Dissertations / Theses on the topic 'New media art – Preservation'
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Carpenter, Eleanor J. "Politicised Socially Engaged Art and New Media Art." Thesis, University of Sunderland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485986.
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Exploring the connections and conflicts within politicised socially engaged new media art practices has involved an investigation into the language, characteristics and methodologies of visual art, new medi~ art (NMA) and socially engaged art (SEA), as well as the hybrid practice of socially engaged new media art (SENMA). The investigation includes research through the practice of curating RISK: Creative Action in Political Culture which presented SEA and NMA practice and encouraged dialogue which informed the themes and vocabularies.The thesis focuses on the vocabulary used to: understand values of object and process; define and utilise different kinds of tools; and describe differences between concepts of interactivity, participation and collaboration. It then contextualises the political relevance of these themes by situating them within current theoretical debates about politicised creative practice in chapter 5, mapping the tensions of political intent, strategy and tactics, distribution and distance. Topologies of different types of networks, platforms and open source development methodologies are used to map parallel concepts between politicised NMA and SEA.
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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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Master of Visual ArtsDigital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Pinxit, Vaughn. "Stillness: A meditation in new media art." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93556/1/Vaughn_Pinxit_Thesis.pdf.
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While technology is often seen as a noisy, impatient and pervasive aspect of our lives, this practice-led research project investigated the counter proposition–that we might be able to evoke sensations of stillness through technology-mediated artworks. Investigations into stillness were informed by Buddhism, phenomenology, and experiences of meditation and the practice of archery. By combining visual art, performance, installation, video and interaction design, a series of experimental, interdisciplinary artworks were produced and exhibited to evoke a sense of stillness and to impel audiences to consider the form and nature of stillness in relation to time, space and motion.
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Woolf, Sam. "Expanded media : interactive and generative processes in new media art." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420707.
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Sunderhaus, Nathan. "Urban mediation new media art and the city /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148071505.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Advisor: Michael McInturf. Title from electronic theses title page (viewed Feb. 6, 2007). Includes abstract. Keywords: Urban Architecture; New Media Art; Social Interaction. Includes bibliographic references.
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SUNDERHAUS, NATHAN ALLEN. "URBAN MEDIATION: NEW MEDIA ART AND THE CITY." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148071505.
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Balaskas, Vasileios (Bill). "Mapping utopian art : alternative political imaginaries in new media art (2008-2015)." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2844/.
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This thesis investigates the proliferation of alternative political imaginaries in the Web-based art produced during the global financial crisis of 2008 and its aftermath (2008- 2015), with a particular focus on the influence of communist utopianism. The thesis begins by exploring the continuous relevance of utopianism to Western political thought, including the historical context within which the financial crisis of 2008 occurred. This context has been defined by the new political, social and cultural milieu produced by the development of Data Capitalism – the dominant economic paradigm of the last two decades. In parallel, the thesis identifies the “organic” connections between leftist utopian thought and networked technologies, in order to claim that the events of 2008 functioned as a catalyst for their reactivation and expansion. Following this analysis, the thesis focuses on how politically engaged artists have reacted to the global financial crisis through the use of the World Wide Web. More specifically, the thesis categorises a wide range of artworks, institutional and non-institutional initiatives, as well as theoretical texts that have either been written by artists, or have inspired them. The result of this exercise is a mapping of the post-crisis Web-based art, which is grounded on the technocultural tools employed by artists as well as on the main concepts and ideals that they have aimed at materialising through the use of such tools. Furthermore, the thesis examines the interests of Data Capitalists in art and the Internet, and the kinds of restrictions and obstacles that they have imposed on the political use of the Web in order to safeguard them. Finally, the thesis produces an overall evaluation of the previously analysed cultural products by taking into account both the objectives of their creators and the external and internal limitations that ultimately shape their character. Accordingly, the thesis locates the examined works within the ideological spectrum of Marxist and post-Marxist thought in order to formulate a series of proposals about the future of politically engaged Web-based art and the ideological potentialities of networked communication at large.
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
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Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Eriksson, Björling Mikael. "Reshaping the picture : communication in the new media age." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2274.
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The last decade a number of digital mediums such as computers, internet, digital cameras and mobile phones have entered people’s lives. How have these mediums changed the way we communicate and consume media? This work examines two ongoing trends in this new digital media landscape. The first trend is about how newspapers have reshaped in the digital media landscape. The second trend is about personal publishing in general and blogging in particular. The questions asked are: How have the new mediums changed the way we communicate, create and consume media? And how are pictures used and what role do they play? It is important to ask these questions now when we are in the midst of a changing media landscape. A qualitative research approach with in-depth interviews, document analysis and a literature study has been performed. The thesis describes how people’s means for communication have changed through history. From the oral culture, the writing culture, the printing culture until the first media age and today’s new media age. It concludes that the new media age is different compared to the previous ages. Today’s communication and media flow is to a higher degree multi-directional compared to the previous ages. People have the means to respond and interact with traditional media such as newspapers. The interaction with the readers has become an important part of the publishing process. Personal publishing and blogging is blossoming and today there are numerous tools available for personal publishing of content at internet. The creation of digital content images and text has become easier and faster. The new digital technologies have eliminated the time and space boarders. Millions of mobile phones with inbuilt cameras results in that we witness pictures of situations we never had pictures of before. These pictures can easily be published for a large audience instantly regardless time and space. The new media age is about personalization and individualization of content creation, content publishing and content consumption. Interactivity is important and the main driver is communication between people.
