Dissertations / Theses on the topic 'Electronic Media Art'
To see the other types of publications on this topic, follow the link: Electronic Media Art.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Electronic Media Art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
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.
Full textAbstract:
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).
4
Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
Full textAbstract:
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.
5
Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
Full textAbstract:
"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.
6
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/.
Full textAbstract:
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.
7
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.
Full textAbstract:
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).
8
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.
Full textAbstract:
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
9
Turner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.
Full textAbstract:
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?
10
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.
Full textAbstract:
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.
11
Stenner, Jack Eric. "Public news network: digital sampling to create a hybrid media feed." Thesis, Texas A&M University, 2004. http://hdl.handle.net/1969.1/456.
Full textAbstract:
A software application called Public News Network (PNN) is created in this thesis, which functions to produce an aesthetic experience in the viewer. The application engenders this experience by presenting a three-dimensional virtual world that the viewer can navigate using the computer mouse and keyboard. As the viewer navigates the environment she sees irregularly shaped objects resting on an infinite ground plane, and hears an ethereal wind. As the viewer nears the objects, the sound transforms into the sound of television static and text is displayed which identifies this object as representative of an episode of the evening news. The viewer "touches" the episode and a "disembodied" transcript of the broadcast begins to scroll across the screen. With further interaction, video of the broadcast streams across the surfaces of the environment, distorted by the shapes upon which it flows. The viewer can further manipulate and repurpose the broadcast by searching for words contained within the transcript. The results of this search are reassembled into a new, re-contextualized display of video containing the search terms stripped from their original, pre-packaged context. It is this willful manipulation that completes the opportunity for true meaning to appear.
12
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.
Full textAbstract:
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
13
Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.
Find full textAbstract:
This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. It also aims to understand the design issues surrounding the creation of these systems.
The approach used is Practice-based, integrating practice, evaluation and theoretical research.
Practice used methods from Reflection-in-action and Iterative design to create two interactive art systems: Glass Pond and +-now. Creation of +-now resulted in a novel method for instantiating emergent shapes. Both art works were also evaluated in exploratory studies. In addition, a main study with 30 participants was conducted on participant interaction with +-now. These sessions were video recorded and participants were interviewed about their experience. Recordings were transcribed and analysed using Grounded theory methods. Emergent participant experiences were identified and classified using a taxonomy of emergence in interactive art. This taxonomy draws on theoretical research.
The outcomes of this Practice-based research are summarised as follows. Two interactive art systems, where the second work clearly facilitates emergent interaction, were created. Their creation involved the development of a novel method for instantiating emergent shapes and it informed aesthetic and design issues surrounding interactive art systems for emergence. A taxonomy of emergence in interactive art was also created. Other outcomes are the evaluation findings about participant experiences, including different types of emergence experienced and the coding schemes produced during data analysis.
14
White, Melinda. "Between Floors: The Ups and Downs of Mediated Narrative." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/433.
Full textAbstract:
“Between Floors: The Ups and Downs of Mediated Narrative” and the accompanying creative remediation project, “Between Floors: Love and Other Blood Related Diseases,” meld theory and practice of print with electronic literature and installation art. I argue that as the medium changes, the narrative is transformed. The narrative can be reconstructed and pieced together as the reader or viewer becomes increasingly involved, even embodied within the work. This embodiment is what Nathaniel Stern calls “Moving and thinking and feeling” (1) and can result in a more direct emotional experience. The form, structure, and medium (sjužet) rely on authorial intention, yet as a narrative becomes more interactive and experiential the feedback loop shifts, placing meaning, message, and construction of narrative (fabula) between media and reader/viewer. This necessarily complicates the notion of authorship, yet within an embodied space, such as the installations included in this analysis, there is a potential for greater emotional understanding between author/artist and reader/viewer. In the print story “Between Floors: Love and Other Blood Related Diseases,” the protagonist, June, visits her father in a hospital after a tragedy and ends up spending the rest of her life there. The metaphor of an elevator throughout the print, electronic, and installation versions furthers the trapped, claustrophobic feeling of the narrative as well as the ups and downs of relationships and grief. Pieces of the narrative remain recognizable through the electronic literature and installation, yet as the reader/viewer is increasingly immersed in the narrative, it becomes his or her own—a more subjective and overwhelming emotional experience. The elevator metaphor extends through the analysis—an emblem of traditional linear narratives and the narrative arc and technological immersion. The analysis explores theories of language, medium, authorship, nonlinearity, interactivity, and embodiment through existing narrative, new media, and installation theorists such as Peter Brooks, Marshall McLuhan, and Nathaniel Stern. This dissertation and to an extent, experiment, uses theory and practice to illuminate narrative using a recombination of existing theory and an original remediation in three distinct forms, to further the understanding of the nature of narratives, media, authors, and readers, while blurring boundaries between disciplines.
15
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.
16
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/.
Full textAbstract:
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.
17
Monopoli, Maria. "User-based evaluation of academic digital libraries : case studies, Social Science Information Gateway, Art, Design Architecture & Media Gateway and the Electronic Journals Service of the University of Patras, Greece." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8440/.
