Dissertations / Theses on the topic 'Digital aesthetics'
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Chan, Ching-yan Janet. "On digital aesthetics scrutinizing aesthetic studies in the digital era /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.
Full textCubitt, Sean. "Digital aesthetics." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.
Full textJeong, Heon. "The Cinematic Aesthetics of Digital Virtualism." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10404.
Full textChan, Ching-yan Janet, and 陳靜昕. "On digital aesthetics: scrutinizing aestheticstudies in the digital era." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30681893.
Full textEdnie-Brown, Pia Hope, and pia@rmit edu au. "The aesthetics of emergence." RMIT University. Architecture and Design, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.161628.
Full textDuffy, Michael S. "Becoming regionally digital : visual effects industries and aesthetics in the 1990s." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438634.
Full textZhang, Yanqing. "Tech Fashion : Fashion Institutionalization in Digital Technology." Doctoral thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-130200.
Full textAt the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 5: Manuscript.
Valiquet, Patrick Joseph. "'The digital is everywhere' : negotiating the aesthetics of digital mediation in Montreal's electroacoustic and sound art scenes." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:356cdab4-c690-4eb8-9558-3ae80e51d2df.
Full textKirk, Neal. "New media hauntings : digital aesthetics of haunting, context collapse, and networked spectrality." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/125628/.
Full textPalmer, Mark William. "Space, time and the sensibility of the virtual." Thesis, Staffordshire University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310626.
Full textLevy, Taylor (Taylor Jaclyn). "Surfacing silicon : revealing the underlying material and structure of digital electronics through aesthetics." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101830.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (pages 50-52).
Digital electronics are everywhere. We spend most of our days surrounded by them, but what most of us ever experience is their surface. The purpose of this work is to open up the black box of everyday digital electronics as a way to show what is hidden inside. This is done, not as a way to teach people how they work, but to reveal what has become the underlying fabric of our world so they can be seen and appreciated. The shape of digital electronic technology over the past 50 years is characterized by the demands of efficiency and productivity. Transistors within silicone chips are smaller and more densely packed today than ever before. These advances have not been met with corollary modes of representation. We are faced with a technological landscape that exists outside of the realm of human perception. Transistors are too small to see, and even if they were visible, they are sealed inside protective cases. The work presented here takes on digital electronics as a subject and medium for artistic expression. The goal is to use aesthetics as a way to show and call attention to what is otherwise not meant to be seen. The contributions are an in depth conceptual and material exploration that address the use of an opaque technology, one that is normally outside our realm of experience, as means of creative expression. In the same way that uncovering the underlying fabric of our natural world reveals the hidden truths of nature, accessing the material of our fabricated world brings us closer to underlying truths of humanity. The effect reveals a certain beauty that would otherwise be lost to the highly efficient rational world.
by Taylor Levy.
S.M.
Payne, Simon. "Materiality and medium-specificity : digital aesthetics in the context of experimental film and video." Thesis, Royal College of Art, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503027.
Full textFontaine, Chantale. "Channeling Aesthetics in the Digital Realm: Designing Virtual Homes for the Artists of Folkvine.org." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/708.
Full textB.A.
Bachelors
Arts and Sciences
Art
Paris, Federico Rueben. "Reworking musical strategies in the digital age." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/4775.
Full textMcCaa, John Kimberly. "Fame, celebrity & mass media in the digital age| Daniel Boorstin's cultural decline, or passport to a parallel universe?" Thesis, The University of Texas at Dallas, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3706639.
Full textAn examination of the famous and celebrities within a country can offer a view to the values of its people. The Romans had Caesar, the Egyptians Cleopatra and in the early twentieth century Americans admired Charles Lindbergh. From each of them, scholars have learned something about the age in which they lived and the people of their time. Standards of beauty, behavior, and success have been gleaned by examining women and men held in the public spotlight. The historian Daniel Boorstin worried that that was changing in the United States by the twentieth century due to the growing influence of mass media. His 1961 book The Image: A Guide to Pseudo-Events in America warned that the country was straying from values that he believed made it great. Image and appearance, he warned, were replacing experience and achievement as most important in persons gaining public recognition. A proliferation of mass media manufactured "pseudo-events" was the cause he said, impacting not only who was recognized but the country's ideals. Boorstin labeled it a "cultural decline" that had started with the Graphic Revolution. Although changes in western society did take place and that change was revolutionary, this dissertation suggests a slow but steady "evolution" of the self was also underway and may be more descriptive of what was and is still occurring today. This study links industrialization, dramatic technological advances, and the conversion of American society from rural to urban dwellers to a transformation of the "self" that started as far back as the Reformation, as causes for the changes. That transformation sparked a slowly budding struggle over control of self-identity that continues to this day. A half century after Daniel Boorstin issued his warning, this dissertation explores not just the accuracy of his predictions but why and how many business and political interests and social elites still struggle to maintain some influence over how Americans perceive themselves through images, how concepts of fame and celebrity continue to evolve and why the scholarly conversation about mass media, culture and society generated by his original hypothesis may be more important to explore today than ever.
