Dissertations / Theses on the topic 'New media art – Preservation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'New media art – Preservation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
Full textJensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.
Full textDigital/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.
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.
Full textWoolf, 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.
Full textSunderhaus, 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.
Full textAdvisor: 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.
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.
Full textBalaskas, 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/.
Full textBarriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
Full textFeminist 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.
Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
Full textEriksson, 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.
Full textGallagher, 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.
Full textGirlando, 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.
Full textGonzalez, 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.
Full textCataloged 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.
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.
Full textIncludes 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.
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.
Full textHendrick, Catharina Carmel. "The Agile Museum : organisational change through collecting 'new media art'." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36093.
Full textVieira, 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.
Full textO 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.
Le, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
Full textDissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
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.
Full textM.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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.
Full textLa 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.
Garland, Vaughn. "Participation in the Digital Public: New Media Art as Online Community." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/561.
Full textMaghrabi, 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.
Full textZics, 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.
Full textWorley, 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/.
Full textTitle 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).
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.
Full textWorley, 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.
Full textSitharan, 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/.
Full textParsons, 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.
Full textNedkova, 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.
Full textKeen, 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.
Full textRicci, 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.
Full textLee, 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.
Full textCastro, 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.
Full textMacDonald, 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.
Full textSmith, 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.
Full textAceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.
Full textMencia, 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/.
Full textMarchant, 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.
Full textThesis 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.
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/.
Full textTimney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
Full textArmstrong, Keith. "Towards an ecosophical praxis of new media space design." Thesis, Queensland University of Technology, 2002.
Find full textSoares, de Castro Geraldo Eanes. "New Media Art: Taxonomía de las Prácticas Artísticas en el Contexto de las Tecnologías Digitales." Doctoral thesis, Universitat Politècnica de València, 2013. http://hdl.handle.net/10251/33397.
Full textSoares 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
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 textThomas, 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 textChenzira, 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 textKenning, 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 textTurner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.
Full textThis 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?
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 textHall, 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 textPeacock, 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 text