Dissertations / Theses on the topic 'Media arts'
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Antunes, Rui Filipe. "On computational ecosystems in media arts." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/10423/.
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This research is an exploration of issues surrounding the artistic production of Computational Ecosystems. A Computational Ecosystem is a system of agents designed to emulate, in the computer, biological systems where autonomous individuals are organized in a hierarchical food chain and interact by trading units of energy. This thesis maps out this field and examines the modes of production and functions of these systems. The central claim is focused on how the narratives normally associated with these systems and their functioning are two complementary, but separate entities. By virtue of considering these separately the computational ecosystem is argued to be an abstract generative engine for heterogeneity, spontaneity, and even novelty. It is contended that the set of methods of production developed by exploratory artists using these artefacts might be instrumentalized as generative methods for the animation of general purpose non-player characters in virtual worlds.
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Lam, Yui-yim Margaret. "Realm of media art." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947382.
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Yen, Koon-wai Michael, and 嚴觀偉. "Urban channel for electronic media and arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31983121.
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Yen, Koon-wai Michael. "Urban channel for electronic media and arts." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951397.
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Hughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.
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Microcomputer applications to fine arts areas of education have received limited attention although the need for interdisciplinary education made evident in a substantial body of literature would seem to make such applications desirable. The use of microcomputers as creative media for the composition of poetry, art images, and music by grade four students at an elementary school in British Columbia, Canada was observed and analyzed in order to discern what actually happened as a result of the juxtaposition of microcomputers and creative aspects of fine arts. Ethnographic research methodology allowed the classroom teacher to conduct the study in a participant-observer role throughout the 1988-1989 school year.
As a side aspect to the study, it was observed that students developed problem solving strategies that involved assessments and value judgements which encouraged those students to accept responsibility for their own learning.
Word processed poetry engendered visual awareness that promoted extensive editing and proofreading and stimulated exploration of visual presentations in the genre of concrete poetry.
Art images of nonrepresentational and abstract styles predominated because microcomputer capabilities supported such compositions and allowed students to experience satisfaction in their work regardless of their personally perceived proclivities toward portrayal in realistic style. The use of microcomputers facilitated image processing: the explorations of single ideas that resulted in the creation of series of related images.
The students revealed developmental stages in music composition approaches and perceptions by the manner in which they structured sound into music.
The students integrated concepts and techniques that involved poetry, art, and music into single works and thus demonstrated associative thought processing skills.
Microcomputers used as creative media in the fine arts areas of poetry, art, and music enabled unique learning outcomes, provided a previously unavailable means whereby the developmental stages of child music composition were able to be observed, and constantly allowed students to be simultaneously creators and observers of their own work. The students were thus in position to concurrently recognize and respond to artistic form: a position in which aesthetic experiences are possible.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Brandeis, Judy. "English Language Arts and Media Education-making links." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0027/MQ50500.pdf.
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Brandeis, Judy. "English language arts and media education : making links." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21197.
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The purpose of this study is to advance existing Media Education theory by looking at similarities in English Language Arts (ELA) theory and Media Education theory. The study explores similarities and differences between the two areas of study creating a broader understanding of literacy, English Language Arts, Media Education and pedagogy.In order to clarify the co-relation between English Language Arts theory and Media Education theory, I interviewed experts in both fields to shed light on how these two areas of study complement one another and where the points of difference lie. The information points to the development in theory and opportunities for research that may help teachers in training and classroom teachers integrate Media Education and ELA education.
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Levido, Amanda. "The implementation of media arts in Australian primary schools." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/211142/1/Amanda_Levido_Thesis.pdf.
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This thesis explores how primary school teachers implement the Media Arts subject strand of the Australian Curriculum: The Arts into their classrooms. The study presents three case studies that explore how teachers and students engage with the key concepts of Media Arts and what pedagogical approaches are employed to foster Media Arts learning. The thesis makes a series of recommendations, based on the findings of this study, about how to implement Media Arts in more cohesive ways into primary school classrooms.
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Dunfee, Melissa Catherine. "Financial Challenges of New Media Art in Contemporary Arts Institutions." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1487646333901318.
