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Yen, Koon-wai Michael. "Urban channel for electronic media and arts." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951397.
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Carneiro, Carla Margarida da Silva. "Voluntary electronic patient record state of the art." Master's thesis, Universidade da Beira Interior, 2012. http://hdl.handle.net/10400.6/1191.
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Introduction: With an ongoing economic crisis, Portugal and many other countries are looking into ways to increase efficiencies in all sectors. With almost 10% of the Gross Domestic Product (GDP) spent in Healthcare, there is a need to improve the use of resources.
A Voluntary Electronic Patient Record (VEPR) is an online record of health and healthcare related data provided by the patient himself, available to him, and his authorized health care providers and relatives, in a ubiquitous way anywhere/everywhere.
According to some authors through VEPRs, every health institution could have an easier access to a summary of the patient’s most important health data if needed and authorized.
Just like Portugal, Australia, for example, is currently preparing a health care reform and the implementation of a Personally Controlled Electronic Health Record (PCEHR) system is also being studied. Surveys to general practitioners and consumers of eHealth are being conducted in order to evaluate the quality and sustainability of Australia’s health care and to develop change and adoption strategies for the PCEHR system.
VEPRs can be provided by private companies, hospitals and health organizations or health departments of governments themselves.
In Portugal there is at least one VEPR free of charge provided by a private company. This has raised issues of security of data and risks, and has not been approved by the data protection agency, possibly due to considerations on its massive use as well as the ethical issues of linking it to national health data from the NHS.
In addition to this private VEPR, Portugal also provides some health online services: eAgenda and eRNU (“Registo Nacional de Utentes”) since 2009.
Currently, eAgenda allows patients to schedule for doctor´s appointments and to ask for prescriptions renewal.
The online health service, eRNU, allows users to check their general practitioner, the health institution in which they are registered, the health services it provides and its opening schedule.
VEPR can be efficient, allowing better sharing of information between health care providers through the online availability of health information. It can be convenient; provide easy access to timely and accurate information no matter where the patient is or when he needs it. It is empowering as it enables the patient to be more active and involved with his own health care.
To ensure the privacy of the patient’s health information, a security program is required to allow only the appropriately authorized individuals to access the VEPR and to save the record’s data in case of a technical breakdown occurs. On the other hand, although everyone can have a VEPR, this is normally restricted to younger, more info-included citizens as access to the internet is not universal and there is a natural difficulty in older generations to use IT and Internet. This, however, can be mitigated and will only have a tendency to dissipate in future.
Aims:
1. To assess the state of the art about VEPR;
2. To assess the state of the art about VEPR in Portugal;
3. To assess users expectancies towards VEPR in Portugal;
4. To help developing and set in motion a VEPR adjusted to Portuguese population’s health challenges.
Methodology: This is a transversal study with a qualitative and quantitative approach.
To elaborate this paper, a literature review was made in order to identify sources of information about VEPR and current state of the art on this field.
It was established a cooperation with the Portuguese Ministry of Health as it was the only way to indirect and directly collect data about the portuguese VEPR, eAgenda and eRNU.
A questionnaire composed of 14 questions, made anonymous, was created using Lime SurveyTM, named “Inquérito para utilizadores dos serviços eAgenda e eRNU”, permission obtained and it was then sent to eAgenda and eRNU users through their e-mail addresses.
Data was processed using Microsoft Office Excel 97-2003 and statistically analyzed resorting to Epi Info 7.
Because the last question was an open question, the related data was processed manually.
Results: Currently, eAgenda and eRNU serve about 4% of the portuguese population.
The typical user is female, married, completed high school, has children and age median 38, 5 years old. Own and household appointments scheduling were the more frequently selected as the most useful functionalities as well as those that most contributed to improvement on health care delivery.
Waiting time reduction was the most frequent selected advantage of eAgenda and eRNU.
Conclusions: It is to be concluded that eAgenda and eRNU are well suited for the portuguese population as only 3,28% of the inquired users pointed eAgenda and eRNU services has not having any advantage.
More studies are still required to understand the patterns of use and to promote the online services so that more people, not only 4% of the overall portuguese population, may take advantage of their benefits.
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Henry, Anne L. "Animated electronic painting /." Online version of thesis, 1992. http://hdl.handle.net/1850/12240.
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Seymour, Ronda Lee. "Using electronic media to enhance art instruction by home schoolers." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2001. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2001.Source: Masters Abstracts International, Volume: 45-06, page: 2810. Typescript. Abstract appears on leaves 1-2. Includes bibliographical references (leaves 58-60).
