Dissertations / Theses on the topic 'Electronic aesthetics'
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Phillips, Christine Michelle. "The influence of aesthetics on website user perceptions." Diss., Wichita State University, 2007. http://hdl.handle.net/10057/1495.
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As Internet users become more sophisticated, so do their requirements for the websites they utilize. Two major factions in the field of website design have argued over the importance of site usability vs. site appeal. Previous research examined site usability as a main component of user satisfaction on the Internet. Current research is beginning to examine the aesthetic appeal of websites and the impact on user satisfaction. This research attempted to address the following questions: 1. Do individual differences affect user ratings of site appeal? 2. Do usability and appeal manipulations to websites affect satisfaction, perceived usability and interest in the site? 3. Does the type of task a user is completing on the Internet impact their awareness of the site’s appeal and usability? In a two part study, users evaluated the aesthetic appeal of site homepages to determine if individual differences impact site first impressions. In a follow up study, users completed different types of tasks on sites with varying levels of appeal and usability. Results indicate that there individual differences do not appear to influence on site appeal ratings. When users are asked to evaluate sites with varying degrees of appeal and usability, their first impressions are most influenced by the appeal of the site. Those viewing the sites with low appeal were not positively influenced by the site’s usability, even when the site was easy to use. Participants viewing sites with high appeal were aware of changes to usability and their site ratings decreased when the site had poor usability. Finally, task type appeared to impact user judgments on the site. Participants actively searching for information were more aware of usability issues than participants instructed to explore the site with no specific task requirements.Thesis (Ph.D.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Psychology
"December 2007."
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Phillips, Christine Michelle Chaparro Barbara. "The influence of aesthetics on website user perceptions /." Diss., A link to full text of this thesis in SOAR, 2007. http://hdl.handle.net/10057/1495.
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Sheppard, Adam. "Aesthetic Practices in my Live Electronic Music." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.
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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How do we perceive sound? How do we correlate physical gestures? To answer, I make observations on selected works spanning the continuum of the field.
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Corder, Nathan Anthony. "Determining Conditions| Towards an Aesthetic of Emergence in Live Electronic Music." Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10822167.
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The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in an appropriate contextualization in regards to emergent properties within music. I claim that a careful distinction between indeterminate forms and emergent properties is needed to further develop how we think about these works, and examine them in light of more recent philosophical and aesthetic developments. This paper does not aim to lay out a fully ontology or metaphysics of what emergence is in general, but rather works towards a working definition of a kind of emergence present within the music of various American experimental composers (John Bischoff, Tim Perkis, Chris Brown, David Tudor), and how to apply such a definition of emergence to an aesthetic framework of understanding live electronic music.
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Salimun, Carolyn. "The relationship between visual interface aesthetics, task performance, and preference." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4256/.
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The purpose of this thesis was to develop a conceptual framework that shows the relationship between aesthetics, performance, and preference in computer interface design. To investigate this relationship, the thesis focused on investigating the effect of layout aesthetics on visual search performance and preference. This thesis begins with a literature review of related work followed by the rationale for conducting this research, in particular, defining what it meant by visual aesthetics in the context of interface design. Chapter 4 focused on investigating the effect of layout aesthetics on performance and preference. The results show that response time performance and preference increased with increasing aesthetic level. Preference and performance were found to be highly correlated. Chapter 5 focused on investigating users’ layout preference when they were not involved with a performance-based task. The results showed, surprisingly, that preference was highest with a “moderate” level of layout aesthetics and lowest with “high” and “low” levels of aesthetics. Chapter 6 focused on investigating visual effort by measuring eye movement pattern during task performance. The results showed that visual effort increased with a decreasing level of aesthetics. Chapter 7 extended the experiment in Chapter 4 using more “ecologically valid” stimuli. The results essentially replicated the results produced in Chapter 4. Chapter 8 focused on investigating the relationship between so-called “classical” aesthetics and background “expressive” aesthetics. The results showed that task performance using classical aesthetics was highest with high and low levels of aesthetics and worst with medium levels of aesthetics. Performance with expressive aesthetics increased with decreasing aesthetic levels. This thesis concludes with a conceptual framework for aesthetic design to help interface designers design interfaces that look aesthetically pleasing while at the same time supporting good task performance.
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Lackamp, Denise. "Aesthetic and moral judgments the moral value of immoral art /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442870.
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Cooke, Patricia K. "From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.
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For centuries, artists have used their works as a means of communication. Such
communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Cooke, Patricia K. Waters Mary. "From the sublime to duende : a cross-cultural study on the aesthetics of artistic transcendence." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2032.
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Ryan, Teresa Maria. "This ecstatic nation : the American landscape and the aesthetics of patriotism /." abstract (UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3280751.