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Saunders, Ryan C. "Beyond media literacy in the language arts classroom [electronic resource] /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Saunders_RCMIT2010.pdf.
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Kisil, Gerry. "Technologies of abundance, consumer culture, government and the media arts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/MQ39936.pdf.
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Williams, Gavin. "Arts of Noise: Sound and Media in Milan ca. 1900." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11115.
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This dissertation explores the place of sound, noise and silence in Milan at the turn of the twentieth century. By focusing on this particular urban environment, it aims to investigate the notion of sonic modernity through a series of four case studies. It begins in 1881, the year of the city's National Industrial Exposition, with the premiere of the ballet Excelsior--a work that, like the Exposition itself, celebrated modern progress by staging technological inventions and was preoccupied with industrial production. Pursuing these echoes of labor, a second case study examines workers' songs, which comprised a resonant document in the rise of Italian socialism. These songs present us with a workers' culture that commemorated factory disputes and strikes; they also embody tensions in the interface between workers and socialists which, I argue, characterized the ways in which songs imagined urban space. In my third case study, my attention shifts to this urban imagination by focusing on a media event: the death of Giuseppe Verdi. Focusing on different contemporary interpretations of the respectful silence, as articulated through the city's transport and communication media, I argue that Verdi's death can provide a fresh perspective on the political unconscious of Milan's lugubrious fine secolo. It is against this historical context, that my fourth and final case study examines Luigi Russolo's famous "L'arte dei rumori" (The Art of Noises); in it, I seek to show that Russolo's ideas stand out against the resonant background of Milan's symbolic architectural sites and the noise of its human multitudes. Ultimately, this dissertation provides alternative contexts against which to understand Futurist noise, seeking to move beyond existing interpretations of Futurism as a turning point in music history and to position it instead as a refraction of Milan's increasingly industrial soundscape.Music
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King, Mike. "Computer media in the visual arts, and their user interfaces." Thesis, Royal College of Art, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293932.
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Herber, Norbert F. "Amergent music : behavior and becoming in technoetic & media arts." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/2612.
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Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.
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Bitoun, Claire. "Gautier, Wilde, and the visual arts : artistic media and movement." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:a765fb6d-2b26-4f38-9a27-9d33836c0998.
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In nineteenth-century literary studies and histories, Théophile Gautier (1811-1872) is still largely remembered as the instigator of the doctrine of Art for Art's Sake, mostly because of his novel Mademoiselle de Maupin (1835) and its controversial preface. This recognition is usually accompanied by a retrospective appreciation of Gautier's work in light of the more famous authors who succeeded him and developed some of the precepts of the doctrine, such as Baudelaire. This thesis is a comparative study of Gautier and Oscar Wilde (1854-1900) as the two main exponents of the doctrine of Art for Art's Sake respectively in France and Britain. While comparisons between Gautier and Baudelaire have tended to highlight the superiority of the latter, a comparison with Wilde allows Gautier to be seen and understood in his own terms, and simultaneously casts a new light on Wilde's contribution to the development of the doctrine. My study is the first to examine the works of the two authors comparatively from the vantage point of their aesthetic theories. I argue that in order better to assess their contribution, it is necessary to start with an analysis of their experimentations with literary form. The overall aim of the thesis is to re-evaluate their fictional works which, as a result of their commitment to the doctrine, are often seen as lacking in depth and content, and as being too descriptive and decorative. The central argument is that the very decorative form of their works should be seen as the starting point of an ambitious reflection on literature, its aims and its relation to other artistic media, the visual arts in particular.
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Ride, Peter. "Putting it together : examining new media arts and creative practice." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice.
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This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection‐in-action and reflection-on-action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010).
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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.
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Johannesburg was built on the discovery and exploitation of gold, but the gold mines are
depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations
of the dense and diverse population sustain Johannesburg as the economic capital of the
country, but the City has lost its golden meaning and is striving for a new identity: to become
the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural
expression. People and cultures of the City mix and spark ideas in public space, so Joubert
Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art
Gallery, should play a role in Johannesburg's transformation into the Cultural Capital.
The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it
now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no
significant contribution to the public of Joubert Park, but its iconic design and position indicate
its potential to be rediscovered as an important public space. This dissertation investigates
how spatial interventions can be mobilised to re-establish the forgotten significance of
the site, and introduce a programme that will respect and enhance the heritage of the
Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater
urban environment as the Cultural Capital.