Full textAbstract:
The purpose of this study was to evaluate the use of academic digital libraries from a user-oriented approach. For this purpose, end-users were invited to describe how they perceive and make use of academic digital libraries. The study was focused on Subject Based Information Gateways (SBIGs) and Electronic Journals Services. Specifically, two gateways were examined: the Social Science Information Gateway (SOSIG) and the Art, Design, Architecture and Media (ADAM) gateway, and an electronic journals service: the Electronic Journals Service of the Library and Information Service (LIS), the University of Patras, Greece. The target group was the academic community: academic staff, research staff and students (undergraduate and postgraduate). The research methods used were online questionnaires, face-to-face interviews and transaction logs analysis (TLA). Concerning the perception of academic digital libraries, users were invited: to provide the advantages and/ or disadvantages of electronic information over print, to compare the electronic and print version of a piece of information, to evaluate services or features as very important, important, or not important and to specify factors that would discourage them from accessing a digital library. Regarding the use of academic digital libraries, users were asked to specify: how frequently they use digital libraries, what reasons they use digital libraries for, what place they gain access from, what their preferred method of searching for information is, what their preferred method of storing and reading electronic information is, whether they use the support services provided, what types of information they want to be provided with and what the role of communication in a digital library is. The study concluded that end-users seem to appreciate the implementation of academic digital libraries. However, there are still some disadvantages that might prevent them from accessing them. A typical user would access them from their office or home for a variety of reasons, such as: for writing up a term paper/project or a thesis/dissertation, writing up a paper for publication, e. g. journal article or conference/workshop paper, keeping up with progress in the relevant subject area, supporting a lecture or for personal reasons. Concerning their search behaviour, they would adopt a relatively unsophisticated, simplistic approach to searching and limited use of Boolean operators or other commands. Notwithstanding their low search abilities, they would be reluctant to consult the online help function that could support their searches. Sometimes, they prefer to ask a person rather than attempt to use the online help. When they have identified information and want to read it, they print it out. But, when they want to store information for the future, they either print it out, or save it on disk. This information might differ in its formats, including electronic journals, reports and papers, digitised books, scholarly mailing lists and archives and educational software. Finally, some users would appreciate the opportunity to communicate with information scientists, authors, or other users who share the same interests with them. Some others emphasized the importance of the communication between users and digital library systems.
18
Blue, Kevin J. "In/retrospection : an interactive audiovisual composition for ten-piece orchestra, electronically manipulated audio, and video." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365789.
Full textAbstract:
In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection.School of Music
19
Gregolin, Maíra Valencise. "Midia e cultura : Machinima, produto da contemporaneidade." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284057.
Full textAbstract:
Orientador: Hermes Renato HildebrandDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T16:52:45Z (GMT). No. of bitstreams: 1 Gregolin_MairaValencise_M.pdf: 1507341 bytes, checksum: 3057ea6b4fa5232ce4a2a5290fef0a20 (MD5) Previous issue date: 2009
Resumo: O presente trabalho toma como objeto de estudos um novo tipo de mídia digital, denominada Machinima. Do inglês machine (máquina) e animation (animação), Machinima é, conceitualmente, tanto um filme feito a partir de jogo eletrônico, quanto um processo de produção. A hibridização de mídias presente na arquitetura do Machinima constitui um novo processo criativo propiciado pelas ferramentas da tecnologia digital. Ao mesmo tempo, o Machinima pode ser pensado como um novo tipo de produção fílmica que nasce dos sistemas híbridos e complexos que propiciam novas poéticas e que convergem para a estética da interatividade, da incorporação e da imersão, palavras-chave das produções culturais que estão buscando tornar visível a articulação dos sujeitos com as linguagens maquínicas, próprias do nosso tempo. Tendo como base estudos que analisam as transformações da sociedade pós-moderna, o aparecimento de novos produtos culturais que afetam em todos os sentidos a sociabilidade contemporânea, esta dissertação parte dos seguintes problemas de pesquisa: a) em termos de sua produção, como se dá a relação entre o Machinima e os gêneros que estão na sua base: jogo eletrônico/filme?; b) quais os efeitos da hibridização de gêneros e de técnicas na arquitetura do Machinima? c) quais deslocamentos a tecnologia digital do Machinima provoca na produção fílmica? Para responder a essas questões, analisamos as técnicas de produção e o funcionamento do Machinima. Selecionamos, para análise, a série de Machinimas denominada Red VS Blue e investigamos sua imersão na cultura da convergência de mídias, sua narratividade e as relações estabelecidas entre técnicas cinematográficas e de jogo eletrônico. Assim, a partir das características configuracionais e do funcionamento desse objeto que une jogo eletrônico, filme, e novas mídias, investigamos a articulação entre mídia e cultura nas transformações das sensiibilidades da sociedade contemporânea.
Abstract: This research investigates a new type of digital media: Machinima (the combining 'machine' and 'animation'), a new way of making films within a real-time virtual environment. Also, Machinima can be thought as a new product, which was born in the hybrid systems, providing new poetics and converging to the aesthetics of interactivity, incorporation and immersion - keywords which make visible the articulation of the subjects with the languages of the machine. Based on speeches that analyze the emergence of new cultural products that affect in every sense a contemporary sociability, this work part of the following questions: a) in terms of production, what is the relationship between Machinima and the genres that are in its base (electronic game / movie/animation)? b) which are the effects of hybridization of genres and techniques in the architecture of the Machinima? C) which are the changes that digital technology in Machinima provoke in filmic production?
Mestrado
Mestre em Multimeios
20
Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Full textAbstract:
This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
21
Lucas, Stephen 1985. "Virtual Stage: Merging Virtual Reality Technologies and Interactive Audio/Video." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984124/.
Full textAbstract:
Virtual Stage is a project to use Virtual Reality (VR) technology as an audiovisual performance interface. The depth of control, modularity of design, and user immersion aim to solve some of the representational problems in interactive audiovisual art and the control problems in digital musical instruments. Creating feedback between interaction and perception, the VR environment references the viewer's behavioral intuition developed in the real world, facilitating clarity in the understanding of artistic representation. The critical essay discusses of interactive behavior, game mechanics, interface implementations, and technical developments to express the structures and performance possibilities. This discussion uses Virtual Stage as an example with specific aesthetic and technical solutions, but addresses archetypal concerns in interactive audiovisual art. The creative documentation lists the interactive functions present in Virtual Stage as well as code reproductions of selected technical solutions. The included code excerpts document novel approaches to virtual reality implementation and acoustic physical modeling of musical instruments.
