Dissertations / Theses on the topic 'Visual arts and media arts'
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King, Mike. "Computer media in the visual arts, and their user interfaces." Thesis, Royal College of Art, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293932.
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Bitoun, Claire. "Gautier, Wilde, and the visual arts : artistic media and movement." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:a765fb6d-2b26-4f38-9a27-9d33836c0998.
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In nineteenth-century literary studies and histories, Théophile Gautier (1811-1872) is still largely remembered as the instigator of the doctrine of Art for Art's Sake, mostly because of his novel Mademoiselle de Maupin (1835) and its controversial preface. This recognition is usually accompanied by a retrospective appreciation of Gautier's work in light of the more famous authors who succeeded him and developed some of the precepts of the doctrine, such as Baudelaire. This thesis is a comparative study of Gautier and Oscar Wilde (1854-1900) as the two main exponents of the doctrine of Art for Art's Sake respectively in France and Britain. While comparisons between Gautier and Baudelaire have tended to highlight the superiority of the latter, a comparison with Wilde allows Gautier to be seen and understood in his own terms, and simultaneously casts a new light on Wilde's contribution to the development of the doctrine. My study is the first to examine the works of the two authors comparatively from the vantage point of their aesthetic theories. I argue that in order better to assess their contribution, it is necessary to start with an analysis of their experimentations with literary form. The overall aim of the thesis is to re-evaluate their fictional works which, as a result of their commitment to the doctrine, are often seen as lacking in depth and content, and as being too descriptive and decorative. The central argument is that the very decorative form of their works should be seen as the starting point of an ambitious reflection on literature, its aims and its relation to other artistic media, the visual arts in particular.
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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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Draving, Marilyn Joelle 1953. "Art and the blind: Clay media and artistic expression of the young child with significant visual impairments." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291544.
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In view of current research in mental imagery and creativity, the researcher suggests that a program of art activities with clay media is advantageous for young blind children. The literature reviewed suggests the value of the young blind childs work in clay. This study discusses learning process of the blind, mental imagery and therapeutic art education. It attempts to answer three questions. The study asks how these children learn; what methods might be appropriate for art instruction, and looks for indications of the growth of imagery and creativity. The methods and activities designed and implemented are discussed in this study. Selected clay work by children are shown in photographs. The results seemed to indicate that the these activities were beneficial for young children with significant visual impairments. Recommendations are made for further study.
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Johnson, Michael Patrick 1971. "Evolving visual routines." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/61533.
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Hirsch, Matthew Waggener. "Computational visual reality." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/95588.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 231-245).
It is not so far-fetched to envision a future student working through a difficult physics problem by using their hands to manipulate a 3D visualization that floats above the desk. A doctor preparing for heart surgery will rehearse on a photo-real replica of his patient's organ. A visitor to the British Museum in London will sketch a golden Pharaoh's headdress, illuminated by a ray of sunlight pouring in the window, never aware that the physical artifact is still in Egypt. Though such scenarios may seem cut from the pages of science fiction, this thesis illuminates a path to making them possible. To create more realistic and interactive visual information, displays must show high quality 3D images that respond to environmental lighting conditions and user input. The availability of displays capable of addressing the full range of visual experience will improve our ability to interact with computation, the world, and one another. Two of the many problems that have impeded previous efforts to design high-dimensional displays are the need to: 1. process large amounts of information in realtime; and 2. fabricate hardware capable of conveying that information. Light field capture and display is enormously data-intensive, but by applying compressive techniques that take advantage of multiple data redundancies in light transport, it is possible to overcome these challenges and make use of hardware available in the near-term. This thesis proposes display and capture frameworks that use non-negative tensor factorization and dictionary-based sparse reconstruction, respectively, in conjunction with the co-design of algorithms, optics, and electronics to allow compressive, simultaneous, light field display and capture.
by Matthew Waggener Hirsch.
Ph. D.
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Karahalios, Kyratso G. 1972. "Merging static and dynamic visual media along an event timeline." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/61832.
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Naik, Nikhil (Nikhil Deepak). "Visual urban sensing : understanding cities through computer vision." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/109656.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 122-131).