The proposed programme is the Creative Conservatory (CC), a community media and arts
centre driving universal media accessibility and providing an enabling environment for the
cultivation of artistic and cultural expression and development. The CC serves the community,
mobilising the arts for social and economic development, thus supporting the creative
economy and cultural landscape of Johannesburg. The architectural intervention of the CC is
designed for the present, while inspired by and responding to heritage, so as to create places
that will remain relevant in the future.Johannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted
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Karlsson, Gabriella. "The Social Media Muse." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23195.
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The social media influencer is becoming a prominent trope in contemporary media culture. In her Instagram performance artwork Excellences & Perfections, Amalia Ulman imitated the content and lifestyle of different types of influencers for five months in 2014, gaining attention and inciting controversy when she finally revealed her hoax. She captured problematic aspects of performativity online, examined how it related to tropes and myths in our culture, and ultimately to our sense of identity. By analysing images from her work and comments from her followers at the time, this thesis aims to understand how her art acts as a commentary on issues of digital labour and self-representation through images.
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Garland, Vaughn. "Participation in the Digital Public: New Media Art as Online Community." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/561.
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Participation in The Digital Public: New Media Art as Online Community examines community online art projects— works of art produced and orchestrated by artists who employ the interconnected and participatory nature of the Internet. Garland contends, in part through a reevaluation of a statement made by artist Nam June Paik concerning a radio performance by John Cage, that community online art projects exist as the newest example of new media art because of a utilization and implementation of established and functioning technology. Through the application of Internet technology, contemporary artists, along with their collaborators and spectators, have the potential to create, build, engage, and exhibit new works of art and form new concepts for the production and practice of art making. This dissertation maintains that Community online art projects serve as the most current example of new media art because they examine the shared uses of the Internet. Participation in The Digital Public: New Media Art as Online Community includes examples and critiques of new online artworks as well as historical analysis of the theories of new media, participation, interconnectivity, and remediation in art through the 20th century.
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Williamson, Takisha. "New Media Technology Strategies in the Performing Arts: A Case Study on Groundworks Dancetheatre's New Media Project." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1394922038.
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Merrill, David Jeffrey 1978. "Interaction with embodied media." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/51662.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Includes bibliographical references (p. 213-222).
The graphical user interface has become the de facto metaphor for the majority of our diverse activities using computers, yet the desktop environment provides a one size fits all user interface. This dissertation argues that for the computer to fully realize its potential to significantly extend our intellectual abilities, new interaction techniques must call upon our bodily abilities to manipulate objects, enable collaborative work, and be usable in our everyday physical environment. In this dissertation I introduce a new human-computer interaction concept, embodied media. An embodied media system physically represents digital content such as files, variables, or other program constructs with a collection of self-contained, interactive electronic tokens that can display visual feedback and can be manipulated gesturally by users as a single, coordinated interface. Such a system relies minimally on external sensing infrastructure compared to tabletop or augmented reality systems, and is a more general-purpose platform than most tangible user interfaces. I hypothesized that embodied media interfaces provide advantages for activities that require the user to efficiently arrange and adjust multiple digital content items. Siftables is the first instantiation of an embodied media interface. I built 180 Siftable devices in three design iterations, and developed a programming interface and various applications to explore the possibilities of embodied media.
(cont.) In a survey, outside developers reported that Siftables created new user interface possibilities, and that working with Siftables increased their interest in human-computer interaction and expanded their ideas about the field. I evaluated a content organization application with users, finding that Siftables offered an advantage over the mouse+graphical user interface (GUI) for task completion time that was amplified when participants worked in pairs, and a digital image manipulation application in which participants preferred Siftables to the GUI in terms of enjoyability, expressivity, domain learning, and for exploratory/quick arrangement of items.
by David Jeffrey Merrill.
Ph.D.
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Parsons, Rachael Nerrada. "Virion : new media and the development of the discursive museum." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.
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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.
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Heck, Elizabeth L. "Social learning and the facilitation of co-creative media practice in community media, arts and cultural organisations." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102465/1/Elizabeth_Heck_Thesis.pdf.
