Dissertations / Theses on the topic 'Net art'
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Fourmentraux, Jean-Paul. "L'oeuvre en actes : sociologie du Net art." Toulouse 2, 2003. http://www.theses.fr/2003TOU20011.
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Si la sociologie de l'art s'est longtemps attachée aux conditions du "négoce" autour de l'oeuvre - en isolant les étapes de sa production, de sa diffusion et de sa réception - elle s'est moins intéressée, en revanche, aux formes d'investissements "actanciels" dans et par l'oeuvre d'art. En prenant pour objet "l'oeuvre en actes", la présente recherche propose au contraire, dans le contexte de l'Internet, une analyse pragmatique des modalités de la "mise en oeuvre" du Net art. Selon une approche socialisée et appareillée des oeuvres - qui montre l'articulation concrète de leurs dimensions techniques, esthétiques et sociales - elle vise ainsi à éclairer les incidences liées à l'usage des nouvelles technologies informatiques sur les modes de désignation et de connaissance de l'oeuvre en art. En inscrivant le regard sociologique au coeur du triptyque d'action que déploie désormais le travail créatif - aux différents moments de la Conception, Disposition et Exposition de l'oeuvre - l'étude reste attentive aux différentes formes de commerce et d'accommodement entre les différents partenaires - acteurs et techniques - qui concourent à la mise en oeuvre d'artIf the sociology of art stuck a long time to the conditions of the "trade" around the Artwork - by isolating the stages from its production, its diffusion and its reception - yet, it was less interested in the "actanciels" forms of investments in and by the work of art. By taking for object "artwork in acts", the present research proposes on the contrary, in the context of the Internet, a pragmatic analysis of the Net art "implementation" methods. According to a socialized and technical approach of the works - which shows the concrete articulation of their technical, aesthetic and social dimensions, - it informs the incidences linked to the use of new data-processing technologies on the modes of designation and knowledge of the artwork. By registering the sociological glance in the heart of the triptych of action which deploys on creative work - at the various moments of the Design, Disposition and Exposure of artwork - the study remains attentive with the various compromise of trade between the various partners - actors and techniques - which contribute to implement the work of art
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LAMBERT, PATRICIA MOREIRA. "MIRA SCHENDEL: THE WORK OF ART S NET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32155@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A artista suíça-brasileira Mira Schendel (Zurique, 1919 – São Paulo, 1988) chegou ao Brasil no pós-guerra, em 1949, e aqui começou a pintar. Embora mantivesse vínculos inegáveis com os demais movimentos artísticos da segunda metade do século XX, Mira criou uma linguagem plástica própria e produziu uma estética entre que não permite ser reduzida a nenhum dos ismos de seu tempo. O objetivo da tese Mira Schendel. A rede da obra é investigar as escolhas formais e as preocupações expressivas de Mira a partir de um conjunto representativo de trabalhos, buscando apreender a singularidade das questões artísticas e plásticas implícitas nessas obras particulares. Desde a realização das 2000 Monotipias, entre 1964-66, sua pesquisa ramifica-se em séries que se desenvolvem a partir do desdobramento de algumas questões matriciais: o transparente e o opaco, a potencialização do vazio, a corporeidade do mundo, as ambiguidades do signo, o tempo. Artista prolixa, destacava-se pelo experimentalismo espontâneo. Sempre pesquisando os processos da forma, utilizou materiais inusitados que estabeleciam entre si relações bastante singulares e criou uma quantidade assombrosa de trabalhos que declaram a falência da hierarquia entre pintura, desenho, escultura ou instalação. Recortou, furou, amassou e, literalmente, amarrou os seus suportes. Desenhava com a unha, no avesso do papel. Esses gestos inesperados acabaram por explodir, em definitivo, a representação ilusionista e produziram um pensamento novo, incrivelmente livre, sobre a pintura e o espaço pictórico.
Swiss-brazilian artist Mira Schendel (Zurich 1919 - São Paulo 1988) arrived in Brazil after the war, in 1949, and here she began to paint. Although she maintained undeniable connexions with the other artistic movements of the second half of the twentieth century, Mira created a language of her own and produced an aesthetic of the in between, which cannot be reduced to any of the isms of her time. The purpose of the dissertation Mira Schendel: the work of art s net is to investigate Mira s formal choices and expressive concerns as from a representative set of her works, seeking to apprehend the singularity of the artistic and plastic issues implicit in these particular works. Since the 2000 Monotypes, made between 1964-66, her research has been based on series that develop from the unfolding of some matrix issues: the transparent and the opaque, the potentialization of the void, the corporeality of the world, the ambiguities of the sign, time. A prolix artist, she stood out because of her spontaneous experimentalism. Always researching the processes of form, she used unusual materials that established very singular connections; she created an astonishing amount of works that declare the failure of the hierarchy between painting, drawing, sculpture or installation. She cut, punched, kneaded, and literally tied up her supports. She drew with her fingernail on the back of the paper. These unexpected gestures definitely invalidated the illusionist representation and produced a new way of thinking, incredibly free, about painting and pictorial space.
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Clunn, Rebecca. "The Global Performance Art Network: How the Net Works." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366836.
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As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art.
In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Business School
Griffith Business School
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Laforet, Anne. "La conservation du Net art au musée : les stratégies à l'oeuvre." Avignon, 2009. http://www.theses.fr/2009AVIG1070.
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La conservation du net art nécessite de construire une approche spécifique pour le regarder qui prend en compte la dimension matérielle de l'œuvre. La conservation ne se préoccupe pas uniquement d'esthétique, ni de l'expérience du public, mais a besoin de connaître l'aspect matériel des œuvres pour que le processus de conservation ait lieu. La thèse présente un panorama de la création par et pour Internet. Elle décrit des œuvres choisies pour leur exemplarité concernant leurs problèmes de conservation. Elle présente une vue d'ensemble des institutions qui, en Europe et en Amérique du Nord, ont mis en place des stratégies de conservation spécifiques. Ce dernier point a pris la forme d'analyses de cas à partir d'une grille issue d'observations, de lectures et d'entretiens. Cette étude traite aussi des relations entre la conservation et les autres fonctions du musée, notamment de leur interdépendance tout au long du cycle de vie de l'œuvre. Chaque œuvre implique un traitement qui lui soit propre. Cela pose la notion de la notation, la façon de décrire l'œuvre afin de la reproduire, et ce même lorsque son environnement technologique sera obsolète. Les manières de pallier cette obsolescence sont donc explorées : émulation, migration, partition, ré-interprétation, auto-archivage, archivage automatique, qui peuvent être combinées. L'approche matérielle du net art se traduit par une interrogation de ses différents niveaux de lecture : au niveau du code qui compose l'œuvre, des fichiers, de ce qui se passe à l'écran, de l'interaction entre l'œuvre et l'internaute. Les notions de performativité du code et d'activation sont utiles dans cette réflexion. Les acteurs du marché de l'art et les historiens et critiques d'art participent autant que le musée à l'attribution de la valeur des œuvres, et donc à la conservation, et ils s'influencent les uns les autres. Tous ces éléments permettent de composer une cartographie pluridisciplinaire de la question de la thèseThe preservation of net art requires the construction of a specific approach to look at internet artwork, one that takes into account its material dimension. It is central as preservation does not only deal with aesthetics, nor the way the audience experiences artworks. This research presents an overview of works created by and for the Internet. The choice of the artworks is dictated by preservation issues only. It is also an overview of the institutions (based in Europe and in North America) that have developped specific preservation strategies. It consists in case analysises, which stem from observations, readings, and interviews. This thesis looks into the interaction between preservation and the other functions of the museum (collection, exhibition, research). Preservation cannot be tackled independantly, because it deals with the artwork's life cycle within the museum. Every artwork has to be treated in its own way. The issue of notation also arises, as it's necessary to find ways to describe artworks, especially as their technological environments will eventually be obsolete. This research explores the ways to compensate for obsolescence : emulation, migration, score, re-interpretation, self-archiving, automatic archiving, etc (which can be also combined). The attention to net art work as a material socio-technical object means to find a way to look at those works : the code which composes the artwork, its different files and the way they are organized, what happens on the screen, the interactions between the artwork and the audience. The notions of code performativity and activation are thus useful. Preservation makes sense only when value is attributed to what is preserved. Two categories of actors outside the museum take part in this process : the art market and art critics and historians. Both influence and get influenced by the museum. All these elements allow the composition of a pluridisciplinar cartography on the topic of net art preservation
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Montt, Steffens Carolina. "Especificidad del net art en medio de la estetización cultural." Tesis, Universidad de Chile, 2014. http://www.repositorio.uchile.cl/handle/2250/116826.
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Mayer, Sébastien. "L'oeuvre de net art: Stratégies d'intéressement pour un enrôlement du public." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27777.
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Avec les premières avant-gardes et l'art contemporain du XX e siècle, nous avons vu proliférer les artistes et les mouvements artistiques qui ont critiqué les circuits traditionnels de l'art en redéfinissant les notions d'objet d'art et de public. L'oeuvre d'art n'est aujourd'hui plus nécessairement un objet fini, sacralisé et exposé dans un musée ou une galerie, elle peut être un évènement auquel le public actif peut participer, qui s'actualise grâce à ses actions, ses interprétations et ses contributions.
Le Net art est l'un de ces nouveaux types de production artistique qui a émergé avec l'arrivée du Web dans la deuxième moitié des années 1990 et qui est spécifiquement conçu pour le réseau Internet. Interactive, collective et en construction perpetuelle, l'oeuvre de Net art est le fruit d'une collaboration des membres d'un "réseau d'actants humains et non humains" qui travaillent de concert à sa constante actualisation. Le public est mis au centre de l'oeuvre par un artiste qui devient le spectateur de cette oeuvre en mouvement. Dans cette recherche, nous avons souhaité identifier les stratégies d'intéressement mises en oeuvre par les artistes du Net art pour permettre "un enrôlement" du public à l'oeuvre. Plus simplement, nous avons voulu voir comment les artistes parviennent à faire participer le public à l'oeuvre en train de se faire. La question qui guide la recherche est la suivante: Quelles sont les stratégies mises en oeuvre par les artistes du Net art pour permettre un enrôlement du public?