This thesis introduces computer vision algorithms that harness street-level imagery to conduct automated surveys of the built environment and populations at an unprecedented resolution and scale. We introduce new tools for computing quantitative measures of urban appearance and urban change. First, we describe Streetscore, an algorithm that quantifies how safe a street block looks to a human observer, using computer vision and crowdsourcing. We extend this work with an efficient convolutional neural network-based method that is capable of computing several perceptual attributes of the built environment from thousands of cities from all six inhabited continents. Second, we introduce a computer vision algorithm to compute Streetchange-a metric for change in the built environment-from time-series street-level imagery. A positive Streetchange is indicative of urban growth; while negative Streetchange is indicative of decay. We use these tools to introduce new datasets. We use the Streetscore algorithm to generate the largest dataset of urban appearance to date, which covers more than 1 million street blocks from 21 American cities. We use the Streetchange algorithm to also generate a dataset for urban change containing more than 1.5 million street blocks from five large American cities. These datasets have enabled research studies across fields such as economics, sociology, architecture, urban planning, and public health. We utilize these datasets to provide new insights on important research questions. With the dataset on urban appearance, we show that criminal activity has a robust positive correlation with the spatial variation in architecture within neighborhoods. With the dataset on urban change, we show that positive urban change occurs in geographically and physically attractive areas with dense, highly-educated populations. Taken together, the tools, datasets, and insights described in this thesis demonstrate that computer vision-driven surveys of people and places have the potential to massively scale up studies in social science, to change the way cities are built, and to improve the design, execution, and evaluation of policy and aid interventions.
by Nikhil Naik.
Ph. D.
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Wilson, Andrew David. "Learning visual behavior for gesture analysis." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/62924.
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Vasconcelos, Nuno Miguel Borges de Pinho Cruz de. "Bayesian models for visual information retrieval." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62947.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.Includes bibliographical references (leaves 192-208).
This thesis presents a unified solution to visual recognition and learning in the context of visual information retrieval. Realizing that the design of an effective recognition architecture requires careful consideration of the interplay between feature selection, feature representation, and similarity function, we start by searching for a performance criteria that can simultaneously guide the design of all three components. A natural solution is to formulate visual recognition as a decision theoretical problem, where the goal is to minimize the probability of retrieval error. This leads to a Bayesian architecture that is shown to generalize a significant number of previous recognition approaches, solving some of the most challenging problems faced by these: joint modeling of color and texture, objective guidelines for controlling the trade-off between feature transformation and feature representation, and unified support for local and global queries without requiring image segmentation. The new architecture is shown to perform well on color, texture, and generic image databases, providing a good trade-off between retrieval accuracy, invariance, perceptual relevance of similarity judgments, and complexity. Because all that is needed to perform optimal Bayesian decisions is the ability to evaluate beliefs on the different hypothesis under consideration, a Bayesian architecture is not restricted to visual recognition. On the contrary, it establishes a universal recognition language (the language of probabilities) that provides a computational basis for the integration of information from multiple content sources and modalities. In result, it becomes possible to build retrieval systems that can simultaneously account for text, audio, video, or any other content modalities. Since the ability to learn follows from the ability to integrate information over time, this language is also conducive to the design of learning algorithms. We show that learning is, indeed, an important asset for visual information retrieval by designing both short and long-term learning mechanisms. Over short time scales (within a retrieval session), learning is shown to assure faster convergence to the desired target images. Over long time scales (between retrieval sessions), it allows the retrieval system to tailor itself to the preferences of particular users. In both cases, all the necessary computations are carried out through Bayesian belief propagation algorithms that, although optimal in a decision-theoretic sense, are extremely simple, intuitive, and easy to implement.
by Nuno Miguel Borges de Pinho Cruz de Vasconcelos.
Ph.D.
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Intille, Stephen S. (Stephen Sean). "Visual recognition of multi-agent action." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9374.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.Includes bibliographical references (p. 167-184).
Developing computer vision sensing systems that work robustly in everyday environments will require that the systems can recognize structured interaction between people and objects in the world. This document presents a new theory for the representation and recognition of coordinated multi-agent action from noisy perceptual data. The thesis of this work is as follows: highly structured, multi-agent action can be recognized from noisy perceptual data using visually grounded goal-based primitives and low-order temporal relationships that are integrated in a probabilistic framework. The theory is developed and evaluated by examining general characteristics of multi-agent action, analyzing tradeoffs involved when selecting a representation for multi-agent action recognition, and constructing a system to recognize multi-agent action for a real task from noisy data. The representation, which is motivated by work in model-based object recognition and probabilistic plan recognition, makes four principal assumptions: (1) the goals of individual agents are natural atomic representational units for specifying the temporal relationships between agents engaged in group activities, (2) a high-level description of temporal structure of the action using a small set of low-order temporal and logical constraints is adequate for representing the relationships between the agent goals for highly structured, multi-agent action recognition, (3) Bayesian networks provide a suitable mechanism for integrating multiple sources of uncertain visual perceptual feature evidence, and (4) an automatically generated Bayesian network can be used to combine uncertain temporal information and compute the likelihood that a set of object trajectory data is a particular multi-agent action. The recognition algorithm is tested using a database of American football play descriptions. A system is described that can recognize single-agent and multi-agent actions in this domain given noisy trajectories of object movements. The strengths and limitations of the recognition system are discussed and compared with other multi-agent recognition algorithms.
by Stephen Sean Intille.