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This thesis examines the significance of social learning in community media and arts contexts. It takes as its focus the use of storytelling by organisations in the community cultural development and community media sectors as a way of enacting social change from within communities. These organisations exist as hybrid learning environments, and they must maintain certain standards of quality in their processes and outcomes to be of ongoing value in their communities and to funders. Such community organisations create networked social learning systems, and the co-creative media practice explored in this thesis is learnt ‘in situ’ in communities of practice.
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Sharps, Nancy Louise. "Media menagerie." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53110.
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The Media Arts Building for a small Hawaiian college was designed following the guidelines set forth in the Hawaii Loa College International Design Competition.
The central issue of this design problem concerned the dualism of the South Pacific cultures with the high-technology characteristic of the twenty-first century. Large characteristic columns were used to give the building complex a unique identity to correlate with the concerns for culture. In response to high-technology, the building site accepted the satellite dishes as artistic forms in the sculpture gardens.
The campus plan was reorganized centering concern on the college as a place of education which led to the formation of a central quadrangle.Master of Architecture
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Sirotkin, Sage Echo. "Secondary English Language Arts Teachers' Experiences Using Social Media for Instruction." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/7078.
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Social media has provided innovative ways for teachers to engage students in the learning process but has created a challenge for teachers to incorporate these applications in a manner that is both meaningful to the learning objectives and acceptable to their administration. While social media in education has been the focus of many studies, research on the implementation of social media within English language arts (ELA) classrooms is limited, leaving ELA teachers and school administrators without a full scope of the educational potential or best practices when using social media for instruction. Accordingly, this study explored the experiences of secondary ELA teachers using social media as an instructional tool. Using a basic qualitative design, this investigation was framed by the concepts of connectivism and convergence culture. The study employed in-depth interviews of 9 teachers chosen through a purposeful sampling of ELA teachers within the United States. Data analysis began with a priori coding of the interview transcripts based on the conceptual framework, followed by a secondary analysis through in vivo coding. The results indicated that social media networks provided teachers with an engaging and relevant approach to connect their content and instruction to students' lives. Results also revealed that while the teachers faced challenges similar to those noted in previous research, these challenges were viewed as opportunities to teach digital literacy within the ELA content rather than as a deterrent. The results of this study may allow teachers to use social media networks as educational tools in alignment with instructional practices to improve student performance.
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Lam, Yui-yim Margaret, and 林睿艷. "Realm of media art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985221.
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Smith, Casey Wayne 1977. "Material design for a robotic arts studio." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/62367.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.Includes bibliographical references (p. 59).
A growing number of artists are using new electronic and computational technologies for the creation of interactive, kinetic, and behavior-based art. However, users without technical backgrounds often find that there is no simple way to begin creating with these new materials without first learning a wide range of programming and electronic skills. This thesis discusses a set of technologies and activities designed for an introductory robotic art course that enable art students with little technical background to experiment with computation as a medium. The thesis presents case studies to highlight how students engaged with these technologies and discusses how the ideas represented in the course make possible a new model for artist/engineer collaboration.
by Casey Wayne Smith.
S.M.
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Mattock, Lindsay Kistler. "Media arts centers as alternative archival spaces| Investigating the development of archival practices in non-profit media organizations." Thesis, University of Pittsburgh, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3647984.
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In the United States, archival institutions have prioritized the preservation of commercial and Hollywood cinema overlooking small-scale media production by non-professionals and independent media artists. Media arts centers, however, have played a pivotal role in the continued access, use, and preservation of materials produced by the communities that they serve. These non-profit media collectives were imagined as a distributed network of organizations supporting the production, exhibition and study of media; serving as information centers about media resources; and supporting regional preservation efforts. However, media arts centers have remained over-looked and unexplored by the archival field. This dissertation seeks to shift this balance, including these artist-run organizations as part of the network of archives and collecting institutions preserving independent media.
Using case study methodologies this study investigated the practices at three media arts centers, Pittsburgh Filmmakers, Paper Tiger Television, and the Termite Television Collective, seeking to understand the role of these organizations in the collection and preservation of independent media and the development of archival practices in non-profit media organizations. The study places each of these organizations in the wider history of media arts center movement in the United States and looks broadly at the development of archives and archival practices within these organizations. Framing media arts centers as maker-spaces and archival spaces, this dissertation argues for a critique of professional archival practices and a redefinition of the standards for preservation of audiovisual materials.