Au niveau théorique, nous prenons appui sur la théorie de l'acteur-réseau de Latour et Callon en la faisant migrer vers le terrain empirique qu'est l'étude de l'oeuvre en acte. Ce modèle d'analyse nous permet de concevoir la constitution d'une collectivité, notamment en suivant la formation de controverses, ou les membres deviennent co-auteurs de l'oeuvre grâce à la mise en place de dispositifs d'intéressement. Les travaux de Fourmentraux nous ont servi de point de départ pour esquisser une typologie des stratégies d'interessement, notamment en termes de communication rituelle et d'adressage personnalisé. Nous mobilisons aussi la théorie des actes de langage d'Austin, Searle et Kerbrat-Orecchioni pour analyser les énoncés identifiés sur les pages des sites des oeuvres de Net art et pour montrer comment l'artiste instaure une relation interpersonnelle avec chacun des membres du public pour les intéresser et, éventuellement, les enrôler dans la construction d'une oeuvre d'art sur Internet. Nous nous intéressons enfin à la dimension ludique de l'oeuvre de Net art en montrant comment l'action des internautes sur les mécanismes ludiques intégrés dans l'oeuvre nous permet d'effectuer un rapprochement entre le jeu video et l'oeuvre de Net art au plan des stratégies vidéoludiques.
Au niveau méthodologique, la démarche de recherche mise en oeuvre est de type qualitatif. Plus spécifiquement, pour répondre à la question de recherche proposée, nous avons procédé à une étude de cas multiples réalisée selon une approche ethnographique, à savoir les sites Web Mouchette.org de l'artiste Mouchette, le Générateur Poïéetique d'Olivier Auber et Je suis ton ami(e)...tu peux me dire tes secrets de Nicolas Frespech. Nous avons effectué l'analyse de l'environnement d'interaction et l'analyse des documents disponibles sur les sites des oeuvres, investi les espaces d'interaction synchrones et asynchrones des sites par l'observation participante et mené des entrevues semi-dirigées auprès des trois artistes dont les oeuvres sont à l'étude.
Les résultats de cette recherche nous révèlent que les Net artistes déploient un éventail de stratégies visant à intéresser les internautes pour les enrôler dans la construction de l'oeuvre: stratégies discursives, stratégies de fidélisation et stratégies vidéoludiques. Ces stratégies ne fonctionnent pas indépendamment les unes des autres, mais s'inscrivent plutôt dans une stratégie globale d'intéressement ou la prise de rôle par les actants du réseau, la dimension performative du langage, la fidélisation du public, le caractère rituel de la communication et le jeu jouent un rôle crucial dans l'actualisation et la pérennisation de l'oeuvre de Net art.
Mots-clefs. Net art, stratégies d'intéressement, méthode qualitative, ethnographie, étude de cas multiple, Net artistes.
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Guglielmucci, Chiara <1987>. "Art on the net : analisi delle opportunità offerte da Internet all'artista contemporaneo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2018.
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Greenan, Althea. "Feminist Net-work : digitization and performances of the Women's Art Library slide collection." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/6a0cfad7-569b-4ab6-badf-d22b934128e6.
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The Women’s Art Library (WAL) slide collection embodies a singular culturally important feminist achievement that began with artists collecting their slides of artwork to form a public resource in the 1970s. Today it is the historical core of the WAL, a heavily consulted resource in the Special Collections of the Library at Goldsmiths, University of London. However, 35mm slides have become a challenging material to use and as in other art archives, the slides are seen as less useful and potentially replaceable by a digital image collection. This practice-based research explored the production of digital records from slides in order to expand on how digitization can capture a wide range of data from the slide, its production, and labelling. Beginning with a digital photography project ‘walking’ through sections of the WAL slide collection, I reproduced slides experimentally through print, video and 3D objects to discover the performativity of the slides in different analogue and digital environments of public exchange. These diverse visualizations work with the whole slide object and draw attention to the artist-inscribed mount that frames the film transparency depicting artwork. The research thus reveals the important material of the artists’ slide collection that is excluded from the final images representing digitized slide collections created using standard scanning procedures. This methodology reactivates the artists’ slides from the stasis of archive to recall their primary function as distributable images and reconsiders how the slides currently represent the artists who made them. This follows a detailed review of how slide collections and cultural heritage materials are digitized to support international studio, critical and historical art scholarship and engage with digital network culture. Recovering the slide mount and the women artists’ inscriptions is shown to endow the WAL slide collection with a cultural importance that is independent of what the slides’ images represent. The artists’ slides collectively produce a distinct syntax that expresses the complexity and individuality of individual artists’ practices in the context of and transformed by the feminist project. The research reframes the legacy of the WAL slide collection from its images to its performativity, showing how the slides are communicative tools for women artists’ participation in a political project raising the visibility of all women’s art. This re-presents the WAL slide collection as a performative site of ongoing feminist intervention and participation in culture unbound by fixed standards of value set by the dominant canon, digital or otherwise.
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Marshall, Laura Delano. "The jeweled net, sacred landscape, and the vision of the heart." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3722634.
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For centuries Western sensibilities have been governed by an assumption that imagination is an exclusively human faculty, independent of the phenomenal world. This dissertation explores a view, long elaborated in mythologies and artistic traditions of pre-modern cultures, that phenomenal reality is the template of imagination, that terrestrial and celestial elemental forces are continuous with the mind, and that meaning in artistic practice is derived from a reciprocal exchange with the world in which we live.
This dissertation revives a traditional view of the heart as the seat of a continuous circulation of mind, imagination, and the world. In endeavoring to recover the eclipsed intelligence of the heart, this study argues that both the thought and perception of the heart are primarily metaphorical, which necessarily makes them essential in humanity’s unceasing exchange with the greater community of beings.
This dissertation demonstrates that imagination and artistic practice are inseparable from the environment, and that a study of pre-modern artistic traditions broadens an ecological understanding of the web of relationships between living beings and the environment that sustains them. Three traditions of painting disclose varying human orientations within the world: Navajo sandpainting, Chinese landscape painting, and Western European painting since the fourteenth century. Navajo sandpaintings are made at times when disorder and sickness prevail in order to restore balance in the relationship between the human community and primordial forces embodied in the landscape. Chinese landscape painting is a visual contemplation of the interwoven place of humanity within the perpetual change and transformation of heaven, earth, and sentient beings. Western painters in the fourteenth century departed from pre-modern approaches to painting when linear perspective was introduced as a way to fix a perception of the phenomenal world that was primarily optical, rather than visionary. The perception promoted by this method, based on an orientation that is both dualistic and literal, eventually ran its course, giving way to the introduction of more interactive approaches to artistic practice and perception by twenty-first century artists.
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Boillot, Nicolas. "Les implications du remix dans la création plastique à l'ère de la dématérialisation numérique." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20064/document.
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Cette thèse porte sur l’implication du remix dans la création plastique à l’ère de la dématérialisation numérique. Beaucoup d’éléments comme la technicité du médium, la malléabilité des contenus, la banalisation de la transgression du droit d’auteur ou la mise à disposition sans précédent de matériaux, impactent directement la création. Tout ceci donne lieu à de multiples stratégies de création par, pour, avec ou hors Internet. Les œuvres sont ouvertes, processuelles, interactives. L’art numérique est foisonnant et le remix y occupe une place de choix. C’est donc dans la longue histoire du remix artistique et dans celle inédite de la création numérique que j’ai choisi d’inscrire une recherche création. Artiste depuis plus de dix ans, j’ai eu à articuler une « recherche > création » (« sur l’art » et sur mes œuvres passées) et une « création > recherche » (sur mes œuvres en train de se faire). Lors de la « recherche > création », l’hypothèse de la filiation de mon travail avec le remix numérique m’a conduit à saisir, d’un point de vue théorique, les termes de la rencontre fructueuse du remix avec l’art numérique, puis à faire une analyse de sept de mes œuvres passées. Elle a souligné la portée critique et la diversité de mes remix et de leurs dominantes : la mise en jeu du droit d’auteur ; le rapport au temps et à l’interactivité ; la critique de l’abondance informationnelle ; et la collection, intention et principe de création. Cette « recherche > création » n’a pris tout son sens qu’avec la création de trois nouvelles œuvres lors de la « création > recherche ». La poursuite de mon hypothèse m’a invité à mettre en jeu la définition couramment admise du remix réflexif, notamment sa portée référentielle. Mes dernières œuvres sont nées de cette rupture et d’une intention non plus critique, mais expérimentale. Elles m’ont permis de distinguer un « remix distancié » qui va plus loin que le remix réflexif dans le sens d’une complète dissolution de l’original qui lui a donné vieThe focus in this thesis is on the implications of remix in the art field within the digital dematerialisation era. Many elements like the technicality of the medium, the malleability of the contents, the banalisation of copyright infringement or the unprecedented availability of materials impact creation directly. All this has given birth to multiple creation strategies by, for, with or out of the Internet. Artworks are open, processual, interactive. Digital art is a flourishing movement and remix occupies a key place within. It is thus in the long history of artistic remix and the new emerging history of digital creation that I chose to enrol in a research creation. As an artist for more than ten years, I have had to articulate a ‘research > creation’ (‘on art’ and my past artworks) and a ‘creation > research’ (on my artworks in progress). During the period of ‘research > creation’, the assumption of the filiation of my work to digital remix led me to examine, from a theoretical point of view, the terms of the fruitful encounter between remix and digital art and then to apply the analysis to seven of my previous artworks. This brought to light the critical range and the diversity of my own remix and their dominance: the liability of the copyright; the relationship to time and interactivity; the criticism of informational abundance; and the collection as an intention and a principle of creation. This ‘research > creation’ has been ‘rendered real’ with the creation of three new artworks during the ‘creation > research’. The exploration of my hypothesis led me to jeopardise the generally accepted definition of reflexive remix, in particular its referential range. My latest artworks were born from this disruption and of an intention which was no longer critical, but experimental. These artworks enabled me to distinguish a ‘outpaced remix’ which goes beyond reflexive remix in the direction of a complete dissolution of the original from which each one derived
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Herbert, David. "Internet art and interaction : a study into the creation of a taxonomy of interaction in online art works." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/11943.