Ph.D.
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Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Diep, Vivian Chan. "Me.TV : a visual programming language and interface for dynamic media programming." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101844.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 59-60).
The culture of televised media experiences has changed very little since the time it began in the 1930s, but new internet technologies, like Netflix, Hulu, and Youtube, are now quickly forcing major change. Although these new internet technologies have given the viewer more control than the historical dial, they have also left behind some of the greatest contributions of traditional television. These contributions include not just the well-favored simplicity of use, but also the sense of social experience and connectedness, the ease and continuity of scheduled programming, and the understanding that television is now, current, and pulsing. This thesis presents Me.TV, a web platform that combines the benefits of traditional television and on-demand viewing for a new experience that allows us to let go, watch the same channels as our friends, flip our preferences around, get constant, current content, and still have control over the type and timing of content. To make this experience possible, we present a visual programming language at the center of the Me.TV platform that enables users to create complex rules with simple interactions. The visual language constructs allow users to create static preferences, such as genre constraints, and plan for non-static ones, such as a current mood, in as many channels as they want. To support the Me.TV programming language, the platform comprises of an editor, translation engine, application programming interface, video player and navigation dashboard, which we prototype in this thesis as a javascript web application. Work reported herein was funded by the Media Lab Consortium and the Ultimate Media Program.
by Vivian Chan Diep.
S.M.
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Schiffman, Jared (Jared Michael) 1976. "Aesthetics of computation : unveiling the visual machine." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/31103.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001."September 2001."
Includes bibliographical references (p. 106-110).
This thesis presents a new paradigm for the design of visual programming languages, with the goal of making computation visible and, in turn, more accessible. The Visual Machine Model emphasizes the need for clear visual representations of both machines and materials, and the importance of continuity. Five dynamic visual programming languages were designed and implemented according to the specification of the Visual Machine Model. In addition to individual analysis, a comparative evaluation of all five design experiments is conducted with respect to several ease of use metrics and Visual Machine qualities. While formal user tests have not been conducted, preliminary results from general user experiences indicate that being able to see and interact with computation does enhance the programming process.
Jared Schiffman.
S.M.
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Yang, Xiaoyang. "Visual balance--the tightrope of computer generated layout." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/63208.
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Mollitor, Robert Charles. "Eloquent scenery--a study of peripheral visual communication." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/62038.
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Chang, Agnes S. M. Massachusetts Institute of Technology. "Kaleido : individualistic visual interfaces for software development environments." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61942.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. [105]-108).
Programming, especially programming in the context of art and design, is a process of reconciling and shifting between individual creative thought and rigid conceptual models of code. Despite advances of programming support tools, the discrepancy between the contextual specificity of the author's intent and the uniformity of program structure still causes people to find the software medium unwieldy. Taking inspiration from the way in which sketching supports the creative process, in this thesis I argue that incorporating individualistic visual elements into the interface of our programming environments can make the creative coding process more intuitive. I present Kaleido as one implementation of a programming environment that augments traditional textual representations of a program with user-generated graphical elements that act as an additional interface to the code. Kaleido enables users to create personally meaningful visuals for their code, thus allowing individuals to plan, organize, and navigate code in the idiosyncratic way we each think. This document presents the motivations, research, and design process that led to the creation of Kaleido, as well as a preliminary evaluation of a number of users' experience with using Kaleido, and finally a discussion of future and alternative possibilities.
by Agnes Chang.
S.M.
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Schoch, Catherine M. "Medium and mode : relationships between visual experience and perception in an installation arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/70251/2/Catherine_Schoch_Thesis.pdf.
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Working primarily within the natural landscape, this practice-led research project explored connections between the artist's visual and perceptual experience of a journey or place while simultaneously emphasizing the capacity for digital media to create a perceptual dissonance. By exploring concepts of time, viewpoint, duration of sequences and the manipulation of traditional constructs of stop-frame animation, the practical work created a cognitive awareness of the elements of the journey through optical sensations. The work allowed an opportunity to reflect on the nature of visual experience and its mediation through images.