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Hahn, Michael Gerard. "Examining the creative process : electronic technology in art and design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11765.
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NASCIMENTO, ELEN CRISTINA CARVALHO. "ELECTRONIC ART: THE MISSING LINK BETWEEN DESIGN, SCIENCE AND TECHNOLOGY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30067@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho propõe a reflexão sobre a relevância da Arte Eletrônica no processo de formação e produção para o conhecimento contemporâneo, bem como suas afinidades com o campo do Design, desde os princípios históricos até as práticas de produção e experimentação transdisciplinares que ampliam os limites entre Arte, Ciência e Tecnologia. Os capítulos refletem os problemas epistemológicos encontrados e trazem à análise, conceitos e exemplos de obras de Arte Eletrônica, desde estágios iniciais de experimentação até modelos publicamente apresentados. Foram também realizadas entrevistas com professores, alunos, especialistas e pesquisadores de áreas relacionadas para auxiliar em análises comparativas de interpretação.
This work proposes to reflect on the relevance of Electronic Art in the process of formation and production of the contemporary knowledge, as well as its affinities with the field of Design, from historical principles to practices of transdisciplinary production and experimentation that expands the boundaries between Art, Science, and Technology. The chapters reflect the epistemological problems encountered, and bring the analysis, concepts, and examples of works of Electronic Art, from initial stages of experimentation, to publicly presented models. In addition, interviews were conducted with teachers, students, specialists, and researchers from related areas to assist in comparative analysis of interpretation.
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Yen, Koon-wai Michael, and 嚴觀偉. "Urban channel for electronic media and arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31983121.
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Orcutt, Jason S. (Jason Scott). "Monolithic electronic-photonic integration in state-of-the-art CMOS processes." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/71279.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2012.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 388-407).
As silicon CMOS transistors have scaled, increasing the density and energy efficiency of computation on a single chip, the off-chip communication link to memory has emerged as the major bottleneck within modern processors. Photonic devices promise to break this bottleneck with superior bandwidth-density and energy-efficiency. Initial work by many research groups to adapt photonic device designs to a silicon-based material platform demonstrated suitable independent performance for such links. However, electronic-photonic integration attempts to date have been limited by the high cost and complexity associated with modifying CMOS platforms suitable for modern high-performance computing applications. In this work, we instead utilize existing state-of-the-art electronic CMOS processes to fabricate integrated photonics by: modifying designs to match the existing process; preparing a design-rule compliant layout within industry-standard CAD tools; and locally-removing the handle silicon substrate in the photonic region through post-processing. This effort has resulted in the fabrication of seven test chips from two major foundries in 28, 45, 65 and 90 nm CMOS processes. Of these efforts, a single die fabricated through a widely available 45nm SOI-CMOS mask-share foundry with integrated waveguides with 3.7 dB/cm propagation loss alongside unmodified electronics with less than 5 ps inverter stage delay serves as a proof-of-concept for this approach. Demonstrated photonic devices include high-extinction carrier-injection modulators, 8-channel wavelength division multiplexing filter banks and low-efficiency silicon germanium photodetectors. Simultaneous electronic-photonic functionality is verified by recording a 600 Mb/s eye diagram from a resonant modulator driven by integrated digital circuits. Initial work towards photonic device integration within the peripheral CMOS flow of a memory process that has resulted in polysilicon waveguide propagation losses of 6.4 dB/cm will also be presented.
by Jason S. Orcutt.
Ph.D.
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Nigten, Anne. "Processpatching : defining new methods in aRt&D." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5655/.