22
Johnson, Sandra. "En STARK specialtidskrift : Arbetet med att ta fram en grafisk mall till en specialtidskrift från STARK Magasin, samt en diskussion om hur båda tidskrifterna kan göras om till e-format." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19183.
Full textAbstract:
The goal with this project was to develop a graphic template for a new magazine about running, STARK Löpning. Besides the looks of the graphic elements, sections in the magazine would be developed. Finally, a discussion is made about how the magazine can be remade into an electronic format. Content analyses has been made regarding magazines with both a main and a specific orientation, to review the graphic relationship between them. A content analysis regarding a competing magazine about running was also made. An unstructured interview was done with Art Director Petrus Iggström, to find out his way of working when he creates new graphic templates for magazines. The discussion concerning the electronic format was done based on previous research in the subject. The graphic relationship between main and specific magazines turned out to not be significant, they had few similarities. It was often showed that elements regarding the magazine s’identity had been changed, for example text fonts. This could be because the specific magazines are sighted towards a different target audience than the main magazine, and therefor wants an identity of its own. It’s an easy process to remake the magazines STARK Magasin and STARK Löpning into an electronic format, but none of the services that were looked closely upon in this essay were fitting for both passive and active readers. Nor did the services have a good enough browsing feature. For example, if the reader wants to read an article that was advertised on the cover page, it was not possible to go directly to the article from the cover.
23
Smith, Jennifer. "Theorizing Digital Narrative: Beginnings, Endings, and Authorship." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/316.
Full textAbstract:
Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.
24
Qi, Jie Ph D. Massachusetts Institute of Technology. "The fine art of electronics : paper-based circuits for creative expression." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77811.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 99-101).
This thesis investigates the creative possibilities enabled by combining circuit building with paper craft to create paper electronics-a medium that adds the magical interactivity of electronics to the physical intuitiveness and expressive potential of paper. I designed this medium to take advantage of the skills and creative associations that most people already have with paper, in order to ease everyone into creating expressive electronics. This work outlines the basic set of tools, materials and techniques used for making electronics with paper-from drawing circuits with copper tape to actuating paper with shape memory alloys. I also share my own creative journey and development as a result of working with this new medium. Finally, I document the creative results and lessons learned from others' explorations through workshops. These workshop results show how paper electronics can inspire and enable diverse audiences to create personally expressive artworks with technology.
by Jie Qi.
S.M.
25
Urecki, Chava Zemirah. "Act Your Age! The Impact of Electronic Media on Perceptions of Older Adults." Xavier University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1501706560603299.
Full text
26
González, Díaz Paloma. "Prácticas artísticas digitales y tecnologías de control y vigilancia (2001- 2010)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130965.
Full textAbstract:
El uso masivo de tecnologías de registro y vigilancia por parte del estado y de empresas privadas, corrobora la evolución y trascendencia actual de la propuesta ideada por Jeremy Bentham en el siglo XVIII: El Panóptico. Su modelo de funcionamiento se ha incorporado y expandido en nuestra sociedad con tal intensidad, que cada vez son más las prácticas artísticas contemporáneas que cuestionan su existencia y eficacia.
El interés primordial de nuestro estudio es analizar éste fenómeno y su evolución en el ámbito del new media art, concretamente en las creaciones digitales de la primera década del siglo (2001-2010). Durante este periodo se amplían y diversifican las tecnologías de control y se radicaliza la normativa -nacional y supranacional-que avala el registro permanente a la ciudadanía.
Nuestra investigación pretende dar a conocer, tanto los puntos de encuentro, como las discrepancias existentes en un conjunto de creaciones sumamente diverso y plural. En ellas se difunden nuevos aspectos culturales, políticos y estéticos de las disciplinas de supervisión tecnológica.
A través de investigación pretendemos mostrar cómo los nuevos paradigmas tecnófilos han repercutido en la creación digital del nuevo siglo, estudiando y relacionando diversos factores: no podemos limitarnos a enumerar o a describir un tipo de obras tan específicas que inevitablemente han de asociarse con acontecimientos producidos en el entorno donde se desarrollan. Para llevar a cabo una investigación organizada hemos dividido el trabajo en tres grandes bloques que finalizan con las Conclusiones de la misma:
1. Un recorrido inicial sobre la contextualización histórica, el origen e inicio de las primeras prácticas de control tecnológico.
2. Un recorrido histórico sobre el desarrollo y evolución de tendencias y proyectos artísticos concretos sobre vigilancia tecnificada en media art. Se divide en apartados sobre las tácticas (y sistemas) de control principal abordadas, teniendo en cuenta su correlación con determinados hechos tecnológicos, políticos y sociales.
3. En la tercera se propone el estudio de las líneas de trabajo más habituales de las prácticas artísticas entre 2001 a 2010, teniendo en cuenta las actitudes y posiciones más frecuentes con las que han sido concebidas la mayoría de las piezas estudiadas.The objective of Digital Artistic Practices and Control and Surveillance Technologies (2001-2010) is the analysis of the massive use of recording and surveillance technologies by the state and private companies along with its evolution in the field of new media art and in particular that of digital creations of the first decade of this century (2001- 2010). The specific objectives are: • To investigate the origins and evolution of control and surveillance technologies in depth to discover the background of digital artwork developed during the first decade of the 21st century. • To study the real causes of the evolution of technical surveillance in order to establish the cause-effect of the creations selected. • To consider to what extent the supposed democratisation of technologies has led to truly innovative and outstanding proposals as far as digital creation is concerned. • To propose new creative paradigms and characterise these types of digital practices. The investigation uncovers how digital artistic practices related to technical control and surveillance developed between 2001-2010 have evolved in line with technological, political and social transformations. This thesis contributes to organising and strengthening the study, within History of Art, of artistic practices centred on offering new viewpoints of how the individual is continuously confronted by technical registers belonging to the authorities.