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Using the hypothesis that interaction with net art can be categorised, the primary purpose of the research was to generate a taxonomy of this interaction. Emphasis is given to interactive web based works that require the user to participate by contributing material to the piece. An initial period of contextualisation was required to position net art within contemporary arts culture this included an examination of previous attempts at categorising interactivity and the exploration of connected historical art practices. Most previous attempts at categorisation either characterise types of interactive work, or detail specific interactive characteristics the work itself may have. This aim of this thesis was to take an alternative approach by focusing on the interaction itself in order to create a taxonomy. To establish this characterisation of interactivity, several practical pieces of internet art were created that doubled as data collection tools. The main outcome of this project resulted in the development of my own Connected, Partially Connected and Unconnected ( C.P.U.) model of interactivity. This in turn necessitated the examination of the interactive process which resulted in defining a loop of interaction . This loop of interaction specifies several separate phases to the interactive process, the C.P.U. model of interactivity occupying one of these phases. This thesis primarily provides a platform with which to further interrogate interaction with net art. An unexplored area of Human Computer Interaction (HCI) that is specific to net art has been identified and is therefore of use to theorists and researchers working in this area. It is also of use to artists enabling them to better understand how interaction is understood within the context of their own practice.
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Turner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.
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Master of Visual ArtsThis thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?
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Crispel, Aude. "L'art et la vie au virtuel." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30037.
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Aborder le Net-art en considérant sa dimension technique, historique et esthétique, tel est le point de départ de cette recherche. Le média Internet offre aux artistes un nouvel espace en relation étroit avec une idéologie contre-culturelle. De ces lieux hors de la réalité émergent des pratiques hors des circuits traditionnels. Si les premiers net-artistes proposent des net-œuvres en rapport étroit avec les technicités du média, la physicalité et la question du corps laissent transparaîtrent de nouvelles formes de relations entre net-œuvre et son spectateur. Interactions, échanges et navigations, nous passons d’une esthétique contemplative à une esthétique participative, nous rapprochant ainsi des problématiques de l’art comme environnement. Le programme prend sa place et avec lui, se génèrent des exemples d’œuvre à l’infini. La notion d’œuvre permutationnelle se couple avec trois influences formelles : l’Environnement, le Processus et le Net-collectif. Des outils plastiques et esthétiques sont alors mis en évidence, permettant d’élaborer les prémices de la critique de ce mouvement de l’art nouveau médiaConsidering Net-art through the analysis of its technical, historical and aesthetic dimensions is the starting point of this research. The Internet as a media offers artists a new space closely related to a counter-culture ideology. From these places, outside reality, art-practices emerge outside traditional circuits. If the pioneering net-artists were creating Net-works closely related to the technical side of the media, the human physical aspect and the questioning of the body reveal new kinds of interplay between the net-work of art and its viewer. By surfing on the Internet, interactions and exchanges we switch from contemplative aesthetics to participative aesthetics thus getting closer to the problematic of Art as Environmental-Art. The programme plays its part and thanks to it, works of art are endlessly generated. The notion of “permutationnelle” work of art adds on to tree formal influences: Environment, Process and Happening. Plastic and aesthetic tools are then brought to therefore enasling the setting up of a critical approach of this media as a new art trend
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Méliani, Valérie. "Interactions avec l'art numérique : analyses qualitatives des interactions des publics de l'art numérique avec des installations numériques et des sites web de type net art." Montpellier 3, 2009. http://www.theses.fr/2009MON30050.
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Notre thèse appréhende le domaine de l’art numérique du côté de la « réception », c'est-à-dire dans l’espace où se joue la rencontre entre l’œuvre et les publics. Plus exactement, nous concevons l’activité des publics comme une interaction avec l’œuvre numérique, ainsi nous cherchons à comprendre comment les publics co-construisent du sens avec l’œuvre. Nos investigations partent de deux types de terrain. Dans le premier, nous rencontrons des publics-visiteurs d’expositions et dans le second des publics-internautes de sites net art. Nous considérons l’installation numérique et l’œuvre net art comme possibles qui se révèlent dans l’interaction avec les publics. Nous mettons en œuvre une méthodologie qualitative, pleinement ancrée dans l’approche compréhensive des phénomènes humains, pour analyser les interactions des publics avec les œuvres. Après un recueil de données de type ethnographique, nous appliquons deux méthodes d’analyse : la sémiotique situationnelle d’Alex Mucchielli et la théorisation ancrée de Pierre Paillé. Ce travail de thèse permet ainsi de rendre intelligible la manière dont les publics participent au dispositif de l’œuvre. Cette compréhension en situation de « réception » donne inévitablement des axes pour repenser les manières de faire en situation de « conception », les interactions des publics avec l’œuvre participant dans des boucles de rétroactions aux créations des artistes et à leur médiatisationOur thesis deals with the domain of the digital art from the point of view of the "reception", that is in the space where the meeting between the work and the public takes place. More exactly, we conceive the activity of the public as an interaction with the digital work, so we try to understand how the public co-build the sense together with the work. Our investigations come from two types of ground. In the first one, we meet public-visitors of exhibitions and in the latter of the public-Internet users of net art sites. We consider the digital installation and the net art work as possibles which reveal themselves in the interaction with the public. We implement a qualitative methodology, completely anchored in the comprehensive approach of human phenomena, to analyze the interactions of the public with the works. After a collection of ethnographical type data, we apply two methods of analysis: situational semiotics, by Alex Mucchielli, and the grounded theory by Pierre Paillé. The present research then allows to make intelligible the way publics participate in the device of the work. This understanding in situation of "reception" inevitably gives axes to rethink the ways to make in situation of "conception", the interactions of the public with the work participating in feedback loops of in the creations of the artists and in their mediatization
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Köpp, Maren. "Esthétique de l'Internet : les réseaux comme espace d'émergence de nouvelles formes théoriques et artistiques." Paris 1, 1998. http://www.theses.fr/1998PA010651.
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Avec l'internet, mettant au plus près à ce jour en pratique les théories autour de l'hypertexte/l'hypermédia, ceux-ci sont en train de devenir le genre prédominant de la communication culturelle. Il s'agit dans la présente thèse de procéder à une analyse des spécificités et du fonctionnement de l'internet, mais aussi de sa signification culturelle, soulevant des interrogations éthiques et culturelles essentielles qu'il faut prendre en considération pour définir une esthétique de l'internet. Ainsi sont analysés les parallèles avec les medias précurseurs, le nouveau statut du texte, les différentes métaphores appliquées aux réseaux et les différentes formes de communauté que l'on voit émerger sur l'internet. Puis, plus concrètement, on procède a des descriptions et à des analyses des différents projets artistiques qui exploitent les spécificités des réseaux telles que le dialogue, l'échange, l'interactivité, la flexibilité, l'instabilité, et qui développent ainsi une rhétorique dynamique tout en se distinguant par une approche novatrice du medium. Le réseau devient lui-même l'endroit privilégié de la réflexion : des textes et des théories se développe en grande partie directement dans l'espace des réseaux. Il s'agit d'intégrer cette discussion autour des réseaux et d'analyser les notions clefs qui font déjà partie d'un vocabulaire de la critique des réseaux. Les formes spécifiques d'échange et d'expression du réseau - l'annotation, la contextualité, le mélange de contextes les plus divers - font naitre de nouvelles formes textuelles, théoriques et artistiquesToday the internet is the closest realisation of the theories about hypertext and hypermedia, and in a way, its unprecedented use has helped to propagate these theories. This work is an analysis of the specific functioning of the internet as well as its cultural significance, raising essential ethical and cultural questions which must be considered in order to define an aesthetic of the internet. This analysis examines the parallels with other media and art currents, the new status of the text, metaphors currently used in order to describe the internet and the different forms of communities emerging on the internet. It also describes and analyses art projects on the internet that explore the specifics of the internet in such terms as: dialogue, exchange, interactivity, flexibility and instability. These projects develop a dynamic rhetoric and stand out because of their innovative approach. The internet also comes to be the main space for discussion and reflection: mostly the texts and theories expand directly in cyberspace. The present paper integrates the discussion about the internet that emerges on the internet and questions important notions and concepts which are already a part of the critical discourse surrounding the internet. Out of the specific forms of exchange and expression on the net - like annotations, contextuality, the mixing of diverse contexts, transversality - arise new textual, theoretical and artistic forms
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Di, Bartolo Florent. "Vers une lecture dynamique des images : de l'utilisation des bases de données dans le champ des arts médiatiques." Paris 8, 2012. http://octaviana.fr/document/178621595#?c=0&m=0&s=0&cv=0.