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Laibowitz, Matthew Joel 1975. "Parasitic mobility for sensate media." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28770.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (p. 213-216).
Distributed sensor networks offer many new capabilities for monitoring environments with applicability to medical, industrial, military, anthropological, and experiential fields. By making such systems mobile, we increase the application-space for the distributed sensor network mainly by providing dynamic context-dependent deployment, continual relocatabililty, automatic node recovery, and a larger area of coverage. In existing models, the addition of actuation to sensor network nodes has exacerbated three of the main problems with these types of systems: power usage, node size, and node complexity. This work proposes a solution to these problems in the form of parasitically actuated nodes that gain their mobility and local navigational intelligence by selectively engaging and disengaging from mobile hosts in their environment. This body of work evaluates parasitically actuated sensor networks as a solution to these problems through extensive software simulation and by designing, implementing, and demonstrating a parasitically mobile sensor network.
by Matthew Joel Laibowitz.
S.M.
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Adams, Brittney. "Social media and its effect on privacy." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/648.
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While research has been conducted on social media, few comparisons have been made in regards to the privacy issues that exist within the most common social media networks, such as Facebook, Google Plus, and Twitter. Most research has concentrated on technical issues with the networks and on the effects of social media in fields such as medicine, law, and science. Although the effects on these fields are beneficial to the people related to them, few studies have shown how everyday users are affected by the use of social media. Social media networks affect the privacy of users because the networks control what happens to user contact information, posts, and other delicate disclosures that users make on those networks. Social media networks also have the ability to sync with phone and tablet applications. Because the use of these applications requires additional contact information from users, social media networks are entrusted with keeping user information secure. This paper analyzes newspaper articles, magazine articles, and research papers pertaining to social media to determine what effects social media has on the user's privacy and how much trust should be placed in social media networks such as Facebook. It provides a comprehensive view of the most used social media networks in 2012 and offers methods and suggestions for users to help protect themselves against privacy invasion.B.A.
Bachelors
Arts and Humanities
English; Technical Communication
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Mazalek, Alexandra 1976. "Media tables : an extensible method for developing multi-user media interaction platforms for shared spaces." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33882.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 153-157).
As digital entertainment applications evolve, there is a need for new kinds of platforms that can support sociable media interactions for everyday consumers. This thesis demonstrates an extensible method and sensing framework for real-time tracking of multiple objects on an interactive table with an embedded display. This tabletop platform can support many different applications, and is designed to overcome the commercial obstacles of previous single purpose systems. The approach is supported through the design and implementation of an acoustic-based sensing system that provides a means for managing large numbers of objects and applications across multiple platform instances. The design requires precise and dynamic positioning of multiple objects in order to enable real-time multi-user interactions with media applications. Technical analysis shows the approach l:o be robust, scalable to various sizes, and accurate to a within a few millimeters of tolerance. A qualitative user evaluation of the table within a real-world setting illustrates its usability in the consumer entertainment space for digital media browsing and game play. Our observations revealed different ways of mapping physical interaction objects to the media space, as either generic controls or fixed function devices, and highlighted the issue of directionality on visual displays that are viewable from different sides.
(cont.) The thesis suggests that by providing a general purpose method for shared tabletop display platforms we give application designers the freedom to invent a broad range of media interactions and applications for everyday social environments, such as homes, classrooms and public spaces. Contributions of the thesis include: formulation of an extensible method for media table platforms; development of a novel sensing approach for dynamic object tracking on glass surfaces; a taxonomy of interface design considerations; and prototype designs for media content browsing, digital storytelling and game play applications.
Alexandra Mazalek.
Ph.D.
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Sisk, Christopher Andrew. "In Media Res." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5444.
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We are inundated by a constant feed of media that responds and adapts in real time to the impulses of our psyches and the dimensions of our devices. Beneath the surface, this stream of information is directed by hidden, automated controls and steered by political agendas. The transmission of information has evolved into a spiral of entropy, and the boundaries between author, content, platform, and receiver have blurred. This reductive space of responsive media is a catalyst for immense political and cultural change, causing us to question our notions of authority, truth, and reality.
