649988749.

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20

Colman, Alison Rebecca. „Net.aesthetics, net.history, net.criticism introducing net.art into a computer art and graphics curriculum /“. Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1059151471.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains x, 322 p. Includes abstract and vita. Advisor: Vesta A.H. Daniel, Dept. of Art Education. Includes bibliographical references (p. 297-310).

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21

Sommers, Mark S. „Let wildlife live : a computer illustrated calendar of endangered species /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11970.

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22

Jonsson, Håkan. „Guarding art galleries with one guard“. Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 1995. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-17769.

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23

Hemmerla, Paul S. „Factors related to the level of instructional use of computer based technology by Missouri secondary art teachers /“. free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999297.

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24

Matthews, Kathryn F. „The Art of Adjustment“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1863.

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25

Hahn, Michael Gerard. „Examining the creative process : electronic technology in art and design /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11765.

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26

Wyatt, Frank Houston. „Total animation: A multimedia computer resource program for secondary art education“. CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1308.

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This HyperStudio animation project covers the basic concepts, techniques, and procedures in producing animation. The purpose of this program is to furnish the user with enough information that will serve as a basic foundation to produce a simple animation for themselves.

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27

Li, Yuk-ying Winta, und 李玉英. „Investigating the use of computer graphics in secondary school art lessons“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29814509.

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28

Colman, Alison. „Net.aesthetics, net.history, net.criticism: Introducing net.art into a computer art and graphics curriculum“. The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1059151471.

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29

Puig, Mestres Luis Eloy. „ALEAR: Arte procesual-arte aleatorio. La aleatoriedad en el "computer art"“. Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/1262.

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¿Qué relación existe entre el ordenador y el azar?, ¿De que manera utiliza el ordenador los componentes aleatorios?, ¿Cómo el Computer-art utiliza el azar para desarrollar proyectos creativos?, ¿Hasta que punto el azar ha determinado el desarrollo del Computer-art? Esta tesis se segmenta en tres aproximaciones.
1ª aproximación.- "Alear v_cd" se trata de un proyecto "reactivo" presentado en CD-Rom. En él no hay interacción, la máquina es quien decide todo el desarrollo de la pieza. Es una interpretación sobre diversos conceptos de la comunicación representados a través de factores aleatorios que determinarán una visualización única para cada vez que se ejecute, sin que los contenidos narrativos varíen.
2ª aproximación.- "Alear v_shots" es una edición en forma de libro de una selección de screenshots de "Alear v_cd", unas imágenes realizadas previamente al desarrollo del ejecutable y unos textos literarios adaptados a las narraciones visuales.
3ª aproximación.- "Alear Arte procesual-aleatorio" La aleatoriedad en el Computer-art es un estudio teórico y reflexivo sobre la aleatoriedad aplicada al Computer-art, incluyendo el análisis de textos y obras de otros artistas y científicos que han utilizado el concepto del azar para articular sus propios trabajos y reflexionar sobre la complejidad de nuestra realidad.
Si en épocas anteriores lo caótico, lo irregular era un referente poco sugerente, ahora con el ordenador y con una sencilla operación matemática que pueda generar aleatoriedad, ha pasado a ser un elemento crucial para entender la actualidad del arte contemporáneo. Esta tesis pretende introducir y estudiar aplicaciones artísticas y variantes teóricas derivadas de la presencia asombrosamente grande y multiforme de lo computacional, del cálculo numérico y la aleatoriedad en nuestro entorno creativo contemporáneo, y observar cómo se han convertido en un medio poderosamente condicionador de nuestras actividades artísticas.