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Que ce soit pour communiquer avec des proches, des collègues de bureau ou encore des administrations, nous échangeons constamment des informations sous la forme de données numériques. Et dès que ces données présentent un certain degré de complexité, doivent résister à des attaques, être partagées simultanément par plusieurs personnes, il est hautement probable que celles-ci soient stockées dans une base. Nous interagissons ainsi quotidiennement avec des systèmes de gestion de bases de données qui assurent – en tant que « technologies intellectuelles 1 » – des opérations de classification et de circulation de l’information. Mais qu’en est-il de leur usage dans le champ des arts médiatiques ? Quelles fonctions remplissent les systèmes de gestion de bases de données utilisés par les artistes contemporains ? Quelles collections d’objets et relations permettent-ils précisément de sauvegarder et d’établir ? Quels espaces de représentation permettent-ils de configurer ? Et finalement, quels mouvements et formes d’exposition permettent-ils d’attribuer aux images produites aujourd’hui ? Afin de répondre à l’ensemble de ces questions, je partirai de ma pratique artistique et étudierai certaines des applications et installations que j’ai réalisées au cours des dernières années, notamment dans le cadre des actions de recherche et de création organisées par le CiTu 2. Dans le but d’attribuer à ma réflexion une plus large portée, j’introduirai ces projets par l’analyse d’autres dispositifs artistiques choisis autant pour leur fonction ordonnatrice que pour leur capacité à rendre compte d’une « poétique des données » à l’oeuvre dans le champ des arts médiatiques, et qui vise à accorder aux flux d’images produits par notre société, de nouvelles formes d’accès, de mobilité et de présentation. Parce que les bases de données modifient non seulement la manière d’accéder aux images, mais aussi les méthodes permettant de les élaborer, il sera parallèlement étudié leur présence et utilisation au sein même des logiciels d’infographie et environnements de programmation. Il s’agira ainsi – à partir de l’étude de dispositifs artistiques et des logiciels permettant de les développer – de montrer comment l’utilisation de bases de données rend non seulement possible la construction d’espaces de partage, et de réseaux de création collective, mais aussi l’élaboration des éléments qui peuplent ces espaces et leur attribuent une identitéWhen we communicate via Internet with relatives, office colleagues or administrations, we exchange information under the form of digital data. And as soon as these data have a certain degree of complexity, have to resist attacks or have to be shared simultaneously by several people, they are probably stored, at some point, in a database. We interact daily with content management systems and databases. As “intellectual technologies” (Goody, 1979) they provide ways to gather and share information. But what are their uses in new media art? What kind of functions do content management systems used by artists perform? To what extent do they help us to establish object’s collections and connections? What kind of spaces do they allow us to create? And finally, what freedom and exposure do they give to images that are produced and stored online today? We will answer these questions through our artistic practice. We will indeed study some of the installations and web applications we have realized over the last few years. In order to give our thinking a broader scope, we will also accompany these studies with theoretical investigations and the presentations of other artworks chosen for their ability to handle large amounts of data but also for their capacity to introduce, by handling them, a poetics of data. Because databases change not only the way to access images but also the methods to create them, we will study their presence in computer graphics software and programming environments too. It will be shown not only how databases allow us to set up sharing spaces and create networks of collective creation but also how databases allow us to create the elements these spaces contain
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Corby, Thomas James Patrick. "The disappearing frame : a practice-based investigation into composing virtual environment artworks." Thesis, University of the Arts London, 2000. http://ualresearchonline.arts.ac.uk/6126/.
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Through creative art making practice, research seeks to contribute a body of knowledge to an under researched area by examining how key concepts germane to computer based, interactive, three-dimensional, virtual environment artworks might be explicated, potential compositional issues characterised, and possible production strategies identified and/or proposed. Initial research summarises a range of classifications pertaining to the function of interactivity within virtual space, leading to an identification and analysis of a predominant model for composing virtual environment media, characterised as the "world as model": a methodological approach to devising interactive and spatial contexts employing visual and behavioural modes based on the physical world. Following this alternative forms of environmental organisation are examined through the development of a series of artworks beginning with Bodies and Bethlem, and culminating with Reconnoitre: a networked environment, spatially manifest through performative user input. Theoretical corollaries to the project are identified placing it within a wider critical context concerned with distinguishing between the virtual as a condition of simulation: a representation of something pre-existing, and the virtual as potential structure: a phenomena in itself requiring creative actualisation and orientated toward change. This distinction is further developed through an analysis of some existing typologies of interactive computer based art, and used to generalise two base conditions between which various possibilities for practice might be situated: the "fluid" and "formatted" virtual.
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SANTOS, R. H. "O Mal da Imagem (?) e as Estratégias de Apropriação em "Mouchette.org"." Universidade Federal do Espírito Santo, 2015. http://repositorio.ufes.br/handle/10/2131.
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Previous issue date: 2015-06-15A partir da proposição artística Mouchette.org (1996), de autoria de Martine Neddam, esta dissertação trata de características da net.art voltadas para o compartilhamento e a interatividade. É nosso interesse melhor compreender as transformações ocorridas nas representações personais ligadas à produção artística após a disseminação do acesso a internet. Quais são e como ocorrem os processos que permitem a sobrevivência de uma proposta de arte pautada na mediação de interfaces digitais e aparelhos programados, como é o caso de Mouchette.org? Quais as consequências amplas do mútuo traspassamento entre o humano e os aparatos técnicos? Como pensar esse trabalho de arte que se efetiva na encenação de personas virtuais? Essas perguntas compõem parte de uma trama, na qual se cruzam as ideias de tecnoimagem, aparelhos programados, máquinas pensantes, interatividade, incorporação, ser humano como cyborg, natureza-cultura, encenação de sujeitos multifacetados e produção poética na internet. Cada um desses pontos possui sua rede de autores, dos quais destacamos a compreensão de Vilém Flüsser sobre tecnoimagens, a superação das dicotomias natureza/cultura e orgânico/sintético, por parte de Bruno Latour, e a concepção de Lúcia Santaella do humano como ser da técnica, condensada na ideia de cyborg. Dessa trama, extraímos o sentido flusseriano de Homo Ludens, como o sujeito detentor de tecno-imaginação. O tecno-imaginador seria o jogador, capaz de deliberar sobre os dados disponíveis para fazer surgir informação improvável, nova. O ato de deliberar do jogador em Mouchette.org se dá em conjunto com a mútua incorporação entre aparelho, programação, persona virtual, sujeito multifacetado e informação. A união dos conceitos de deliberar e incorporar fornece o óculo através do qual enxergamos as estratégias de apropriação próprias das formas de arte baseadas na internet. De modo amplo, com o estudo de Mouchette.org, intentamos construir conteúdo crítico a respeito da demonstração e do desmonte do mundo percebido e erigido através de aparelhos e programas cada vez mais complexos. Palavras-chave: Mouchette.org. Net.art. Deliberação. Incorporação. Apropriação.
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Mladenovic, Milos Novica. "Modeling and Assessment of State-Of-The-Art Traffic Control Subsystems." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32193.
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Traffic signals are one of the vital control elements of traffic management and control systems under purview of Departments of Transportation (DOTs) nationwide. They directly affect mobility, safety, and environmental parameters of the transportation networks. Traffic engineers in DOTs often face pressure for extracting additional benefits from existing signal control equipment, influenced by evident increase in demand and changing traffic patterns. However, they often face difficulties, usually from the maturity of the field equipment, lack of understanding of currently available equipment capabilities, and multitude of market available equipment. Besides issues in everyday operation, the need for improved decision-making process appears during selection and implementation of the future signal-control subsystems. This thesis is focusing on the issues related with the need for extracting additional benefits and improved planning of signal-control equipment deployment. Presented are several methodologies and techniques for modeling and assessing traffic signal controllers and supporting communication infrastructure. Techniques presented in this thesis include Petri Net modeling language, Software-in-the-loop simulation, and Geographical Information Systems. Specific capabilities of listed techniques are coordinated for maximizing their benefits in addressing specific issues. The intended positive effects reflect in enhanced comprehension, numerical representation, and analysis of state-of-the-art signal control subsystems in focus. Frameworks, methodologies, and example cases are presented for each of the specific issues in identified traffic signal subsystems, along with recommendations for further research.Master of Science
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Arvola, Maja. "Deep Learning for Dose Prediction in Radiation Therapy : A comparison study of state-of-the-art U-net based architectures." Thesis, Uppsala universitet, Avdelningen för systemteknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447081.
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Machine learning has shown great potential as a step in automating radiotherapy treatment planning. It can be used for dose prediction and a popular deep learning architecture for this purpose is the U-net. Since it was proposed in 2015, several modifications and extensions have been proposed in the literature. In this study, three promising modifications are reviewed and implemented for dose prediction on a prostate cancer data set and compared with a 3D U-net as a baseline. The tested modifications are residual blocks, densely connected layers and attention gates. The different models are compared in terms of voxel error, conformity, homogeneity, dose spillage and clinical goals. The results show that the performance was similar in many aspects for the models. The residual blocks model performed similar or better than the baseline in almost all evaluations. The attention gates model performed very similar to the baseline and the densely connected layers were uneven in the results, often with low dose values in comparison to the baseline. The study also shows the importance of consistent ground truth data and how inconsistencies affect metrics such as isodose Dice score and Hausdorff distance.
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Cruz, Valenzuela Daniel. "Inscripciones intermedias, instancias mediales." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/101370.
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Turki, Ramzi. "La mise en réseau sur internet : possibilité de la création d'un nouveau courant artistique." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30064.