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Gallagher, Meghan M. "Claiming Images: The Production and Preservation of Desire in Richard Prince's Re-Photography." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/679.
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This thesis explores the re-photography of contemporary artist, Richard Prince. Using Lacanian theories of the gaze and of the drive cycle, it attempts to establish desire as the central theme of Prince's work. It looks primarily at the Cowboys, Girlfriends, and New Portraits, in order to combat the dominant perception of Prince's work as critical commentary on contemporary consumer culture.
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Girlando, Elanie Michelle. "Sampling for airborne influenza virus using RNA preservation buffer : a new approach." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/1324.
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Characterizing airborne influenza virus exposure is important for infection prevention and exposure control in health care and public settings. Detecting airborne influenza virus is important in assessing infection risk. The virus must also be protected from deterioration during aerosol sampling and long term storage. RNA preservation buffers (RNAPBs) may stabilize influenza virus after sampling and during storage. Bioaerosol samplers are used to collect airborne influenza virus, and many different types of samplers are available.
The objectives of this experiment were to: 1) compare influenza virus concentrations across bioaerosol samplers; 2) compare the efficacy of RNAPB over Hanks Balanced Salt Solution (HBSS) as a sample collection media; and 3) determine whether RNAPB stabilizes viral particles stored over time. In this experiment we aerosolized active influenza virus (H1N1) in a bioaerosol chamber and compared sampling efficiencies using two different samplers: the SKC Biosampler and NIOSH Biosampler, and two different medias: Hanks Balanced Salt Solution (HBSS) and an RNAPB. Ten 15-minute experimental trials were completed. We also compared HBSS and RNAPB in terms of the maintenance of virus RNA integrity during storage at room temperatures. Samples were stored at room temperature for 1, 4, 7, and 14 days. Virus concentrations were measured and compared at each time point.
Significant differences were found between sampler and media type - the SKC Biosampler collected a higher concentration of virus than the NIOSH Biosampler, and HBSS collected a higher concentration of virus than RNAPB. In storage at room temperature conditions, RNAPB maintained virus in concentrations significantly greater than in HBSS. The results of this experiment indicates that the SKC Biosampler should be used to characterize airborne influenza and that RNAPB should not be used as a sampling media but can be used to preserve samples if needed.
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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.
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Kroiz, Lauren. "New races, new media : the struggle for a modern American art, 1890-1925." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45940.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.Includes bibliographical references (p. 347-369).
American modernism was formulated at the turn of the twentieth century, when artists and intellectuals became newly self-conscious of their aesthetic strategies in a rapidly urbanizing United States. During that same period, new immigrants from Southern and Eastern Europe poured into the U.S., native-born black and white Americans undertook internal migrations to northern cities, and advances in the technology of image making - photography, film, and even improvements in the graphic reproduction of caricature in newspapers - provoked uncertainty in the art world. This dissertation explores the intersections of these two trajectories in period artworks and debates about artistic medium, examining how notions of America as a diverse nation operated at an aesthetic and a cultural level.The immigrant critics and practitioners at the center of my study - Japanese-German critic Sadakichi Hartmann, Mexican-born artist Marius De Zayas, and English-Sri Lankan curator Ananda K. Coomaraswamy - each formed conflicted partnerships with the American photographer Alfred Stieglitz. These allies attacked America's homogeneous arts, positioning themselves as critical hybrid outsiders, and identifying marginal media as means by which to devise and theorize a new art in the U.S. This dissertation examines three episodes in their formulation of American modernism, arguing that each aesthetic breakthrough informed and was informed by a double debate: one occurring in the political and cultural sphere, and a parallel discourse about artistic media themselves.
(cont.) Part one traces the origins of "straight" photography in relation to the nascent philosophy of cultural pluralism (1895-1907); part two explores caricature's role as a hybrid medium for negotiating between African and modern European art (1907-1917); and part three examines how the motion picture served to engage both popular white nativism and avant-garde celebration of ethnic spiritualism (1917-1925). With independent expressive properties, each art form could restructure the artistic canon and enable the formulation of what I term a "composite" American modernism.Formalist criticism has used medium specificity to isolate the study of art from other modes of history writing, but this dissertation restores a crucial historical context for modernist media theory to reveal that the ongoing American dilemma of integrating difference lies at the heart of American modernism.
by Lauren Kroiz.
Ph.D.
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Dunfee, Melissa Catherine. "Financial Challenges of New Media Art in Contemporary Arts Institutions." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1487646333901318.
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Hendrick, Catharina Carmel. "The Agile Museum : organisational change through collecting 'new media art'." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36093.
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This thesis investigates how collecting new media art affects the museum institutionally. The aim and purpose of this research was to understand how the process of collecting new media art within two regional case study museums (one in the UK and one in the Netherlands) is changing how they operate and function. The two regional museums in this research, I suggest, are innovative and adaptable organisations with agile organisation, agile curation and an agile organisational culture and leadership. Best practice is fostered, experimentation is cultivated and staff work in a collaborative and flexible manner so that new media art can be acquired. The theoretical approach, the Congruence Model of Organizational Behavior, considers how organisations are best aligned in terms of four major components: people, formal structure, informal culture and critical tasks/workflow. The research evaluated the congruence between the four major components and signals the subtle, but important ways in which new media art has reshaped them. A case study qualitative approach was used; interviews were carried out with participants and thematic analysis was employed to analyse the data. Three broad themes emerged from the research. First, new ways of organising – agile teams with a project-based ethos were apparent. Second, collaboration inside and outside the organisation – working across units and disciplines inside the museum and building networks outside the museum which promotes knowledge exchange, learning and collaborative practice were evident. Finally, staff agency and leadership – the organisational culture facilitates autonomy for staff where informed risk-taking and proactivity flourish. This research extends our knowledge of the reciprocal relationship between new media art and how the two museums operate and function. This study has gone some way towards enhancing our understanding of how new media art impacts, in nuanced ways, the museum’s structure and culture, and skills and expertise.