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Thesis (Ph. D.)--University of Nevada, Reno, 2007."August 2007." Includes bibliographical references (leaves 191-221). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2008]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
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Gower, Peter W. "Resorting to aesthetics measuring the visual qualities of selected new urbanist-style resort developments in the Lake Tahoe region /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447698.
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Maybury, Terrence, and n/a. "Internal+/-External Terrains: A Meditation On the Productive Skein of Electracy." Griffith University. School of Film, Media and Cultural Studies, 2002. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031009.112120.
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Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.
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Shintani, Joyce. "Gendertronics : toward a "lecture féminine" of emerging musical technologies and their aesthetics : gerhard Stäbler, Terre Thaemlitz, Miss Kittin." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0256.
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Depuis les années 80, le développement rapide des nouvelles technologies microélectroniques a donné naissance à une nouvelle génération d’oeuvres d’art musicales. Souvent, ces oeuvres profitent d’une approche analytique provenant de la théorie des médias. En même temps, de nouveaux courants dans la philosophie ainsi que dans les études culturelles ont engendré une nouvelle notion de genre (anglais : gender), qui vient s’établir dans la musicologie anglo-américaine et, de manière plus conscrite, dans la musicologie allemande ; jusqu’ici, elle ne s’établit guère dans la musicologie française. Cette thèse entreprend une investigation théorique d’oeuvres d’art électroniques, tout en utilisant la notion de gender : gender + electronic = gendertronics. Pour cette investigation, des notions sont employées dérivant de la lecture féminine : une approche pluridisciplinaire associée à l’écriture féminine d’Hélène Cixous (* 1937), écrivain et théoricienne poststructuraliste. Puisque ni la lecture féminine ni la théorie des médias ne prend en compte des éléments musicaux, cette investigation incorpore également des aspects de l’analyse musicale. Trois artistes sont considérées : Gerhard Stäbler (*1943), Terre Thaemlitz (*1968) et Miss Kittin (*1973). L’investigation trace le développement des notions de « sujet » et de « matériau musical » depuis la théorie poststructuraliste et la musique contemporaine jusqu’à des notions philosophiques émergentes du « corps ». Une considération particulière est le genre musical electronica, repérant ses antécédents dans la musique électronique expérimentale en Europe du vingtième siècle et dans les musiques populaires de danse aux Etats-Unis dans les années 80 et 90. L’investigation cherche à joindre les recherches récentes dans ces domaines. Elle ouvre de nouvelles pistes et propose des nouveaux outils pour explorer plus profondément le domaine émergent des gendertronicsSince the 1980s, rapid development of new micro-electronic technologies has spawned a new generation of musical art works employing electronic means. These artworks are often theoretically approached using media theory. Contemporaneously, new developments in philosophy and in cultural studies have given rise to the new notion of gender, which has since found its way into Anglo-American musicological and, to a more limited degree, into German musicology, though not at all into French. The present work undertakes a gendered theoretical investigation of electronic art works – gender + electronics = ‘gendertronics’. For the investigation, notions stemming from lecture féminine are employed, a pluralistic reading approach associated with écriture féminine of the poststructuralist theorist/writer Hélène Cixous (born 1937). Since neither lecture féminine nor abovementioned media theory takes musical elements into account, this investigation also draws on music analysis. Aspects of the works of three artists are considered: Gerhard Stäbler (born 1943), Terre Thaemlitz (born 1968), and DJ Miss Kittin (born 1973). The investigation traces the development of the topics ‘Subject’ and ‘musical material’ from poststructuralist and New Music theory of the 20th century to emerging new philosophical notions of the body. Particular attention is given to the development of the musical genre ‘electronica’, tracing its antecedents from European experimental electronic music of the 20th century and from American popular dance music of the 80s and 90s; subgenres treated include rave, glitch, clicks-and-cuts, electroclash, techno, electro, ambient, and house. The investigation complements recent research addressing lacunae in these areas and offers new paths and tools for future investigation in the emerging area of gendertronics
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Turner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.
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Master of Visual ArtsThis thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?
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Suiter, Wendy. "Text manipulation voice with audio or acoustic augmentation /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080228.103431/index.html.
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Wang, Hsiao-Lan. "Aesthetic and Technical Analysis on Soar!" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30522/.
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Soar! is a musical composition written for wind ensemble and computer music. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain. Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores various interactions among instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and integrates a large ensemble with computer music. The conductor acts as the leader at several improvisational moments in Soar! The use of conductor-initiated musical events in the piece can be traced back through the historic lineage of aleatoric compositions since the middle of the twentieth century. [Score is on p. 54-92.]
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Dunne, Anthony. "Hertzian tales : electronic products, aesthetic experience, and critical design." Thesis, Royal College of Art, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681742.
