Dissertations / Theses on the topic 'Multimedia (Art)'
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Escudeiro, Nuno Miguel Pereira. "Representing cultural identity - etnography and multimedia art." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9659.
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Mestrado em Comunicação Multimédia“Je est un autre” é uma instalação audiovisual, cujo objectivo é representar uma identidade cultural, através da arte multimédia. Para a execução desta obra, eu pergunto: Como pode ser representada uma identidade? Esta dissertação levanta os conceitos teóricos chave que sustentam a criação da instalação, discutindo a definição de identidade, e o modo como esta identidade pode ser traduzida numa criação artística. Esta dissertação apresenta uma solução conceptual para a representação de uma identidade colectiva, através da refleção da identidade individual e de técnicas para a desconstrução das estruturas narrativas clássicas. A dissertação estabelece um processo investigativo com base em processos de “Material Thinking”, pensar sobre os materiais utilizados no processo criativo. Este trabalho toma em consideração as relações entre linguagem e interpretação da realidade, através das contribuições de Derrida e semiótica.
“Je est un autre” is an interactive installation, aiming to represent cultural identity through multimedia art. In this dissertation I ask: How can we represent identity? The present text raises the key theoretical concepts that sustain this artistic creation, discussing the definition of identity, and how this identity may be translated into artistic creation. The dissertation establishes a research process, based on “Material Thinking”, a method for rationalizing over the materials used in the creative process. This dissertation presents a conceptual proto-methodological solution for representing collective identity, through a reflection of individual identity and presenting a solution for the use of structure against itself. It takes into account the different actors that take part in the representation process and the relationship between language and reality, through the contributions of Derrida and Semiotics.
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Keating, Marla Jo Matlick. "Computers in college art and design programs /." Online version of thesis, 1992. http://hdl.handle.net/1850/11630.
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Heusner, Christine. "Chiasm /." Online version of thesis, 2008. http://hdl.handle.net/1850/7793.
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Orita, Dennis M. "Integrating multidisciplinary art media to enhance communication between the artist and audience." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355253.
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This creative project is an experiment in the integration of multidisciplinary art media with the goal of enhancing communication between the artist and the audience. The project consists of three primary components: drawings, video technology, and a participatory piece. The purpose of the experiment is to diversify the communication of several concepts by combining these three components, while simultaneously sustaining consistent themes, to create a cohesive installation. This thesis documents the details of the aesthetic and conceptual influences, the specifics of the installation and individual components, and the final outcome of the project. It also addresses the challenges and solutions of seamlessly integrating multiple media and discusses the future potential of the artwork.Department of Art
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Cason, Nancy F. (Nancy Foster). "The Effect of Interactive Multimedia on the Critical Writings of Art History Survey Students." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332664/.
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In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?
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Poulin, Gisèle. "A descriptive survey of two Québec multimedia art education courses." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0001/MQ40225.pdf.
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Burt, Iain. "The use of multimedia for practitioners in Art and Design:." Thesis, Robert Gordon University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493002.
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Wyatt, Frank Houston. "Total animation: A multimedia computer resource program for secondary art education." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1308.
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This HyperStudio animation project covers the basic concepts, techniques, and procedures in producing animation. The purpose of this program is to furnish the user with enough information that will serve as a basic foundation to produce a simple animation for themselves.
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Ireland, Christopher. "Homesick." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Spring2007/c_ireland_050107.pdf.
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Li, Yan-yan Linda. "Media Art for the Mid-Levels Escalator, Central." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595460x.
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Sutton, Gloria Hwang. "The experience machine Stan VanDerBeek's Movie-Drome and expanded cinema practices of the 1960s /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872142731&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nabeel, S. Ali. "Reviving the art of Arabic calligraphy by practical exercises in interactive multimedia." Thesis, University of Brighton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302292.
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Sparks, David R. "Quest." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355256.
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The primary objective of this creative project was to make my artwork more appealing to a mature audience. I would use familiar imagery that I had created from characters that were initially developed for children. These characters are now not only entertaining, but also have been enhanced through the use of engaging symbolic narrative.The secondary objective was to combine my knowledge of drawing, painting and sculpture based on changes in my recent artwork. These changes were brought about through investigating contemporary artist while studying at Ball State University. The body of work includes an underlying theme: "A Journey Though life," which features Quest the foolish dog, derived from the fool card in a tarot card deck.Department of Art
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Leggett, Michael Graham College of Fine Art & Design UNSW. "Burning the Interface : artists' interactive multimedia 1992 - 1998." Awarded by:University of New South Wales. College of Fine Art & Design, 2000. http://handle.unsw.edu.au/1959.4/19334.
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The thesis describes the development during the 1990s of visual artists' utilisation of computer-based interactive multimedia and the production internationally, with a focus on Australian artists, of artworks on the CD-ROM media format. Earlier parts of the author's research led to the exhibition, 'Burning the Interface < International Artists' CD-ROM>', which he co-curated, opening at the Museum of Contemporary Art, Sydney, in 1996, before touring to Perth, Brisbane, Melbourne and Adelaide. The thesis surveys the range of practice by artists working with digital media and the opportunities for exhibition in the public spaces of museums, galleries and the street, and advances scenarios for correcting the laxity of response by the exhibiting institutions to the vigour with which Australian artists represented their work and ideas at this time in national and international forums. Four published artists' work on CDROM are analysed in detail, and a concluding chapter about 'interactive multimedia' and its usefulness as an art medium to the artist introduces the studio practice component of this MFA submission. This takes the form of a prototype 'experimental' version of an interactive multimedia work on CD-ROM, ('Strangers on the Land') a copy of which is contained in a pocket at the rear of the bound version.