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Vieira, Miriam de Paiva. "Art and new media: Vermeer's work under different semiotic sistems." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-7A3H7K.
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The twentieth century was responsible for the revival of the visual arts, lending techniques to literature, in particular, after the advent of cinema. This visual revival is illustrated by the intersemiotic translations of "Girl with a Pearl Earrign": a recent low-budget movie was responsible for the revival of ordinary public interest in an art masterpiece from the seventeenth century. However, it was the book about the portrait that catalyzed this process of rejuvenation by verbalizing the portrait and inspiring the cinematographic adaptation, thereby creating the intersemiotic web. The objective of this dissertation is to analyze the visual revival via the intersemiotic translations of the work of the Dutch master Johannes Vermeer. The relationship between verbal and non-verbal texts is deemed translation, and includes the process of intersemiotic translation of verbal text adaptations to other media. The literary work, built on ekphrastic descriptions, is a type of novel called a Künstlerroman. Concerning the movie adaptation, in addition to the study of ekphrasis, I intend to show how cuts, additions and shuffling of scenes affetcted, or not, the core of the story. Additionally, I shall investigate the effect of the painter's works on the film's photography from the point of view of Gérard Genette and his proposed concept of transtextuality, which has been appropriated and applied to film studies by Robert Stam. Finally, I will confirm the study of recycling within a general theory of repetition proposed by James Naremore through an overview of Vermeer's influence on contemporary art and media production.O século XX foi responsável pelo retorno das artes visuais, especialmente depois do advento do cinema que passa a emprestar técnicas para a literatura. Este retorno é ilustrado pelas traduções intersemióticas de Moça com Brinco de Pérola, uma vez que um filme britânico independente chama a atenção do público geral para um retrato feito no século XVII, lembrando que o ciclo não seria fechado sem seu principal catalisador: o livro. Criando assim uma rede semiótica. O objetivo desta dissertação é analisar este retorno visual provocado pelas traduções intersemióticas feitas a partir da obra do mestre holandês Johannes Vermeer. A relação entre textos verbais e não-verbais é considerada uma forma de tradução, e inclui o processo de tradução intersemiótica de adaptações verbais para outras mídias. A obra literária que se constrói em torno de descrições ecfrásticas é um tipo de romance conhecido como Künstlerroman. Para o estudo da adaptação fílmica, demonstro como cortes, adições e inversões de cenas, afetaram, ou não, a essência do enredo, além do estudo de ecfrase. Investigo também o efeito da obra do pintor na fotografia do filme sob a luz da transtextualidade proposta por Gérard Genette, que foi apropriada aos estudos fílmicos por Robert Stam. James Naremore propõe um estudo de reciclagem dentro de uma teoria geral de repetição, que confirmo ao estudar a influência do legado de Vermeer na produção de arte e mídia contemporânea.
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Le, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
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New technologies, such as virtual reality, often draw to itself myths from other fields of interest and discourses. One such myth that has attached itself to virtual reality is the notion that virtual reality can provide a utopia for the mind, or true self, if the body can be cast off. It is this discarding of the body that my thesis aims to investigate in terms of Girardian sacrifice. Girard?s notion of sacrifice is built upon the observation of various cultures throughout history. It stands to reason that in our contemporary, digitally influenced, society, sacrifice, in some form, still persists. I argue that the body, when viewed as disposable, through the use of virtual reality, exhibits the same traits as the selected sacrificial victim. As the myth of a utopia for the mind, or true self, exists prior to the advent of virtual reality, traces of it, as well as the sacrifice I argue it entails, can be found in other texts as well. One such a text is The Chrysalids (Wyndham 1955). This text presents the reader with characters which I argue represent both the mind and body separately. The Chrysalids culminates in the characters representing the mind leaving for a utopian city whilst the character who, I argue, is most strongly associated with the body, Sophie Wender, is killed. It is also argued here in that the notion of abandoning the body is simply a myth since the inability to abandon the body is also discussed in terms of phenomenology, pointing out that the body can ultimately not be completely removed from the making of meaning. This phenomenological acknowledgement of the body, along with a critique The Chrysalids and cyber-utopia?s view of the body, forms the basis of my practical body of work.Dissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
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Delacruz, Phillip S. "EXPLORATIONS & REDEFINITIONS OF NEW MEDIA AESTHETIC CONCEPTS IN CONTEMPORARY ART CULTURE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3043.
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My thesis pursues the exploration, invention, and redefinition of the role of Aesthetics through artistic practices of 3d digital graphics, 2d print, video, and sculpture. Aesthetic research altruistically generates visual installations informed by utopian idealism, science and technology centric culture, pop culture iconography, art history, international contemporary art and design.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Garland, Vaughn. "Participation in the Digital Public: New Media Art as Online Community." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/561.