The project recontextualized the selected mediums of still photography, animation and projection within contemporary display modes of multiple screen installations by analysing relationships between the experienced and the perceived. The resulting works added to current discourse on the interstices between still and moving imagery in a digital world.
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Spencer, John Maurice. "Creative risk and ethics : the pedagogy of media practice and the visual arts within UK higher education." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/618330/.
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This study makes an original contribution to knowledge, by an examination of the relationship between 'creative risk' and ethical appraisal within media and visual arts pedagogy at a higher education level. A central aim was to explore a new discipline-‐specific model for ethical appraisal for use by visual arts researchers and students. 'The ethical dimension is an important aspect of research governance' (De Wet, 2010:301), however, Hedgecoe, (2008:874) argues that 'underpinning the sociological critique of ethics review is an alarming methodological lacuna'. The observation that ethical issues implicit in visual research are different than those derived from purely textual sources, (Wiles et al., 2008), together with the recognition that quality assurance may hinder creative approaches, (Hargreaves, 2008), necessitated the need to seek better solutions. A second allied aim of the study considered the role of 'creative risk' and how this might affect the ethical decision-‐making of visual arts researchers and staff? Finally, by analysing data assembled during the study, the research explores the creative and ethical risks associated with the display of problematical images. The study identified that within the visual arts an overwhelming majority of respondents considered creative risk-‐taking to be important yet exhibited a nuanced relationship to ethical regulation. Furthermore, whilst creative risk was greatly overlooked in the literature, a factor noted by Ellis and Meneely, (2015); creative risk may help us better understand the processes of teaching, research and making. The study proposes a series of recommendations for improved systems of ethical appraisal including the need to differentiate between a research context and art practice operating outside of the academy. The findings also statistically assess the incidence of ethical issues highlighted by postgraduate visual arts researchers and advance a new definition for creative risk. It is hoped the study's original interpretation of creative risk and recommendations for improved systems of ethical appraisal will assist others in the field.
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The, Richard. "Subjectified : personification as a design strategy in visual communication." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62083.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 87-89).
When we encounter statistics too far removed from our personal experience, we sometimes find it difficult to imagine the real implications of that data. While we might understand the information logically, it can be hard to relate it to our immediate personal lives. In this thesis, I investigate a novel visual representation for such data, which I call Personification of Information. This alternative form of data visualization incorporates real people within the viewer's immediate physical or social environment as part of the representation. The goal of this visualization technique is to bring information that is otherwise perceived as distant and detached closer to the viewer. This design strategy is explored in three artistic projects, "What If the World were your n Facebook friends?", "Unification-A Case Study?" And "What Was the Media Lab Thinking About In The Year _ _ _ ?" They are complemented by two projects from other areas that investigate Personification as a design strategy to bring the abstract closer to the individual: "Omnivisu" uses Personification as an interface to architecture; "Giving Character to Characters" applies the strategy to augment digital typography with human expression. Additionally I formalize the findings of these projects as a set of generalized design parameters for Personification of Information.
by Richard The.
S.M.
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Gorkani, Mojgan Monika. "Designing an orientation finding algorithm using human visual data." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/62090.
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Mukherjee, Niloy 1978. "Spontaneous speech recognition using visual context-aware language models." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/62380.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.Includes bibliographical references (p. 83-88).
The thesis presents a novel situationally-aware multimodal spoken language system called Fuse that performs speech understanding for visual object selection. An experimental task was created in which people were asked to refer, using speech alone, to objects arranged on a table top. During training, Fuse acquires a grammar and vocabulary from a "show-and-tell" procedure in which visual scenes are paired with verbal descriptions of individual objects. Fuse determines a set of visually salient words and phrases and associates them to a set of visual features. Given a new scene, Fuse uses the acquired knowledge to generate class-based language models conditioned on the objects present in the scene as well as a spatial language model that predicts the occurrences of spatial terms conditioned on target and landmark objects. The speech recognizer in Fuse uses a weighted mixture of these language models to search for more likely interpretations of user speech in context of the current scene. During decoding, the weights are updated using a visual attention model which redistributes attention over objects based on partially decoded utterances. The dynamic situationally-aware language models enable Fuse to jointly infer spoken language utterances underlying speech signals as well as the identities of target objects they refer to. In an evaluation of the system, visual situationally-aware language modeling shows significant , more than 30 %, decrease in speech recognition and understanding error rates. The underlying ideas of situation-aware speech understanding that have been developed in Fuse may may be applied in numerous areas including assistive and mobile human-machine interfaces.
by Niloy Mukherjee.