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Wylde, Nanette. "A brief history... interactive multimedia art installation: discussion of process, media, content, and response." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384359452.
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La, Haye Caroline. "Scénographie cinétique : la voix du vide /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
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Fitzgerald, Thomas A. "New music composition for live performance and interactive multimedia." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/284.
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The focus of this DCA thesis is the development of original creative audio and audio-visual work. Central to this is a study of the nature of interactivity and sonic relationships between electroacoustic and acoustic music, extended further by the application of sonic and visual interactivity. This written documentation accompanies the major part of the DCA submission, a folio of five original works. Its purpose is to clarify, document and contextualise the creation of these works and to illuminate the aesthetic underpinnings and compositional techniques that I have developed during the period 2000 � 2004. The structure of this documentation is in three parts which support the research methodology of reflective investigation. This process begins with an introductory overview (Chapter 1). This is extended in the second part, (Chapters 2�5), an observation of the effect of the culture, contemporary musical environments and related creative practice in my work. The third part, (Chapters 6�10), details the nature, and techniques utilized in the development of the new works. These developments have also embraced the combination of live projected interactive visual imagery with acoustic and electronic instrumentation. Finally, I have investigated the role of sonic spatialisation and texture as expressive and structural devices in music composition.
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Fure, Ashley Rose. "Boundary Notions: A Sonic Art Portfolio." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10962.
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I offer this dissertation as a survey and a story: a survey of my work across the field of sonic art and a story of my progressive compulsion toward sound that conveys touch. This haptic sensibility sharpens from Susurrus (2006) through Soma (2012), manifesting in a fixation on the impact of sound on bodies and the impact of bodies on sound. Both the visceral sensation of hearing and the manner in which movement imprints onto acoustic phenomena concern me. My musical forms are conceived not as abstract arrangements of objects (or notes) but as complex physical confrontations that produce audible byproducts. I compose primarily with chaotic spectra, mixing raw noise from found objects with extended instrumental techniques. These timbres front an acoustic wildness intentionally abated in conventional instrumental practice. And yet, the precision of classical instruments opens avenues of transformation closed to unmediated noise. Virtuosity and crudeness face-off in my work, circling an aesthetic region between embellishment and fact, between sound as a carrier of aesthetic intent and sound as a subsidiary effect of action. The ten works presented in this portfolio include eight compositions scored for a range of ensembles, from soloist to orchestra, with and without electronics, as well as two interactive multimedia installations. Dramatic links between physical movement and musical form arise across this output. In my installations, I posit causal relationships between visible stimuli (spinning strings, spatial structures, moving bodies) and resultant sounds. In my electroacoustic works, I attend to the implied weight of spatialized sound – as though a gesture’s trajectory through arrayed speakers were informed by gravity. In my acoustic music, I bring the muscular strain behind instrumental technique to the perceptual fore. My professional activities shift regularly between concert music and installation art and between acoustic and electroacoustic contexts. Passing between these genres stretches the boundaries of my creative practice and forces me to consistently reframe notions of ritual and form. Within each platform, I aim to stage visceral aesthetic encounters that, as Francis Bacon once hoped for his paint, bypass the brain and go directly to the nervous system.Music
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Leong, Sau Mun Dawn-joy. "Scheherazade's sea: a mixed media, multi-sensory installation and performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47295909.
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Scheherazade’s Sea is an interdisciplinary creative work, which brings together
music, visual art, literary text, digital media, and performance art. Interdisciplinary
creativity has existed for centuries in history. In fact, the ancients of different
civilisations viewed the disciplines of science and art as inseparable. The late
nineteenth century and early twentieth century saw a resurgence of interdisciplinary
interest in the form of artistic collaborations among proponents of the different arts
forms, mainly music, visual art, theatre and dance. Today, this coalescence now
includes digital and electronic media. However, such works focus mainly on the
more dominant distal senses of sight and sound and fail to consider the
multimodality of natural sensory perception in the experience of art, and many of
these works are performed in settings where artists are separated from audience by
physical and psychological barriers. In Scheherazade’s Sea, I shall address the
limitations of prevalent approaches, by including the proximal senses, removing the
traditional physical barriers and encouraging audience participation.
On another level, Scheherazade’s Sea serves as a vehicle for exploration and
reflection of the inherent sensory and cognitive peculiarities associated with
Asperger’s Syndrome, and their possible influences upon creativity and artistic
expression. Sensory and cognitive idiosyncrasy is a common feature in Asperger’s
Syndrome. Individuals suffer from extremes of either heightened sensitivity or low
arousal to external sensory stimuli, and their innate cognitive patterns differ from that
of the typical majority. As a result, the sensory and cognitive world of a person with
Autistic Spectrum Disorder can be fragmented, disjointed and confusing. While there
exists substantial literature about famous artists with Asperger’s Syndrome and
various aspects of their creativity, there is, to date, limited documentation from the
perspective of the artist with Asperger’s Syndrome, using an original
interdisciplinary work to illustrate the possible ways in which sensory and cognitive
differences may affect and influence creative choices and outcomes. By charting and
examining the features and various processes in the creation of Scheherazade’s Sea, I
hope to discover and contribute more insights into this area of interdisciplinary study.