En un primer bloque. se reflexiona entorno al azar desde la perspectiva científica, tecnológica, musical y literaria. El segundo bloque se centra en el territorio propio del Computer-art para analizar su relación con los componentes aleatorios, ver cuando se origina esa relación y porqué. "procesual-aleatorio" surge de la necesidad de dar un nombre clasificatorio al conjunto de trabajos que por un lado utilizan el microprocesador como elemento básico para su desarrollo y ejecución, y por otro lado, al conjunto que incorpora componentes aleatorios y que lo dotarán de un carácter diferenciador. Para demostrar que esta categorización estética no surge solamente por una determinación técnica, se determinan las principales características de esta nueva tipología de trabajos.
What kind of relation exists between the computer and the chance? In which way the computer uses a random components? How the Computer-art uses the chance to develop creative projects? Until which point the chance has determined the development of the Computer-art? This thesis is segmented in three approaches.
1ª approach. - "Alear v_cd" is a "reactive" presented project in CD-Rom. There is no interaction; the machine is the one that decides all the development of the piece. It is an interpretation from diverse represented concepts of the communication through random factors that will determine a unique visualization whenever it is executed, without any variety of the narrative contents.
2ª approach. - "Alear v_shots" is an edition in the form of a book with a selection of screenshots " Alear v_cd", images made previously to the development of feasible and literary texts adapted to the visual narrations.
3ª approach. - "Alear procesual-random Art" the randomness in the Computer-art is a theoretical and reflective study of the randomness applied to the Computer-art, including the analysis of texts and works of other artists and scientists who have used the concept of the chance to articulate their own works and to reflect on the complexity of our reality.
If the chaotic thing, the irregular thing was a reference merely suggestive in the previous times, the computer and one simple mathematical operation that can generate randomness becomes a crucial element to understand the present time of the contemporary art.
This thesis tries to introduce and study the artistic applications and theoretical varieties derived from the amazingly vast presence and multiform of the computational, the numerical calculation and the randomness in our contemporary creative surroundings, and to observe how they have become a powerful medium that conditions our artistic activities.

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30

Nelson, Christopher University of Ballarat. „Spiritual Art: evoking the numinous using a 3D computer game engine“. University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12793.

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The Seven Valleys is an interactive 3D installation based artwork inspired by mystical writings of the Bahá'í Faith. Created as a modification of the firstperson shooter Unreal Tournament 2003 (Epic, 2003) it subverts the original paradigm of the game to create an experience of the numinous, which in spirit, is diametrically opposed to the original intent of the gameplay design. This artwork presents an exploration of, and allusion to, the often subtle and illusive concepts found in the sacred treatise The Seven Valleys (Bahá'u'lláh, 1991) in which the user engages in an experiential journey through the work. The user is faced with conditions and situations that provide motivation to question, explore and attempt to fathom the abstract sense of the numinous. Each of The Seven Valleys contains its own individual mysteries while at the same time contributing its part to the telling of a collective story.
Master of Arts

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31

Chang, Yina. „Transferring prior art knowledge and skills to computer graphics image-making /“. The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665556069.

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32

Nelson, Christopher. „Spiritual Art : evoking the numinous using a 3D computer game engine“. Thesis, University of Ballarat, 2007. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/43390.

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The Seven Valleys is an interactive 3D installation based artwork inspired by mystical writings of the Bahá'í Faith. Created as a modification of the firstperson shooter Unreal Tournament 2003 (Epic, 2003) it subverts the original paradigm of the game to create an experience of the numinous, which in spirit, is diametrically opposed to the original intent of the gameplay design. This artwork presents an exploration of, and allusion to, the often subtle and illusive concepts found in the sacred treatise The Seven Valleys (Bahá'u'lláh, 1991) in which the user engages in an experiential journey through the work. The user is faced with conditions and situations that provide motivation to question, explore and attempt to fathom the abstract sense of the numinous. Each of The Seven Valleys contains its own individual mysteries while at the same time contributing its part to the telling of a collective story.
Master of Arts

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33

Nelson, Christopher. „Spiritual Art: evoking the numinous using a 3D computer game engine“. University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14628.

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The Seven Valleys is an interactive 3D installation based artwork inspired by mystical writings of the Bahá'í Faith. Created as a modification of the firstperson shooter Unreal Tournament 2003 (Epic, 2003) it subverts the original paradigm of the game to create an experience of the numinous, which in spirit, is diametrically opposed to the original intent of the gameplay design. This artwork presents an exploration of, and allusion to, the often subtle and illusive concepts found in the sacred treatise The Seven Valleys (Bahá'u'lláh, 1991) in which the user engages in an experiential journey through the work. The user is faced with conditions and situations that provide motivation to question, explore and attempt to fathom the abstract sense of the numinous. Each of The Seven Valleys contains its own individual mysteries while at the same time contributing its part to the telling of a collective story.
Master of Arts

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34

Robillard, Gaetan. „Des algorithmes à l’œuvre : naissance du Computer Art et environnements génératifs“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080038.