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In the context of a rapidly changing domain of contemporary electronic art practice- where the speed of technological innovation and the topicality of art 'process as research' methods are both under constant revision- the process of collaboration between art, computer science and engineering is an important addition to existing 'R&D'. Scholarly as well as practical exploration of artistic methods, viewed in relation to the field of new technology, can be seen to enable and foster innovation in both the conceptualisation and practice of the electronic arts. At the same time, citing new media art in the context of technological innovation brings a mix of scientific and engineering issues to the fore and thereby demands an extended functionality that may lead to R&D, as technology attempts to take account of aesthetic and social considerations in its re-development. This new field of new media or electronic art R&D is different from research and development aimed at practical applications of new technologies as we see them in everyday life. A next step for Research and Development in Art (aRt&D) is a formalisation of the associated work methods, as an essential ingredient for interdisciplinary collaboration. This study investigates how electronic art patches together processes and methods from the arts, engineering and computer science environments. It provides a framework describing the electronic art methods to improve collaboration by informing others about one's artistic research and development approach. This investigation is positioned in the electronic art laboratory where new alliances with other disciplines are established. It provides information about the practical and theoretical aspects of the research and development processes of artists. The investigation addresses fundamental questions about the 'research and development methods' (discussed and defined at length in these pages), of artists who are involved in interdisciplinary collaborations amongst and between the fields of Art, Computer Science, and Engineering. The breadth of the fields studied necessarily forced a tight focus on specific issues in the literature, addressed herein through a series of focused case studies which demonstrate the points of synergy and divergence between the fields of artistic research and development, in a wider art&D' context. The artistic methods proposed in this research include references from a broad set of fields (e. g. Technology, Media Arts, Theatre and Performance, Systems Theories, the Humanities, and Design Practice) relevant to and intrinsically intertwined with this project and its placement in an interdisciplinary knowledge domain. The aRt&D Matrix provides a complete overview of the observed research and development methods in electronic arts, including references to related disciplines and methods from other fields. The new Matrix developed and offered in this thesis also provides an instrument for analysing the interdisciplinary collaboration process that exclusively reflects the information we need for the overview of the team constellation. The tool is used to inform the collaborators about the backgrounds of the other participants and thus about the expected methods and approaches. It provides a map of the bodies of knowledge and expertise represented in any given cross-disciplinary team, and thus aims to lay the groundwork for a future aRt&D framework of use to future scholars and practitioners alike.
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English, Alexandria. "Assessing the visual arts [electronic resource] : valid, reliable, and engaging strategies /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/English_AMIT2010.pdf.
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Jones, Raymond W. "Utopia : work of art or totalitarianism schematic? /." Electronic version (PDF), 2005. http://dl.uncw.edu/etd/2005/jonesr/raymondjones.doc.
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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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Freeman, Julie. "Defining data as an art material." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/31793.
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Digital technology, and speci cally digital data, forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human. It is unsurprising that one of the most prevalent materials of our time is used by artists to create work. This thesis defines data as an art material. It investigates the variety of manifestations of data when used in art, through the review of existing artwork and the development of new artworks and visualisations that use a dataset collected for this research. Through the lens of conceptualising data as an art material, a definition and manifesto of data art is put forward (Chapter 2). In addition, a taxonomy for describing data as an art material is proposed and its usage explored by applying it to a number of data art descriptions and by analysing a database of data artworks tagged with relevant terms (Chapter 3). Temporal, biological, and real-time, terms from the taxonomy, are particularly relevant to the way in which digital technology mediates our connection to nature. To explore these forms of data within artwork, a collaboration with Dr Chris Faulkes, Reader in Evolutionary Ecology, facilitated the design and implementation of an electronic system to collect data from a colony of animals. Chapter 4 describes the tracking system which resulted in a real-time stream of biological temporal data. Translations of this data are explored in more detail through the practical application of various computational techniques including scientific analysis (Chapter 5), animation, sonification, data visualisation (Chapter 6) and soft robotic objects (Chapter 7). The thesis demonstrates that an inanimate object, animated through the translation of data, can have a body language through which to effectively convey characteristics of living things (Chapter 8). Finally, public engagement events are presented in Chapter 9, with reflections, contributions and future work concluded in Chapter 10.
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Brogan, Devin. "Art in Wichita instruction, collection and innovation /." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t024.pdf.
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Zhou, Jianqiang. "Theory of electron spectroscopy : beyond the state-of-the-art." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLX017/document.