S.M.
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Campbell, Lee Winston. "Visual classification of co-verbal gestures for gesture understanding." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8707.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes bibliographical references (leaves 86-92).
A person's communicative intent can be better understood by either a human or a machine if the person's gestures are understood. This thesis project demonstrates an expansion of both the range of co-verbal gestures a machine can identify, and the range of communicative intents the machine can infer. We develop an automatic system that uses realtime video as sensory input and then segments, classifies, and responds to co-verbal gestures made by users in realtime as they converse with a synthetic character known as REA, which is being developed in parallel by Justine Cassell and her students at the MIT Media Lab. A set of 670 natural gestures, videotaped and visually tracked in the course of conversational interviews and then hand segmented and annotated according to a widely used gesture classification scheme, is used in an offline training process that trains Hidden Markov Model classifiers. A number of feature sets are extracted and tested in the offline training process, and the best performer is employed in an online HMM segmenter and classifier that requires no encumbering attachments to the user. Modifications made to the REA system enable REA to respond to the user's beat and deictic gestures as well as turntaking requests the user may convey in gesture.
(cont.) The recognition results obtained are far above chance, but too low for use in a production recognition system. The results provide a measure of validity for the gesture categories chosen, and they provide positive evidence for an appealing but difficult to prove proposition: to the extent that a machine can recognize and use these categories of gestures to infer information not present in the words spoken, there is exploitable complementary information in the gesture stream.
by Lee Winston Campbell.
Ph.D.
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Araujo, Santos Ana Luisa de. "uCom : spatial displays for visual awareness of remote locations." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55199.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. [113]-116).
uCom enables remote users to be visually aware of each other using "spatial displays" - live views of a remote space assembled according to an estimate of the remote space's layout. The main elements of the system design are a 3D representation of each space and a multi-display physical setup. The 3D image-based representation of a space is composed of an aggregate of live video feeds acquired from multiple viewpoints and rendered in a graphical visualization resembling a 3D collage. Its navigation controls allow users to transition among the remote views, while maintaining a sense of how the images relate in 3D space. Additionally, the system uses a configurable set of displays to portray always-on visual connections with a remote site integrated into the local physical environment. The evaluation investigates to what extent the system improves users' understanding of the layout of a remote space.
by Ana Luisa de Araujo Santos.
S.M.
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Dawes, Jason. "The Value of Everything is Nothing." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/248.
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Photography was my introduction into art. I gravitated toward portrait photography fairly quickly. I found the interaction between subject and photographer to be an intense moment in time. I began to push that intensity - through various non-traditional approaches, such as placing ads in the personals. It did not take long before I turned the camera on myself, creating self-portraits in the domestic setting. I began to play for the camera. I created various personas that placed myself in some gray area between masculinity and femininity. Shortly there after, I began working with collage. I found the formulas and rigidity sometimes found in photography had me gasping for air. Collage works had freed up my process. The mediums of photography and collage played harmoniously together as they are both paired in ideas of domesticity, gender roles, ' family dynamics and dominant and submissive figures. The collage work is compressed and stacked in a way that adds weight to the issues found inside. The stacking and overlapping of the collages, keeps all the elements fighting for space. I can tap into the subconscious and explore ideas through the re-contextualization of other images, text, and scraps of paper. The key elements of my domestic photo collages are: the home, sexual tension/hierarchy /innuendo, and gender play. Through a serious studio practice, I am able to share my sense of humor and playfulness in my work. With an Exactoknife, a few pages from a magazine, and a glue stick, I can change and rearrange the world around me.
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DiMicco, Joan Morris. "Changing small group interaction through visual reflections of social behavior." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33007.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Leaf 141 blank.
Includes bibliographical references (leaves 135-140).