27
Jurriëns, Edwin. "Cultural travel and migrancy : the artistic representation of globalization in the electronic media of West Java /." Leiden : KITLV Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb392650890.
Full text
28
Maher, Kelly M. "Killing Flies With a Shotgun: How the Internet Set a New Journalistic Standard and Style." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2624/.
Full textAbstract:
Today, both the way a story is told and how long the viewer's attention can be held are often as important as the story itself. This study shows how online media sets new standards for narrative and continues some print traditions. This study focuses on the dialogue between print and online media. A quantitative and qualitative analysis of this dialogue through story length, readability, shovelware and story packaging shows the numerous effects the Internet has had on news media content.
29
Ray, Irving. "A Comprehensive Performance Guide for the Use of Advanced Technology in Euphonium Repertoire with Electronic Media through Analyses of Works by D. Edward Davis, Neal Corwell, and Lucy Pankhurst." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011781/.
Full textAbstract:
Solos for euphonium with electronic media present the unique challenge of incorporating an active, physical involvement in the live accompaniment through sound-altering technology such as guitar pedals or digital processors. Instructions for this solo genre are often vague and demand a general knowledge of how to use non-traditional devices. Due to the lack of information available on newly-composed pieces for this medium, students and professionals easily overlook the artistic merit of electroacoustic music. This dissertation provides a comprehensive performance guide that aids in the set-up and operation of advanced technology and presents a methodical approach to performing common musical and technical challenges found in modern euphonium repertoire with electronic media. Included in this dissertation are tables of common audio vocabulary and images of connectors, safety precautions, equipment recommendations with performance settings, a list of required connectors, adapters, cables, speakers, and amplifiers, performance set up diagrams, background information, and analyses of both the technical and musical aspects of each piece. In the appendices are signal flow charts, visual illustrations of polar recording patterns, and an updated catalog of published and unpublished original, adapted, and arranged euphonium solos with live electronics and electronic media accompaniment between 1970 and 2017.
30
Carlsson, Christoffer. "The Acoustics of Stockholm Concert Hall and Artificial Reverberation Systems : Evaluation of Stora salen and simulation of its electronic reverberation system." Thesis, KTH, Tal, musik och hörsel, TMH, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-178038.
Full textAbstract:
This master thesis examines the effects on the acoustical properties of a concert hall caused by an artificial reverberation system (ARS) and the possibility of simulating these properties. By examining the case of the Stockholm Concert Hall, which recently installed such a system, a greater understanding of the ARS will be gained and additional improvements of simulating such systems will be explored. This study comprises two parts: (1) objective data obtained through acoustical measurements are evaluated both internally and to other halls and (2) by computer simulation of the concert hall and its electronic reverberation system evaluate the acoustics of the hall. The study shows that the effect of the ARS on the acoustical properties of Stockholm Concert Hall is not excessive but noticeable. An 0.3 second increase in reverberation time is a desirable outcome but comes at the cost of clarity, which sees a reduction of 0.7 decibels. Moreover, it is possible to simulate a concert hall, having an ARS installed, with fairly realistic results. However, in order to compile the simulated impulse response, a script had to be created -combining the transfer functions related to each component of the reverberation chain from source to receiver, including all the microphones and loudspeakers of the ARS.Det här examensarbetet undersöker påverkan på de akustiska egenskaperna hos en konsertlokal orsakad av ett artificiellt efterklangssystem. Likaså undersöks möjligheterna för att simulera dessa akustiska egenskaper. Genom att undersöka Stockholms konserthus, som nyligen installerade ett efterklangssystem, kommer en bättre förståelse för artificiella efterklangssystem skapas och ytterligare förbättringar för simulering kommer att möjliggöras. Den här studien genomförs i två delar: (1) objektiv data, inhämtad från akustiska mätningar, utvärderas både internt och mot andra konsertlokaler samt (2) genom datorsimulering av konsertlokalen och det elektroniska efterklangssystemet utvärderas de akustiska egenskaperna. Studien visar att inverkan på de akustiska egenskaperna hos Stockholms konserthus orsakade av det artificiella efterklangssystemet inte är överdrivna men noterbara. En önskad ökning av efterklangstiden med 0.3 sekunder uppnås men detta på bekostnad av att ljudets klarhet minskar med 0.7 decibel. Vidare är det möjligt att simulera ljudutbredningen i en konsertlokal som har ett efterklangssystem installerat med ett tämligen realistiskt resultat. För att uppnå detta simuleringsresultat skapas ett skript vilket väger samman alla överföringsfunktioner mellan ljudkällan och mottagaren, inklusive de mellan efterklangssystemets mikrofoner och högtalare.
31
Granich, Joanna. "Electronic-based sedentary behaviour among children within the family home environment : a descriptive study." University of Western Australia. School of Population Health, 2009. http://theses.library.uwa.edu.au/adt-WU2010.0069.