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Hejl, Matouš. "Technics and Music : some remarks on the process of exteriorization in music." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2439.
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The delegating of thought, memory and action outside of the human body, inseparable from the process of individuation and identity formation, and the following implications for music establish an underlying theme of this text. It is a reflection on the process of "supplementation," of prosthetization or exteriorization in the recent and contemporary milieu of music making, in which nothing is any longer immediately at hand, where everything is found mediated and instrumentalized, technicized, unbalanced.
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Levy, 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.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Cataloged 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.
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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
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Williams, Nicola Kim. "Objective predictors of subjective aesthetic ratings of web pages." Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2324/.
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This research is concerned with the effect of visual stimulus on decision-‐making and opinions, what visual aspects of a page affect very early impressions of web sites, and how this relates to computational methods of prediction and evaluation of web pages. The aim of this study was to discover whether there are identifiable visual attributes of web pages that can be used to predict subjective opinions. This was explored through three separate studies. These consisted of two correlational studies and a categorisation task. Participants were gained through convenience and snowball sampling, and the materials reviewed were two distinct sets of web pages. Cards sorts, laddering and an online data collection tool were used to gather the information. Both qualitative and quantitative analysis was used to explore the information. The visual attributes found to correlate with subjective opinions were inconsistent across the two correlational studies. Study One had a number of limitations that may have contributed to this inconsistency. Concrete findings were that levels of encouragement and discouragement influenced by web pages are on two distinct scales, as, although there is a negative correlation between them, a large number of pages were rated poorly on both scales. The similarity between the card sort and questionnaire results had consistent findings for predictors of low-‐rated web pages. The findings from the cards sorts also show that users are able to make preference judgements of web pages without being able to understand the content. An application of the findings regarding prediction of low-‐rated pages would be to create web design optimisation system, enabling web pages to be reviewed computationally. Although this should never replace user testing, it may provide an economical alternative during the early stages of design.
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Oldfeldt, Eke´us Henrik Carl-Olof Julian. "Parameter search for aesthetic design and composition." Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/13036.
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This thesis is about algorithmic creation in the arts - where an artist, designer or composer uses a formal generative process to assist in crafting forms and patterns - and approaches to finding effective input parameter values to these generative processes for aesthetic ends. Framed in three practical studies, approaches to navigating the aesthetic possibilities of generative processes in sound and visuals are presented, and strategies for eliciting the preferences of the consumers of the generated output are explored. The first study presents a musical interface that enables navigation of the possibilities of a stochastic generative process with respect to measures of subjective predictability. Through a mobile phone version of the application, aesthetic preferences are crowd-sourced. The second study presents an eye-tracking based framework for the exploration of the possibilities afforded by generative designs; the interaction between the viewers' gaze patterns and the system engendering a fluid navigation of the state-space of the visual forms. The third study presents a crowd-sourced interactive evolutionary system, where populations of abstract colour images are shaped by thousands of preference selections from users worldwide For each study, the results of analyses eliciting the attributes of the generated outputs - and their associated parameter values - that are most preferred by the consumers/users of these systems are presented. Placed in a historical and theoretical context, a refined perspective on the complex interrelationships between generative processes, input parameters and perceived aesthetic value is presented. Contributions to knowledge include identified trends in objective aesthetic preferences in colour combinations and their arrangements, theoretical insights relating perceptual mechanisms to generative system design and analysis, strategies for effectively leveraging evolutionary computation in an empirical aesthetic context, and a novel eye-tracking based framework for the exploration of visual generative designs.
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Whitaker, Jay Ernest. "Aesthetic representations of history : the question of the national allegory /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/whitakerj/jaywhitaker.pdf.
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Kent, Matthew Paul. "Estimating functional performance for use in the aesthetic design process." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6422/.
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In engineering fields such as automobile design, optimisation of functional performance properties often conflicts with aesthetic optimisation. Functional performance feedback into the aesthetic design software may therefore improve the convergence of the design process. Unfortunately, many functional performance scores such as aerodynamic drag require intensive computational effort. We consider the use of machine learning approaches to instead provide estimates of these functional performance scores. We study the problems encountered when developing such an estimation function. The use of a historically accumulated data set of STereoLithography-format designs and their performance scores is suggested. We first look at preparing such a data set as training data for a machine learning task. Our first major novel contribution combats this problem in a manner similar to voxelisation. We next look at generating the regression function, seeking to achieve good generalisation across a large space of possible designs and for a problem where dimensionality reduction is challenging. Our second major novel contribution deals with this problem using an ensemble regression framework incorporating multiple data representations. Finally, we look at strategies of combining these two novel systems into a complete system. Upon evaluation, we conclude that our original aims have been met by this complete system.
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Gedosh, David Mallory. "Augeries for flute clarinet, percussion and tape, aesthetic discussion and theoretical analysis /." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9851.