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Le sujet de cette thèse se place dans le cadre de la spectroscopie théorique. En particulier, je propose une nouvelle dérivation ab-initio pour trouver des approximations pour la fonction de Green (GF) à un corps. Cette approche conduit à une meilleure description du couplage fermion-plasmon dans le cadre de la théorie des perturbations à plusieurs corps (MBPT), qui peut être utilisée pour étudier la spectroscopie de photoémission directe et inverse.En spectroscopie de photoémission, un échantillon est irradié par des photons et des électrons sont émis. A partir de la différence d'énergie du photon incident et des d'électrons sortant, un grand nombre d'informations sur les propriétés de l'échantillon peut être obtenu, par exemple les structures de bandes ou la durée de vie des excitations. Dans une cadre de particules indépendantes, cette différence d'énergie correspond au niveau d'énergie d'une particule que l'électron émis occupait avant la mesure. Cela conduit à un pic très intense dans le spectre, avec un poids normalisé à un. En réalité, la photoémission n'est pas juste des photons entrants et des électrons indépendants sortants, car l'échantillon est un système à plusieurs corps en interaction. L'interaction de Coulomb et la nature anti-symétrique des fermions donnent lieu aux effets d'échange-corrélation, ce qui rend le problème fondamentalement difficile à résoudre. La description, la compréhension et la prédiction des effets de l'interaction de Coulomb sur les propriétés des matériaux a été, pendant des années, l'un des grands défis de la physique théorique de la matière condensée. Dans le cadre de cette thèse, on peut imaginer que, premièrement, la photoémission crée un trou (à savoir, un électron manquant) dans l'échantillon, ce qui provoque la relaxation de tous les électrons restants. En raison de l'interaction attractive entre les trous chargés positivement et les électrons chargés négativement, les électrons se déplacent vers les trous et créent des ''quasi-particules''. L'interaction effective entre les quasi-particules est l'interaction de Coulomb écrantée dynamiquement. Elle est en général plus faible que l'interaction de Coulomb nue. Par conséquent, la structure de bandes observée est celle de quasi-particules, qui diffère du résultat en particules indépendantes. Deuxièmement, lorsque le trou se propage dans l'échantillon les électrons restants peuvent présenter des oscillations collectives : réponse de la densité à la perturbation. Ce sont des excitations neutres avec une nature approximativement bosonique, parce qu'elles sont constituées par des paires de fermions.Le couplage du trou avec les excitations neutres conduit à des structures supplémentaires dans le spectre de photoémission, appelées satellites. Cela réduit le poids des quasi-particules qui est maintenant fractionnée. Le plus souvent, les satellites dominants sont dus à des plasmons, des oscillations collectives à longue portée, mais on peut aussi observer des transitions ou excitons interbandes ou d'autres satellites qui sont dus à des couplages plus complexes.Cela montre que pour avoir une bonne description de la spectroscopie de photoémission, nous devrions étudier la propagation de particules, ainsi que l'interaction entre les particules et les plasmons ou d'autres excitations. La fonction de Green donne l'amplitude de probabilité de particules se propageant d'un point à un autre. Sa partie imaginaire donne la funtion spectrale qui a un lien direct vers le spectre mesuré dans une expérience de photoémission. Les dérivations et approximations proposées dans cette thèse donnent une nouvelle façon de calculer la fonction de Green, ce qui améliore la description de la spectroscopie de photoémission. En outre, cela permet d'accéder à d'autres grandeurs qui peuvent être obtenues à partir de la fonction de Green à un corps, en particulier les énergies totalesThe topic of this thesis is situated in the framework of theoretical spectroscopy. In particular, I propose a new ab-initio derivation to find approximations for the one-body Green's function (GF) . This approach leads to an improved description of fermion-plasmon coupling in the framework of many-body perturbation theory (MBPT), which can be used to study direct and inverse photoemission spectroscopy. Although the observed phenomena have been well known before, my formulation yields a better description than previous state-of-the-art approaches. It answers several open questions, cures some fundamental shortcomings and suggests a way for systematic improvement.In photoemission spectroscopy, a sample is irradiated by photons and electrons are emitted. From the energy difference of the incoming photon and outgoing electron, a great deal of information on the properties of the sample can be obtained, e.g. the band structures or lifetimes of excitations. In an independent-particle picture, this energy difference corresponds to the one-particle energy level that the emitted electron was occupying before the measurement. This leads to a sharp peak in the spectrum, with weight normalized to one. In reality, photoemission is not just photons in and independent electrons out, because the sample is an interacting many-body system. The Coulomb interaction and the anti-symmetric nature of fermions give rise to the so-called exchange-correlation effects, which makes the problem fundamentally difficult to solve. The description, understanding and prediction of the effects of the Coulomb interaction on the properties of materials has been one of the big challenges of theoretical condensed matter physics for ages. In the framework of this thesis one can imagine that first, the photoemission creates a hole (i.e., a missing electron) in the sample, which causes all remaining electrons to relax. Due to the attractive interaction between positively charged holes and negatively charged electrons, the electrons move towards to the holes and dress them to create ''quasi-particles''. The effective interaction between quasi-particles is the dynamically screened Coulomb interaction. It is in general weaker than the bare Coulomb interaction. Consequently, the observed band structure is a quasi-particle band structure, which differs from the result of an independent-particles band structure calculation. Second, when the hole propagates in the sample the remaining electrons can show collective oscillations, the density response to the perturbation. These are neutral excitations with approximately bosonic nature, because they are constituted by pairs of fermions.The coupling of the hole to the neutral excitations leads to additional structures in the photoemission spectrum, called satellites. This reduces the quasi-particle weight that is now fractional. Most often, the dominant satellites are due to plasmons, collective long-range oscillations, but one can also observe interband transitions or excitons, or other satellites that are due to more complicated couplings.This overview shows that in order to have a good description of photoemission spectroscopy, we should study the propagation of particles, as well as the interaction between particles and plasmons or other excitations. The Green's function gives the probability amplitude of particles propagating from one point to another. Its imaginary part yields the spectral function that has a direct link to the spectrum measured in a photoemission experiment. The derivations and approximations proposed in this thesis give a new way to calculate the Green's function, which improves the description of photoemission spectroscopy. Moreover, it gives access to other quantities that can be obtained from the one-body Green's function, in particular total energies
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Arana, Cobos Juan. "Jorge Oteiza art as sacrament, avant-garde and magic /." abstract and full text PDF (free order & download UNR users only), 2008. 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:3307711.