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Participation in The Digital Public: New Media Art as Online Community examines community online art projects— works of art produced and orchestrated by artists who employ the interconnected and participatory nature of the Internet. Garland contends, in part through a reevaluation of a statement made by artist Nam June Paik concerning a radio performance by John Cage, that community online art projects exist as the newest example of new media art because of a utilization and implementation of established and functioning technology. Through the application of Internet technology, contemporary artists, along with their collaborators and spectators, have the potential to create, build, engage, and exhibit new works of art and form new concepts for the production and practice of art making. This dissertation maintains that Community online art projects serve as the most current example of new media art because they examine the shared uses of the Internet. Participation in The Digital Public: New Media Art as Online Community includes examples and critiques of new online artworks as well as historical analysis of the theories of new media, participation, interconnectivity, and remediation in art through the 20th century.
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Maghrabi, Hesham A. "Application of traditional abstract painting in new media environments." Thesis, Coventry University, 2007. http://curve.coventry.ac.uk/open/items/975cb65c-9570-d5dc-6649-f793b886d6cb/1.
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This thesis presents an investigation into the process of new forms of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their processes. The reflective and issue finding processes undertaken by the researcher in this investigation are discussed in relation to the changes in his practice. The artist’s experimentation with materials and processes and the implications of this as regards the relationship between the artwork and the viewer are also discussed. The thesis is divided into seven chapters of text and images with an accompanying DVD including the main abstract new media installation. The first chapter includes an introduction to the research with the methodology applied. The second chapter involves using the computer to produce abstract painting. The third chapter then focuses on the differences between digital and traditional abstract painting. Moving on from this the fourth chapter covers multimedia installation and its associated processes. The fifth chapter deals with the reflections on the practice element of this investigation. The sixth chapter engages with the evaluation of and feedback from the field trip and with notes from artists with regard to practical production. The final chapter draws conclusions from this research with suggestions for further studies. This thesis will make the following contributions to knowledge: developing the process of animation from 2D abstract painting to a 3D environment with the inclusion of animation; using new technology as a creative tool to enable artists to gain new insights into creative art practices which provide audiences with new experiences of new and multimedia installation; advancing the creative process of new and multimedia artworks taking account of new techniques relating to the manipulation of viewpoints, picture planes and pigment surface as related to traditional methods of image creation and recording and their new media counterparts.
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Zics, Brigitta. "Transparency, cognition and interactivity : toward a new aesthetic for media art." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/transparency-cognition-and-interactivity(c029eaa7-93ac-40e5-ba3c-c3c3d6e18a0a).html.
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This practice-based thesis undertakes research into the contemporary aesthetic of interactive media art, in order to propose a useful practical model of interactivity founded on a critical approach to both existing theory and practice. It proceeds from the identification of a primary lack in contemporary aesthetics that arises from the predominantly materialistic comprehension of technologically-mediated artworks. The thesis establishes a new model for interactive art that offers an immaterial engagement with technology at a locus where cognition and the aesthetic intertwine. This model is constructed following a revision of both the theory and practice of interactive media art, which identifies a materialistic bias of technology-mediated art production caused by a confused concept of technology as both tool and medium. This investigation confines itself to the last forty years of interactive art and the new model of spectatorship that has accompanied it. The main objective of what follows from this investigation is an account of agency in the artist and spectator interrelationship. In the context of technologically based artworks various approaches to spectatorship have frequently remained within the constraints of the traditional model of art that inherently drew on a separation between body and mind. It is argued in this thesis that neither the technology nor the participation itself, but the cognitive interconnection between 'artist-artwork-spectator' produces the primary aesthetic dimension of interactive media art. In this respect, not the physical object creation but the aestheticisation of this triangle produces the here identified immaterial/cognitive experience of the spectators. This can be achieved when the technology is applied as a transparent medium one of the core concepts introduced in this thesis which can facilitate an aesthetic quality or meaning creation through technology. The 'transparent medium' enables the cognitive-based experience production, which is identified as the immersive flow of the spectator's aesthetic experience. As such, the re-evaluation of the artist- spectator interrelationship proposes a new immaterial model of art which is called the Transparent Act. The introduction of the Transparent Act leads to the main intervention of this thesis which lies in an effort to recover a lost dimension in interactive media art. A recovery of this dimension enables access to a knowledge practice which is not necessarily located in ordinary cognitive experiences but in unfamiliar conscious states that can be compared to accounts of so-called spiritual experiences. The model of the Transparent Act is concurrently applied as a practise-based intervention and proof-of-concept in a major installation, the Mind Cupola. This artistic and technological contextualisation of the original intervention of this thesis is exemplified as an affective environment which aims for an immediate cognitive affection of the spectator by generating mechanical and audio-visual effects in the spectator's 'mind'. The artistic system uses special face analysis techniques to close the feedback loop and affect the spectator through the analysis of her/his reactions. The installation is built upon a 'passive' modality of interaction in which the spectator contributes to the artwork with subtle, cognitive-based interactions which are fed back through a complex open response system. The implementation of cognitive feedback loops, also described as the fractal structure in the spectator's cognition, constitutes the essential transparent medium through which the previously lost immaterial dimension of a spiritual-like aesthetic experience in interactive media art is achieved. The thesis concludes with suggestions of further applications including the evaluation of technologically mediated artworks.
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Worley, Benjamin James. "information moving forward with new media through experiments in digital and video art /." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04162009-164810/.
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Thesis (M.F.A.)--Georgia State University, 2009.Title from file title page. Cheryl Goldsleger, committee chair; Teresa Reeves, Craig Dongoski, Joseph Peragine, committee members. Description based on contents viewed June 17, 2009. Includes bibliographical references (p. 44-45).