Ho, King Tong. "The poetics of making a new cross-cultural aesthetics of art making in digital art through the creative integration of Western digital ink jet printmaking technology with Chinese traditional art substrates : this exegesis is submitted to AUT University in partial fulfillment of the degree of Doctor of Philosophy." Click here to access this resource online, 2007. http://hdl.handle.net/10292/333.
Full textEhrndal, Marie. "A holistic approach to designing for a specific aesthetic experience in digital games." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22260.
Full textThis thesis aims to point out characteristics of game aesthetics, and accounts for one possible approach to design for a specific aesthetic experience. The theoretical framework that has been treated includes game design, interaction design, industrial design and aesthetics. Aesthetics have been understood from a classical perspective, where some properties are treated as being inherent of a game as an artifact, and others as sensual, perceptive and cognitive concepts that make out parts of the aesthetic experience of playing a game. The research has been conducted through theoretical studies as well as research through design, where the design process as well as the end artifact itself have made out research tools. It suggests a design process focused on the end material, and emphasizes hi-fi sketching. The process accounted for in this thesis has been focused on the multi-mediated end result, by framing the design or possibility space with themes, experiential goals and a parallelly constructed theoretical base of game aesthetics. The design approach has also been based on ideas of letting objects and concepts within the real world inspire game behaviour by association, within the frame of a chosen theme. Based on game qualities like simplification and coherence, my approach aims at designing aesthetically holistic games. Other aesthetic qualities that are treated in relation to the design process include representation, embodiment, presence, immersion, flow, fun, pliability and pace. The approach is argued to have strengths in the sense that it does not conform to pre-established genres, is more player oriented, can create coherent experiences and aid innovation. The backdraws are that it is not effective and does not guarantee that the outcome is neither pleasurable nor playable.
Lawson, Jesse. "The Compression and Expansion of Musical Experience in the Digital Age." ScholarWorks @ UVM, 2008. http://scholarworks.uvm.edu/graddis/133.
Full textLacunza, Mariana A. "“Digital Aesthetics and Notions of Identity in Contemporary Bolivian Filmmaking” “Estéticas digitales y nociones de identidad en el cine boliviano contemporáneo”." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325178598.
Full textHenno, Juliana Harrison. "As correlações entre os sistemas generativos e a fabricação digital no contexto das artes visuais." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21032017-104202/.
Full textThis research aims at examining the digital image that originates from the proximity of the visual arts with CAD/CAM technologies and the biological systems of creation. Such computer-based image, that is emergent, can be materialized in the digital fabrication owing to the compatibility both in the sense of making the complexity of the form concrete and of enabling its serial singling. More specifically, we intend to approach how the digital manufacturing processes and techniques have interfered with the visual artist´s modus operandi as they enable the generation and the materialization of the complex image, thus enlarging the ways to operate and represent in the arts field because they work as instruments to develop and represent new poetics. By means of theoretical reference, work reading and experimental practical works, we intend to explore how the artist takes over the means of digital production and the generative processes of creating and he/she explores them as an innovative language, which, in turn, amplifies and potentiates the forms of expression and accomplishment of his/her work to levels unimaginable before. We intend to evaluate how the numerical character process can interfere with the visual artist´s creative and poetic process to promote new expressive possibilities, thus exploring the potential which has been unusual in the arts field so far. The main theoretical support to launch the bases to understand the ever closer relation of art to technology was derived from the discussions by Taylor (2014), Machado (1997b), Couchot (2003), Lévy (1996), Laurentiz (1991), Moles (1990) and Plaza & Tavares (1998). Those researchers investigate the introduction of the numerical in the artistic field. The discussions by Manovich (2010), Galanter (2010), Couchot (2010), Johnson (2001), Whitelaw (2006) and McCormack (2014) bring information of theories related to the complexity of the image, since in those discussions the processes and models of natural systems that are liable to emergence are elucidated. To present the digital manufacturing technology and its creative potential, the theoretical support was derived from Kolarevic (2001), Mitchel & McCullough (1995), McCullough (1996), Todd & Latham (1992) and Ganis (2004). The concepts about the convergence of the concepts of emergence and manufacturing reflect the discussions by Labaco (2013), Whitelaw (2006; 2015) and Moura (2013).
Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.
Full textRaud, Charlie. "How post-processing effects imitating camera artifacts affect the perceived realism and aesthetics of digital game graphics." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34888.
Full textDenna studie undersöker hur post-processing effekter påverkar realismen och estetiken hos digital spelgrafik. Fyra fokusgrupper utforskade en digital spelmiljö medan olika post-processing effekter exponerades för dem. Under kvalitativa fokusgruppsintervjuer fick de frågor angående deras upplevelser och preferenser och detta resultat blev sedan analyserat. Resultatet kan ge en bild av de olika för- och nackdelarna som finns med dessa populära post-processing effekter och skulle möjligen kunna hjälpa grafiker och spelutvecklare i framtiden att använda detta verktyg (post-processing effekter) så effektivt som möjligt.
Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.
Full textSniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
Full textAnthropology
Kuhn, C., Lange R. De, and Beer D. J. De. "Digital sculpture : technical and aesthetic considerations applicable to current input and output modes of additive fabricated sculpture." Journal for New Generation Sciences, Vol 7, Issue 2: Central University of Technology, Free State, Bloemfontein, 2009. http://hdl.handle.net/11462/536.
Full textThis article examines the synergy between aesthetic and technical issues surrounding current input and output modes applicable to digital sculpture built by means of additive fabrication technologies. The scope is limited to select sculptural aspects that either transcend, question or fall short when measured against traditional manufacturing and aesthetic modes. Presented are a range of technical as well as aesthetic aspects that have impacted on this ''new form'' of sculpture delivery. It is indicated that irrespective of current strengths and weaknesses, for the evolving sculptor, an interactive creative partnership between technologies equally positions this ''new form'' of sculpture delivery as a leading role player towards defining a new digital aesthetic.
Fusari, Massimiliano. "Post-produced cultures : meta-images, aesthetics and the Hawzas." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/15360.
Full textWoodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.
Full textDoctor of Philosophy
Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.
Full textThis thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
Scheepers, Gerda. "Cybrid aesthetics : exploring the expressive potential of paper as a material for spatial application to define the new cybrid archive character." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60202.
Full textIn onlangse jare het die konsep van dematerialisering 'n invloed op die ontwerp beroepe gehad. Hierdie proses het die unieke eienskappe van ontwerp onderdruk, maar deur die ondersoek van die Research Through Making metodiek as integrale deel van die ontwerpproses, kan die kreatiewe identiteit en status van ontwerp weer versterk word. Die doel van die verhandeling is om weg te beweeg van konvensionele ontwerp prosesse, deur die proses van maak te versterk sodat die materi?le en nie-materi?le eienskappe meer geintegreer kan word in die ruimtelike uitkoms. Die fokus van die studie is om ondersoek in te stel en te bepaal wat die nuwe ruimtelike taal is wanneer die digitale en fisiese ruimtes geintegreer word in een nuwe ruimte, as deel van die cybrid konsep. Die Boukunde argief hou geleentheid vir hierdie ondersoek om die nuwe karakter van 'n cybrid ruimte te ondersoek en uit te beeld. Papier tans het nie 'n duidelike ruimtelike taal in die bou omgewing nie en dus deur die verkenning van hierdie onkonvensionele materiaal op 'n innoverende manier, skep dit geleentheid vir 'n nuwe ruimtelike toepassing en ervarring. Papier word 'n simbool van die ou papier argief asook die estetiese en funksionele voorstelling van die cybrid argief. Die nuwe ruimte vergestalt eienskappe van beide die fisiese and digitale ryke en die papier installasie word die visuele verbinding in die ruimte wat die essensie vna die argitektoniese tekening argief vas vang.