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Kapuscinski, Jaroslaw. "Mudras /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820984.
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Thesis (Ph. D.--Music)--University of California, San Diego, 1997.Vita. Consists of the musical score to a soundtrack for a video piece integrating sounds and images of hands and arms. Musical material is for one mezzo soprano (overdubbed to achieve two primary voices), piano, and tape of electronic and concrete sounds. Also includes color illustrations of how the hands are painted and posed in some of the video sequences. Includes extensive commentary on the piece in English.
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Fennmore, Gabrielle Melissa. "Electronic media and university curricula a case study of an associate degree program's development within a rural town community /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1044284442.
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Thesis (Ph. D)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains ix, 176 p.: ill. Includes abstract and vita. Patricia Sturh, Dept. of Art Education. Includes bibliographical references (p. 170-176).
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Hilberg, Söntje Julia. "Die autonome Anwendbarkeit des UN-Kaufrechts auf moderne Geschäftsfelder : Methodik und Weiterentwicklung nach Art. 7 Abs. 1 CISG /." Hamburg : Kovac, 2007. http://www.verlagdrkovac.de/978-3-8300-2873-4.htm.
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Robledo, Arcos Maria Andrea. "Electronic design and publishing for the Mexican textiles exhibition /." Online version of thesis, 1990. http://hdl.handle.net/1850/11249.
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Büscher, Barbara. "Live Electronic Arts und Intermedia : die 1960er Jahre." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39497.
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Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstandThe developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose
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Jahrmann, Margarete. "Ludics for a Ludic society : the art and politics of play." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/453.
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This dissertation provides an analysis of, and critical commentary on, the practice of playfulness as persistent phenomenon in the arts, technology and theory. Its aim is to introduce political reflections on agency through the study of playful technological artefacts, which were largely ignored in the recent discussions on game and play. Following the critical analysis of historic discourses and actual studies of play under differing auspices, and in order to understand play as inherently political agency, this thesis’ research question addresses the immersive effects of playful agency in symbolic exchange systems and in the material consciousness of the player. This thesis conducts an analysis of material cultures, in order to categorise play as technique of an inherent critique of technological culture. It traces the development of contemporary technological objects and their materiality in relation to the application of the concept of affordance in design theory. The author consequently proposes a new category of ‘play affordances’ in order to describe these new requirements of play found in consumer technologies. The structure of the analysis in the distinct chapters is informed by a stringent historic, theoretical and arts analysis and an alternating arts practice. The convergence of these elements leads to insights on further uses, options and perspectives of the research problems discussed, in particular in relation to the requirements of playful interaction in contemporary technologies, which increasingly radicalises the importance of play. The thesis’ hypothesis states that playful practices in arts and technologies provide models for political agency, like the strategic use of Con-Dividualities (Jahrmann 2000). This term describes the concept of shared identities in society or social media consumer technologies, as discussed in historic case studies and the author’s own arts practice, related to the modification of technologies as methodology of arts research. In this way the arts practice and theory of playfulness informs the emergence of a new methodology of research, intervention and participation in society through the arts of play, which is coined as Ludics, as an original outcome of this thesis.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Valenzuela-Sliger, Jennifer R. "Imaging the other representations of national identity in Mexican modern 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:1442866.
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Spowage, Neal. "Physical interaction with electronic instruments in devised performance." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13237.
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This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.
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Cartwright, Ingrid. "Hoe schilder hoe wilder: [electronic resource] Dissolute Self-Portraiture in Seventeenth-Century Dutch and Flemish Art /." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7720.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Pendegraft, Signa Winona. "Ground stone and pecked rock rock art on the Pah Rah Uplands, Washoe County, Nevada /." 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:1447618.