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A multi-channel electro-acoustic composition for flute, clarinet, percussion (2 players), and tape. Includes pre-recorded audio and live processing. System requirements: Adobe Acrobat Reader. Includes performance notes. Includes bibliographical references (p. 56-58).
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Gedosh, David. "Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9851/.
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Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.
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Prophet, Jane. "Taste, teaching and the Utah teapot : creative, gender, aesthetic and pedagogical issues surrounding the use of electronic media in art and design education : with particular reference to hypertext applications." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/39005/.
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This investigation charts a number of complementary explorations at the site of electronic media in art practice and design and media education. Artists are increasingly using video and computer technology in the production of their work, and these shifts are reflected in the way design and media courses are taught in Higher Education. This study seeks to relate a number of often contentious issues, but complex questions are central to any debate about the use of electronic imaging technologies by artists and the implications for teaching and learning. In this respect, the thesis is informed by my dual role as an artist using electronic media and as a lecturer in video and digital imaging in the Media Department at the University of Westminster. The study is based on a particular model of action research, and seeks after the manner of Glaser and Strauss (1967) to "ground" theory in the aggregate perceptions, understandings, and artistic or pedagogical orientations of those seeking to bring order to their own experiences in the settings. The text is arranged in eleven chapters. It begins by introducing the boundaries of the phenomena under study (which is necessarily ragged and untidy and challengingly gritty, since the composite issues have yet to have attracted any clarity of exposition, and the field is in any case characterised by imaginative leaps and cross-fertilisation) and the methodological and idealogical stances adopted. Methodologically the thesis is wide-ranging and eclectic, although also contained within the kind of feminist epistomology proposed by Sandra Harding (1992), Marnier Lazreg (1994) and others. It then moves on to examine a number of focal points and issues related to the use to which electronic media is put by artists. These topics include my own sustained attempts to develop non-linear computer systems for mapping associative thoughts, and a more general and more detailed study of the principles and characteristics of these systems when they are used for holding information about knowledge domains. Following this, there is a chapter dedicated to the application of these principles to a particular knowledge domain, colour theory, with the aim of designing a computer aided learning package. The interconnections between all the topics, issues and themes studied in the text are highlighted in the middle of the thesis before moving on to more specific investigation of the issue of gender in both technological education and creativity, with an emphasis on the use of imaging technologies by women artists. The impact of these technologies in terms of shifting aesthetic values and tastes forms the basis of the final chapter, and a conclusion seeks to offer both a tentative intellectual synopsis and to indicate how the exercise has influenced and affected my work as an artist. I am aware that to some extent this arrangement challenges both the linear quality of conventional research reportage and academic distrust of promiscuously interpenetrating ideas. I trust that this form of discourse, deliberately chosen, is experienced as working within its own terms.
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Oliveira, Paloma Andrade de. "Berlindas: por uma estética do risco com acoplamentos para corpos potentes." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01062015-161628/.
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Esta pesquisa busca contribuir para o desenvolvimento de relações entre corpo e tecnologia, ao compreender esse dialogo como um sistema alterador de percepção. Ao partir da experiência do corpo junto a dispositivos que permitem a transgressão do organismo natural, inicio com essa dissertação a formulação do conceito de \"acoplamento\", espécie de extensão que não invalida o corpo natural, mas que trabalham em conjunto para formar um novo corpo propositor de distintas perspectivas. Compreendo que \"acoplamento\" seja em consonância ao que chamo \"poética do risco\", onde encaro a berlinda não como um abismo, mas como um desconhecido que me permite sair da zona de conforto para alcançar a potência do sistema em que me encontro. Ao apresentar alguns trabalhos desenvolvidos nos últimos anos, pretendo tatear noções de corpo, tecnologia, presença, órtese e prótese que possam apontar caminhos para a formulação do que venho até então chamando de \"acoplamento\". Serão apontados os trabalhos: \"adaMachine Experimento #1 Máquina de Criar Presenças\", performance telemática que investiga possibilidades de presença, tecnologias e afetos através de formas de comunicação mediadas, ruidosas e suscetíveis as limitações dessa mediação; \"La Grand Pelea\" investiga sensores biofísicos buscando ultrapassar a fronteira da pele através da criação de wearables, com capacidade para potencializar as relações entre a tecnologia e o corpo que a veste, propondo interfaces assistivas e para performance; e \"Monomito\", objeto performático vestível, no qual as dimensões da tecnologia e do corpo ocupam o mesmo lugar de importância, trata da jornada humana modificada pelas relações que cria com o outro, ainda que em tempos distintos. Encerro esta dissertação com um relato sobre o Projeto Híbrida, que promoveu de forma técnica, teórica e sensível, conexões que nos mostram as potências