Mini Dissertation (MInt (Prof))--University of Pretoria, 2016.
Architecture
MInt (Prof)
Unrestricted
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38512.
Full textDoctor of Philosophy
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.
Full textDoctor of Philosophy
Fernandes, José Carlos Silvestre. "A estética do erro digital." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/18260.
Full textThis dissertation proposes an outline of an aesthetics of the error in Digital Art. We start with a survey of works in Digital Art that explore the theme of the error, and advance a rigorous definition of what we call error, to introduce our main hypothesis: that the error is a revealing of the Materiality of Informatics. We investigate the particularities of this materiality and this revealing, fundamented in authors such as Hayles, Kittler, Simondon and Fuller. Next, we consider the cultural reverberations of the error state from this revealing of materiality: its subversive connotations, its association with hacker culture, and its sub-text of nostalgia. Our main sources for this second part are Kittler, Stiegler and Pias. Throughout our theoretical discussion, we analyse the works of many artists to demonstrate how each of these themes and concerns are explored therein; we give particular attention to the works of Ant Scott, JODI, and Cory Arcangel. We adopt, however, an anti-hermeneutic approach to most works, molded after the practice of Friedrich Kittler: an emphasis in the technical and social systems implicated rather than in interpretation and a search for meaning contained in the works themselves. We hope to finally present a theoretical framework which may support the analysis and exploration of the aesthetics of error, a fairly unprecedented topic. Moreover, much of our discussion is of interest in fields beyond Digital Art
Esta dissertação propõe-se a esboçar os princípios de uma estética do Erro na Arte Digital. Principiamos com um levantamento de obras de Arte Digital que exploram o tema do erro, bem como com uma definição rigorosa de o que entenderemos por erro, para partir para nossa principal hipótese: de que o erro é um revelar da Materialidade da Informática. Investigamos as particularidades desta materialidade e deste revelar, fundamentados em autores como Hayles, Kittler, Simondon e Fuller. Em seguida, consideramos as reverberações culturais do estado de erro a partir desta revelação da materialidade: sua conotação de subversão, sua associação com a cultura hacker, e seu sub-texto de nostalgia. Nossas principais fontes, para esta segunda parte, são Kittler, Stiegler e Pias. No decorrer da explanação teórica, analisamos as obras de vários artistas para demonstrar como cada um destes temas e destas preocupações ocorre em suas obras no que toca o tema do erro; damos particular atenção para os trabalhos de Ant Scott, JODI, e Cory Arcangel. Adotamos, todavia, uma leitura anti-hermenêutica da maioria das obras, aos moldes daquela praticada por Friedrich Kittler: uma ênfase nos sistemas técnicos e sociais implicados, e não na interpretação e na busca por significados contidos nas próprias obras. Ao fim, acreditamos ter apresentado um framework teórico a partir do qual a estética do erro, um tema relativamente inédito, pode ser pensada e analisada. Além disso, muitos dos temas porque passamos tem interesse para além da Arte Digital
Alvarez, Diaz Maria Guadalupe. "Experiencing Play with Digital Heritage through Mobile AR Technology." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12740.
Full textDesigning Digital Heritage. Seeing Secrets
Morris, Jeffrey Martin. "Live Sampling in Improvised Musical Performance: Three Approaches and a Discussion of Aesthetics." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3936.