People collaborating in groups have potential to produce higher-quality output than individuals working alone, due to the pooling of resources, information, and skills. Yet social psychologists have determined that groups rarely harness this potential. This thesis proposes that technology in face-to-face settings can be used to address the social factors that have damaging influence on group decision-making processes. While there is much work in the area of collaborative software and groupware, this work differentiates itself with its specific aim to influence the way a group shares information without mediating the group's communication. By presenting visualizations to the group of individual levels of participation and turn-taking behavior, the technology aims to augment the group's communication ability, by making it more aware of imbalances. A series of dynamic displays positioned peripherally to a discussion were developed and used by a variety of groups during face-to-face meetings. Both observational and experimental results indicate that these displays influence individual participation levels and the process of information sharing used during a decision-making discussion. A display revealing real-time participation levels caused those at the highest levels of participation to decrease the amount they spoke. Viewing a visualization of previous turn-taking patterns caused those who spoke the least to increase the amount they spoke in a subsequent discussion; real-time feedback did not produce this change. Additionally, after reviewing their turn-taking patterns, groups altered their information-sharing strategies.
(cont.) For groups that had poor sharing strategies on an initial task, this change improved their ability to share information related to the decision; for those who did not need intervention, feedback on turn-taking was not beneficial for their subsequent information sharing. The central finding of this research is that displays of social information, viewed during or after a meeting, bring about changes in a group's communication style, highlighting the potential for such displays to improve real-world decision-making.
by Joan Morris DiMicco.
Ph.D.
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Starner, Thad. "Visual recognition of American sign language using hidden Markov models." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29089.
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Dai, James Jian 1982. "Visual intelligence for online communities : commonsense image retrieval by query expansion." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/26916.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (leaves 65-67).
This thesis explores three weaknesses of keyword-based image retrieval through the design and implementation of an actual image retrieval system. The first weakness is the requirement of heavy manual annotation of keywords for images. We investigate this weakness by aggregating the annotations of an entire community of users to alleviate the annotation requirements on the individual user. The second weakness is the hit-or-miss nature of exact keyword matching used in many existing image retrieval systems. We explore this weakness by using linguistics tools (WordNet and the OpenMind Commonsense database) to locate image keywords in a semantic network of interrelated concepts so that retrieval by keywords is automatically expanded semantically to avoid the hit-or-miss problem. Such semantic query expansion further alleviates the requirement for exhaustive manual annotation. The third weakness of keyword-based image retrieval systems is the lack of support for retrieval by subjective content. We investigate this weakness by creating a mechanism to allow users to annotate images by their subjective emotional content and subsequently to retrieve images by these emotions. This thesis is primarily an exploration of different keyword-based image retrieval techniques in a real image retrieval system. The design of the system is grounded in past research that sheds light onto how people actually encounter the task of describing images with words for future retrieval. The image retrieval system's front-end and back- end are fully integrated with the Treehouse Global Studio online community - an online environment with a suite of media design tools and database storage of media files and metadata.
(cont.) The focus of the thesis is on exploring new user scenarios for keyword-based image retrieval rather than quantitative assessment of retrieval effectiveness. Traditional information retrieval evaluation metrics are discussed but not pursued. The user scenarios for our image retrieval system are analyzed qualitatively in terms of system design and how they facilitate the overall retrieval experience.
James Jian Dai.
S.M.
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Barabas, James. "Holographic television : measuring visual performance with holographic and other 3D television technologies." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91863.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 89-96).
We are surrounded by visual reproductions: computer screens, photographs, televisions, and countless other technologies allow us to perceive objects and scenes that are not physically in-front of us. All existing technologies that reproduce images perform engineering tradeoffs that provide the viewer with some subset of the visual information that would be available in person, in exchange for cost, convenience, or practicality. For many viewing tasks, incomplete reproductions go unnoticed. This dissertation provides a set of findings that illuminate the value of binocular disparity, and ocular focus information that can be provided by some three-dimensional display technologies. These findings include new experimental methods, as well as results, for conducting evaluations of current and future display technologies. Methodologies were validated on an implementation of digital holographic television, an image capture and reproduction system for visual telepresence. The holographic television system, allows viewers to observe, in real-time, a remote 3D scene, through a display that preserves focus (individual objects can be brought into optical focus at the expense of others), and horizontal motion parallax (depth and other geometry of objects appears natural over a range of head movement). Holographic television can also emulate other precursor 2D and 3D display technologies. This capability was used to validate the evaluation methodologies (meta-evaluation) by comparing visual performance on simulations of conventional displays to results of past studies by other researchers.
by James Barabas.
Ph. D.
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Rennison, Earl. "The mind's eye : an approach to understanding large complex information-bases through visual discourse." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/62332.
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Hall, Price. "Transmutation: One Thing Becoming Another." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/251.