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À partir des années soixante, les nouvelles technologies ont colonisé les champs culturels. Prenant acte de cette puissance technologique, les artistes se sont mis à transformer ces dispositifs en outils de recherche esthétique. C'est ainsi que le Web est devenu un support à la fois pour les oeuvres d'art numérique et la réalisation de net oeuvres, et pour une mise en réseau universelle. Dans le même contexte, des critiques, des théoriciens et des philosophes ont annoncé un état de crise (comme l'avaient mentionné Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Véronique Fabbri, Daniel Lagoutte, etc.). Selon eux, cet état est dû à un manque de communication et à une dissolution des courants artistiques, voire à une perte progressive de la communication entre les artistes. Comme le Web, l'e-mailing a généré plusieurs fantasmes de communication, il a institué également la réactivité et l'interactivité entre des individus. Pour cela, j'ai choisi d'approfondir mes recherches en thèse sur des pratiques artistiques qui peuvent toucher la crise de la communication et qui sollicitent une mise en réseau des artistes. Progrès pratique : En 2006, j'ai reçu un e-mail contenant une oeuvre scannée de l'artiste belge Luc Fierens. J'ai transmis cette image à environ 7000 adresses e-mails d'artistes en sollicitant leurs interactions, afin d'acquérir presque 200 contributions et réponses dont quelques-unes sont exposées sur le blog suivant : http://ramziturki.artblog.fr/11/. Mon acte consiste à analyser et à mettre en valeur la communication entre les artistes à travers un outil télé-communicationnel contemporainSince the sixties, new technologies have conquered cultural areas. Thanks to technological power, artists have transformed these technologies into tools of aesthetic research. Thus, the web has become a medium for digital art as well as network design in addition to establishing universal networking. In the same context, criticizers, thinkers and philosophers have announced a state of crisis (As announced by Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Veronica Fabbri, Daniel Lagoutte, etc.). According to them, this crisis is due to lack of communication and dissolution of artistic movements, surely progressive loss of communication between artists. In the Web world, email has emerged several communication fantasies. It has also established the reactivity and the interactivity between people. For this, my research Thesis focuses on artistic practices that impact positively on communication between artists. This research also proposes an artist networking. Practical progress:In 2006, I received an email containing a scanned work of Luc Fierens, a Belgian artist. I emailed this work to nearly 7000 addresses of artists to solicit their interactions. This is to acquire about 200 contributions and answers, some of which are described on the blog: http://ramziturki.artblog.fr/11/. My Thesis aims to analyze and enhance the communication between artists via tools of modern communication
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Meliani, Valérie. "INTERACTIONS AVEC L'ART NUMÉRIQUE. Analyses qualitatives des interactions des publics de l'art numérique avec des installations numériques et des sites web de type net art." Phd thesis, Université Paul Valéry - Montpellier III, 2009. http://tel.archives-ouvertes.fr/tel-00817632.
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Notre thèse appréhende le domaine de l'art numérique du côté de la " réception ", c'est-à-dire dans l'espace où se joue la rencontre entre l'œuvre et les publics. Plus exactement, nous concevons l'activité des publics comme une interaction avec l'œuvre numérique, ainsi nous cherchons à comprendre comment les publics co-construisent du sens avec l'œuvre. Nos investigations partent de deux types de terrain. Dans le premier, nous rencontrons des publics-visiteurs d'expositions et dans le second des publics-internautes de sites net art. Nous considérons l'installation numérique et l'œuvre net art comme possibles qui se révèlent dans l'interaction avec les publics. Nous mettons en œuvre une méthodologie qualitative, pleinement ancrée dans l'approche compréhensive des phénomènes humains, pour analyser les interactions des publics avec les œuvres. Après un recueil de données de type ethnographique, nous appliquons deux méthodes d'analyse : la sémiotique situationnelle d'Alex Mucchielli et la théorisation ancrée de Pierre Paillé. Ce travail de thèse permet ainsi de rendre intelligible la manière dont les publics participent au dispositif de l'œuvre. Cette compréhension en situation de " réception " donne inévitablement des axes pour repenser les manières de faire en situation de " conception ", les interactions des publics avec l'œuvre participant dans des boucles de rétroactions aux créations des artistes et à leur médiatisation.
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Freiberg, Iara. "Atravessamentos - axiomas improváveis." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-27092017-100229/.
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Este trabalho se propõe como formulação de um glossário pessoal, a partir de uma coleção de elementos diversos agenciados como pensamento sobre minha forma de produzir. Imagens de muitas naturezas (trabalhos próprios, obras de outros artistas, fotografias, gráficos, esquemas, etc.) e textos de diversas origens (escritos de artistas, artigos teóricos, relatos literários, descrições técnicas e textos próprios) são aqui articulados de forma subjetiva, estabelecendo conexões e relações que visam mapear e mostrar o processo por meio do qual crio minhas intervenções. São escolhas baseadas em interesses pessoais, em afinidades com o conteúdo de cada uma das obras originais, mas também em relações movidas por afetos diretamente ligados a meu trabalho. Entendo este glossário como rede, nuvem, dispositivo, agenciamento dos elementos da coleção - um trabalho em processo, aberto, inacabado e inacabável, em permanente modificação e crescimento, que encontra nesta versão uma configuração provisória. Não busco, então, impor um discurso preciso nem uma narrativa específica, linear e cronológica. Nem procuro fazer análises teóricas ou propor definições, mas sim possibilitar e provocar encontros. Pretendo, enfim, convidar o leitor a diversas possíveis navegações e sobrevoos.This work is proposed as the formulation of a personal glossary from a collection of diverse elements articulated as a reverberation of my way of producing. Images of many natures (my own works, works of other artists, photographs, diagrams, schemes, etc.) and texts of diverse origins (artists\' writings, theoretical articles, literary stories, technical descriptions and my own texts) are here articulated subjectively, establishing connections and relationships that aim to map and present the process through which I create my interventions. They are choices based on personal interests, on affinities with the content of each of the original works, but also related to affections directly linked to my work. I understand this glossary as a net, a cloud, a device, assemby of elements from the collection - a work in progress, open, unfinished and unfinishable, constantly changing and growing, which finds in this version a provisional configuration. Thus, I do not pursue to impose a precise discourse or a specific narrative, linear and chronological. Neither do I intend to make theoretical analyses, nor to propose definitions, but to enable and provoke encounters. Ultimately, I wish to invite the reader to various possible navigations and over flights.
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Dekker, Antoinette. "Enabling the future, or, How to survive FOREVER : a study of networks, processes and ambiguity in net art and the need for an expanded practice of conservation." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11155/.
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Net art is one of the most viewed and experienced artforms, yet some net artworks stop functioning in less than five months. At the heart of this research lies the question of net art’s survival. While net art is hardly accounted for in museum collections – the traditional keepers of cultural heritage – this dissertation explores the material and behaviour of net art. Using a broad range of interdisciplinary resources the chapters open up key theoretical issues that rethink museum practices. Among others, this includes notions of authenticity, authorship, documentation and documents, networks, open source, performativity and processual. Arguing for the need to reconsider traditional attitudes in museums and notions of static conservation as well as acknowledging decentralised and community-based approaches, this dissertation describes an expanded practice of conservation in the computational age. It shows how net art operates through often imperceptible or ambiguous performance of processes and is networked in various ways. It then examines the way these strategies are used and fold back into notions of authenticity, documentation and variability. It is in addressing and answering some of the challenges facing net art that this dissertation makes a distinctive contribution to the field of conservation, curatorial studies as well as to cultural and museum analysis. At the same time, an exploration of net art’s intersections with conservation puts studies on net art into a new perspective. Consequently, the study enables more informed decisions when responding to, critically analysing or working with net art, in particular software-based processes. Surviving FOREVER means embracing rather then fearing ephemerality, loss and obsolescence.
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Prata, Didiana. "Imageria e poéticas de representação da paisagem urbana nas redes." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-16022017-095419/.
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Esta dissertação tem como foco central a investigação acerca das narrativas visuais produzidas por câmeras celulares e veiculadas nas redes sociais, particularmente no Instagram. Explora como a tecnologia dos dispositivos móveis, somada ao movimento do corpo e do olho, contribui para uma nova estética de produção de imagens do cotidiano. O estudo tem como contexto a cidade de São Paulo e também explora as novas formas de documentar e de se relacionar com o espaço urbano, a partir da produção e veiculação de imagens na internet. A pesquisa se concentra no viés poético das imagens produzidas, mediadas e veiculadas no Instagram e investigará o contexto e a natureza das imagens das redes sociais, que se apresentam de forma fragmentada, em um processo de publicação contínuo, em um scroll vertical infinito, na tela do usuário do aplicativo. Explorará as possibilidades de construção de linguagem, na chave da artemídia, e seus respectivos atributos tecnológicos e estéticos. Investigará paralelamente como se dá a edição e subjetivação dessas narrativas, construídas em tempo real, indagando qual o papel do autor, do curador e do editor quando o processo se torna colaborativo. A imagem mobile será pensada por meio de imagens, a partir de um ensaio autoral: uma compilação de narrativas reunidas no caderno Imageria urbana, realizadas com imagens mobile a partir de apropriações e edições coletivas ou individuais, organizadas pelos tagueamentos de dados algorítmicos, pelos sinais \"#\" (hashtags precedidas da palavra-chave) e por pins de geolocalização. Essa publicação constitui simultaneamente o objeto de estudo teórico e prático desta pesquisa e representa alguns lugares da cidade de São Paulo por meio da estética de dados. A partir desse material -- e suas imbricações interdisciplinares -- oferecemos os subsídios teóricos para aprofundarmos na linguagem poética das narrativas visuais das redes.This dissertation aims at investigating visual narratives produced by mobile cameras and posted on social networks, specifically Instagram. Exploring how mobile device technology, coupled with the movement of body and eye, contributes to new aesthetic of production on everyday imaging. The city of São Paulo comes as the study\'s context and explores new ways to register and to relate to the urban space stemming from the production and posting of images online. The research focuses on poetic bias of the produced images mediated and shown on Instagram and investigates the context and nature of the images on social networks, which are presented in a piecemeal fashion, in a continuous process of posting through endless vertical scroll on the app\'s user screen. The work will explore the possibilities of language construction from artmedia point of view, and its respective technological and aesthetic attributes. In addition, it will investigate how editing and subjectivity of these narratives take place, built in real time, inquiring the role of the author, of the curator and of the editor when the process becomes collaborative. The mobile image will have images brought through an authorial essay; a compilation of narratives gathered in the notebook Urban Imagery, made with mobile images from collective or individual publications and appropriations, organized from algorithm data tagging by the \"#\" (hashtag preceded by keyword) and pins of geolocation. Such publication is both the theoretical and practical object of this research study and represents some places of the city of São Paulo through the data aesthetics. From this material -- and its interdisciplinary overlaps -- we provide the theoretical basis to deepen into the poetic language in visual narratives of networks.