Full textSouza, Aline Antunes de. "Os games enquanto jornadas fenomenológicas: a experiência estética semiótica nos jogos digitais." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20173.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Fundação São Paulo - FUNDASP
This study aims to explore how games may be able to provide their players with meanin experiences. To what extent are qualities such as contemplation, ecstatic chance, habit change, and self-knowledge, tlnough moral and ethical questioning, are also involved in the act of playing? And what kinds of experiences are these aspects capable of creating? The intent is to analyze some of the semiotic elements that are able to bring some explanation about the reasons that make games to exert so much attraction to their users, an attraction that cannot be understood by the simple observation that games are made exclusively for fun. For the investigation, three games were selected, Journey (2012), Portal (2007) and The Walking Dead (2012), to reflect on the possibilities of experience that their joumeys allow. Their semiotic aspects are investigated from C. S. Peirce's Phenomenology, Aesthetics and Semiotics perspectives, in order to find a phenomenological predominance in the immediate interpretant of each one, that is, in their immanent potential to signifr. As a result, tlnee semiotic cartographies of the possibilities of games experiences, inspired by the universal Peircian categories are defined: firstness, secondness and thirdness. As so, this study is mainly based on the Phenomenology, Aesthetics and Semiotics of Charles Sanders Peirce and the works of Lucia Santaella, Priscila Arantes, Mima Feitoza, Cleomar Rocha and Brian Upton
Esta pesquisa visa explorar como os games poderiam ser capazes de proporcionar àquele que os experimenta uma vivencia com características significativas. Até que ponto qualidades como a contemplação, o acaso extático, a mudança de hábitos e o autoconhecimento, por meio do questionamento moral e ético, são também aspectos envolvidos no ato de jogar? E quais tipos de experiências esses aspectos são capazes de criar? Pretende-se analisar alguns dos elementos de sua linguagem que devem ser capazes de trazer algumas explicações sobre as razões que os fazem ter tanta penetração junto aos seus usuários, uma penetração que não pode ser compreendida pela simples constatação de que games são feitos exclusivamente para divertir. Para a investigação, foram selecionados três games, Journey (2012), Portal (2007) e The Walking Dead (2012), com a finalidade de refletir acerca das possibilidades de experiência que suas jomadas permitem. Neles, são investigados e discutidos seus aspectos de linguagem a partir da fenomenologia, estética e semiótica pelrceana, no objetivo de encontrar uma predominância fenomenológica no interpretante imediato de cada um, ou seja, em seu potencial imanente de significar. Como resultado, fica constatada a existência de três cartografias semióticas das possibilidades de experiências dos games, inspiradas nas categorias universais peircianas: prlmeiridade, secundidade e terceiridade. Fundamentam esta pesquisa, principalmente, a Fenomenologia, a Estética e a Semiótica de Charles Sanders Peirce e as obras de Lucia Santaella, Priscila Arantes, Mirna Feitoza, Cleomar Rocha e Brian Upton
Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.
Full textBoll, Cíntia Inês. "A enunciação estética juvenil em vídeos escolares no youtube." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/70596.
Full textThis study approaches the juvenile enunciation bias in the aesthetic function entangled to contemporary fetishism and digital culture. The research context involves the aesthetic function arranged in school work digital home videos published on the internet, especially on YouTube digital sharing interface.This interface where the publications of the videos that are presented in a trial time of technological, market, cultural and social convergence are localizated, in particular has a speaker - in this case the young’s - as its main “spect-author” who lives and moves between this school and Digital Culture.The analytical theoretical line research in this composition is built on the concepts of Aesthetics and Attractor in dialogue with Bakhtin and Canevacci.On the threshold of this communication support, Massimo Canevacci discusses the concept of visual attractor while the high value fetish code that, coupled with good contemporary communication, seduces espetc-actors and performs silenced puzzles.From the philosophical inquiry and under his guidance, was used as a methodological tool for assessing the notion of aesthetic from the ethical-aesthetic principle that understands the Bakhtinian theoretical thinking articulated to life, focused on the socio-historical perspective same as the creation and the expression. The relevance of this process emerges from the single young enunciative chronotope that is manifested in the form of home made videos with a typical stylistic trait and systematically establishing “itself” in their incompleteness and digital dialogicity.An experience not only nurtured by intertextuality already offered by social digital networks, but also by the aesthetic activity around school spaces which this young people are now immersed.
Lund, Linda. "Aesthetics in User Interface Design: : The Influence on Users' Preference, Decoding and Learning." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-10455.
Full textGazana, Cleber [UNESP]. "Glitch Art: uso do erro digital como procedimento artístico e possibilidade estética." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136255.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa tem como objetivo constatar a possibilidade e potencialidade estética por meio do uso do erro digital e de usos não projetados dos dispositivos técnicos e softwares na Glitch Art. Por ser um tema quase inédito, foi importante explicar o significado dos termos tilt, bug, failure, fault, error e mistake em relação ao campo técnico e artístico da Glitch Art, à sua prática e a nossa experiência, assim como a definição do termo glitch e de seu uso como designação deste recente gênero artístico. Seguiu-se para a investigação de suas bases fundamentais, classificações, características visuais, procedimentos artísticos, relação com o passado da arte, seus artistas visuais mais expressivos e sua aplicação para além da arte digital. Para tanto, este trabalho apoiou-se, principalmente, nos pensamentos de Moradi, Manon, Temkin e Menkman nos aspectos exclusivos da Glitch Art. Por fim, de modo teórico-prático, resultou a criação da obra Decode, de minha autoria, onde se dialogou e se experienciou as teorias e os procedimentos aqui discutidos.