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My art emerges from decades of the experience of building myself, sensitively aware of accumulated experience and the weight of accrued memory. Responding to this life I so deeply appreciate the longer I live, as sculptor, painter and poet, I merge these individual aesthetic observations into a layered work of many reads. Offering poetic observation as a visual sensation beyond the ears’ hearing carried on a field of color connects at some interior emotional level which is absent or very different in the uniformity of type. Time is present in my current work. “Corrugations”, not only in the poetic images emerging from three days in the embrace of nature but in the new task of the recycled cardboard of commerce as an agent of art. I share my observation of life as art objects of consideration, poetry embedded in the strong arms of bas relief sculpture, the abstract text of language make as visible as the emotional response to color. “Corrugations” becomes an environment where one can wander among the recycled attains a new nobility d offers sparse poems of human observation. Perhaps deceptively simple a certain richness exudes from the massed collection, two dozen glimpses into a state of mind at once impoverished and nourished by the vital power of wilderness. The machine of civilization has become almost a runaway train with a footprint greater than any natural cataclysmic act and we must create and foster a new state of balance within the biosphere. To value the promise of humanity is to seek to establish responsible civilization where the positive possibilities exist to cherish all forms of life. More important though is the nourishment of what human life could become as quality of all life becomes the most important and universal goal. To believe that growth is always a possible choice even in the midst of ancient negative behaviors which negate growth embracing positive change is perhaps less a luxury than a conscious personal choice and if my choice can inform consideration of choice in the viewer than my art has served well.
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Murrieta, Flores David Alejandro Jerzy. "Situationist margins : The Situationist Times, King Mob, Black Mask, and S.NOB magazines." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20919/.
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This thesis parts from the premise that avant-garde art collectives produce discourses meant to articulate the opposition to the art/life divide as one that interrelates fields such as aesthetics, politics, philosophy, and even economics. By utilizing a comparative framework, it plays on the complementarity and differences between four 1960s groups that formed very specific organizations directed at challenging society, in one way or another related to the Situationist International: The Situationist Times (France), King Mob Echo (UK), Black Mask and its transformations (US), and S.NOB (Mexico). Through the medium of magazines, they intended to reach a mass audience that in the act of reading and looking at their images and texts would be prompted to discern organizations that undermined the world-system. Thus, the Situationist Times attempted to form a (people’s) movement that in an applied creativity that rejected the metanarrative of progress would be able to realize the malleability of history. King Mob followed a conspiratorial logic with the idea of a dis-organized mass suddenly acting in concert against states. Black Mask and its transformations played with the idea of a war for territory, the occupation of a ‘free zone’ by a community in the midst of a dominated world. Finally, S.NOB’s idiosyncratic anarchism came from an opposition to the totalizing discursive practices of the Mexican Revolution, giving primacy to fragmentation and an anti-organizational bent; while it had no direct relationship to any of the above groups, it shows how their techniques and theories develop out of an engagement with Surrealism and past avant-gardes. S.NOB provides not a counterpoint but a contextual revelation of the limits of these collectives, in the Bataillean sense that opens all of them up to a ‘contamination’ with historicity and thought that treats all of them as equal in scope and importance.
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Himes, Susan. "Fat commentary and fat humor presented in visual media : a content analysis." [Tampa, Fla] : University of South Florida, 2005. http://purl.fcla.edu/usf/dc/et/SFE0001407.
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Hirsh, David E. "Photorealistic Rendering for LIve-Action Video Integration." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/399.
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De, Panbehchi Maria L. "Nostalgia and iPhone Camera Apps: An Ethnographic Visual Approach to iPhoneography." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4639.
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The iPhone is the most popular smartphone and camera on social media. iPhoneography, the photography taken or edited with the iPhone, has set the trend of nostalgic photography on social media during the 2010s; thus, the iPhone, a high-tech camera, produces low-tech-looking images. This dissertation attempts to find out why iPhone photographers (iPhoneographers) take, edit, and share images that mimic photographs taken with analog photographic equipment. I argue that nostalgia allows iPhoneographers to use the iPhone as a creative tool and to belong to a community. Based on the arguments of Vilém Flusser—who suggested that photographers are more interested in the camera and the process of taking pictures than in the photographs produced—this work focuses first on the iPhone camera and the camera apps. (This work also considers the writings of Roland Barthes, Susan Sontag, and W. J. T. Mitchell, as they pertain to photography and iPhoneography.) It traces the beginning of the nostalgic photograph style to 2008, when the Apple App Store offered apps that behaved like toy cameras and rendered images similar to those produced by toy and Polaroid cameras. The Hipstamatic app set the trend in 2009, and Instagram made it mainstream. Nostalgia is more a source of inspiration and creativity than a source of melancholy and longing for the past. The iPhoneography community on Facebook tends to form small groups that share and curate specific topics, such as clouds, portraits, flowers, and images produced with Hipstamatic. A small survey of the iPhoneography community shows that the community considers iPhoneography an art.