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Alors en quête d'un art programmable, l'influent poète et théoricien Max Bense publie en 1960 le livre IV de sa série Aesthetica. L'œuvre pionnière de Frieder Nake s'inscrit dans ce tournant. Algorithmique par essence, elle participe à la fondation du Computer Art. Alors que dans l’histoire de l’art et dans la théorie critique, l’algorithme s’impose désormais comme un objet problématique, l’examen des traces du Computer Art demande une attention particulière. -La thèse s'appuie sur une étude détaillée des parutions de Bense et Nake, visant à préciser la dynamique entre œuvre et algorithme. Nous cherchons à recontextualiser le Computer Art, mais aussi à actualiser le discours et les manières de faire qui en découlent. Pour cela, la thèse s'appuie sur une recherche-création dont le terrain est la production d'environnements génératifs, composés d'algorithmes, d'ateliers, d'installations et d’ensembles de données (voir Critical Climate Machine, 2021). -Dès lors, comment les théories de Max Bense ressurgissent-elles dans le XXIe siècle ? La thèse montrera que l'esthétique algorithmique de Frieder Nake fait bifurquer l'image, redéfinissant ainsi la dimension mathématique et épistémologique de l'art. Par ailleurs, les environnements créés pour la thèse traiteront des algorithmes du point de vue de leur inscription temporelle et spatiale
In search of a programmable art, the influential poet and theorist Max Bense published the 4th volume of his Aesthetica series in 1960. The pioneering work of Frieder Nake is a part of this turn. Algorithmic in essence, it participates in the foundation of computer art. Henceforth the algorithm imposes itself as a problematic object in history of art and critical theory. The examination of the traces of computer art therefore requires particular attention. -The thesis is based on a detailed study of the works of Bense and Nake, aiming to clarify the dynamics between creation and algorithm. We seek to contextualize computer art anew, as well as updating the discourse and ways of doing that result from it. For this, the thesis relies on a research-creation approach whose field is the production of generative environments, composed of algorithms, workshops installations and datasets (see Critical Climate Machine, 2021). -How, do Max Bense's theories resurface in the 21st century? The thesis will argue that Frieder Nake's algorithmic aesthetics bifurcates the image, thus redefining the mathematical and epistemological dimension of art. Moreover, the environments created for the thesis will deal with algorithms from the point of view of their temporal and spatial inscription

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35

Hui, King-man. „A study of computer support for collaborative learning in secondary art education /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25148503.

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36

Her, Jiun-Jhy. „A generative framework for computer-based interactive art in mass transport systems“. Thesis, Robert Gordon University, 2011. http://hdl.handle.net/10059/702.

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Over the course of the past decade the MRT (Mass Rapid Transit) stations in Taiwan have become open air art galleries: with more prominent and frequent display of various artistic creations in stations, including interactive artworks. However, unlike the audiences in more meticulously choreographed exhibition contexts, those in stations are usually involuntary. New criteria for the creation and evaluation of artworks in these context are necessary to enhance the connection between the audience and the artwork, and to elicit meaningful experience via interactivity. This research aims to uncover the critical factors that can turn an indifferent passenger into an explorative participant, subsequently leading them to obtain meaningful experiences through interaction with computer-based interactive artwork. This research focuses on artworks that are permanently installed in the stations, with three case studies conducted in MRT stations forming the backbone of the research. Field observation was the first step in each case study, conducted in order to understand the fundamentals of the interactivity between the passengers and the artworks. This was followed by in-depth interviews with the passengers and three professional interview groups. A critical Analytical Framework was formed throughout the course of the research, identifying five engaging characteristics: Incentive, Transfer, Accessibility, Play, and Challenge. These five characteristics were eventually reapplied to re-examine the case studies and the content of the interviews with the professionals. The findings of this research articulate how the Analytical Framework can be adopted in future research intended to create the conditions for more meaningful art-interactions. This Analytical Framework will assist artists, designers and researchers in their pre-planning and follow up evaluations of the degree of engagement generated by computer-based interactive artworks displayed in transport hubs. The interest that the outcomes of this research has attracted in the field suggests that the framework could be extended to the examination of various computer-based interactive artworks in similar public contexts. In this context, the framework would play a valuable role in uncovering a more dynamic paradigm used to illustrate how meaningful experiences can evolve in similar public spaces.

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37

Hwang, Guan-Jong. „Animated drawing guide for basic art education“. CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2355.

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38

van, Boekel Lambertus Gerardus. „Painting in the computer era: the transformation of archaic structures to contemporary formalism“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382709534.

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39

Krohn, Erik Allyn. „Surveilling roads and protecting art“. Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/390.