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Zhang, Alice Jin. "Excavation Sites: Art-ifacts of the Millennial Girl Web Development and Blogging Community of the 2000's to the Early 2010's." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1238.
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When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost?
In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine.
For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.
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Morea, Valentina <1983>. "Transazioni Effimere. La danza nei musei e nel mercato dell'arte." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10398.
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Lo scopo di questa ricerca è analizzare come la danza è esposta e conservata in musei e gallerie d’arte, oltre che collezionata e venduta al pari di altre tipologie di opere d’arte.Da una quindicina d’anni a questa parte, infatti, la danza è sempre più presente nelle programmazioni di musei e gallerie d’arte, stimolando nuove strategie curatoriali e comportando una trasformazione della sua ricezione da parte dei visitatori nonché delle modalità della sua conservazione. Alcuni artisti hanno messo inoltre a punto delle particolari forme di vendita delle loro opere coreografiche e azioni performative partendo dall'idea che la danza, in quanto opera d’arte,vada trattata alla stregua di un quadro, una scultura, un’installazione o un video. Questa concettualizzazione dell’opera coreografica ha sollevato non pochi problemi di gestione legale ed economica delle “transazioni effimere” proposte dagli artisti. Le polemiche hanno riguardato in particolare il valore artistico ed economico di queste opere d'arte,che in alcuni casi presentano difficoltà di conservazione, oltre che di gestione dei finanziamenti pubblici stanziati dalle istituzioni per il loro acquisto.
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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentationThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Pan, Cheng-Yu. "Entre ciel et terre, l'horizon virtuel : expériences artistiques et géographie du virtuel à l'ère interconnectée." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010522/document.
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Cette thèse vise à interroger la situation de l'individu face à l'horizon virtuel de l'ère interconnectée, ainsi que la créativité surgie du cyberespace. Divisée en deux parties, la première section de cette thèse consiste en une analyse des expériences plastiques, elles-mêmes élaborées en rapport avec les réseaux sous diverses formes : installation, net-art, vidéo, photographie numérique et performance GPS. Les quatre projets artistiques proposés ont ainsi permis une interrogation sur la question du regard, qui, dans le cadre des arts plastiques, traverse à la fois l'auteur, le dispositif et le spectateur. Dans la seconde section,il s'agit de tenter de répondre davantage aux problématiques engagées par ces expériences artistiques. La métaphore du « cycle hydrologique » est d'abord proposée afin de comprendre les réseaux informatiques. Une approche du devenir de l'image du monde est ensuite réalisée à travers un parcours historique sur des cartes géographiques. L'hypothèse proposée est que si ce parcours et cette évolution sont conçus comme la transformation d'une conception mythologique du monde en une représentation rationnelle, l'imaginaire engagé par les cartes numériques peut impliquer à nouveau certaines caractéristiques d'une représentation mythologique. Des phénomènes culturels se trouvant à la frontière du cybermonde sont analysés, dans lesquels les questions du virtuel s'avèrent déterminantes, en particulier celle de la réalité augmentée, de la durée d'immersion virtuelle, de « l'auto-virtualisation » et rejoignent à nouveau l'hypothèse d'une mythologie propre à l'espace-temps virtuel édifié sur les réseauxThis thesis aims to examine the situation of individuals facing virtual space in the interconnected era and the creativity that emerges in the cyberspace. The thesis is divides into two parts. The first part consists of an analysis of my personal experience in conducting four art projects elaborated in various forms, including installation art, net.art, video art, digital photography and GPS performance art. Regardless of which artistic form is in question, « look » is the key in connecting the author, the audience as well as the visual media. The second part aims to further explore the artistic issues derivated from the personal experience, namely net art, map and virtuality. In order to fulfil this task, the metaphor of « water cycle » is applied to conceptualize the development of internet in a systematic way. In addition, world maps at different stages of human civilization are analyzed to shed light on how the worlview has changed over time. Based on that, a hypothesis is proposed : if the changes in world maps over the course of human history reflects a gradual replacement of a mythological perception of the world by a more rational perspective, the creativity shown in trendy digital maps nowadays might point to a resuscitation of a world view featuring mythological representation. Some cultural phenomena in the cyber space are also analyzed. The focus of the analysis is on a few issues related to virtuality, such as augmented reality, the duration of virtual immersion, as well as « auto-virtualization ». Such analysis should help corroborate the above mentioned hypothesis, namely the rise of mythological representation in virtual space
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Presot, Giovanni <1986>. "Takashi Murakami e Little Boy, rappresentazioni post-apocalittiche nel neo pop giapponese." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3100.
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La tesi si occuperà di analizzare il rapporto tra la teoria del “Superflat” dell’artista Takashi Murakami con la storia artistica e culturale giapponese dal dopoguerra agli anni Novanta. Prendendo come riferimento il catalogo della mostra intitolata “Little Boy: The Arts of Japan’s Exploding Subculture” e quello dell’ultima “Murakami Ego” per poi passare ad una serie di saggi critici, sia giapponesi che stranieri, si cercherà di capire se Murakami ha saputo cogliere le contraddizioni del Giappone postmoderno, rappresentando attraverso le sue opere d’arte le ansie e i traumi subiti dai bombardamenti atomici prima e dagli eventi dell’11 marzo 2011 poi.
Nel saggio introduttivo di “Little Boy” Murakami scrive che il Giappone sconfitto e demilitarizzato del dopoguerra subì un collettivo senso d’impotenza e la metafora del “little boy” - ragazzino - descrive un’inevitabile dipendenza dal suo fratello maggiore, gli Stati Uniti. Nel dopoguerra sarebbero scaturite e proliferate tra le giovani generazioni le subculture otaku e del kawaii che, sempre secondo Murakami, sono l’effetto di un bisogno comune di evadere da quel senso d’impotenza e sottomissione e di lasciarsi alle spalle le immagini e i ricordi tragici della guerra. Si vedrà poi come quest’analisi critica della società giapponese contemporanea da parte di Murakami e del critico d’arte Noi Sawaragi possa essere inserita all’interno del discorso sul “Nuovo Nazionalismo” sviluppato negli anni novanta sull’onda del revisionismo storico. Gli artisti Neo Pop giapponesi, di cui Murakami è la figura di maggiore visibilità, hanno fatto un uso creativo delle immagini provenienti dalle subculture, trasformando la loro marginalità, infantilità e incongruenza in risorse per un nuovo stile artistico. Ma questo stile/estetica si può veramente definire come “unicamente” giapponese come sostenuto da Murakami? Murakami teorizza un’estetica nazionale unitaria ponendo sullo stesso piano l’arte pittorica del periodo Edo con le subculture otaku; ma questa autenticità nazionale viene messa in discussione proprio dalle stesse subculture in quanto importate dagli USA nel dopoguerra.
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Gomez, Norberto Jr. "The Art of Perl: How a Scripting Language (inter)Activated the World Wide Web." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/472.
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In 1987, computer programmer and linguist Larry Wall authored the general-purpose, high-level, interpreted, dynamic Unix scripting language, Perl. Borrowing features from C and awk, Perl was originally intended as a scripting language for text-processing. However, with the rising popularity of the Internet and the advent of Tim Berners-Lee’s World Wide Web (Web), in the 1990s, Perl soon became the glue-language for the Internet, due in large part to its relationship to the Hypertext Transfer Protocol (HTTP) and the Common Gateway Interface (CGI). Perl was the go-to language for on the fly program writing and coding, gaining accolades from the likes of publisher Tim O’Reilly and hackers alike. Perl became a favorite language of amateur Web users, whom net artist Olia Lialina calls barbarians, or the indigenous. These users authored everything from database scripts to social spaces like chatrooms and bulletin boards. Perl, while largely ignored today, played a fundamental role in facilitating those social spaces and interactions of Web 1.0, or what I refer to as a Perl-net. Thus, Perl informed today’s more ubiquitous digital culture, referred to as Web 2.0, and the social web. This project examines Perl’s origin which is predicated on postmodern theories, such as deconstructionism and multiculturalism. Perl’s formal features are differentiated from those of others, like Java. In order to defend Perl’s status as an inherently cultural online tool, this project also analyzes many instances of cultural artifacts: script programs, chatrooms, code poetry, webpages, and net art. This cultural analysis is guided by the work of contemporary media archaeologists: Lialina and Dragan Espenschied, Erkki Huhtamo and Jussi Parikka. Lastly, the present state of digital culture is analyzed in an effort to re-consider the Perl scripting language as a relevant, critical computer language, capable of aiding in deprogramming the contemporary user.
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FRATTALI, ARIANNA. "La drammaturgia fra letteratura e musica nel Settecento: figure femminili nei salotti lombardo veneti." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/750.
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La tesi ricostruisce il ruolo della figura femminile nel salotto settecentesco in area lombardo-veneta per quanto concerne il rapporto fra teatro musica e letteratura. Lo studio si concentra su quattro figure femminili in particolare: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo.The thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
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Nikzad, Dehaji Mohammad. "Structural Improvements of Convolutional Neural Networks." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/410448.