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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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Schuette, Paul W. "untitled." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276997689.
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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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Smith, Gerald. "Everyday always happens to someone else : an attempt at practising an endotic-based art." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23445.
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This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.
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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.
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Farah, Mary Anne. "The significance of the introduction of electronic interaction to the history of the art object and the viewer." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ54365.pdf.
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Ismagilova, Elvira, Y. K. Dwivedi, E. Slade, and M. Williams. "Electronic Word of Mouth (eWOM) in the marketing context: A state of the art analysis and future directions." Springer International Publishing, 2017. http://hdl.handle.net/10454/17527.
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NoThis SpringerBrief offers a state of the art analysis of electronic word-of-mouth (eWOM) communications and its role in marketing. The book begins with an overview of traditional word-of-mouth (WOM) and its evolution to eWOM. It discusses the differences between traditional and online WOM. The book examines why people engage in eWOM communications, but also how consumers evaluate its persuasiveness. It also looks at the effects of eWOM. The book identifies current gaps in the eWOM research, but also highlights future directions for this growing field. eWOM is an important marketing technique in brand communications, and it plays an important role in modern e-commerce. Marketers become extremely interested in enhancing the power of eWOM developing loyalty programs and building brands. Studying the effect of eWOM can be beneficial for companies. This book should be a good resource for scholars and practitioners that need to understand the pervasive effects of eWOM.
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Noll, Hannah M. "Where Google Scholar Stands on Art: An Evaluation of Content Coverage in Online Databases." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/499.
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This study evaluates the content coverage of Google Scholar and three commercial databases (Arts & Humanities Citation Index, Bibliography of the History of Art and Art Full Text/Art Index Retrospective) on the subject of art history. Each database is tested using a bibliography method and evaluated based on Péter Jacsó’s scope criteria for online databases. Of the 472 articles tested, Google Scholar indexed the smallest number of citations (35%), outshone by the Arts & Humanities Citation Index which covered 73% of the test set. This content evaluation also examines specific aspects of coverage to find that in comparison to the other databases, Google Scholar provides consistent coverage over the time range tested (1975-2008) and considerable access to article abstracts (56%). Google Scholar failed, however, to fully index the most frequently cited art periodical in the test set, the Artforum International. Finally, Google Scholar’s total citation count is inflated by a significant percentage (23%) of articles which include duplicate, triplicate or multiple versions of the same record.
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House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.
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Thesis (M.M.)--University of North Texas, 2002.A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
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Soares, de Castro Geraldo Eanes. "New Media Art: Taxonomía de las Prácticas Artísticas en el Contexto de las Tecnologías Digitales." Doctoral thesis, Universitat Politècnica de València, 2013. http://hdl.handle.net/10251/33397.
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La presente investigación conforma un análisis de las prácticas artísticas más significativas del arte electrónico con el fin de encontrar posibles convergencias entre ellas en el contexto de las tecnologías digitales. Se plantea como objetivo principal proporcionar un marco de reflexión que analice la naturaleza de estas prácticas artísticas con el fin de encontrar sus posibles vínculos formales, tecnológicos, estéticos y funcionales.
El trabajo se estructura en dos parte. La primera ofrece un marco teórico sobre el carácter multidisciplinar del Media Art, a través de una clasificación en dieciséis campos de investigación vinculados al arte electrónico que analizan pormenorizadamente aspectos constitutivos de éste.
La segunda parte del estudio, de carácter eminentemente práctico, se fundamenta en un trabajo de campo que tiene como resultado la construcción de un mapa taxonómico donde se presentan las interrelaciones entre estas prácticas artísticas con el fin de detectar campos convergentes o divergentes que permitan definir de una manera más exhaustiva (que la realizada hasta el momento), el alcance de estas prácticas y de sus correspondientes artistas.