The purpose of this examination is not to add to the already vast body of
programmes aimed at social rehabilitation and adaptation to the neurotypical world,
but rather to open more avenues for the identification and development of innate
abilities in autistic individuals. My intention is not to ‘fix what is broken’, but to
discover and empower beauty in the unusual and the different.published_or_final_version
Music
Master
Master of Philosophy
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Martin, Maria. "In The Forest." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179930915.
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Jamerson, Jeffrey L. "Expressive remix therapy| Facilitating narrative mash-ups through the use of digital media art." Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10183267.
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This dissertation explains and highlights a scholar-artist-practitioner research model that blends existing theories rooted in social constructionist, narrative, and creative arts therapies with cutting edge digital art practices that better serve the needs of transition age youth (TAY) within the foster care system. This dissertation is an accumulation of work that traverses the fields of child welfare, mental health, and digital media learning. Two research questions are answered in this dissertation (a) What does a digital artistic intervention look like? and (b) How can digital media art be used in therapeutic group sessions with TAY?
This dissertation draws on my background in behavioral health with youth, work as a videographer and my experience in the realm of hip-hop culture as a disc jockey (DJ). Throughout this dissertation an emphasis is placed on the idea and application of remixing. DJs use remixing as a technique of expression, taking existing songs and mixing them up (blending, cutting, fading, and scratching) to create something new and powerful in return. This dissertation uses the word remix as a metaphor for therapeutic techniques that play with the idea of narrative transformation.
In particular, I demonstrate how to use iPad applications and a process called digital storytelling (mixing audio and video formats) for the purpose of evoking a client’s personal story construction and story transformation through a remix process. Two underlying themes comprise the framework of this dissertation: (a) the construction of narratives and (b) the remix (or creative transformation) of narratives using various forms of digital media.
The literature review discusses the disciplines of art therapy, expressive arts therapy, narrative therapy, and digital media art and digital art therapy. I also discuss a portion of the foster care system called TAY, and finally I discuss how personal stories and belief systems are subjectively created but more importantly remixed or recreated using the strategies highlighted in this study. The methodology of this dissertation is broken down into three sections: a pilot study, a case study, and a vignette, which display how digital media art is used as a therapeutic intervention.
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Yeung, Karen. "Music translation an exploration of how sound and image work in a moving-image sequence : this exgesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), Oct. 2005 /." Full dissertation Abstract, 2005.
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Thesis (BA (Hons)--Art and Design) -- AUT University, 2005.Print copy accompanied by CD. Includes bibliographical references. Also held in print (iii, 26 leaves : ill. ; 30 cm. + CD (4 3/4)) in City Campus Theses Collection (T 776.7 YEU)
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Sard, Amparo 1973. "Desmaterialización de los elementos de trascendencia en el lenguaje de las nuevas tecnologías." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/667530.
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La presente tesis trata de reexaminar la deriva que está tomando la imagen trascendente en el arte contemporáneo. A partir del análisis de los pertinentes autores se comprueba que la reacción que tenemos ante una obra de arte ha cambiado, no sólo por deslizamientos generales que se han producido en el arte durante las últimas décadas, como son las nuevas intervenciones sobre el espacio, las diferentes construcciones de la visión o las definiciones ampliadas del arte; sino que también han contribuido algunos temas específicos de las necesidades socio-culturales, en una sociedad de la información y la nueva estética de la visión presente en la imagen en movimiento, la multimedialidad, interactividad y la telepresencia en tiempo real.
Tomando algunos artistas como ejemplo, al analizar densamente todas estas causas tecnológicas, que hasta ahora han servido para dar base y explicación a la idea de lo siniestro de la velocidad y del descontrol de la información, vemos como en realidad, los diferentes siniestros que encontramos en ellos, se deben a una tensión surgida en la obra, generalmente creada por un vacío de información que sirve para maquillar otra realidad. Todos los siniestros acaban siguiendo un mismo patrón, donde al desgranarlo siempre aparece un “signo” que conecta con nuestra parte más primitiva. Como si ahora, con tanta “fake news” procedente de ojos para afuera, la única verdad absoluta, fuera la que nos aporta nuestra propia experiencia. Toda esta información nos hace entender la importancia que tiene hoy la intuición en el artista contemporáneo. Es la que hace conectar las emociones interiores del artista –portadoras hoy de la verdad por dicha conexión con la información de las infalibles emociones profundas y primitivas, y por eso de la trascendencia-, con la obra de arte.
Lo siniestro va unido al dolor. A partir de dicha afirmación, aquí se defiende que “lo siniestro” está también unido a la trascendencia. Percibimos una tensión que nos hace ver la verdad –angustiosa- gracias a nuestras habilidades de detección de peligro; en definitiva, la “verdad” de que algo va mal, que algo es extraño, y que nos acerca a la muerte.
La importancia de la confusión que se produce con las nuevas tecnologías no está solo entre realidad y ficción, también en la confusión entre la información que recibimos del exterior y la del interior. Una información que se enreda y se nos presenta conjunta, indivisible durante el proceso de percepción. Pero estamos ante un artista intuitivo, que en esa amalgama de signos y símbolos, percibe y reconoce los signos como lo verdadero, “lo trascendente”.