Full textAbstract:
Over the last decade, deep learning has demonstrated outstanding performance in almost every application domain. Among different types of deep frameworks, convolutional neural networks (CNNs), inspired by the biological process of the visual system, can learn to extract discriminative features from raw inputs without any prior manipulation. However, efficient information circulation and the ability to explore effective new features are still two key and challenging factors for a successful deep neural network. In this thesis, we aim at presenting novel structural improvements of the CNN frameworks to enhance their effectiveness and efficiency of feature exploring and exploiting capability. To this end, first, we propose a novel residual-dense lattice network (RDL-Net), a 2-dimensional triangular lattice of convolutional units connected using residual and dense connections. RDL-Net effectively harnesses the advantages of both residual and dense aggregations without over-allocating parameters for feature re-usage. This property improves the network’s capacity to effectively and yet efficiently extract and exploit features. Furthermore, our extensive experimental investigation in processing 1D sequential speech signals shows that RDL-Nets can achieve a higher speech enhancement performance than many state-of-the-art CNN-based speech enhancement approaches. Further, we modify RDL topology to be applicable for the spatial (2D) signals. Hence, inspired by RDL-Nets innovation, we present an attention-based pyramid dilated lattice network (APDL-Net) for blind image denoising. The proposed framework employs a novel pyramid dilated convolution strategy alongside a channel-wise attention mechanism to effectively capture contextual information corresponding to different noise levels through the training of a single model. The extensive empirical studies in image denoising and JPEG artifacts suppression tasks verify the effectiveness and efficiency of the APDL architecture. We also investigate the capability of the lattice topology for hyperspectral image classification. For this purpose, we introduce a new attention-based lattice network (ALN) empowered by a unique joint spectral-spatial attention mechanism to capture spectral and spatial information effectively. The proposed ALN achieves superior accuracy and computational efficiency against state-of-the-art deep learning benchmark approaches for hyperspectral image classification. In addition to the above architectural improvements of CNNs, inspired by geographical analysis, we propose a novel channel-wise spatially autocorrelated (CSA) attention mechanism. The proposed CSA exploits the spatial relationships between feature maps channels. It also employs a unique hybrid spatial contiguity measure based on directional metrics to measure the degree of spatial closeness between feature maps effectively. Furthermore, imposing negligible learning parameters and light computational overhead to the deep model, making CSA a powerful yet efficient attention module of choice. The experimental results on large scale image classification and object detection datasets demonstrate that CSA-Nets can consistently achieve superior performance than different state-of-the-art attention-based CNNs. Besides the above architectural and attention-based advances, this research presents a simple and novel feature pooling method as gradient-based pooling (GP). This method considers the spatial gradient of the pixels within a pooling region as a key to pick the possible discriminative information. In contrast, other common pooling methods mostly rely on pixel values. The superiority of the GP over other pooling methods is proved through experiments on different benchmark image classification tasks.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Eng & Built Env
Science, Environment, Engineering and Technology
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Seiça, Álvaro. "Transdução: processos de transferência na literatura e artes digitais." Master's thesis, Universidade de Évora, 2011. http://hdl.handle.net/10174/15073.
Full textAbstract:
A literatura electrónica e a arte digital partilham vários processos, temas, linhas
criativas e referentes teóricos. Neste sentido, chegou-se a um enquadramento teórico
que pudesse resistir a uma análise hiperdisciplinar e englobar uma das características
desta partilha: os processos de transferência e transformação. Para reconhecer estes
processos recorreu-se ao conceito de transdução para efectuar uma migração teórica
capaz de suportar essas valências: a função transdutora. Deste modo, a função
transdutora surge na crítica das obras de Mark Z. Danielewski, Stuart Moulthrop, R.
Luke DuBois e André Sier. As obras seleccionadas são representativas dos seguintes
géneros: romance, hiperficção, net.art e instalação digital, extraindo fenómenos e
preocupações resultantes da produção criativa no âmbito da cultura digital.
Nesta investigação foram realçados mecanismos, padrões, linguagens e motivos
comuns: autoria, utilizador, cibertexto, superfície, hipertexto, infoduto, interactividade,
pixel, algoritmo, código, programação, rede, software e dados; ABSTRACT:Electronic Literature and Digital Art share many processes, themes, creative and
theoretical guidelines. In this sense, I developed a critical framework that could resist to
a hyperdisciplinary analysis and include one of the characteristics of this sharing
pattern: the transfer and transformation processes. In order to recognize these
processes I have done an approach of the transduction concept that could perform a
theoretical migration on these aspects: the transducer function. Thus, the transducer
function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart
Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of
the following genres: novel, hyperfiction, net.art and digital installation, drawing on
phenomena and concerns resulting from the creative production within the digital
culture.
In this research I have enhanced mechanisms, patterns, languages and common
grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel,
algorithm, code, programming, network, software and data.
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Alcantar, Zamora Monica Jenny <1982>. "La figura di Yoshitsune nei katazuke Umewaka: un'analisi dei dispositivi estetici e coreografici del ruolo di kokata nel teatro nō." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8258/1/kokata%20thesis%20file%20Wk%20in%20Prg.pdf.
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Sin da subito l'indagine ha avuto l'esigenza di orientarsi in una cornice antropologica che contemplasse diversi esempi, individuati nelle teatralità asiatiche, nei quali l'infanzia si poneva come veicolo performativo. Fondamentale per giungere all'identificazione delle difficoltà tecniche sostenute da parte dell'attore fanciullo nonché indispensabile a definire il caso di studio e ridimensionarlo, nello specifico, alla teatralità classica giapponese. L'importanza degli elementi di natura orale, scritta e aurale sono stati identificati come paradigmatici nella dialettica di trasmissione del sapere attirare che nel caso specifico del teatro nō presuppongono compenenti indispensabili per la realizzazione dell'embodimente di tradizione da parte dell'attore in età adulta, lo shiteFrom the beginning, this research has developed an anthropological from that contemplates several example, individuated within the Asian performance. Meaningful to identify the technical difficulty that holds the child actor in order to define the case of study within a new dimension, specifically into the Japanese Classical theatricality. The importance of the orality, written and listening spheres have been identified as paradigmatic of the transmission epistemology dialectics of that will give a nuance for the understanding of embodiment trasdizion for the actor in adulthood, the master shite
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Butcher, Lorena Sun. ""I am My Art; My Paintings are Me;: An Exploration of the Relationship Between the Art and Life of Irene Chou." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367682.
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Among the founding members of the New Ink Painting Movement in Hong Kong in the 1960s, Irene Chou (1924–2011) went the furthest in transcending the traditional boundaries of Chinese ink painting. One outstanding feature of Chou’s long career as an artist was that from the beginning of her career to the very end of her life, she continuously shifted from one style of painting to another. After painting sexually charged “landscape paintings”, she began painting line paintings. Just as she became known for her line paintings, Chou abruptly shifted to piled ink paintings. After she moved from Hong Kong to Brisbane, she shifted from painting on the traditional medium of xuan paper to painting on silk, board, satin, and even canvas and ming paper. As Chou’s work shifted from one medium to another, it became increasingly colourful. Some of her work even verged on being psychedelic. At that point, a critic warned her that she was painting herself into a dangerous zone. Why, this thesis asks, did Chou keep making so many shifts in her work, even though in some cases they appeared to put her career at risk? Most attempts to explain the shifts in Chou’s work have attributed particular shifts in her work to certain major events in her life. For example, her shift from the dark piled ink paintings to the brighter impact structural stroke paintings has been seen as the result of her getting over the death of her husband. Likewise, after her stroke, her shift from painting on xuan paper to painting on hemp paper with a greater use of colour was viewed by one critic as the result of Chou’s celebration of a new lease on life. This study demonstrates that there was no one-to-one relationship between the shifts in her work and the major events in her life.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Cunha, Ana Carolina da. ""Estética relacional na cibercultura": visão social dos coletivos Superflex e De Geuzen a respeito da linguagem digital." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5212.