do atuar coletivamente na contemporaneidade. O projeto revela implicações que extrapolaram os conceitos de arte e o laboratório acadêmico ao vivenciar a cultura do compartilhamento e da prototipagem para apresentar questões estéticas que emergiram de proposições sensíveis, oferecerendo ferramentas de empoderamento social.This research aims to contribute to the development of relations between body and technology, as understanding this dialogue as perception changing system. From the physical experience of connection with devices that allow the transgression of the natural organism, I discuss, with this dissertation, what I\'ve been calling the \"coupling\" concept. A sort of body extension that does not invalidate the natural body, but instead works mutually to form a new body that proposes different perspectives. In my understanding, \"coupling\" is in consonance to what I call \"poetics of risk,\" in which I see the line before the void, the exit point; not as an abyss, but as an unknown space that allows me to get out of the comfort zone to achieve the power of the system in which I find myself in. By presenting some work done in recent years, I want to grope for notions of body, technology, presence, orthotics and prosthesis that indicate the principles for what I\'ve been calling so far as \"coupling\". The works that will be discussed are: \"adaMachine Experiment # 1 Presence Creator Machine\", a telematic performance that investigates the possibilities of presence, technologies and affections through mediated, noisy and limited communication; \"La Grand Pelea\" investigates biophysical sensors seeking to cross the border of the skin by creating wearables, able to enhance the relationship between technology and the body that wears it, proposing interfaces for assistive purposes and performative art experiments; and \"Monomyth\", wearable performative object, in which the dimensions of technology and body occupy the same place of importance, deals with the human journey that is modified by establishing peculiar relations provoked by the apparatus and the performer. I conclude this dissertation with a report about Hibrida Project, which promoted technical, theoretical and sensitive connections that show us the power of acting collectively in contemporary times. The implications of this project revealed that it went beyond the concepts of art and the academic laboratory, as its participants experienced the culture of sharing and prototyping, and were able to present aesthetic issues that emerge from these sensitive propositions, offering social empowerment tools.
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Röthig, Sabine. "Windowlicker." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17491.
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In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können.This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.
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Oliveira, Robert Anthony do Amaral. "Glitch music." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/2340.
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Este trabalho traz questões relacionadas com a glitch music, gênero ligado à estética do erro que surgiu na década de 1990. Divido em dois pontos: no primeiro, a pesquisa parte de definições iniciais sobre o glitch e a glitch music, buscando delinear um contexto geral que o gênero se desenvolveu. Levantamos também questões conceituais sobre o “erro”, procurando apontar o uso do erro como estética na música. No segundo, mostramos três perspectivas de abordagens distintas do glitch em três compositores diferentes: Yasunao Tone, Oval e Alva Noto. Por último, o trabalho busca abrir novas discussões a respeito do que é o gênero glitch music e o que ele engloba.
This work brings questions related to glitch music, genre linked with the aesthetic of failure that arose in the 1990's. It is divided in two parts. In the first part, the research starts with definitions about glitch and glitch music, trying to outline a general context that the genre has developed. We also bring conceptual questions about "failure" trying to point out the use of error as an aesthetic in music. In the second part, we show three perspectives of different approaches of glitch in three different composers: Yasunao Tone, Oval and Alva Noto. Lastly, this work intends to open new discussions concerning what glitch music genre is, and what it includes.
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Costa, Manuel da. "A subjetividade das formigas : uma abordagem pragmática do uso artístico da eletrongrafia na representação de mundos ocultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10831.
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Dando continuidade a uma pesquisa estética iniciada em 1991, este projeto de pesquisa em arte propõe a realização da série FORMIGAS, e o texto desta dissertação trata das relações entre a ética e a estética que essa obra estabelece ao longo dos quatro anos de duração do seu processo instaurador. No decorrer desse período, uma primeira versão dessa mesma série, composta por uma seqüência de nove eletrongrafias de caras de formigas de várias espécies, gerou um impasse ético que a presente versão, composta por uma seqüência de quinze eletrongrafias de caras de formigas do gênero acromyrmex, propõe discutir e contornar.The current paper is a research project in art that discusses the relation between the ethics and the aesthetics brought about by the making of the ANT series. It is part of an aesthetic investigation initiated in 1991 and the series instauration process has taken four years. A first version of the series was composed by a sequence of nine electrongraphs of ant faces of several species, and the second version is composed by fifteen electrongraphs of ant faces of the genus acromyrmex. The first version raised an ethical dilemma which the second one and this paper are meant to discuss and resolve.
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Lopes, Ruy Sardinha. "A imagem na era de sua reprodutibilidade eletrônica." Universidade de São Paulo, 1995. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-03072002-101335/.