A nivel general, este trabajo de investigación intenta demostrar la convergencia y divergencia existente entre las diferentes prácticas artísticas que conforman el arte electrónico, teniendo en cuenta las diferentes catalogaciones de museos y centros de Media Art, festivales de arte electrónico e instituciones relacionadas con la temática de la tesis, con el fin de establecer estadísticas (campos de acción, utilización de medios, etc.) que permitan un análisis más profundo de las mismas.Soares De Castro, GE. (2013). New Media Art: Taxonomía de las Prácticas Artísticas en el Contexto de las Tecnologías Digitales [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/33397
TESIS
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SERMAN, DANIEL VALENTE. "IT STRATEGIES FOR THE ELECTRONIC INTEGRATION OF INFORMATION: A STUDY OF THE STATE OF THE ART AND THE PRACTICE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11404@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA informação passou a ser vista ao longo do tempo como um insumo importante para a tomada de decisão e para a obtenção de vantagens competitivas pelas empresas. A tecnologia passou a fazer parte do cotidiano das empresas para melhor administrá-la e disseminá-la. Entretanto, nem sempre as organizações adotaram esse caminho de forma planejada. Percebe-se uma confusão no uso de conceitos e de soluções em TI, que se estende para o tema da integração eletrônica da informação. O trabalho consistiu em uma revisão da literatura sobre a integração de sistemas e de dados, verificando-se os conceitos mais comuns, as soluções mais utilizadas e as promessas encontradas. Além disso, realizou-se uma pesquisa de campo, na qual gestores expuseram em entrevistas qualitativas o que acontece na prática sobre o assunto, aludindo a benefícios, problemas e requisitos para o desenvolvimento e adoção de soluções de integração.
Organizations began to see information like an important component for decision making and obtaining above average profits, when well used. Computational tools and communication technologies became common on the quotidian of these organizations. However, those tools and technologies weren`t always adopted through the right way. We notice confusion on the use of concepts and the adoption of solutions on IT and that problem extends to information integration. This work consisted on an intense review of the literature about systems and data integration, verifying most common concepts, most utilized solutions and promises about them. Besides, a field research was realized, which manages showed on qualitative interviews what actually happens about this subject, referring to benefits, problems and requisites for the development and adoption of integration solutions.
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Title from PDF of title page.Document formatted into pages; contains 65 pages
Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
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Fitzgerald, Thomas A. "New music composition for live performance and interactive multimedia." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/284.
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The focus of this DCA thesis is the development of original creative audio and audio-visual work. Central to this is a study of the nature of interactivity and sonic relationships between electroacoustic and acoustic music, extended further by the application of sonic and visual interactivity. This written documentation accompanies the major part of the DCA submission, a folio of five original works. Its purpose is to clarify, document and contextualise the creation of these works and to illuminate the aesthetic underpinnings and compositional techniques that I have developed during the period 2000 � 2004. The structure of this documentation is in three parts which support the research methodology of reflective investigation. This process begins with an introductory overview (Chapter 1). This is extended in the second part, (Chapters 2�5), an observation of the effect of the culture, contemporary musical environments and related creative practice in my work. The third part, (Chapters 6�10), details the nature, and techniques utilized in the development of the new works. These developments have also embraced the combination of live projected interactive visual imagery with acoustic and electronic instrumentation. Finally, I have investigated the role of sonic spatialisation and texture as expressive and structural devices in music composition.
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Harmon, Joseph Leslie. "The real time art production pipeline: an examination of modeling for surfacing as used by professionals from electronic arts tiburon." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328808367.
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Andres, Kelly Jaclynn, and University of Lethbridge Faculty of Arts and Science. "Desiring machinations of Matertekhnologi." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2008, 2008. http://hdl.handle.net/10133/729.
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Desiring Machinations of Matertekhnologi is an Individualized Multidisciplinary thesis that synthesizes feminist frameworks with new media art to investigate the mediated body in relation to communications technology. The thesis illustrates contemporary, twenty-first century artists working with feminist strategies, the body, performance and technological media. Theoretical discussions are developed that imagine or suggest new forms of subjectivity that could be experienced through artistic appropriation of communicative, networked and technological media. These discussions include my studio investigations and unfold around the following themes: corporeal feminism, body-based philosophy, a subversion or manipulation of consumer technologies through intervention, appropriation and performance, the politics of space and location through networked interaction, and the mediated body in relation to communication technologies through a valorization of embodiment and the senses.vii, 161 leaves : ill. ; 29 cm. --
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Miller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
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Konstantelos, Leonidas. "Digital art in digital libraries : a study of user-oriented information retrieval." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1333/.