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Ana Carolina da Cunha.pdf: 999430 bytes, checksum: 04828c376e3f4f5a3c79333cb1ca6102 (MD5)
Previous issue date: 2009-05-11Secretaria da Educação do Estado de São Paulo
This research has as main objective the analysis of projects 2 and Karlskrona Superchannel of collective Superflex, Denmark, and projects Frivolity and Folly and Fripperies and Trimmings, of the group De Geuzen, the Netherlands, in the light of the theory of relational aesthetics of Nicolas Bourriaud. From the 1990s, Bourriaud set the parameters for contemporary artistic production that is based on and is embodied from social exchanges. Given this theoretical framework, the relevance of the research lies in the fact that focus on productions that use digital cyberspace and language as means of dissemination and transmission of artistic proposals - language and tools then viewed with reservation by Bourriaud. The problem of research, ultimately theoretical, lies precisely in this tension between the internal relational aesthetics of the French philosopher and the chosen corpus. Established relational groups, such as De Geuzen and Superflex, advocate the use of technological devices and declare that, in some art propositions, technology and the Internet facilitate and potentialize objectives of social exchange. Both groups focus more on the network relations provided by the Internet than the technology it encloses. They both make use of the digital language as relational/communicational tools. Thus, it is clear that, unlike what Bourriaud thought, it is not the fact that these groups use the technology that they lose their relational character. For the demonstration of this reflexive perspective, this work has considered alongside the research, the theories of Lemos, Lovejoy, Lévy, Trivinho, Virilio and Baudrillard on cyberculture, and the reflections of Musso, Parente, Prado, and Miltrop Latour, among others, on the networks. The theory of society as a network, designed by Castells and for which contributed Mafessoli, had significant importance in this research. Other important findings were made by direct research on the groups websites and through personal analysis of their works and access to documents submitted by them in symposia and electronic publications. In addition to the corpus of the study, art expressions that use technology and social exchange, as the foundation of production, were also presented, such as the propositions of tactical media and locative media as well as experiments in social networks
A presente pesquisa tem como principal objetivo a análise dos projetos Karlskrona 2 e Superchannel, do coletivo Superflex, da Dinamarca, e os projetos Frivolity and Folly e Fripperies and Trimmings, do grupo De Geuzen, da Holanda, à luz da teoria da estética relacional de Nicolas Bourriaud. A partir dos anos 1990, Bourriaud estabeleceu parâmetros para a produção artística contemporânea que se calcava nas e se corporificava a partir das trocas sociais. Dado esse referencial teórico, a relevância da pesquisa reside no fato de centrar-se em produções que utilizam o ciberespaço e a linguagem digital como meios de divulgação e transmissão de propostas artísticas ferramentas e linguagem até então vistas com ressalva por Bourriaud. O problema da pesquisa, teórico em última análise, reside justamente nessa tensão interna entre a estética relacional do filósofo francês e o corpus escolhido. Grupos relacionais consagrados, como o De Geuzen e o Superflex, defendem o uso dos aparatos tecnológicos e declaram que, em algumas propostas artísticas, a tecnologia e a internet facilitam e potencializam objetivos de intercâmbio social. Ambos os grupos focam mais as relações em rede que a internet proporciona do que as tecnologias que ela encerra. Utilizam as linguagens digitais como ferramentas relacional-comunicacionais. Dessa forma, fica claro que, diferentemente do que pensava Bourriaud, não é pelo fato de esses grupos utilizarem a tecnologia que eles perdem o seu caráter relacional. Para a demonstração dessa perspectiva reflexiva, foram consideradas, durante a pesquisa, as teorias de Lemos, Lovejoy, Lévy, Trivinho, Virílio e Baudrillard sobre a cibercultura, bem como as reflexões de Musso, Parente, Prado, Latour e Miltrop, entre outros, a respeito das redes. A teoria da sociedade em rede, concebida por Castells e para a qual contribuiu Mafessoli, teve importância relevante no trabalho. Outras constatações importantes foram realizadas mediante pesquisa direta em páginas eletrônicas dos grupos, bem como por meio de análise pessoal das obras e de acesso a documentos apresentados pelos grupos em simpósios e publicações eletrônicas. Em complementação ao corpus do estudo, manifestações artísticas que utilizam, como base fundamental de produção, a tecnologia e as trocas sociais também foram apresentadas, como, por exemplo, as propostas de mídia tática e mídia locativa e as experimentações em redes sociais
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Vincent, Deirdre Kathleen [Verfasser]. "NEC is a NETs dependent process and markers of NETosis are predictive of NEC in mice and humans / Deirdre Kathleen Vincent." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2020. http://d-nb.info/1236695100/34.
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Combes, B. "Techno savvy or techno oriented: Who are the net generation?" School of Communication & Information, Nanyang Technological University, 2006. http://hdl.handle.net/10150/106426.
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During the last twenty years rapid developments in technology have led to changes in the way we work, play and learn. Technology has become an integral part of societyâ s everyday information environment. Children growing up during what has been called the technological or digital revolution have never known a world without instantaneous communication and easy access to vast quantities of information using multiple formats, text types, graphics and multimedia. For the â Net Generationâ (born after 1985) of users and consumers who are surrounded by information, technology is transparent and a part of their social, economic and educational landscape. The terms tech-savvy, web-savvy, Internet-savvy and com-puter-savvy are being used to describe young people in major educational policy documents and population studies worldwide. While educators recognise that their students have a different culture of use when using and seeking information delivered electronically, they struggle to come to terms with the changes the integration of technology brings to the teaching-learning environment. The implications for educators, teacher librarians and librarians being raised in current research on the information seeking of the Net Generation, is whether students have an intuitive/instinctive grasp of how to access and use elec-tronic information or is this just an illusion borne of familiarity with the technology? This paper presents a brief summary of the research and popular literature about the information seeking behavior of the Net Generation and outlines future research to be conducted as part of this thesis. It also proposes a leader-ship role for libraries and their personnel in designing programs to ensure that young people have ade-quate information skills that will enable them to use evolving technologies effectively and efficiently when searching for information.
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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.
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This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.
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Bragagnolo, Elena <1992>. "Art advisory nel private banking: una strategia di marketing?" Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11893.
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Questo lavoro mira ad analizzare il ruolo della consulenza artistica all'interno delle banche italiane. Dopo una panoramica iniziale sul private banking, ove l'art advisory si colloca, ci si concentrerà su quest'ultimo, analizzandone le caratteristiche e i cambiamenti nell'ultimo decennio. Infine si approfondirà il caso del gruppo bancario BNP- PARIBAS, con dati riguardanti sia il wealth management, sia l'art banking.
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Fowkes, M. "Central European neo-avant-garde art and ecology under socialism." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1380708/.
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This thesis addresses the question of how the natural environment figured in the neo‐avant‐garde practices of the generation of artists who around 1970 started to engage with the subject across the socialist states of Central Europe, where various degrees of communist control over society influenced not only artistic production, but also limited access to information about the state of the environment and ecological discourse. The study examines a historical period influenced by the aftermath of the social and political upheavals of 1968, one where art entered the natural environment and engaged with environmental problems, which corresponded to the moment when ecological crisis was first registered on a planetary scale. Individual chapters devote attention to detailed examination of the practices of the Pécs Workshop from Hungary, the OHO group from Slovenia, TOK from Croatia, Rudolf Sikora from Slovakia and Czech artist Petr Štembera, each of whom developed distinctive approaches to the environment through the investigation of process‐based works, land art, public art, conceptual practices or performances, motivated by the neo‐avant‐garde tendency to dematerialise the art object. By focusing on their diverse approaches to the environment, which included engaging with the problems of ecological crisis, raising environmental awareness among socialist citizens, and exploring non‐anthropocentric positions and cosmic perspectives, this comparative study analyses their practices in light of specific socio‐political and environmental circumstances, and reveals the complexity of art history as a discipline under socialism. Working from specific positions and with different artistic affinities, the artists considered here articulated a cosmopolitan voice which commented on the nationalist trespassing of nature, and the communist denial of the environmental crisis, and spoke about a burgeoning ecological imperative that spanned the globe and could not be confined within any imposed borders.
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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Bamford, Sally Jane. "Hidden in Plain Sight: the Nat Images of Myanmar." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/144323.
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Supernatural beings known as ‘nats’ are widely represented in Myanmar art. Until now they have been a neglected area of research, overshadowed by an academic focus on the country’s Buddhist art and architecture. The research for this thesis analyses why the nats are depicted in particular ways, how this has changed over the centuries, and why they are placed in certain contexts. Close examination of primary sources highlights the disconnect between Western and local understanding of the different kinds of nat and their role in Myanmar culture. Clarification of the different typologies of nat is a crucial part of the research. The findings presented highlight the limitations of the resources currently available on the nats, and dispel the misconceptions and ambiguity around the different types. This is particularly important in relation to the pantheon generically known as the ‘Thirty-Seven Nats’. For the first time, a formal art historical analysis of the imagery of Myanmar’s nats is provided. Images of the nats are examined in light of their different typologies, to identify the iconography used in their creation. An analysis of the stylistic development of nat imagery from the 11th century is established for the main media used in their artistic representations. It is argued that the different typologies of the nats reflect their fundamental role as guardians spirits of very different physical and conceptual spaces. Art is used to frame this narrative, and as nats have been made in such a wide variety of media and across all time periods, their imagery reflects how devotees have interacted with their temporal and spiritual worlds throughout history.
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ROSSI, Lorenzo. "Forme della gestualità nel cinema: un percorso nel genere comico." Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30720.
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Matyáš, Jan. "FPGA platforma podporující .NET Micro Framework." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-236343.
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The goal of the thesis is to design a development board that may be used for embedded systems prototyping. The board's key parts are an ARM-Cortex-based microcontroller and a FPGA programmable circuit. The platform is designed with .NET Micro Framework support in mind. The thesis contains specifications of the development board, describes the design process as well as the task of .NET Micro Framework porting and the establishment of communication bus between the FPGA and microcontroller circuits. The thesis is concluded by a set of demonstration examples which outline how to develop new applications for the designed platform.
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Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren." München Schreiber, 2005. http://d-nb.info/98913458X/04.
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Pedrotti, Eugenia <1988>. "Il product placement nel cinema." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3598.
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Wanigasekera, Gwenda Dorothy. "Transformations: Anthropology, Art and the Quilt." The University of Waikato, 2006. http://hdl.handle.net/10289/2486.
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Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people. Awareness of these differences permits a new perspective of 'Western' art and object making. This awareness allows a space in which to consider the importance of the process of making. Quiltmaking provides an interesting case study. This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time. This genre, as it is practised today, had its beginnings in the revival that began in this country during the 1970's. This study will show that the main impetus of this revival did not draw on known traditions in New Zealand, but rather on a largely imported tradition that had developed in the United States of America. Ideas about the status of quilts as art objects, comes from a mixture of influences. The tradition of quiltmaking in the United States was already a strong one and had been through a number of revivals. Aspects of this traditional culture influenced quiltmakers in New Zealand. Simultaneously, there was an equally strong sense of the quilt as an art object in New Zealand. However, art entrepreneurs in the United States certainly were part of the transformation of the quilt into an art object in that country. Their strategies of discourse and display drew on contemporary artworld ideologies and ultimately this valuation affected which quilts could be seen as 'art' in New Zealand. Through the use of participant observation, interviews and a questionnaire, the content of this study will show the many different ways that New Zealand quiltmakers work, their aims and goals for the quilts they make, and the ways these quilts are perceived by other quilters and the wider public. Some areas that have resulted in conflict and misunderstandings are discussed. As in any such group, conflicts and misunderstandings arise from the existence of different ways of valuing aspects of cultural activities. NB Unlike the hard copy of this thesis the colour plates in this electronic version are placed together between the chapters and the appendices.