Lo que está pasando hoy en el arte contemporáneo, es precisamente lo que llevó a cabo Hernry Bergson cuando decidió experimentar sobre la memoria de los objetos para investigar sobre la intuición; sobre la memoria del material de los objetos, objetos que deforma para analizar como regresan –o no- a su estado original. Eso implica considerar la acción, ese cambio en la materia, ese reconocimiento de que “algo no va bien” es la mínima expresión de la tensión, de siniestro. El artista hoy reconoce esa mínima expresión de la imagen-signo y lo representa. Es el cambio, o acción inesperada en un material, la verdad trascendente. Quedan justificadas, ahora sí, las formas amorfas y deconstruidas de manera general.The drift, the transcendent image being part of contemporary art, is reexamined. General movements occurred during the last decades, such as new interventions on space, different constructions of visions have triggered expanding art definitions. Some specific issues of socio-cultural needs have contributed. Until now, all these technological causes became the basis and explanation of the idea of the sinister, of the speed and the lack of control of the information. But when different artists are analysed densely, the present sinisters are due to a tension, that arose in the artist’s work, being the result of the new technologies, which serve to create a different reality . Different sinisters , that end up, following the same pattern, where, when shelling them, appearing as a "sign" connected with our most basic instincts. As the "fake news", which seem to be the only absolute truth, as they are confirming us our own experience. The sinister is linked to pain, which it is linked to transcendence. We perceive a tension that makes us see the truth - anguished - thanks to our danger detection skills; In short, the "truth" that something is wrong, that something is strange, bringing us closer to death. All this is possible due to the information we receive from outside and from inside, which are presented jointly during the perception process; in an amalgam of signs and symbols, the artist recognizes the signs simultaneously as the truth as the “transcendent." The action, that change in matter, recognising that "something is not going well" is the minimum expression of tension, of sinister. The artist today recognises minimal expression of the sign-image and represents it. It is the change, or unexpected action in a material, the transcendent truth. Thus the amorphous and deconstructed forms are generally justified.
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Randall, Robert 1948. "Access writing written segment and documentation accompanying the multi-media research project submitted on a series of four CD ROMs." Monash University, Dept. of Fine Arts, 1998. http://arrow.monash.edu.au/hdl/1959.1/7634.
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Graham, C. E. Beryl. "A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation." Thesis, University of Sunderland, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362218.
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Contemporary interactive computer-based artworks are examined, with particular reference to the problems and opportunities presented by their relationship to their audience in conventional gallery settings. From an anecdotal starting point, the research uses a series of observational case studies of exhibited works, the production of an interactive artwork, and the curation of an exhibition of interactive artworks, to explore pragmatic questions of the artwork/audience relationship in real-world situations. A range of existing taxonomies for kinds and levels of interactivity within art 'are examined, and a `common-language' taxonomy based on the metaphor of `conversation' is developed and applied. -The case studies reveal patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction. In particular, a high frequency of collective use of artworks, even when the artworks are designed to be used by one person, is discovered. This aspect of collective versus individual use, and interaction between audience members is further explored by several strands of research: The development of an interactive artwork specifically intended to be enhanced by collective usage and interaction between users; the application of a metaphor of 'conversation/host' to the making of the artwork; further, more specific, case studies of such artworks; and the further development of the taxonomy into a graphic form to illustrate differences in artwork-audience, and audience-audience relationships. The strands of research work together to uncover data which would be of use to artists and curators working with computer-basedin teractive artworks, and explores and develops tools which may be useful for the analysis of a wide range of artworks and art production
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Greenlee, Shawn E. "Erratic interpretation: Drawn sound in Augur." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318388.
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Thesis (Ph.D.)--Brown University, 2008.Advisor : Todd Winkler. Includes supplementary digital materials: DVD 1. Audio -- DVD 2. Video. Special graduate studies are in computer music and new media. Includes bibliographical references (leaves 137-146).
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Jewett, James W. "Dancing in the play of the senses: An exploration of dance and technology." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318389.
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Thesis (Ph.D.)--Brown University, 2008.Title on DVD: MELT. Vita. Advisor : Todd Winkler. Rock copy 2 : includes supplementary digital materials. Includes bibliographical references (leaves 147-162).
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Pryor, Sally, University of Western Sydney, of Arts Education and Social Sciences College, and of Communication Design and Media School. "Extending integrationist theory through the creation and analysis of a multimedia work of art : postcard from Tunis." THESIS_CAESS_CDM_Pryor_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/746.
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This thesis consists of the production of an inter-active computer-based artwork, an analysis of its research outcomes, and an exploration of the theoretical issues that influenced the artistic practice. The artwork, Postcard from Tunis, is an Integrationist exploration of writing and its transformation at the human-computer interface. It is set in a personal portrait of Tunis, a city with a rich history of writing. The thesis starts with the theory of writing. The conventional view of real writing as representation of speech is shown to have serious limitations.Postcard from Tunis offers users who are not Arabic-literate the perception that there are actually no fixed boundaries between writing and pictures, as both are based on spatial configurations. User interaction with Postcard from Tunis, particularly rollover activity, creates a variety of dynamic signs that cannot be theorised by a bipartate theory of signs and that transcend a distinction between the verbal and the non-verbal altogether. Postcard from Tunis both extends Integrationist theory into writing and human-computer interaction and also uniquely articulates this integration of activities in a way that is impossible with written words on paper. The research asserts the validity of the Integrationist theory of writing, language and human communication and of uncoupling these from spoken words. A framework is outlined for future Integrationist research into icons and human-computer interaction.Doctor of Philosophy (PhD)
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Yeh, Yu-Ling. "The potential of multimedia art to stimulate personal expression of, and reflection on, childhood experience." Thesis, Coventry University, 2008. http://curve.coventry.ac.uk/open/items/0157e44e-e23c-452d-8538-f59cf5ce27d6/1.