Full textAbstract:
[Truncated abstract] This descriptive study identified correlates of electronic media use among pre-adolescent children (10-12 year olds). It specifically focused on the potential influence of individual factors and the social and physical environment within the family home setting. The prevalence of overweight/obesity in children is escalating. Sedentary behaviour in the form of electronic media use (comprised of television (TV) and video/DVD viewing, video and computer gaming, and computer use) is a contributing and a modifiable risk factor for overweight/obesity. To date, research focused on sedentary behaviour has been largely derived from physical (in)activity data where the absence or observed low levels of physical activity participation or TV viewing only has been used as a proxy for sedentariness. Little is known about the specificities of children's electronic media use; its impact on children's overall leisure and screen-time; and, the potential influencing factors that may operate at the home level. The family home is a context-specific setting where electronic media use is a daily practice for most children. To better understand electronic-based sedentary behaviour among children the following specific aims were addressed; 1) To describe children's leisure time, particularly time spent with electronic media. 2) To explore children and parents' perceptions about electronic-based sedentary behaviour. 3) To determine the prevalence of children's electronic-media use at home. 4) To examine the influence of individual, family social and home physical factors associated with different levels of electronic media use by children. ... The availability and accessibility of a variety of electronic equipment at home, especially in the child's bedroom (particularly among boys), was also associated with children's screen behaviour. Physical aspects of the family home (i.e., lay-out and yard size) had a mixed effect on children's electronic media use. Overall, the nature of electronic media use among children is complex and is influenced by dimensions that present at children's individual, family social and physical home level. The knowledge generated from this study about specific correlates of electronic media use has extended the understanding about its impact on children's discretionary time. Future prospective longitudinal research is warranted given that most studies investigating electronic media and sedentary behaviour are of cross-sectional design. Including other forms of sedentary behaviour such as sitting and talking with friends and family, reading and/or using telephones may provide a more comprehensive measure of sedentariness in the future. Further studies should use multivariate statistical analyses (i.e., modelling) to improve clarity of relationships between multiple variables and gauge mediating factors. This study also calls for future intervention research. Findings on gender-specific correlates of electronic media use provide superior information for the development of tailored behaviour modification strategies aimed at girls and boys respectively. Active involvement of household members in the intervention is also warranted. Utilising this study's findings may strengthen intervention outcomes towards a more directed and sustained behaviour change
32
Acadia, Spencer. "Exploratory Analysis of Social E-health Behavior." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500111/.
Full textAbstract:
Extant literature has documented well that people seek health information via the internet as patients and consumers. Much less, however, is known about interaction and creation behaviors in the development of new online health information and knowledge. More specifically, generalizable sociodemographic data on who engages in this online health behavior via social media is lacking in the sociological literature. The term “social e-health” is introduced to emphasize the difference between seeking behaviors and interaction and creation behaviors. A 2010 dataset of a large nationally representative and randomly sampled telephone survey made freely available from the Pew Research Center is used to examine social e-health behavior according to respondents’ sociodemographics. The dependent variable of social e-health behavior is measured by 13 survey questions from the survey. Gender, race, ethnicity, age, education, and income are used as independent variables. Logistic regression analysis was used to determine the odds of engagement in social e-health behavior based on the sociodemographic predictors. The social determinants of health and digital divide frameworks are used to help explain why socioeconomic variances exist in social e-health behavior. The findings of the current study suggest that predictable sociodemographic patterns along the dimensions of gender, race, age, education, and income exist for those who report engaging in social e-health behavior. This study is important because it underscores the fact that engagement in social e-health behavior is differentially distributed in the general U.S. population according to patterned sociodemographics.
33
Gajdošík, Andreas. "Open Call." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-377167.
Full textAbstract:
In diploma thesis Open Call I focus on unequal position of artists in current art world in which, despite the transparent practices like open calls, still persists the cult of name, the power of networking and personal recommendation. This topic I artistically process in form of practical artistic intervention, which is close to the tactics of 1:1 scale of Arte Útil - specifically by creation of software tool called Nomin. Its purpose is to support weakened or marginalized groups of artists. Nomin uses properties of email protocol SMTP to allow its users-spectators to send fake self-recommending emails - from email addresses of famous curators to the inboxes various galleries or other art institutions. During development of program Nomin and its technical background (software documentation, web page etc.) I followed the paradigm of free, libre, open source software (FLOSS) and also the methodology of agile software development in order to provide in this gesamtsoftwerk the users-spectators with fully functional, user-friendly software and give them possibility to influence further development of Nomin or directly participate on it. Created artwork is thus not a single artefact but rather a set of interconnected objects and practices grounded in the network of social bonds and behaviours which balances on the edge of institutional critique, useful art, participatory art and collective performance.
34
Lewis, Christopher James. "Development of a Methodology for Numerical Simulation of a D C ARC Discharge in a Liquid Dielectric." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2394.
Full textAbstract:
The majority of literature regarding the numerical simulation of arc discharges in gaseous environments has used a plasma physics approach. Virtually all simulations treat the discharge as an idealized gaseous plasma, which can be described by temperature, pressure, and electric field. This approach can work well if the media is a shielding gas such as Argon; however, the approach does not work well for processes such as underwater welding, EDM, and underwater discharges used to generate high purity particles. The reason these discharges do not have many extensive simulation efforts as described in the literature is because they occur in liquid dielectric media (Oil and water) which complicates the simulation efforts. Most research efforts in these areas describe experimental methods to evaluate discharge properties In this research a new method to investigate discharges in a dielectric media using an electrostatic and particle physics approach is proposed and validated. A commercial code that has been developed to simulate charged particle beams, dielectric materials, and perform multi-physics analyses, is the Vector Fields suite of solvers from Cobham Technical Services. This research demonstrates a simulation methodology that can be used to simulate a DC electric arc discharge in a lossy dielectric media using the Vector Fields environment. This simulation is the first of its kind to simulate this type of a discharge with a commercial FEA code. As such there are some limitations to the simulation. However, the simulation can be used to investigate the following:
1.Any metal, electrode geometry, discharge gap, or dielectric media can be studied
2.Primary Beam Physics
– Electron velocity/acceleration (direct calculation of electron temperature)
– Energy deposition on the anode from all emission sources
– Effect of dielectric media on beam physics (trajectories, velocity, constriction, beam induced magnetic fields, space chare, and secondary emission)
– Beam current
– Particle trajectories (including relativistic effects)
3. Secondary Particle Generation and physics
– Atomic species (neutral particles or ions) and secondary electron emission
– Particle trajectories
– Back ion bombardment on the cathode
35
Austin, Bradford Ralph. "Why are those computers sitting over there gathering dust." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/48.