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Compton, Mark Daniel. "Neo-Raconteur: Allocating Southern-Gothic Symbolism into Design Media." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1394.
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I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.
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Mbarak, Ricardo. "Les enjeux de l’interaction entre les arts médiatiques et les industries culturelles." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD063/document.
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La numérisation touche à parts égales les arts médiatiques et les industries culturelles. Partant de ce constat, nous souhaitons développer dans le cadre de notre recherche l’hypothèse selon laquelle les relations entre les industries culturelles et les pratiques artistiques médiatiques ne se réduisent pas à un simple face-à-face. Comment dans cette interaction entre industries culturelles et arts médiatiques, une zone spécifique d’intermédiation peut-elle se mettre en place et quels en sont les moyens pour y parvenir ? Quelles sont les incidences et les enjeux de toute nature lorsque la structure d’intermédiation s’interpose entre arts médiatiques et industries culturelles, au regard des arts médiatiques ? Dans notre recherche, nous nous proposons d’apporter un nouvel éclairage heuristique sur les mutations parallèles et parfois conjuguées des arts médiatiques et des industries culturelles. Nous étudions notamment dans quelle mesure et à quelles conditions les arts médiatiques peuvent tirer de leur rencontre, éventuellement de leur synergie avec les industries culturelles, l'occasion de jouer un rôle de premier plan dans le développement des industries créativesDigitalization affects media arts and cultural industries equally. On the basis of this observation, we aim to develop in the framework of our research the hypothesis according to wich the relations between cultural industries and media arts parctices are not reduced to simple face-to-face. How in this interaction between cultural industries and media arts, a specific area of intermediation can be put in place and what are the ways to achieve this ? What are the impacts and issues of all kinds, when the intermediation structure intervenes between media arts and cultural industries, with regard to the media arts ? In our research, we propose to bring a new heuristic perspective on the parallel and sometimes combined mutations of media arts and cultural industries. In particular, we study to what extent and under what conditions the media arts can constitute from their meeting, possibly from their synergy with the cultural industries, the opportunity to play a leading role in the development to creative industries
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Polgovsky, Ezcurra Mara. "Touched bodies : corporeal ethics in Latin American art at the onset of the media age." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.
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Davenport, Stephanie 1972. "Experiments in corporate collaboration : the case of the Arts Electronica Future Lab." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/40027.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, June 2003."May 2003."
Includes bibliographical references (leaves 101-103).
The Ars Electronica FutureLab is a thriving interdisciplinary research facility located in Linz, Austria. It is part of the Ars Electronica Center (AEC), a cultural institution which for over two decades has been a pioneer in exploring the interface between art, technology, and society and mediating public interaction with new technologies. As a nonprofit organization, the AEC is primarily supported by key public sector partners including local government and the state broadcast company, as well as corporations. This institutional framework, together with university affiliation, has facilitated the FutureLab's diverse activities from artistic to more commercially oriented projects exhibited in the AEC 'Museum of the Future' and at off-site venues. The FutureLab's team of artists and researchers has forged a unique hybrid research model focused on three core research areas (virtual reality environments, interactive installations, digital surfaces) which allows them to take prototypes developed from artistic projects and apply perfected solutions to industry projects, or vice versa. Increased demand especially from the private sector for the lab's cutting-edge technology developments and research expertise now threatens to upset the delicate balance of this model. Today, AEC management needs to address the issue of sustainability for both its FutureLab division, in face of heavy workloads, and the institution at large, given decreasing government funding for arts/culture. The AEC is devising a strategy for cultivating industry partnerships based on the FutureLab's experiments in corporate collaboration to date which have been successful namely because they are focused on mutually beneficial outcomes. Through this strategy, the AEC is eager to supplement corporate sponsorships with longer-term industry partnerships in order to ensure financial stability. FutureLab employees stand to gain additional resources and, therefore, the ability to sustain their current research model and continue doing cutting-edge work. With the AEC and the FutureLab, corporations have access to a dedicated arts community whose expert staff can help them develop and promote interesting projects as well as meet both their business needs and corporate affairs objectives.
by Stephanie Davenport.