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Placing security cameras in buildings, finding good locations for cameras to enforce speed limits or placing guards to defend a border are some of the problems we face everyday. A nation that wishes to defend its border with armed guards wants to be sure the entire border is secure. However, hiring more guards than necessary can be costly. A start-up company moving into a new building wants to be sure every room in the building is seen by some security camera. Cameras are expensive and the company wants to install the smallest number of cameras; at the same time the company wants to be sure the building is secure. These problems, and many other visibility type problems, are not easy to solve in general. In some specific cases, optimal solutions can be obtained quickly. In general, finding an optimal solution may take a very long time. The original results of this thesis address some of these problems. We show some positive results for solving some of these visibility problems. We also give some negative results for some of these problems. These negative results are useful because they tell us that we are unlikely to find a fast algorithm to solve a particular problem optimally.

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許敬文 und King-man Hui. „A study of computer support for collaborative learning in secondary art education“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31256272.

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41

Morbey, Mary Leigh. „From canvas to computer : Harold Cohen's artificial intelligence paradigm for art making /“. The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487776801320075.

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42

Mercedes, J. Dawn. „Feminist aesthetic theory as an alternative aesthetic paradigm for computer-mediated art /“. The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109867716.

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43

Darley, Andrew David. „The computer and contemporary visual culture : realism, post-realism and postmodernist aesthetics“. Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259729.

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44

Isberg, Petter, und Thomas Åkerlund. „Researching Integration of ART Test Cases into JCAT“. Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-19227.

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Ericsson AB is a world-leading provider of telecommunications equipment and services to mobile and fixed network operators. Ericsson uses continuous integration testing to ensure that their equipment is top tier market products. The Ericsson WCDMA division has one older Erlang based software testing framework called ART and a newer Java based framework called JCAT. This thesis work aims to find a solution for JCAT to execute ART tests and evaluate and log the test results in JCAT. This report describes the research results in executing ART from JCAT, gathering ART test case result data and sending it back to JCAT as well as a describing a proof of concept implementation using the research results. The suggested solution runs the ART tests by executing a Bash script. The communication was solved by using an event handler which gathers data from the ART tests and sends it back to JCAT using Erlang node communication. The result is a solution which satisfies the requirements specified. If the implementation were to be used in a production environment it would still need some future work.

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Morgan, Leah H. „Computer art methodologies for teachers how two art teachers learned to use technology and disseminate that knowledge to other teachers /“. [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3273563.

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Thesis (Ed.D.)--Indiana University, Art Dept. of Curriculum and Instruction, 2006.
Title from PDF t.p. (viewed Nov. 21, 2008). Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2767. Adviser: Enid Zimmerman.

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Woodard, William Bryan. „The computer as a medium for art : aesthetics and the processes of mind“. Connect to resource, 1985. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1134055426.

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47

Uhler, Richard Stephen. „Smten and the art of satisfiability-based search“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92967.

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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2014.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 177-182).
Satisfiability (SAT) and Satisfiability Modulo Theories (SMT) have been leveraged in solving a wide variety of important and challenging combinatorial search problems, including automatic test generation, logic synthesis, model checking, program synthesis, and software verification. Though in principle SAT and SMT solvers simplify the task of developing practical solutions to these hard combinatorial search problems, in practice developing an application that effectively uses a SAT or SMT solver can be a daunting task. SAT and SMT solvers have limited support, if any, for queries described using the wide array of features developers rely on for describing their programs: procedure calls, loops, recursion, user-defined data types, recursively defined data types, and other mechanisms for abstraction, encapsulation, and modularity. As a consequence, developers cannot rely solely on the sophistication of SAT and SMT solvers to efficiently solve their queries; they must also optimize their own orchestration and construction of queries. This thesis presents Smten, a search primitive based on SAT and SMT that supports all the features of a modern, general purpose functional programming language. Smten exposes a simple yet powerful search interface for the Haskell programming language that accepts user-level constraints directly. We address the challenges of supporting general purpose, Turing-complete computation in search descriptions, and provide an approach for eciently evaluating Smten search using SAT and SMT solvers. We show that applications developed using Smten require significantly fewer lines of code and less developer effort for results comparable to standard SMT-based tools.
by Richard S. Uhler.
Ph. D.

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48

Wood, Jane M. „2D special effects on the Genigraphics 100 D+ /“. Online version of thesis, 1989. http://hdl.handle.net/1850/11472.

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49

Kaplan, Craig S. „Computer graphics and geometric ornamental design /“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6887.

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50

Warren, John Rodger. „A visual examination of artificial life and science fiction using 3D computer graphics and animation“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382949898.

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Dissertationen zum Thema „Computer art“

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