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A acolhida que as imagens eletrônicas e sintéticas vêm recebendo por parte da crítica é reveladora de um novo otimismo tecnológico e abre espaço para a discussão sobre as conseqüências das novas tecnologias sobre a sociedade. Fala-se, em relação a estas imagens, de um novo regime de visibilidade e de um novo imaginário numérico que transgride nossos códigos perceptivos e cognitivos e nossa relação simbólica com o mundo. Contudo, a desvinculação destes sistemas imagéticos de qualquer prática social mais ampla e da produção imagética que as antecedeu especialmente a pintura, a fotografia e o cinema é ilusória. Em muitos casos, os elementos apontados como marcas de ruptura são muito mais a potencialização de questões já presentes na história da arte do que a constituição de um novo sistema representativo. A potencialidade aberta por estes novos processos de enunciação da imagem deve, portanto, ser pensada a partir de uma perspectiva mais longa, inserida na lógica cultural do Capitalismo contemporâneo. Com isso, na esteira das colocações de Walter Benjamin e de Adorno, trataremos de ver o que as configurações sociais contemporâneas e o advento das novas tecnologias fazem com a arte, situando as imagens eletrônicas dentro das relações de produção de seu tempo.The welcome that electronic and synthetic images have from the critique reveals a new technological optimism and gives room to the discussion of the consequences of the increasing interference of new technologies in society. Related to these images, is discussed a new regime of visibility and a new imaginary run by numbers that transgresses our perceptive and cognitive codes and our symbolic relation with the world. However, the well- known idea of an epistemic breach between the new images and the previous image production systems (in particular painting, photography and cinema) is illusory. Very often, the elements presented as marks of the rupture are in a great deal more the enhancement of questions already present in art history than the constitution of a new representational system. The open possibility created by these new processes of enunciation of image must, therefore, be interpreted from a wider perspective, rooted in the cultural logic of contemporary Capitalism. Thereby, following the path of Walter Benjamin and Adorno, we shall try to see what the contemporary social configurations and the advent of new technology do to art, placing the electronic images inside the productive relations of its time.
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Hanna, Samir Abdallah. "Eletronterapia intraoperatória adjuvante no carcinoma inicial invasivo de mama: tolerabilidade, satisfação estética e eficiência terapêutica." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/5/5151/tde-01042014-113402/.
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INTRODUÇÃO: A razão para a radioterapia parcial da mama em comparação ao tratamento convencional da mama inteira baseia-se em 3 pontos: a) cerca de 90% das recidivas locais ocorre na adjacência do tumor primário; b) é possível estabelecer a equivalência de efetividade entre a dose única e o tratamento fracionado convencional; e c) existem dificuldades logísticas, financeiras e emocionais no tratamento fracionado convencional (falta da disponibilidade do aparelho de radioterapia em muitos municípios e desistência de tratamento das mulheres que iniciam a radioterapia convencional). Em maio de 2004 iniciou-se um estudo prospectivo com a eletronterapia intraoperatória adjuvante no carcinoma inicial invasor de mama, porém com sistemática de tratamento diferente de outras técnicas: ao invés de se usar um acelerador linear portátil e dedicado, utilizou-se o acelerador linear estático convencional. Neste trabalho, buscou-se analisar a frequência de complicações imediatas e tardias; o grau de satisfação estética das pacientes com as mamas após o tratamento; e as taxas de sobrevida livre de doença e sobrevida livre de falha local. MÉTODOS: Coletaram-se dados dos prontuários, buscando informações demográficas, do estadiamento inicial, da avaliação histopatológica intraoperatória (margens cirúrgicas e linfonodo sentinela), dados técnicos da eletronterapia e os achados finais em exame de parafina. Além disso, a frequência de complicações imediatas (até um mês de cirurgia) e tardias (depois de um mês), a estética (um ano da cirurgia, usando a escala de Harvard/NSABP/RTOG) e finalmente os índices de sobrevida global e livre de evento. RESULTADOS: Foram incluídas 169 pacientes e destas 35 foram excluídas devido a critérios intraoperatórios (linfonodo sentinela positivo ou margens positivas). Assim, 134 foram analisadas com idade mediana de 57,9 (40-85,4) anos, em um seguimento mediano de 50,6 (1-97,2) meses. Quatro pacientes desenvolveram recidiva local e três tiveram recorrência regional. As