S.M.
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Rosatelli, Meghan. "A Framework for Digital Emotions." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/239.
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As new media become more ubiquitous, our emotional experiences in digital space are increasing exponentially as well. While there is much talk of “affective” computing and “affective” new media art, a disconnect exists between networked emotions and the popular media that they inhabit. This research presents a theoretical framework for assessing “digital emotions”—a term that describes the feedback process between digital technologies and the body with respect to short, networked inscriptions of emotion and the (re)experience of those inscriptions within the body and through digital space. Digital emotions display five basic characteristics that can be applied to a variety of media environments: (1) They describe a process of feedback that link short, emotive inscriptions in digital environments to users and their (re)experiences of those inscriptions; (2) This feedback process includes, but is not limited to, the inscriber, the medium, and the receiver and the emotive experience fuels the initial connectivity and any further connectivity; (3) The emotional value varies depending on the media, the community of users, and the aesthetic experience of the digital emotion; (4) Digital emotions influence our emotional repertoire by normalizing our paradigm scenarios; and (5) They are highly malleable based on changes in technologies and their ability to both expand and contract emotional experiences in real time. The core characteristics of digital emotions are applied to three broad and overlapping categories: technology, community, and aesthetic experience. Each of these aspects of digital emotions work together, yet they exist along the massive spectrum of our online, emotional experiences—from our casual click of the “like” button to digital community artworks. Applied to digital spaces along this spectrum, digital emotions illuminate the feedback process that occurs between the media, the network, and the environment. The framework ultimately suggests that the process of digital emotions explicates emotions experiences that could only occur in digital space and are therefore unique to digital culture.
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Atkins, Derek A. (Derek Allan). "Media Bank--access and access control." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/61086.
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Patel, Surjit Savji 1970. "MediaConnector : a gestalt media sharing system." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/62374.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.Includes bibliographical references (leaves 104-109).
Our desire to have common experiences with other people leads us to share media such as photographs and music. With computer networks as the media delivery system we create new opportunities for recording media utilization and ownership. Using traditional and responsive media we explore systems that enable enhanced shared experiences through modeling groups of users. A series of prototypes built with an experimental framework, MediaConnector, help us document observations and behaviors of participants. MediaConnector is a peer-to-peer media-sharing framework that allows people to develop new peer-to-peer media sharing application. Through engendering each node with its own historical audit trail we can take a crawler approach and dynamically build group profiles and perform trend analysis. Theoretical and practical work that leads to the final framework design is discussed. In particular experiments with GPS enabled cameras that explore metadata interrelationships, networked tables to share photos and two construction tests of the MediaConnector framework in dynamic group level personalization of television and audio content. It is intended that a "constructionist" approach together with new behavioral analysis will foster new and novel sharing applications to emerge. MediaConnector is evaluated by its ability to support the above approach in a community of users.
by Surjit Savji Patel.
S.M.
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Speiser, Jonathan Eliezer. "WorldLens: exploring world events through media." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91420.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.36
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 71-73).
The goal of WorldLens is to provide a visual answer to the question: "what is happening in the world?" This thesis entails the design and development of a system that provides an exploratory view into world events across varied media types. The fundamental ideas are to take a data-driven approach by crawling a broad swath of content sources, and map the resulting data into an interactive visualization. WorldLens aims to obviate the need for an a priori search term, and instead focuses on facilitating informative discovery across news content from articles, web video, and broadcast television.
by Jonathan Eliezer Speiser.
S.M.
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Marlow, Cameron Alexander 1977. "The structural determinants of media contagion." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33883.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 157-166).
Informal exchanges between friends, family and acquaintances play a crucial role in the dissemination of news and opinion. These casual interactions are embedded in a network of communication that spans our society, allowing information to spread from any one person to another via some set of intermediary ties. Weblogs have recently emerged as a part of our media ecology and incidentally engender this process of media contagion; because weblog authors are tied by social networks of readership, contagious media events happen frequently, and in a form that is immediately measurable. The generally accepted notion of media diffusion is that it occurs through two channels: externally, as applied by a constant force such as the mass media, and internally through socio-structural means. Sitting between our traditional notions of mass media and the public, weblogs problematize this classical theory of mass media influence. This thesis aims to elucidate the role of weblogs in media contagion through a sociological study of this community in two parts: First, I will address the issues of modeling the social structure of weblogs as observed through their readership network, and the various media events that occur therein.