Full textAbstract:
The purpose of this project was to create electronic books (E-books) for kindergartens to read during their center time. The E-books are intended for kindergarten teachers to use to help their students learn to read while utilizing the technology resources in their classroom. These E-books are teacher created so the cost is minimal and they can be copied and distributed to each student without worrying about copyright laws. Teachers can customize them to fit the current thematic unit they are teaching and once created, they can be used repeadedly without being damaged like paper books.
36
Albannai, Talal N. "Conversational Use of Photographic Images on Facebook: Modeling Visual Thinking on Social Media." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849631/.
Full textAbstract:
Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.
37
Joshua, Nihal E. "Direct Immersion Cooling Via Nucleate Boiling of HFE-7100 Dielectric Liquid on Hydrophobic and Hydrophilic Surfaces." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699916/.
Full textAbstract:
This study experimentally investigated the effect of hydrophobic and hydrophilic surfaces characteristics on nucleate boiling heat transfer performance for the application of direct immersion cooling of electronics. A dielectric liquid, HFE – 7100 was used as the working fluid in the saturated boiling tests. Twelve types of 1-cm2 copper heater samples, simulating high heat flux components, featured reference smooth copper surface, fully and patterned hydrophobic surface and fully and patterned hydrophilic surfaces. Hydrophobic samples were prepared by applying a thin Teflon coating following photolithography techniques, while the hydrophilic TiO2 thin films were made through a two step approach involving layer by layer self assembly and liquid phase deposition processes. Patterned surfaces had circular dots with sizes between 40 – 250 μm. Based on additional data, both hydrophobic and hydrophilic surfaces improved nucleate boiling performance that is evaluated in terms of boiling incipience, heat transfer coefficient and critical heat flux (CHF) level. The best results, considering the smooth copper surface as the reference, were achieved by the surfaces that have a mixture of hydrophobic/hydrophilic coatings, providing: (a) early transition to boiling regime and with eliminated temperature overshoot phenomena at boiling incipience, (b) up to 58.5% higher heat transfer coefficients, and (c) up to 47.4% higher CHF levels. The studied enhanced surfaces therefore demonstrated a practical surface modification method for heat transfer enhancement in immersion cooling applications.
38
Lucas, Stephen 1985. "Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33228/.
Full textAbstract:
Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production.
39
Thomas, Zach (Zachary R. ). "Audiovisual Concatenative Synthesis and "Replica"." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538747/.
Full textAbstract:
Audiovisual concatenative synthesis is an analysis-driven granular technique using a corpus of multimedia data to sequence audio and video streams on a microtemporal level. This text outlines my development of this technique as a tool for multimedia composition, using my work, Replica, as a case study. The paper illustrates how the concepts of granular structure, gesture capture, and replication are integral not only to the software but to the architecture of the composition. In doing so, machine learning approaches to music and visual art are reviewed and related to my personal compositional practice. Additionally, I attempt to show how audiovisual concatenative synthesis provides a composer with strategies for shaping one's sense of time through disorienting audiovisual cues and tightly organized counterpoint between sound and image, stage and screen, and the real and virtual.
40
Heffel, Carly J. "Finding Out on Facebook: a Qualitative Analysis of Adolescents’ Experiences Following a Suicide Cluster." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699975/.
Full textAbstract:
Suicide clusters have been identified in many populations; however, research exploring the role of online communication in the aftermath of a suicide cluster is extremely limited. This study used the Consensual Qualitative Research method to analyze interviews of ten high school students following a suicide cluster in a small suburban school district. Interviewee’s responses were organized into 4 domains: the suicide, impact, perceptions of school environment, and recovery. The role of social networking emerged as a common theme across domains, suggesting broad relevance to adolescents’ experience following the suicide of a peer. Implications for clinical intervention and research are discussed.
41
Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.
Full textAbstract:
Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages.
Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.
42
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/.
Full textAbstract:
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.
43
Chandrasekaran, Vikram. "Measuring Vital Signs Using Smart Phones." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33139/.
Full textAbstract:
Smart phones today have become increasingly popular with the general public for its diverse abilities like navigation, social networking, and multimedia facilities to name a few. These phones are equipped with high end processors, high resolution cameras, built-in sensors like accelerometer, orientation-sensor, light-sensor, and much more. According to comScore survey, 25.3% of US adults use smart phones in their daily lives. Motivated by the capability of smart phones and their extensive usage, I focused on utilizing them for bio-medical applications. In this thesis, I present a new application for a smart phone to quantify the vital signs such as heart rate, respiratory rate and blood pressure with the help of its built-in sensors. Using the camera and a microphone, I have shown how the blood pressure and heart rate can be determined for a subject. People sometimes encounter minor situations like fainting or fatal accidents like car crash at unexpected times and places. It would be useful to have a device which can measure all vital signs in such an event. The second part of this thesis demonstrates a new mode of communication for next generation 9-1-1 calls. In this new architecture, the call-taker will be able to control the multimedia elements in the phone from a remote location. This would help the call-taker or first responder to have a better control over the situation. Transmission of the vital signs measured using the smart phone can be a life saver in critical situations. In today's voice oriented 9-1-1 calls, the dispatcher first collects critical information (e.g., location, call-back number) from caller, and assesses the situation. Meanwhile, the dispatchers constantly face a "60-second dilemma"; i.e., within 60 seconds, they need to make a complicated but important decision, whether to dispatch and, if so, what to dispatch. The dispatchers often feel that they lack sufficient information to make a confident dispatch decision. This remote-media-control described in this system will be able to facilitate information acquisition and decision-making in emergency situations within the 60-second response window in 9-1-1 calls using new multimedia technologies.
44
Berrios-Ayala, Mark. "Brave New World Reloaded: Advocating for Basic Constitutional Search Protections to Apply to Cell Phones from Eavesdropping and Tracking by Government and Corporate Entities." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1547.