This research aims to verify the possibility and aesthetic potential through the use of digital error and not designed uses of technical devices and software in Glitch Art. For being an almost unheard subject, it was important to explain the meaning of tilt, bug, failure, fault, error and mistake terms in relation to the technical and artistic field of Glitch Art, its practice and our experience as well the definition of glitch term and its use as designation of this recent artistic genre. We proceed to the investigation of its fundamental basis, classifications, visual characteristics, artistic procedures, relationship with the past of art, its more expressive visual artists and its application beyond the digital art. Therefore, this research grounds on mainly thoughts of Moradi, Manon, Temkin, and Menkman in exclusive aspects of Glitch Art. Finally, with theoretical and practical way has resulted in the creation of my own work Decode, where was connected and experienced the theories and procedures discussed herein.
Gampe, Johanna. "De l'esthétique numérique : changements nés de la révolution numérique, vus à travers les études des médias, l'art sonore et la philosophie." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010549.
Full textThis dissertation explores the numerous changes arising from the Digital Revolution through aesthetics. It takes on the essential issues in three steps, tackling discourse, creation and reception. The first part assembles trends and keywords that reflect the main discourse, covering both the present and the past. A comparative study analyzes typical aesthetic approaches: whether considering new media art, virtual art, digital art, computer art, information art or code art, it becomes apparent that almost ail approaches seek the specific new qualities of the digital medium. The second part concentrates on sound arts and on audio dramas in particular, but also tackles computer music. The focus on the genre Hörspiel allows demonstration of how space and time change in detail. The setting up of a working hypothesis of Sonarios, defining interactive scenic spatial sound installations, allows the direct comparison of the 'old' genre Hörspiel and the 'new' genre Sonario on the basis of three case studies and a consideration of the state of the art. It, moreover, suggests a qualitative and quantitative model of interactivity. The third part introduces the prominent research sectors of philosophy. Step by step, it constructs a hermeneutic model with the aid of ontology, starting with the processes of virtualization and actualization. Selected philosophical approaches on important aesthetic categories are presented in order to refine and discuss the model, together with an analysis of findings from the second part. A graphical model of algorithmic signs, developed in the context of semiotics and phenomenology, allows the analysis to be embedded in the context of aesthetics
King-Smith, Leah. "Resonances of difference : creative diplomacy in the multidimensional and transcultural aesthetics of an indigenous photomedia practice." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16321/1/Leah_King-Smith_Thesis.pdf.
Full textKing-Smith, Leah. "Resonances of difference : creative diplomacy in the multidimensional and transcultural aesthetics of an indigenous photomedia practice." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16321/.
Full textÁlvaro, Sánchez Sandra. "Postdigital city: aesthetics and politics in the space of embodied virtuality. La ciudad postdigital. estética y política en el espacio de la virtualidad encarnada." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400208.