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Emotional intelligence (EI) plays a significant role in human emotional well-being, personal growth and life satisfaction. Self-awareness is said to be a key to the development of this form of intelligence. It has also been claimed by art therapists and educators that the expressive arts can assist people in self-expression and emotional awareness. In accordance with this belief, the motion picture (a movie) as a form of expressive product has been used to help people become aware of their own hidden feelings and thoughts (i.e. viewing or making an autobiographical movie can promote emotional awareness). However, there has been little research that specifically addresses how the process of making (one particular form of expressive art) may help a person to engage with their emotions. Therefore the central aim of the research was to show firstly how the development of autobiographical animations may engender therapeutic opportunities for greater reflection thereby facilitating personal development of, and emotional awareness in the artist and secondly, to demonstrate that the viewing of such animations may prompt viewers to gain the understanding of the feelings of the animator and be stimulated to reflect on their own experience, followed by the subsidiary goal of demonstrating that making animation could provide additional opportunities to the growth of greater emotional awareness in therapeutic and school education settings. To achieve these aims, a practice-led research approach was adopted. The thesis presents the reflective journey undertaken in creating the final installation ‘A residual cleft in my beautiful life: childhood’ based on childhood memories, showing how reflection-on-practice and in-practice formed key components in shaping the research and accompanying artistic endeavours. The development of the installation confirmed that the processes undertaken in producing an animation provided opportunities for self-knowledge and personal growth (in the artist), and that the audience were stimulated to consider their own childhoods as well as the childhood presented to them. The evidences of the animation installation production and the audience’s responses to the artefact further support the positive feedback on the values of animation to assist in increasing self-awareness from interviews with art therapists, and an online survey with school teachers. Observation of s three month animation teaching placement is also reported to invite further study to explore animation practice and school education. In conclusion, this research contributes to knowledge firstly, by providing a practice based account of the researcher’s exploration of, and development of emotional insight through her therapeutic art; secondly by evidencing the potential of a new form of expressive art - animation – to be used as an expressive arts technique to engage the emotional intelligence of individuals and audiences.
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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art : postcard from Tunis." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/746.
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This thesis consists of the production of an inter-active computer-based artwork, an analysis of its research outcomes, and an exploration of the theoretical issues that influenced the artistic practice. The artwork, Postcard from Tunis, is an Integrationist exploration of writing and its transformation at the human-computer interface. It is set in a personal portrait of Tunis, a city with a rich history of writing. The thesis starts with the theory of writing. The conventional view of real writing as representation of speech is shown to have serious limitations.Postcard from Tunis offers users who are not Arabic-literate the perception that there are actually no fixed boundaries between writing and pictures, as both are based on spatial configurations. User interaction with Postcard from Tunis, particularly rollover activity, creates a variety of dynamic signs that cannot be theorised by a bipartate theory of signs and that transcend a distinction between the verbal and the non-verbal altogether. Postcard from Tunis both extends Integrationist theory into writing and human-computer interaction and also uniquely articulates this integration of activities in a way that is impossible with written words on paper. The research asserts the validity of the Integrationist theory of writing, language and human communication and of uncoupling these from spoken words. A framework is outlined for future Integrationist research into icons and human-computer interaction.
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Al-Hamad, Wafaa. "Assessing the Feasibility of Developing a DBAE Curriculum in Qatar Utilizing Multimedia Technology." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935649/.
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The purpose of this study was to demonstrate the feasibility of developing an art curriculum in Qatar, using the principles of the DBAE curriculum in conjunction with technology. Many of the challenges facing art educators and the art curriculum in Qatar can be approached through the multimedia applications of DBAE, which will provide instructors and students with an opportunity to more readily interact with visual art and to discover its educational relevance. Additionally, this study attempted to discover whether teachers are engaged in implementing technology in the art classroom and whether they are given the opportunity to engage in art to their satisfaction.
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Yang, Guey-Meei. "Exploration of Chinese art using a multimedia CD-Rom : design, mediated experience, and knowledge construction /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826307.
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Scadden, David. "The road to heaven." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8271.
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Includes bibliographical references (p. 74-82).Growing up, I used to have a book called The Unexplained, and inside it was a picture of the Garden of Earthly Delights by Hieronymus Bosch. Bosch's paintings were full of weird and wonderful animals coupled with hundreds of naked men and women in what looked like a garden party of the most exotic kind. To imagine such a place was arousing; to imagine a place full of fruit and naked people should turn everyone on, regardless of sexual preference.
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Amos, Janet R. "Francis Poulenc's sonata for two pianos : a multi-media presentation." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027122.
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This project created a multi-media work that combined music and visual images in a video format to culminate my graduate studies. I explored computer graphics and video technology while drawing from a multi-faceted background in art. This project attempts to communicate through visual expression the innate qualities of music and sound, while reflecting my interests as an artist. I intend this work to be viewed as either a live performance piece to be accompanied by the piano duet, Sonata for Two Pianos, or as a recording on a computer monitor or television.Department of Art
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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art Postcard from Tunis /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.112222/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."Thesis submitted for the degree of Doctor of Philosophy in the School of Communication, Design and Media, University of Western Sydney, 31 August 2003" Includes bibliography.
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García, Martínez Alba. "Juegos Críticos: Los Juegos como Medio de Expresión en el Arte." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672566.