Full textAbstract:
Imagine a world where someone’s personal information is constantly compromised, where federal government entities AKA Big Brother always knows what anyone is Googling, who an individual is texting, and their emoticons on Twitter. Government entities have been doing this for years; they never cared if they were breaking the law or their moral compass of
human dignity. Every day the Federal government blatantly siphons data with programs from the original ECHELON to the new series like PRISM and Xkeyscore so they can keep their tabs on issues that are none of their business; namely, the personal lives of millions. Our allies are taking note; some are learning our bad habits, from Government Communications Headquarters’ (GCHQ) mass shadowing sharing plan to America’s Russian inspiration, SORM. Some countries are following the United States’ poster child pose of a Brave New World like order of global events. Others like Germany are showing their resolve in their disdain for the rise of tyranny. Soon, these new found surveillance troubles will test the resolve of the American Constitution and its nation’s strong love and tradition of liberty. Courts are currently at work to resolve how current concepts of liberty and privacy apply to the current conditions facing the privacy of society. It remains to be determined how liberty will be affected as well; liberty for the United States of America, for the European Union, the Russian Federation and for the people of the World in regards to the extent of privacy in today’s blurred privacy expectations.B.S.
Bachelors
Health and Public Affairs
Legal Studies
45
Jaume, Bennasar Andrés. "Las nuevas tecnologías en la administración de justicia. La validez y eficacia del documento electrónico en sede procesal." Doctoral thesis, Universitat de les Illes Balears, 2009. http://hdl.handle.net/10803/9415.
Full textAbstract:
La tesis se encarga de analizar, por un lado, la integración y el desarrollo de las nuevas tecnologías en la Administración de Justicia; y, por otro, los parámetros que constituyen la validez y eficacia del documento electrónico. La primera cuestión se centra en la configuración de los Sistemas de Información de la Oficina Judicial y del Ministerio Fiscal, así como de la informatización de los Registros Civiles, donde el art. 230 LOPJ es la pieza clave. Se estudian sus programas, aplicaciones, la videoconferencia, los ficheros judiciales y las redes de telecomunicaciones que poseen la cobertura de la firma electrónica reconocida, donde cobran gran relevancia los convenios de colaboración tecnológica. La digitalización de las vistas quizá sea una de las cuestiones con más trascendencia, teniendo en cuenta que el juicio es el acto que culmina el proceso. Aunque no todos los proyectos adoptados en el ámbito de la e.justicia se han desarrollado de forma integral, ni han llegado a la totalidad de los órganos judiciales. El objetivo final es lograr una Justicia más ágil y de calidad, a lo cual aspira el Plan Estratégico de Modernización de la Justicia 2009-2012 aprobado recientemente.
En referencia a la segunda perspectiva, no cabe duda que el Ordenamiento jurídico y los tribunales, en el ámbito de la justicia material, otorgan plena validez y eficacia al documento electrónico. Nuestra línea de investigación se justifica porque cada vez son más los procesos que incorporan soportes electrónicos de todo tipo, ya sea al plantearse la acción o posteriormente como medio de prueba (art. 299.2 LEC). Entre otros temas examinamos el documento informático, la problemática que rodea al fax, los sistemas de videograbación y el contrato electrónico.
La tesi s'encarrega d'analitzar, per una part, la integració i el desenvolupament de les noves tecnologies dins l´Administració de Justícia; i, per l'altra, els paràmetres que constitueixen la validesa i l'eficàcia del document electrònic.
La primera qüestió es centra en la configuració dels Sistemes d´Informació de l´Oficina Judicial i del Ministeri Fiscal, així com de la informatització dels Registres Civils, on l'art. 230 LOPJ es la peça clau. S'estudien els seus programes, aplicacions, la videoconferència, el fitxers judicials i les xarxes de telecomunicacions que tenen la cobertura de la firma electrònica reconeguda, on cobren gran rellevància els convenis de col·laboració tecnològica. La digitalització de les vistes tal vegada sigui una de les qüestions amb més transcendència, tenint amb compte que el judici es l'acte que culmina el procés. Però no tots el projectes adoptats en l'àmbit de la e.justicia s'han desenvolupat d'una manera integral ni han arribat a la totalitat dels òrgans judicials. L'objectiu final es assolir una Justícia més àgil i de qualitat, al que aspira el Pla Estratègic de Modernització de la Justícia 2009-2012 aprovat recentment.
En referència a la segona perspectiva, no hi ha dubte que l´Ordenament jurídic i els tribunals, en l'àmbit de la justícia material, donen plena validesa i eficàcia al document electrònic. La nostra línia d'investigació es justifica perquè cada vegada son més el processos que incorporen suports electrònics de tot tipus, ja sigui quant es planteja l'acció o posteriorment como a medi de prova (art. 299.2 LEC). Entre altres temes examinem el document informàtic, la problemàtica que envolta al fax, els sistemes de videogravació i el contracte electrònic.
The thesis seeks to analyse, on the one hand, the integration and development of the new technologies in the Administration of Justice; and, on the other, the parameters which constitute the validity and efficiency of the electronic document.
The first question centres on the configuration of the Information Systems of the Judicial Office and the Public Prosecutor, as well as the computerisation of the Civil Registers, where the art. 230 LOPJ it's the part key. Their programmes, applications, the Video Conferencing, the judicial registers and the telecommunication networks which are covered by the recognised electronic signatures, are studied, where the agreements on technological collaboration gain great relevance. The digitalisation of evidence might perhaps be one of the questions with most consequence, bearing in mind that the judgment is the act by which the process is culminated. Although not all the projects adopted within the compass of e.justice have developed completely nor have reached all the judicial organs. The final objective is to achieve an agile, quality Justice, to which the recently approved Strategic Plan for the Modernisation of Justice aspires.
With reference to the second perspective, there is no doubt that the juridical Ordinance and the tribunals within the compass of material justice grant full validity and efficacy to the electronic document. Our line of investigation is justified because there are more and more processes which are sustained by electronic supports of all kinds, whether it be at the establishment of the action or later, as a proof of it (art. 299.2 LEC). Amongst other things, we examine the computerised document, the problems which surround the fax, the systems for video recording and the electronic contract.