(cont.) Using a large weblog corpus collected over a one-month period, I have constructed a model describing the structure of popularity and influence from the extracted readership network, and will show that this model more accurately describes the weblog network. I will also derive a typology of media events from collected examples using features of structural and non-structural diffusion. Second, the extent to which these data are reflective of actual social processes as opposed to artifacts of data collection and aggregation will be explored. To validate the models presented in part one, I have conducted a survey of randomly selected authors to examine their social behaviors, both in weblog use and otherwise. I will characterize the range of weblog uses and practices, presenting an analysis of personal influence in the blogging community.
by Cameron Alexander Marlow.
Ph.D.
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Rosenthal-Mix, Michael. "The Immersive Media Library @ VCU." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3855.
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Answering the call issued by John Underkoffler in 2010 about the future of UI, I have imagined the Immersive Media Library (IML) as an annex of the main VCU library, offering a concentration of visually immersive spaces to compliment the space the university is already building in the renovated Cabell Library. The design is new in that the emphasis is placed on the collaboration between librarians and visitors in creating new work. Focusing on the interpersonal might be unexpected from program with such an emphasis on new technology - but I see it as vital part of the new computing paradigm.
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Jurcevic, Karolina. "Social media - The only voice for oppositional media in Russia?" Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21904.
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The aim of this thesis is to explore how Telegram is used as a tool for social media protests inRussia. The thesis will focus on the relationship between offline and online protests andmainly discuss the application Telegram in this context. It will analyze the positive andnegative attributes, as well as the effects and future of Telegram as a tool for social mediaprotests. It will do this by drawing on theory on political socialization, as well asmediatization, while also looking at various research that has been made on the subject. Theresult shows that Telegram is used as a tool for the Russian people to express their longingand wish for freedom, while it also shows that the Russian state is trying to prevent harm tothe Russian people, while still harming them differently, by censoring and blocking theirsocial media. The conclusion discusses these results and questions whether Telegram canuphold the image as a platform for freedom of speech for the Russian citizens.
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Gu, Mini. "Engaging Museum Visitors through Social Media: Multiple Case Studies of Social Media Implementation in Museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325275682.
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Ford, Norman Jackson. "Traversing Hong Kong strategies of representation and resistance in lens-based media /." Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B35807398.
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Hoffman, Daniel Forrest. "An Exploration of Absence." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250223181.
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Brickler, Abigail. "Social Engagements: Facebook, Twitter, and Arts Marketing." University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1555949375427389.
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Cox, Margaret. "Social Media in the Arts: Designing for Meaningful Participation in Museums and Galleries." Research Showcase @ CMU, 2011. http://repository.cmu.edu/theses/12.
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My thesis focuses on Social Media in the Arts. The motivation behind this research spurred from a recent boom in social media marketing and engagement by arts organizations. I began to survey the positive and negative attributes of current social media tools, while discovering a multitude of social media experiments created by museums and galleries. Through several explorative and generative research processes, I looked into the needs of stakeholders including visitors, curators, and artists. This process concluded with a project designed specifically to encourage meaningful visitor participation in the arts—a social media app called “ViewPoint”. It takes advantage of visitor’s natural instinct to point at interesting things. Pointing becomes a means to share artworks with friends and non-acquaintances. It then uses sharing as a catalyst for in person conversations. ViewPoint is deceptively simple, however it leverages characteristics of in-person events and the power of social media to optimize the conditions for quality interaction. In researching the past year, I have been surprised by my findings and inspired by the power of the public voice. I have discovered first hand that each person sees art in his or her own way and that the best solution is one that allows a personal experience as visitors perceive, share and learn about art.
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Arndt, Angela E. "Touching Mercury in Community Media: Identifying Multiple Literacy Learning Through Digital Arts Production." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306518357.
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Peppler, Kylie Aine. "Creative bytes literacy and learning in the media arts practices of urban youth /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481669181&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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