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Los caminos del juego y el arte se han cruzado, al menos desde principios del siglo XX, en numerosas ocasiones. Podemos observar ejemplos de estas intersecciones en el uso del Exquisite Corpse de los surrealistas, en la obsesión de Duchamp por el ajedrez y en las cajas de juegos de Fluxus, entre otros. Durante los últimos veinte años, la separación entre juegos y arte se ha ido disipando paulatinamente. El campo en el que se han combinado, se han sobrepuesto, han chocado, se han encontrado y, sobre todo, han interactuado aún no se ha explorado en profundidad.
Esta investigación trata de encontrar nuevos enfoques sobre los juegos que los conviertan en un vehículo útil para reflexionar sobre el resto del mundo: qué puede aportar el juego como medio artístico y cómo el arte puede subvertir las jerarquías de poder que reproduce. Al mismo tiempo, pretende explorar cómo la combinación de ambos puede ofrecer otra manera de ver el mundo gracias al potencial de comunicación de uno y a la licencia de imaginar del otro. Cruzar las fronteras entre estas dos comunidades presenta ciertos retos, por lo que se hace necesaria una visita guiada por los caminos que pueden transitar los juegos para generar empatía y emociones, de modo que se conviertan en un medio poderoso para influenciar las relaciones sociales.
Para muchas personas, los juegos solo constituyen un entretenimiento, un pasatiempo. Suponen una actividad de distracción destinada a la relajación, un espacio "sin trabajo" donde los jugadores son libres de participar en narraciones de fantasía, hazañas asombrosas y tareas gratificantes. Pero ¿podría considerarse que ciertos juegos se han convertido en algo más? ¿Podrían proporcionar, además de entretenimiento, herramientas para la expresión creativa, así como constituirse en instrumentos que promovieran la reflexión y ayudaran a visibilizar cuestiones sociales?
Esta investigación se centra tanto en juegos creados como modificados por artistas y presentados como arte. Específicamente, esta tesis investiga aquellos que se han diseñado para la crítica o intervención artística o política, con el fin de proponer maneras de entender la realidad social. Cuando los artistas comienzan a interesarse por el mundo de los juegos y buscan intervenir en estos, a menudo tratan de hacer algún tipo de afirmación social o política, además de contar con un elemento lúdico. En consecuencia, este género se conoce como art games o juegos críticos.
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Austin, Logan. "Shapester's magic alphabet exegesis [thesis] submission to Auckland University of Technology as partial fulfilment of the degree of Master of Art and Design, March 2003." Full thesis. Abstract, 2003.
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Thesis (MA--Art and Design) -- Auckland University of Technology, 2003.On cover : 2004 Also held in print (37 leaves : col. ill. ; 30 cm. + CD-ROM) in Wellesley Theses Collection (T 709.93074 AUS)
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Ciciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.
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This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.
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Mulder, Annelize. "Attenuated Memories and South African Migration: Remnants of Everyday Violence in a Visual Art Practice." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/414585.
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Migration is a complex experience that brings many challenges. This research explores how the mourning of the past and the deep emotion caused by migration are amplified and impacted by a history of enduring exposure to violence. It focuses on South African migrants and the lure of safety abroad to escape direct or vicarious encounters with violence. As a practice-led project, these ideas have been investigated through sculpture, installation, and multimedia approaches. This research argues that memories remain connected, sometimes only faintly, but motioning closer when remembered. In response to migrated memories, this research identifies that the emotional burden of migration is intensified due to the lasting mark violence leaves on memory, with the lingering threat not forgotten. This research contributes a new approach to memory as an attenuated connection and interprets the entanglement of migration and violence. A restrained visual language is used to engage with individual memories and to render a common space in which the collective memories of South African migrants may be considered.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Martínez, Villegas Juan. "El videoarte expandido. Espacio de confluencia entre la Cinematografía y la Escultura." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/290271.
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En los procesos de creación que dan lugar a la práctica videoartística para sitio específico, o aplicada al objeto escultórico, la ¿expansión¿ no sólo sugiere la proyección de luz sobre superficie, sino que propone una confluencia de disciplinas, una integración de poéticas y métodos que se condensan en una misma acción. En el acto de extender la imagen en movimiento, está implícito un recorrido entre el relato que contiene la propia imagen, la relación que establece con el espacio o el objeto tridimensional y la narración resultante de este encuentro. En ese espacio de confluencia se generan múltiples cruces y dialécticas. De todas las posibles, se analizan encuentros entre tres áreas; el videoarte, la escultura y la cinematografía.
En este estudio teórico-práctico, el marco de estudio ¿videoarte expandido¿ nos da la llave para navegar por el territorio difuso de los procesos de creación. Interpretamos así recorridos equivalentes al nuestro, partiendo de la intuición de que en primer y último término, lo que impulsa esos movimientos es la búsqueda común de una ¿imagen anhelada¿ que recoja el sentido profundo de la experiencia vital y la visión del autor.