46
Bancroft, Malcolm James. "From popular art to mass culture : autonomous technology and the intellectual history of fast food : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Media Studies at Massey University." 2005. http://hdl.handle.net/10179/1601.
Full textAbstract:
In recent years, Media Studies has become increasingly influenced by the Social Sciences. In particular, aesthetic approaches within the field have been diminishing. Humanistic research into fast food is just as scarce. This study seeks to reclaim the humanistic endeavour of aesthetic media research, and to apply it to a study of American fast food. The McDonald's hamburger is used as the prototype. The study explores the difficulty in postulating an aesthetic arena in Media Studies. A case is made for the burger as an instance of popular art, and various models of poplar art are engaged to this end. The burger does have aesthetic properties, but they are fleeting and inhibited by the technological nature of the artefact. At the same time, it also exists as an example of mass culture, as it increasingly sets the framework for popular art. An existentialist approach to fast food shows up its compulsive nature, and the autonomous role of technology emerges as a theme which both helps explain its popularity and helps to limit its artistic potential.
47
Büscher, Barbara. "Live Electronic Arts und Intermedia : die 1960er Jahre: Über den Zusammenhang von Performance und zeitgenössischen Technologien, kybernetischen Modellen und minimalistischen Kunst-Strategien." Doctoral thesis, 2002. https://slub.qucosa.de/id/qucosa%3A854.
Full textAbstract:
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 entstand.The 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.
48
Minski, Kristefan. "Collaboration in experimental art: case studies in co-creation, transdisciplinarity and art-science practice at Ars Electronica Futurelab." Thesis, 2020. http://hdl.handle.net/1959.13/1419550.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)This research brings new perspectives on the unique activity of collaboration in a collective experimental art context and which has involvement from a variety of external stakeholders across government, industry and academia. The research was conducted at the internationally renowned Ars Electronica located in Linz, Austria. A review of the associated literature reinforces the proposed problem that there are unknowns and contradictions in how the term collaboration is understood in open ended and group based experimental art contexts. Experimental art is an ambiguous and often misinterpreted conundrum, however through combining many reputable sources its criteria includes; process-oriented, comprises of radically new or innovative styles, incorporates multiple disciplines, looks to extend the boundaries of art and often, but not always, involves a relationship between art, technology and science. For that reason, the research connects to the emerging discourse of art-science and the field of transdisciplinarity. In recent times, the problem-solving methodology of Design Thinking has been at the forefront of creative innovation discourse. However, upon investigation, the term collaboration is seemingly applied in this context for undertakings which are more akin to cooperative or coordinated roles and structures. A review of work from the field and examples from the Ars Electronica archive revealed that there is indeed a difference between a Design Thinking approach and an Art Thinking approach which has developed out of practice in recent years. This leads to the research question which asks; What is the role of collaboration in open ended and group based experimental art contexts? The hybrid methodology brings together experimental Art Thinking, phenomenology, conceptual metaphor theory and some key aspects of Eastern philosophy and autoethnography. Criteria were extracted to form a new evaluative framework for collaboration in experimental art. Case studies from the researcher’s own applied practice as a producer at Ars Electronica Futurelab are analysed as part of the investigation, testing of the conceptual framework and proof of concept. Based on the methodological framework developed in chapter five and demonstrated in chapter six, the research concludes by proposing a new model for collaboration based on a unique “Art Thinking” mindset. The model merges two systems of creativity; one that is an open-ended, experimental and ongoing collaborative culture with the other which is a coordinated, closed-ended and structured approach to problem solving. Through articulating a new addition to the typology of collaboration, the research also brings new knowledge for better understanding how transdisciplinary and art-science practice can be cultivated beyond the limitations of, but also complimentary to, Design Thinking. The implications of which can provide avenues for policy makers across a range of fields and enquiry with the potential to weave both cultural and business aspirations together to form a unique innovation ecosystem.
49
Forbes, Avery. "Your New Best Friends: An Exploration of Furby, Siri, and Other Sociable Electronics." 2021. https://scholarworks.umass.edu/masters_theses_2/1047.
Full textAbstract:
Your New Best Friends: An Exploration of Furby, Siri and Other Sociable Electronics is focused around interactive electronic systems and the effect these systems can have on our human psyches. My work focuses on two particular periods of development: the late 80’s to early 90’s, and the 2010’s to present. One period represents my childhood and the other my early adulthood. By comparing the two I can examine trends in the ways we engage with robotics and can better understand the ubiquity of electronically mediated interactions today. I utilize these new understandings to manipulate the capabilities of devices from both periods to create pieces that communicate care in a new way, sparking a moment of joy for the viewer while also increasing the awareness of the failings of devices when compared with true human interaction.
50
Benická, Alexandra. "Živé obrazy VJingu." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313515.
Full textAbstract:
The subject of the thesis Live images of VJing is an aesthetic activity, based on visual projections and on work with new media in real-time, known as VJing, or more generally "live audiovisual performance". As these performances usually complement auditory events or are supplemented by music. The first part follows the origins of VJing out of three angles: First the historical development of projected image, electronic music and the discourse of synaesthesia principle as an principle joining different sensory perceptions into one. Second part of this thesis is introducing an philosophical perspective and it's defining terms, through which can be glimpsed the tendencies in the development of contemporary art of new media, particularly following the example of the German new-media philosophy with terms like homöotechnik, performativity, mediality and gesture. The outcome of this thesis is the finding, that it's not the media-philosophy bringing the textures and shapes to VJing, but the opposite - VJing as an art form is a valuable contribution to defining of the media-philosophy, which seem to be forming along with the new media itself and with the experimental arts exploring it's radical possibilities.