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Hammer, Steven Reginald. "Writing (Dirty) New Media: Technorhetorical Opacity, Chimeras, and Dirty Ontology." Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27537.
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There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a “rhetoric of technology” that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use. In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write on or through our technologies, but that we write in collaboration with them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and “glitches” as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call object-oriented art.
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Worley, Benjmain James. "Information: Moving forward with New Media through Experiments in Digital and Video Art." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/39.
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My art is an experimental exploration of new media using images and sounds, combined with technology to communicate messages both random and intentional. This thesis will document a contemporary method of creating art with computers, which results in disorganized images from the unique point of view of a dyslexic artist. This study will explain how art is randomized information and explain the didactic processes of my art. The concept of the work is to present old media in a new context and show how information is accumulated into a new understanding. Historically, my art builds on the Dadaist movement. Humor, excess, and performance are essential in my art because they connect to the audience. My library of videos comes from a society saturated with images, sound, and an avalanche of information. I have used art to process and create approximately 40,000 pieces that will be used in this work.
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Sitharan, Roopesh. "Unravelling Malaysian subjectivity : political identification and bodily experience in new media art." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23681/.
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In this thesis, I attempt to unravel the Malaysian subjectivity with regards to the racialized body, as well as in relation to the new media art practice. A Malaysian subject is formally identified with racial identity in order to distinguish between the Malay and rest of the citizens. It is an identification that aims to classify the Malaysian population into racial groups, but never manages to represent the subject in its totality. Due to this, every Malaysian is burdened with a racialization of body that informs their individual lived experience. This research attempts to probe into this lived experience. It argues that this discrepancy between the lived experience and racial marking leads to an epistemological uncertainty that informs the Malaysian subjectivity. Adapting the work of Deleuze and Guattari on machinic assemblage, as well as Bernard Stiegler’s idea on ‘Technics and Time’ the current thesis tries to discover what it means to be a Malaysian – to think beyond the mere racial body. By treating the body as an assemblage process, necessarily employing influences from external forces in order to come into being, I examine how contemporary Malaysian new media art practice is entangled with the production of Malaysian subjectivity. The research is located within my own subjective approach as a key ingredient for the unravelling of Malaysian subjectivity. It is my contention that such an enquiry on the subjectivity, effectively, cannot develop as long as it tries to emulate a positivist and objectivist model of research. I assert that only through critical reflection gained by my new media art practice can I account for an epistemological uncertainty central to the experience of bearing the racial identity as a Malaysian.
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Parsons, Rachael Nerrada. "Virion : new media and the development of the discursive museum." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.
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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.
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Nedkova, Iliyana. "Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice." Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.
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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there a need for distinct curatorial theory and practice of new media art underpins the hypothesis and furthermore puts the selected curatorial projects to the test. What emerges is a strong argument for the incorporation of new media art and its associated curatorship into the more encompassing entity of contemporaineity - its art, as well as its theory and practice of curating. Inspired by the method of critical reflection, Curating Contemporary Art opens with a hypothesis featuring an introduction, literature review and curatorial methodology outline. A novel notion of curatorial constituents: pre- production, production and post-production is proposed and then further investigated in relation to each of the four selected case studies. This approach provides a navigable structure for each of the three chapters. Specific issues of the curatorial constituents are highlighted under the relevant stage in each chapter. This host of curatorial issues with references to a range of appendices, including a detailed bibliography, lie at the thesis research core. The thesis ends with a synthesis or a conclusion. Overall, the thesis aims to enrich the current curatorial discourse through professional-confessional analysis of issues such as curatorial premise, theme-led practice, eo- curatorship, curatorial commissions, public commissions, funding, added value, ownership, genre and time-based notions. Here, a refreshing curatorial eye is cast on those issues in an attempt to foreground the importance of exhibition making, its theory and practice. Period-wise, the current investigation positions the thesis as part of the larger and ongoing project for curatorial historisation of the decade at the end of the 20th and at the beginning of the 21 st Centuries. It also asserts its intention to boldly go where no comprehensive curatorial study has ventured before by probing deeply into our assumptions about new media art, contemporary art and curatorship such as: is there a specific entity as curating computer based art or just curating contemporary art? Furthermore, it builds its innovative hypothesis around the three forms of relationships between the two art worlds under scrutiny: antagonistic, ambiguous and convergent, by comparing curatorial views and analysing experiences from across the two 'ideological camps'; by distinguishing between curatorial practice and curatorial theory while tracing their own origin and historical precedents. The antagonism of the mainstream art world towards new media and vice versa has contributed to the marginalisation of new media art and even its demarcation outside of the cultural mainstream. The marked ambivalence between the two fields of study is explored through the oscillating love-hate relationship which provides evidence for the reasons why the contemporary art world still sends out mixed signals of love and enmity about its digital other half. At the other end of the spectrum, the relationship between new media art and contemporary art appears much more convergent, amicable and mutually beneficial. The pioneering example set by New York's Postmasters Gallery is discussed in the self-reflective contemporary context of ARC Projects Gallery, Sofia.
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Keen, Seth. "Video chaos : multilinear narrative structuration in new media video practice /." Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20050921.151215/index.html.
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Ricci, James Anthony. "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/6021.
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This dissertation explores the intersection of new media and narrative, as it is presented through a cinematic aesthetic. The narrative language of film is analyzed through the theoretical framework of Bakhtin’s concepts of Heteroglossia, Chronotope, and Dialogism. Bakhtin’s ideas of classifying language act as strong tools for demonstrating how cinematic narrative can inform and alter the perception of its spectators. Lev Manovich’s principles of New Media, specifically Variability, Modularity, and Automation are also utilized to demonstrate how cinema is a constantly evolving paradigm.