estimativas actuariais em 5 anos de sobrevida global, livre de eventos e livre de falha local foram respectivamente 97, 90,5 e 93,6%. A incidência cumulativa de falha local em 5 anos foi de 3,7%. A incidência global de toxicidade aguda foi de 8,2% e tardia de 26,2%. Os resultados estéticos excelentes, bons, regulares e ruins observados foram respectivamente 70,9%, 14,2%, 3,7% e 3,0%. Os tamanhos de colimador utilizados foram 4 cm em 18,7%, 5 cm em 80,6% e 7 cm de 0,7% dos casos. A energia de elétrons escolhida para tratamento foi de 6 MeV em 7,4%, 9 MeV em 52,2%, 12 MeV em 35,8%, 15 MeV em 3,7%, e 18 MeV em 0,7%. Os aceleradores lineares dedicados apresentam opção de energia de elétron variando até 9 MeV. Sendo assim, 40,29% dessa amostra provavelmente seria sub-tratada em equipamentos dedicados, pois foram necessários valores maiores de energia de elétrons para um tratamento adequado. Todas as pacientes fizeram portal-filme para checagem antes do tratamento e em 72,4% o alinhamento entre o disco de proteção e o colimador foi suficiente. No entanto, 27,6% das pacientes tiveram que ter os discos reposicionados. Nenhum caso de infecção no período perihospitalar fora observado. CONCLUSÕES: A eletronterapia intraoperatória com acelerador linear convencional apresentou baixa frequência de complicações e resultados estéticos desfavoráveis, e foi oncologicamente efetivaINTRODUCTION: The rationale for partial breast radiation therapy when compared to conventional whole breast treatment is based on three points: a) about 90% of local recurrences occur in the adjacent area of the primary tumor, b) it is possible to establish equivalence between the effectiveness of single dose and fractionated conventional treatment, and c) there are logistical, financial and emotional difficulties related to conventional fractionated treatment (lack of availability of radiotherapy facilities in many cities and the high dropout rate of women who start conventional radiotherapy). In May 2004 we started a prospective trial using adjuvant intraoperative electron-beam therapy in early invasive breast cancer, but instead of a dedicated linear accelerator, we used the static conventional linear accelerator. In this study, we aimed to analyze the frequency of early and late complications, the cosmetic satisfaction of patients after treatment, and freedom from disease and local recurrence rates. METHODS: Data were collected from medical records, looking for demographic information, the initial stage, intraoperative and definitive histopathological evaluation of surgical margins and sentinel lymph node, technical data and pathologic staging, and follow-up data. In addition, the frequency of immediate (up to one month of surgery) and late (after one month) complications, aesthetics (one year of surgery, using the scale of Harvard/NSABP/RTOG), and finally the event-free and overal survival were obtained. RESULTS: We included 169 patients and 35 of these were excluded due to intraoperative criteria (positive sentinel lymph nodes or margins). Thus, 134 were analyzed. The median age was 57.9 (40 to 85.4) years and the median follow-up was 50.6 (1 to 97.2) months. Four patients developed local recurrence and three had regional recurrence. The actuarial estimates for overall, event-free, and local failure-free survivals were respectively 97, 90.5, and 93.6%. The crude incidence of local failure at 5 years was 3.7%. The overall incidences of acute and late toxicities were respectively 8.2% and 26.2%. The cosmetic results as excellent, good, fair and bad respectively were observed in 70.9%, 14.2%, 3.7% and 3.0%. Collimator sizes were 4 cm in 18.7%, 5 cm in 80.6%, and 7 cm in 0.7% of cases. The electron energy chosen for treatment was 6 MeV in 7.4%, 9 MeV in 52.2%, 12 MeV in 35.8%, 15 MeV in 3.7% and 18 MeV in 0.7%. The dedicated linear accelerators have electron beam energy ranging up to 9 MeV. Thus, 40.29% of these patients probably would not be treated adequately in dedicated equipment due to the need for higher values of electron energy. All patients underwent portal-film and in 72.4% the alignment between the shielding disc and the collimator was enough. However, in 27.6% of patients it had to be repositioned. No case of infection was observed during perihospitalar time. CONCLUSIONS: Intraoperative electrontherapy using conventional linear accelerator has shown low complications and worsening aesthetics rates, and oncologic efficacy
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Zoulek, Nick. "Analyzing the Intersections of Saxophone and Digital Media Through Media Theory." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562771812450533.
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Hung, Ko-Hua, and 洪可樺. "Sounds Dislocation and Source Tracing: The Aesthetics of Space Displacement in Electronic Dance Music." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/b69vs8.