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This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories. The thesis addresses a fundamental question: How to provide description and retrieval services, which are based on the needs of digital art user communities? This raises three research issues. One is the need to combine DL collections into meaningful and functional content. The second is the importance of a user-oriented approach to designing and developing Digital Libraries. The third is the requirement for continuing access to digital art as a record of modern culture. These questions are explored through a needs assessment targeted to Arts & Humanities scholars, digital artists and representatives of the DL community. A data collection methodology is developed, based on the principles of Social Informatics and a case study of evaluation efforts in extant projects. The results from this process demonstrate that the scholarly value of digital art can be established by aggregating material from various repositories into a unified dataset. The results also identify specific documentation and retrieval issues deriving from inclusion of digital art in a DL environment that necessitate further investigation. To this end, a review of sixteen digital art online resources is conducted which reveals ad-hoc collection strategies and metadata deficiencies. The work presents a prototype Digital Library for enhancing the educational outcome of digital art. The application is used as an implementation platform for material aggregation and augmented documentation through the Media Art Notation System (MANS). The summative evaluation findings confirm that the suggested solutions are highly rated by the targeted audiences. The thesis makes a contribution to academic knowledge in situating the representation of digital art within modern society. By critically examining the unique requirements of this material using the resources of social theory, the thesis represents a contemporary and pragmatic perspective on digital media art. In a well-structured Digital Library, the scholarly potential of digital art is much greater than the currently employed ad-hoc context. This work offers a sustained reflection and a roadmap for selecting and consistently applying a strategy that aims to continually improve the quality of digital art provision.
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Booth, Jacki C. "The art of teaching a T.A.'s journey from the stage to the classroom and back again /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/boothj/jackibooth.pdf.
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Ratcliffe, Robert James. "New forms of hybrid musical discourse; an exploration of stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music." Thesis, Keele University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572424.
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This portfolio explores stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music through musicological investigation and creative practice. Comprised of six compositional 'projects', the creative work examines the hybridisation of the two main genres under consideration, involving both a formalisation of hybrid compositional procedures and an exploration of established and newly developed forms of musical borrowing, which function as tools of negotiation in the transference of materials within my own creative practice. The musicological component includes an overview of musical borrowing as manifested in electronic dance music in the form of digital sampling, considering the practice as a contemporary form of transformative imitation and offering a proposed typology of sampled material within the genre. It traces the links between early and modem forms of musical borrowing, from the pre-digital sampler in hip hop and the evolution of early sample-based compositional procedures through to the role of the digital sampler and the impact of technological innovation on the evolution of genre. An important part of the research has comprised of looking in detail at the tools of production used in the creation of electronic dance music by various artists. The output of this research into the functionality of the equipment and deliberate 'creative subversion' of its intended normative use has been used to develop a vocabulary of compositional techniques for use within my own work. A series of case studies (acid house, big beat, the 'remix') have been used to trace the relationship between genres, specific hardware and software, its idiomatic use, and the characteristics of the creative outputs associated with each genre. These case studies have significantly influenced the nature of the techniques evolved for use within my own compositional work.
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Wen, Bihe. "Sonic "Alchemy": An Original Composition for Piano and Electronics with Critical Essay." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248402/.
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This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.
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Ploeger, Daniël. "Sonified freaks and sounding prostheses : sonic representation of bodies in performance art." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43348/.
Full textAbstract:
This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or heightening the performer's and spectator's awareness of their body's physiology. Little attention has been paid to the usually conspicuous interaction between body and technological equipment and the role of the generated sound in the context of cultural critical debates regarding the performing body. The present study responds to this observation in two ways: Firstly, the written part of the study examines existing biosignal performance practices. It seeks to demonstrate that artists' decisions on the design of sensor technology and sound synthesis or manipulation methods are often complicit in the representation of normative body types and behaviour. Drawing from a concept of the sonified body as a transgressive or ‘freak' body, three critical perspectives on biosignal sonification in digital performance are proposed: A reading of body sonification methods from a gender-critical perspective, an inquiry in the context of Mikhail Bakhtin's concepts of the grotesque and the classical body, and a conceptualization of the sonified body as a posthuman prosthetisized body. This part of the study serves as a framework for its second objective: the development of practical performance strategies to address and challenge cultural conventions concerning ‘the' body's form and role in society. This aspect of the thesis is developed in conjunction with, and further explored in, the artwork documented in the portfolio. The practical part of the study consists of three digital performance works. ELECTRODE (2011) involves an anal electrode that registers the activity of my sphincter muscle and uses this data to synthesize sound. For this work, I modified a commercially available muscle tension sensor device designed for people with faecal incontinence problems. Feedback (2010) encompasses components of a commercially available fetal Doppler sensor intended to listen to the heartbeat of unborn babies. SUIT (2009-2010) encompasses several performances that feature a PVC overall equipped with a loudspeaker, sensor interface and Doppler and humidity sensors.
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Drummond, Jon R. "Interactive electroacoustics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.
Full textAbstract:
Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.