Chapter one focuses on the theoretical terminology, outlining the conceptual definitions and illustrating their relevance in precise moments of cinema. This chapter introduces the idea that despite the original conception of Bakhtin and Manovich’s deriving from text and digital processes, their concepts are strongly present in contemporary cinema. Chapter two explores Manovich’s concept of variability in the cinematic genre of Noir. The Coen Brother’s Miller’s Crossing illustrates how the use of pastiche and homage has paved the way for the classic Noir genre to evolve into the genre of Neo-Noir. The aesthetic of Miller’s Crossing is examined in great detail to illuminate the comparisons between the variability of both genres. Chapter three also employs a Neo-Noir aesthetic. In Rian Johnson’s film Brick, the language is as much a character as any of the actors on the screen. A detailed reading of film exploring Bakhtin’s Dialogic concepts is established. The narrative of the film is examined with the idea that multiple meanings exist throughout individual units of speech. Chapter four continues the exploration of new media narrative concepts with a Science Fiction and Noir cinematic hybrid in an investigation of Rian Johnson’s film Looper. The basis of this analysis will be focused on fabula time and how the narrative of the film explores time travel, literally and metaphorically. In Looper the concepts of Chronotope and Modularity are both used to illustrate the director’s stylistic use of narrative sequencing to explore the paradoxes of time travel. Chapter five illustrates Manovich’s principles of new media as demonstrated in a biographical music drama. The documentary 20,000 Days on Earth features 24 hours in the life of Noir rock musician Nick Cave. The use of Cave’s music as a basis for the documentarians’ artful biopic creates an interpretive grid for analyzing the views of the artist and the persona that he has created for himself. Representations of diachrony in Cave’s reflective interviews regarding his evolution as an artist are also examined.
The goal of this dissertation is to provide academic consideration for theoretical concepts that have not been traditionally applied to the study of cinema. It should be of interest to scholars seeking to supplement their endeavors within the realms of film studies as well as new media. In the interest of nurturing an interdisciplinary space for literary studies to exist and inform other branches of scholarship, the topics of new media and narratology, when applied to cinema establish a juncture between historical linguistics, digital media concepts and film studies.
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Lee, Michelle. "Te whatu o poutini a visual art exploration of new media storytelling, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/419.
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This visual art project has explored the ancient Maori pukorero (oral tradition) of Te Whatu o Poutini (The Eye of Poutini) that articulates the journey of Poutini Taniwha, Waitaiki and Tamaahua from Tuhua (Mayor Island) in the Bay of Plenty, to the Arahura River. An oral geological map, the pukorero also expresses through cultural values, the intimate spiritual relationship Ngati Waewae have with our tupuna, the Arahura River, pounamu stone and each other. Exploring the genres of digital storytelling and video art installation, this project combines them as new media storytelling. The current experience of colonisation and urbanisation emotionally parallel the abduction, transformation and multiple places of belonging experienced by the tupuna Waitaiki at the hand of Poutini Taniwha. The project explores and acknowledges this connection. The survival, restoration and celebration of Ngati Waewae culture and the need to assert control of our own destinies has infused every component of the project.
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Castro, Juan Carlos. "An inquiry into knowing, learning, and teaching art through new and social media." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/14682.
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This dissertation is offered at a time when new and social media are becoming a significant part of how teens and adults relate, know, and learn in North America. New and social media are forming networked social spaces which are overlapping and permeating places of schooling and which need to be woven into learning and teaching. However, the deployment of new networked digital technologies is not enough; new conceptions of curricula and pedagogies are needed to address shifts in knowing and learning through new and social media. Responding to this, art educators have been calling for the incorporation of contemporary art practices into curricula and pedagogies, and articulating learning in relational and complex ways.
This exploratory design-based research study inquires into the intersection of these three strands: how knowing, learning, and teaching art are affected by new and social media; how an inquiry-based art curricula and pedagogy, as drawn from the practices of contemporary new media art and complexity thinking, may be theorized and enacted; and how art learning takes place at the individual and collective scales as it is enacted in curriculum, pedagogy, and social network space.
This study examines a designed and enacted curriculum and pedagogy in a social network space which involved participants from one secondary school visual arts department. Fifteen student participants, from grades 9 through 12, and 5 adults, including myself, inquired through art using new and social media. Questions arose during this inquiry, such as: Who and what is considered a knower and learner in a social network space? How does a dynamic system of collective ideas, resulting from artistic inquiry, shape and get shaped by the learning of individuals in a bounded collective? What and who teaches in such a collective? What roles do identity performance and construction play in participation and the learning of art online? All of these questions form an inquiry direction that seeks to interpret and represent possibilities for art education through new and social media.
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MacDonald, Gavin Eion. "Moving bodies in the inhabitable map : the GPS trace in New Media Art." Thesis, Manchester Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.570313.