Full textDeleuze and Guattari quote Paul Klee to characterize modern art as research engaged in the mobilization of the creative potentialities of matter. Art gives up mimesis or Representation and assumes an aesthetic and political compromise: to express how things reach existence. The Modern Artist becomes an artisan engaged in the experimentation with matter, which is understood as multidimensional, active, complex, and counter-intuitive. After having abandoned the repetition of tradition and the codifications of power, art explores noise, the unactualized possibilities of the Virtual, and unfolds new channels of communication, new transductions towards the creation of new territories or spaces of dwelling. Art becomes ecology and claims for a population, called on to be the oscillators that make these starting points and new temporalities resonate. The collective engagement in the creation of our surrounding reality will reach philosophy and science, this resulting in a new understanding of Ontology; our reality becomes an ongoing collective project, not populated by static objects but by the immanent process of producing complex assemblages. The Deleuzian concept of Art stems from a materialistic ontology that unfolded from the postcartesian philosophy of Leibniz and Spinoza and the conception of a processual reality proposed by Whitehead, and followed by authors such as Bergson, Simondon, Deleuze and Serres, that was later elaborated by Delanda and Latour and more recently by currents such as Software Studies, Media Archaeology, the Ecology of Media, and others that have considered the agency of matter in relation to the Digital ground. The research presented here navigates these theories, their relation to and influence on to theories about urbanism, especially in Lefebvre, and contemporary artistic production to propose a series of concepts: ‘Space of Transformation’, ‘Embodied Virtuality’ and ‘PostDigital’ are the points of accumulation where all the previous conceptual elaborations converge; the nodes of a constellation that will allow a navigable map towards the understanding of the conformation of our technological milieu to be built. The Postdigital designates a situation shaped by the ubiquity of a big assemblage that has spread computation to all the spaces of knowledge and practice until reaching our daily routines and the physical space by means of the new connected devices of Ubiquitous Computing and the associated phenomena of Big Data, the Internet of Things and Smartcities, that are territorializing all the spaces of our life, all of them flattened under the politics of a representation where everything becomes computable data and modelled by new cartographies, which are aimed at the efficient management of these spaces. Under these circumstances, computers are not tools, but a new techno-social apparatus changing the practiced, conceived and lived space. This research is aimed at the proposal of a productive relation with the new non-human agents populating our environment, by means of the consideration of the creative potential of making, understood as a transductive process from where things emerge as Embodied Spaces of Transformation. That is to say, the result of a communicative encounter by virtue of which things are produced at the same time as the subjectivities and territories of the Collectives involved in them. As Valéry predicts art is becoming ubiquitous, the creations and techniques developed in the experimentation with new media pervade our environment from the facades of our buildings to the small communicative devices we stock in our pockets and the design of consumer products. In it, art and design encounter with technology and engineering. What is proposed here is a set of strategies arising from the free and playful activity developed on the intersections between art, engineering, architecture and social intervention, the Postdigital Strategies are rooted in the space of Embodied Virtuality and directed at the elaboration of a new poetics of the city, which is concerned with the speculative construction of programmable space. It becomes not an unrooted, homogenized and fragmented nowhere, jeopardized by the fuzzy relational systems of an imperceptible apparatus, but a space rooted in the specifics of the local and able to embrace difference, populated by open systems that foster participation and empowers citizens, able to be appropriated for new uses and where everybody can be engaged in its social production; the seeds for the new citizenship that Lefebvre claims in the Right of the City.
Johnson, Rebecca. "The clash of articulations : aesthetic shock, multivalent narratives and Islam in the post-9/11 era." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/the-clash-of-articulations-aesthetic-shock-multivalent-narratives-and-islam-in-the-post911-era(4b88517c-6052-4d4d-90a6-4df8134f1138).html.
Full textSkowronska, Elwira Monika. "datascapes: Redefining the Sublime in Contemporary Art." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20357.
Full textFrigo, Alberto. "Life-stowing from a Digital Media Perspective : Past, Present and Future." Doctoral thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32439.
Full textDen samtida samhälls- och forskningsdebatt, där de allt mer populära teknologierna för life-logging ofta framställs som farliga, vidgas och utvecklas i denna bok genom ett särskiljande av automatiska och manuella tekniker för life-loggning. Eftersom nya definitioner av life-loggning i stor utsträckning har exkluderat manuella tekniker och fokuserat på egenmätning som inte kräver så mycket av användaren, såsom GoogleGlass, innehåller avhandlingen också ett teoretisk utforskande av begreppet lifestowing. Genom omfattande etymologisk forskning definieras life-stowing i avhandlingen som en manuell och ansträngande praktik utförd av life-stowers, personer som vigt sina liv åt att samla och spara bitar av verkligenheten enligt fördefinierade ramar. I den historiska översikten introduceras två typer av life-stowers, den Apollonianska och den Dionysiska. Slutligen, för att förstå det framtida mottagandet av life-stowing i relation till digitala medier, presenteras författarens egna life stowingprojekt för en mindre publik.
Milos, Emil University of Ballarat. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12772.
Full textMaster of Arts
Milos, Emil. "Letters to Francisco : Negative imagery in art and the depiction of microstructural elements of the human body." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/61908.
Full textMaster of Arts
Milos, Emil. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14608.
Full textMaster of Arts
Ong, Lorraine Grace G. "Mu-Tonics: in search of mutable tectonics." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2007. http://hdl.handle.net/1853/22699.
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