El videoarte expandido como medio de encuentro y síntesis de creación, puede generar un procedimiento adaptable e incluyente, en relación a la finalidad de cada proyecto en desarrollo. Con recorrido práctico y teórico facilita en su crecimiento, confluencias interdisciplinares, introspecciones íntimas, expresiones poéticas y acción política. A su vez es un marco de investigación óptimo para guiar el anhelo que impulsa el movimiento.In the context of creation process occasioning video-artistic practice designed for a specific place or applied to a sculpture, the expansion broadens its meaning. It does not only suggest the light projection on a surface, but it gives as well room for a convergence of disciplines, integration of poetics, and merging of different methods into one action. The extension of an image to a movement implies an itinerary from a story possessing its own image, to the relationship which the story establishes with a place or a three-dimensional object, and through the narration resulting from the meeting of both. This point of convergence generates multiple bridges and dialectics. The thesis analyses three of possible areas: video art, sculpture, and cinematography.The framework of this theoretical and practical study on an expanded video art offers the possibility of navigation through vague territories of creation process. We thus interpret itineraries equivalent to the ours intuitively assuming that what impulses these movements in the first and last resort is a common quest for a longed for image which would reflect the profound sense of the author's vital experience and vision.The expanded video art as a medium of convergence and synthesis of creation can generate an adaptable and inclusive procedure in relation to the purpose of each undertaken project. Its practical and theoretical itinerary facilitates interdisciplinary convergences, intimate introspections, poetical expressions, and politic action. At the same time, it is an ideal framework of research in order to guide the longing which impulses the movement.
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Lyons, David. "Double vision : a practice-based investigation of art and differential perception." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/5f6b6957-a920-4dd8-a81c-476328cfa784.
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Double Vision: A practice- led investigation of art and differential perception is a series of five interrelated practice-led research studies into artistic expression controlling perceptual experiences between audiences of varying visual acuities. Significant refinements occurred between the first and second, and second and third studies. The last four studies were conducted with the aim of understanding vision’s influence on perception. Double Vision’s lead methodological approach was artistic practice. Other methods were employed according to the needs of that practice. They included iteration, collaboration, exhibition and testing. The research questions of Double Vision were refined in response to the results of artistic practice. That evolution resulted in two interrelated questions: Can artwork be intentionally created to be experienced differently dependent on one’s visual abilities? and If so, can those experiences be shared? A further question, ‘Can an analogy to colour deficient vision be created that engages both those with colour vision deficiency and the typically sighted?’, concludes the investigations. Artwork was realized through printmaking, animation and multimedia formats. Its context and content derived from many forms, notably the Ishihara Test for Colour Deficiency, writings of William Blake, contemporary music and philosophy. Augmented reality was employed to facilitate the translation of visual perceptions between targeted audiences. A number of exhibitions were held exploring these themes.
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Pridemore, David H. "Interactive CD-ROM computer tour of the Ball State University Department of Art." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/961564.
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For my creative thesis project I authored an interactive tour of the Ball State Department of Art. Many underlying factors go into this project. My desire to learn multimedia design, the departments desire to develop a new information tool and having the necessary hardware and software to do such a project were all key to its sucess.In the summer of 1994 I came to Ball State to learn multimedia authoring while getting a master's degree in art. Unknown to me at that time, the department had set a goal of increasing visibility both within and beyond the Ball State community. Faculty members Professor Phil Repp and Professor Christine Paul were collaborating on a promotional identity campaign. From these collaborations grew the idea of a departmental publication to promote the mission and programs of the Department of Art. With the rapid advancement of technology, it seemed appropriate to use computers as part of this promotional campaign.As Professors Paul and Repp researched the possible ways in which computers could be incorporated into this project, many questions remained. Exactly what form should a project like this take and who could do it? Careful discussion and planning also followed over what physical form the project should take (i.e. video tape, a computer disk, or printed material). Eventually the decision was made that an interactive tour of the Department of Art on CD-ROM was the most appropriate solution. For the amount of information that needed to be included and to engage the end user in a dynamic, interactive way, this medium was also the most logical.My decision to return to school coincides perfectly with the departments needs. Professor Paul’s and Professor Repp’s collaboration led to the conclusion that a third person would be needed. Someone who was already literate in advanced computer graphics and had the desire for such an undertaking. Therefore, my goals of advancing my understanding of Macintosh based digital imagery learning multimedia are significant on two levels; my career as a teacher and a professional artist would realize significant gains and this project is an outstanding addition to my portfolio.For the past several years, the primary area of artistic study for me has been in the area of computer graphics and I came to Ball State last summer with some very specific goals. One of them being to learn Macromedia Director (the authoring package I used to create the project). Director is nationally recognized by professionals in this field as the top program for this type of work. Therefore, this was both an opportunity to reach personal goals and to create a thesis project that could be used as an important part of the Department of Arts identity campaign. My thesis project is the result of my own goals and the Department of Arts goals to utilize cutting edge technology for designing innovative computer programs.I’m sure at the onset of this project that I did not understand the full magnitude of an undertaking such as this. However, it is very rewarding to look back and see both how far I’ve come personally and how the piece has progressed into a dynamic information tool.Department of Art
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Title from PDF of title page.Document formatted into pages; contains 65 pages
Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Trastámara-Fernández, Grau Noemí de. "Lienzo Digital Barcelona 3.0. Pintando con los colores del cielo." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405906.
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Del mismo modo que Adam A. Scaife (2016), esta tesis considera que “el color del cielo ha servido de inspiración a lo largo de la historia y ha preocupado a pintores, poetas y profetas, así como a físicos” (p.74), ya que toda fuente de inspiración de este estudio proviene de la observación del cielo y sus colores.
Este proyecto de investigación se titula Lienzo digital Barcelona 3.0 en relación a los colores de la ciudad de Barcelona, concretamente del cielo de la ciudad. Esta tesis cuenta con la colaboración del Observatorio Fabra, lugar donde se ha instalado la cámara para obtener los registros fotográficos, y del METEOCAT (Servicio Meteorológico de Cataluña), que ha contribuido con el sumario meteorológico de la recogida de datos.