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Geographers and social scientists have argued that geospatial technologies are contributing to new understandings of space as relational and of cartography as processual, performative and embodied rather than representational. These new understandings are developing through practices as well as in academic debate, in a widely acknowledged proliferation of vernacular, activist and artistic mappings. There is a fundamental tension in the fact that these new understandings of space and cartography are being facilitated by a technology underpinned by an absolute understanding of space. This thesis investigates the use of GPS by artists, and the role art has in producing these new spatial understandings. It looks at the work of four practitioners (Esther Polak, Jen Southern, Christian Nold and Daniel Belasco Rogers) who have made a significant engagement with the mapped trace of movement, through detailed biographical case studies which track their involvement with GPS across different projects over the last decade. The case study subjects have all been associated with the locative media genre, a label for new media art practices involving mobile and context-aware devices which emerged in the early part of the last decade. The mapped trace of movement has been identified as an inadequate capture of spatial practices. This position – most influentially articulated by Michel de Certeau – is associated with a tradition of thought that privileges time as the dimension of dynamism and denigrates space as the dimension of stasis and fixity. This denigrated space is the absolute space of cartography as it has been traditionally understood. This thesis uses the art practices of the four case study subjects to explore different relational understandings of space in which movement is primary, taken from the work of Gilles Deleuze (and Felix Guattari), Tim Ingold, Bruno Latour and Nigel Thrift. By looking at the different ways in which my case study subjects have addressed or exploited the tension between the absolute spatiality of cartography and the relational spatiality of movement in their art, it seeks to find a way past seeing these different conceptions of space in such starkly oppositional terms.
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Smith, Dominic. "Models of open source production compared to participative systems in new media art." Thesis, University of Sunderland, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573128.
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The term 'Open Source' has in the past decade been used very loosely in relation to art and social practices. This research compares the production processes of Open Source software production with those of participative new media art projects. The contextual review examines the behaviours of computer scientists from the 1960s onwards, including hacking, interaction over computer networks and shared use of computers when they were a scarce resource. Collaborative environment strategies for persohat-success are traced onto free software, FLOSS (Free Libre Open Source Software) and open source. Licencing and copyright are examined in relation to distribution. The development of participative art projects is also traced, in relation to new media, and these ethics of authorship, freedom, sharing and distribution. The research compares certain political and social ethics between software and art. It identifies different levels 'openness' and different kinds of hierarchies within production systems, including hierarchies of skill, approval, gatekeeping, and time. Interviews with key open source practitioners help to identify these hierarchies. As part of a practical body of research, a series of participative projects were developed by the researcher. These included both on line and physical space participation, including the Random Information Exchange series and Shredder. These were designed to test the various principles of open source within a new media art context. Through the successes and limitations of these projects, the elements of a project that are necessary for it to be to be classed as open source were identified. The findings of the research describe important differences in hierarchical structures of projects' production and distribution, and identify key elements including the 'ownership' of projects over time, and the importance of differentiating the 'instigator' role from the 'developer' role.
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Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.
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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.
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Mencia, Maria. "From visual poetry to digital art : image-sound-text, convergent media, and the development of new media languages." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2280/.
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This research arises from my practice as a professional artist and my concern with issues of language and communication, particularly, the investigation of ways that arouse emotion and rational thought at once through language. Visual Poetry is a form of expression, which provokes both, and I saw the potential to expand its underlining principles further with the emergence of new technologies. With the digital medium, the main elements of visual and sound poetry: image, sound and text, can now be incorporated into the same piece of work. The aim of this study is to explore new digital communicative systems that interweave visual, oral and semantic elements of language, to produce new media languages where the pre-linguistic and linguistic maintain their symbiotic identities. This study examines theoretical and artistic concerns emerging from the area in-between, which is created by interlacing image, sound and text in the same artwork. It addresses the following series of questions: How to transfer the main concepts from Visual Poetry to Digital Art? How does computer technology transform image, sound and text to create new media languages? What is the role of the author, reader, writer, producer in these new interactive textualities of image, sound and text? How has this affected the new conventions of reading, looking, producing, using and thinking? What does the digital add to the interactivelexts of Visual Poetry? What new meanings and processes of thinking, understanding and interpretation are appearing? In which way do new technologies enhance the collaborative nature of practice? This investigation brings knowledge from other disciplines into the art field and it explores different serniotic models such as the linguistic the visual and the aural. It blurs the barriers between the visual and the linguistic: between different art forms such as fine art, visual poetry and sound art/poetry in a new digital and technological arena. It questions the conventions applied to these critical areas with the aid of the new tools and critical concepts available through digital technology. This study challenges the viewer/listener/user with an interface of signs from different languages and serniotic systems: the visual (still and moving images), the audible and the linguistic, to participate and explore the multiple possibilities within a work. This investigation seeks to contribute to a new body of knowledge in the development of the areas of Visual Poetry, Digital Art and the new genre of Electronic Poetry, by creating new, innovative, digital artworks for which, as a new form of expression, critical and analytical conventions are still in the process of development.
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Marchant, Ethan Allister. "Center for Media Art and Technology a cultural incubator for the new industrial city /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3635.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2006.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Lesage, Frederik. "Networks for art work : an analysis of artistic creative engagements with new media standards." Thesis, London School of Economics and Political Science (University of London), 2009. http://etheses.lse.ac.uk/75/.