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碩士國立臺灣大學
音樂學研究所
106
From the development of electronic music to the 1990s, the overall music profile and aesthetic thoughts, in addition to inheriting the way the synths were used in popular music in the 1970s and the rave culture in the 1980s, these trands still continued to play and expand their influences. But this is not the complete appearance of the electronic music field in the 1990s: beyond the above-mentioned traditional electronic music, whether it is the emergence of IDM (intelligent dance music) or illbient music types, one can learn that a group of musicians has already begun. They both reflected and explored the aesthetics and listening methods of past electronic music. In this study, the author selected three electronic musicians, DJ Spooky, Dou Wei and Lim Giong, respectively, to try to present the possibilities outside the popular electronic music scene in the 1990s. They were born between 1960 to 70s, and became active in pop music and achieved their own status or created a new musical style around 1990s. Among their music works, they have made representative imaginations and interpretations toward their own locations: from New York, where DJ Spooky is based, to China where Dou Wei lives, and to Taiwan where Lim Giong is located. Their creative aesthetics in music are all significantly different from those of popular electronic music in the past. DJ Spooky’s Songs of a Dead Dreamer, Dou Wei’s Mountain River and Lim Giong’s Insects Awaken are not emphasizing the dance interaction between humans, music and physical movements, but the spatial imagination tension triggered by the audience in the brain. The discussion of this article starts with the electronic music in the western context, shifts discussions to Asia at the same time (China) and then focuses on Taiwan as a final reference point, trying to sort out the way these 90s’ electronic musicians from different regions gave the audience spatial imagination through the causal listening of sound in musical works. In this study, the author selected five young listeners who were born in the 1990s for interviews based on the degree of involvement in electronic music, creative experience, gender, and other personal music backgrounds. In order to explore the influence how the digital music form and the commercial electronic music party in 2017 have had on these young listeners from different backgrounds, and their attitude toward limitation of equipment, technology, and creative methods in the 1990s. By means of the sounds dislocation and source tracing, the article present how they completed the aesthetics of space displacement, reshaped, and had dialogues with listening experience.
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Yi-Wen, Chiu, and 邱意雯. "The Research of Competitive Strategy -Applying Aesthetic design To Consumer Electronic product." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/36031415977461254568.
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碩士輔仁大學
科技管理學程碩士在職專班
94
Many manufacturers of Consumer Electronic notice the trend of Aesthetics Economics. Despite having character of Aesthetics, the products of Aesthetics Economics do not only promote the idea of wonderful happiness life to consumer but also become the strategic tool in order to divide the difference of each market. Author also notices many famous companies of consumer electronic add aesthetics into their products. These companies use this method to create image which contain emotional way, content, in order to increase their value of products. As a result of that, the writer decides use “The Research of Competitive Strategy -Applying Aesthetic design To Consumer Electronic product” as the title of the dissertation. According to bibliography of this dissertation, readers could understand some theories of aesthetics design of a product, the competitive strategy, and design strategy. Then writer analyze the case of one of the Consumer Electronic Industry, which is LCD TV Industry. In order to know the competition of global LCD TV industry, writer clarifies the information and uses the theory of Diamond Model to analyze the LCD TV industry of Taiwan, Japan, Korea and China. In addition, the analysis of industry structure is based on the theory, which includes Five Force Model -Michael Porter and another force model-Robert M. Grant, for comprehending the competition of Taiwan LCD TV industry. It includes the present situation, future development and comparison of substitution product in the market. The writer chooses a LCD TV manufacture in Taiwan, which distinguishes its extraordinary design from other competitors as a case study of the dissertation. Moreover writer analyze its strategy of aesthetics and discuss its competitive advantages through value chain analysis in order to examine it whether meet its expectation or need adjust the direction of the strategy. According to the examination towards the company, writer has discovered the weakness of the company, which misleads its strategies and cannot adjust to correct strategic on time by using financial management. Author also recommends that the company could use Strategic Alignment and Performance Management to decline the manufacturing cost. As a result of this, it could use the aesthetics strategy not only to increase customer’s value, but also the company could finally earn profit sustained and keep its highly c competitive advantages among other rivals. Despite of the Aesthetics Marketing is very personalized, distinguishable from other industry but it is much smaller than traditional industry. Nevertheless if all industry in Taiwan could combine its aesthetics strategy, entrepreneurship, finance management and professional marketing strategy, it could develop Taiwan's international brand and exquisite image of products. As a result of this, all industry could gain a new image of aesthetics culture not only get rid of the Taiwan’s manufacturing stereotype gradually but also have the esthetic cultural depth in Taiwan!
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Saccomano, Mark. "Musical Sound and Spatial Perception: How Music Structures Our Sense of Space." Thesis, 2020. https://doi.org/10.7916/d8-y9d1-ae42.
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It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works.
In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive.
I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.
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Rabello, Mestre Andre. "A negative of knowledge." Thesis, 2018. https://hdl.handle.net/2144/30073.
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This dissertation for the Doctor of Musical Arts degree in Composition and Theory consists of a seventeen-minute work for two clarinetists and electronic media. A Negative of Knowledge is based on a secular song by the 15th-century Burgundian composer, Gilles Binchois. His song, titled Triste Plaisir, is at moments heavily abstracted but can be heard throughout the work in the pre-recorded, countertenor voice of Wee Kiat Chia. The piece was premiered by David Angelo and Shannon Leigh at Boston University’s Marsh Chapel on April 30, 2018.