Se ha diseñado un proceso creativo para obtener los colores predominantes en el cielo de Barcelona. Se presentan los datos cromáticos registrados durante los meses de verano 2016 por ser la época del año con mayor espectro solar.
Durante el desarrollo del proceso de creación se ha establecido un código y un sistema de comunicación del color en busca de paletas digitales. Los colores obtenidos se exponen en un registro de colores clasificado por meses, horas y variables meteorológicas.
Estos datos cromáticos sirven para crear un lienzo digital en formato interfaz multimedia y la tecnología funciona como instrumento para la creación. Se trata de una experiencia digital inspirada en la naturaleza y que expone los colores del cielo a tiempo real a través de la aleatoriedad.
Los elementos gráficos de la interfaz se representan por medio de la abstracción y la geometría. La obra se compone a partir de una sucesión de líneas verticales causales creadas por el propio sistema y que pretender seguir una retícula áurea.
Esta aplicación interactiva se podría clasificar dentro del arte generativo, corriente artística del arte contemporáneo que utiliza la tecnología como instrumento para la creación y genera obras de arte a partir de algoritmos computacionales. Se ha desarrollado un proceso de creación donde el propio sistema genera muchas variaciones, únicas y no repetibles.
Se trata de una obra interactiva que establece un diálogo abierto entre el público y la obra que utiliza la red como espacio de exposición y medio de creación.
http://www.coloresdelaire.com/doctorado/doctorado/lienzodigitalbarcelona.html
Esta tesis pretende crear un entorno “sensible” alimentado de datos externos procedentes de la naturaleza como las paletas de los colores del cielo y la información meteorológica diaria. El sistema se comporta como un indicador temporal digital cromático horario y meteorológico. Los colores van cambiando durante el transcurso del día exponiendo las tonalidades dominantes de las distintas fases de la luz del día desde el amanecer hasta el atardecer.
Se pretende crear una analogía con el mundo exterior y la naturaleza y añadir el componente natural del color en el entorno digital.
El sistema incluye comportamientos de participación afectiva con el usuario a través del uso de la empatía, jugando con los colores como respuesta interactiva. A través de la interacción del usuario la interfaz gráfica se transforma, creando variaciones y nuevas composiciones cromáticas. Las líneas de la interfaz reaccionan imitando los colores de las líneas colindantes hasta la transformación de la obra en un espacio monocromo apoyándose en el concepto de unidad colectiva y empatía entorno a la obra de arte conceptual. Este componente emocional quiere imitar los comportamientos “sensibles” de las personas e incluirlos en un entorno digital.In the manner of Adam A. Scaife (2016), this thesis considers that “the colour of the sky has, all throughout history, served as inspiration for and been a concern of painters, poets and prophets, as well as physicians” (p. 74), since the only source of inspiration for this study comes from the observation of the sky and its colours. This research project is entitled Barcelona 3.0 Digital Canvas in reference to the colours of the city of Barcelona, specifically to the colour of the Barcelona sky. This thesis has been carried out with the collaboration of the Fabra Observatory – the place in which I installed the camera with which to obtain the photographic records – and of METEOCAT (Catalonia's Meteorological Agency), which has contributed to it with the meteorological summary of the data obtained. I have designed a creative process in order to obtain the predominant colours of the Barcelona sky. I hereby present chromatic data recorded during the summer months of 2016, since summer is the time of the year with a larger solar spectrum. During the development of the creation process, I set up a code and a system of communication of colour, in the search of digital palettes. The colours obtained are shown as a colour register classified by month, time and meteorological variables. These chromatic data are used to create a digital canvas in the format of a multimedia interface, and this technology works as an instrument for creation. It is a digital experience inspired by nature that exposes the colours of the sky in real time through unpredictability. The graphic elements of the interface are represented through abstraction and geometry. The work is composed by a succession of causal vertical lines created by the system itself, which try to follow a golden ratio. This interactive app could be classified as generative art, a movement within contemporary art that uses technology as a tool for creation, and which generates works of art through computational algorithms. I have developed a creation process in which the system itself generates many variations that are unique and unrepeatable. It is an interactive piece that establishes an open dialogue between audience and work, and which uses the Internet both as exhibition space and a medium for creation. http://www.coloresdelaire.com/doctorado/doctorado/lienzodigitalbarcelona.html This thesis tries to create a “sensitive” range fed by external data originated in nature, such as the colour palette of the sky and daily meteorological information. The system behaves as a time and meteorological temporary digital chromatic indicator. The colours keep on changing throughout the day, exposing the dominant tones of the different light phases of the day from dawn until dusk. I have tried to create an analogy with the external world and with nature, adding the natural component of colour to a digital environment. The system includes affective user involvement behaviour through the use of empathy, playing with colours as interactive response. Through user interaction, the graphic interface is transformed, creating new variations and chromatic compositions. The lines of the interface react by imitating the colours of contiguous lines until the work is transformed into a monochrome space based on the concept of collective unity and empathy around the conceptual work of art. This emotional component tries to imitate people's “sensitive” behaviour and include it in a digital environment.
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Keen, Seth. "Video chaos : multilinear narrative structuration in new media video practice /." Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20050921.151215/index.html.
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Brown, Carol Christy. "Plugged-in : 40 years of digital imaging /." Online version of thesis, 1994. http://hdl.handle.net/1850/11892.
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Hwang, Guan-Jong. "Animated drawing guide for basic art education." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2355.
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