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The principle objective of this study is to examine the culture of networks that are implicated in the production of culture, specifically as it pertains to artists' design and use of digitally networked information and communication technologies (ICTs) for the production of artworks. The analysis in this study seeks to reveal a better understanding of the working practices that underpin artists' creative engagements with new media while recognising the significance of discursive continuities that inform such engagements. Theoretically, a case is presented for combining several theoretical perspectives into a multilayered conceptual framework for examining the circulation of power as it relates both to artistic creativity and to technological innovation. The former is accomplished through a critical assessment of the production of culture theoretical tradition. In calling upon concepts of discursive conduct as a means of developing relations of power, the concept of maverickness is proposed to understand how certain artists do not necessarily bring about change in an art world but instead dedicate themselves to the production of artistic creativity through a contention among various conventions. The latter is problematised drawing upon theories of mediation to develop a model of the conversion and classification of new media standards into art world conventions. A novel methodological approach is developed based on the development of multiple biographical threads of an individual and of a technology within a single case study of an art world network. Empirically, the thesis contributes insights into the diverse end contingent collective work practices involved in the design and use of ICTs by artists for the production of artworks. The findings suggest that individual artists are able to develop designer roles consistent with their situated understandings of creative conduct for modifying aspects of the ICT infrastructure despite shifting technological and social new media standards. However, in order to coordinate such roles within wider collective social structures, artists also initiate forms of mediation, articulation, and classification work that extend beyond the production of artworks and into attempts at programming art world networks within which such artworks were produced and distributed.
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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Armstrong, Keith. "Towards an ecosophical praxis of new media space design." Thesis, Queensland University of Technology, 2002.
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This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', ' Public Relations' and 'transit lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.
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Soares, de Castro Geraldo Eanes. "New Media Art: Taxonomía de las Prácticas Artísticas en el Contexto de las Tecnologías Digitales." Doctoral thesis, Universitat Politècnica de València, 2013. http://hdl.handle.net/10251/33397.
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La presente investigación conforma un análisis de las prácticas artísticas más significativas del arte electrónico con el fin de encontrar posibles convergencias entre ellas en el contexto de las tecnologías digitales. Se plantea como objetivo principal proporcionar un marco de reflexión que analice la naturaleza de estas prácticas artísticas con el fin de encontrar sus posibles vínculos formales, tecnológicos, estéticos y funcionales.
El trabajo se estructura en dos parte. La primera ofrece un marco teórico sobre el carácter multidisciplinar del Media Art, a través de una clasificación en dieciséis campos de investigación vinculados al arte electrónico que analizan pormenorizadamente aspectos constitutivos de éste.
La segunda parte del estudio, de carácter eminentemente práctico, se fundamenta en un trabajo de campo que tiene como resultado la construcción de un mapa taxonómico donde se presentan las interrelaciones entre estas prácticas artísticas con el fin de detectar campos convergentes o divergentes que permitan definir de una manera más exhaustiva (que la realizada hasta el momento), el alcance de estas prácticas y de sus correspondientes artistas.
A nivel general, este trabajo de investigación intenta demostrar la convergencia y divergencia existente entre las diferentes prácticas artísticas que conforman el arte electrónico, teniendo en cuenta las diferentes catalogaciones de museos y centros de Media Art, festivales de arte electrónico e instituciones relacionadas con la temática de la tesis, con el fin de establecer estadísticas (campos de acción, utilización de medios, etc.) que permitan un análisis más profundo de las mismas.Soares De Castro, GE. (2013). New Media Art: Taxonomía de las Prácticas Artísticas en el Contexto de las Tecnologías Digitales [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/33397
TESIS
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Graham, C. E. Beryl. "A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation." Thesis, University of Sunderland, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362218.
Full textAbstract:
Contemporary interactive computer-based artworks are examined, with particular reference to the problems and opportunities presented by their relationship to their audience in conventional gallery settings. From an anecdotal starting point, the research uses a series of observational case studies of exhibited works, the production of an interactive artwork, and the curation of an exhibition of interactive artworks, to explore pragmatic questions of the artwork/audience relationship in real-world situations. A range of existing taxonomies for kinds and levels of interactivity within art 'are examined, and a `common-language' taxonomy based on the metaphor of `conversation' is developed and applied. -The case studies reveal patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction. In particular, a high frequency of collective use of artworks, even when the artworks are designed to be used by one person, is discovered. This aspect of collective versus individual use, and interaction between audience members is further explored by several strands of research: The development of an interactive artwork specifically intended to be enhanced by collective usage and interaction between users; the application of a metaphor of 'conversation/host' to the making of the artwork; further, more specific, case studies of such artworks; and the further development of the taxonomy into a graphic form to illustrate differences in artwork-audience, and audience-audience relationships. The strands of research work together to uncover data which would be of use to artists and curators working with computer-basedin teractive artworks, and explores and develops tools which may be useful for the analysis of a wide range of artworks and art production
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Thomas, Lubi. "Curating in uncharted territories: An examination of a programming model & communicative platform for curation in non-traditional art spaces." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84621/1/Lubi_Thomas_Thesis.pdf.
Full textAbstract:
This thesis articulates and examines public engagement programming in an emerging, non¬-traditional site. As a practice-led research project, the creative work proposes a site responsive, engagement centric, agile model for curatorial programming that developed out of the dynamic, new media/digital, curatorial practice at QUT's Creative Industries Precinct. The model and its accompanying exegetical framework, Curating in Uncharted Territories, offer a theoretically informed approach to programming, delivering and reporting for curatorial practices in a non¬-traditional sites of public engagement. The research provides the foundation for full development of the model and the basis for further research.
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Chenzira, Ayoka. "Haptic cinema: an art practice on the interactive digital media tabletop." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39500.
Full textAbstract:
Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema".
This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.
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Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.
Full textAbstract:
Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.
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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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Peacock, Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30391/.
Full textAbstract:
How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.
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Hall, Margaret A. "Radio after radio : redefining radio art in the light of new media technology through expanded practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8748/.
Full textAbstract:
I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist‟s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight „trace‟ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One.
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Peacock, Eve Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30391/1/Eve_Peacock_Thesis.pdf.
Full textAbstract:
How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.