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Akil, Hatem Nazir. "The visual divide Islam vs. the West, image peception in cross-cultural contexts." Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4733.
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Do two people, coming from different cultural backgrounds, see the same image the same way? Do we employ technologies of seeing that embed visuality within relentless cultural and ideological frames? And, if so, when does visual difference become a tool for inclusion and exclusion? When does it become an instrument of war? I argue that we're always implicated in visuality as a form of confirmation bias, and that what we see is shaped by preexisting socio-ideological frames that can only be liberated through an active and critical relationship with the image. The image itself, albeit ubiquitous, is never unimplicated - at once violated and violating; with both its creator and its perceiver self-positioned as its ultimate subject. I follow a trace of the image within the context of a supposed Islam versus the West dichotomy; its construction, instrumentalization, betrayals, and incriminations. This trace sometimes forks into multiple paths, and at times loops unto itself, but eventually moves towards a traversal of a visual divide. I apply the trace as my methodology in the sense suggested by Derrida, but also as a technology for finding my way into and out of an epistemological labyrinth. The Visual Divide comprises five chapters: Chapter One presents some of the major themes of this work while attempting a theoretical account of image perception within philosophical and cross-cultural settings. I use this account to understand and undermine contemporary rhetoric (as in the works of Samuel Huntington and Bernard Lewis) that seems intent on theorizing a supposed cultural and historical dichotomies between Islam and the West. In Chapter Two, I account for slogan chants heard at Tahrir Square during the January 25 Egyptian revolution as tools to discovering a mix of technology, language and revolution that could be characterized as hybrid, plural and present at the center of which lies the human body as subject to public peril. Chapter Three analyzes a state of visual divide where photographic evidence is posited against ethnographic reality as found in postcards of nude and semi-nude Algerian Muslim women in the 19th century. I connect this state to a chain of visual oppositions that place Western superiority as its subject and which continues to our present day with the Abu Ghraib photographs and the Mohammed cartoons, etc. Chapter Four deploys the image of Mohamed al-Durra, a 3rd grader who was shot dead, on video, at a crossroads in Gaza, and the ensuing attempts to reinterpret, recreate, falsify and litigate the meaning of the video images of his death in order to propagate certain political doxa. I relate the violence against the image, by the image, and despite the image, to a state of pure war that is steeped in visuality, and which transforms the act of seeing into an act of targeting. In Chapter Five, I integrate the concept of visuality with that of the human body under peril in order to identify conditions that lead to comparative suffering or a division that views humanity as something other than unitary and of equal value. I connect the figures of der Muselmann, Shylock, Othello, the suicide bomber, and others to subvert a narrative that claims that one's suffering is deeper than another's, or that life could be valued differently depending on the place of your birth, the color of your skin, or the thickness of your accent. Finally, in the Epilogue: Tabbouleh Deterritorialized, I look at the interconnected states of perception and remembering within diasporic contexts. Cultural identity (invoked by an encounter with tabbouleh on a restaurant menu in Orlando) is both questioned and transformed and becomes the subject of perception and negotiation.ID: 030646224; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 204-217).
Ph.D.
Doctorate
Arts and Humanities
Texts and Technology
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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.
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McBride, Emily. "so much apparent nothing." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4238.
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This document contains reflections on motivations behind selected works leading up to and including my thesis exhibition so much apparent nothing. Through journal excerpts and analysis of my own psychology, I attempt to put into words my thoughts concurrent to my making, indirect as they may be. The following text shares my personal conflicts and ideologies surrounding art-making, the permanence of objects, and the acceptance of an identity in flux.
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Van, Zyl Christa Engela. "‘Swartsmeer’ : ’n studie oor die stereotipering van Afrika en Afrikane in die populere media." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1886.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2008.This thesis consists of a study that identifies and analyses the origins, nature, and spectrum of different stereotypes of Africans in popular texts. The past can only be explored through texts, which are unavoidably mediated, re-interpreted, fictional and temporary. No text can be read in isolation – it is imperative to gain knowledge about the social and ideological context in the analysis of any historical text. History shows that racism is a constructed concept, and the roots of stereotypical perceptions of the ‘Other’ can be found in antiquity – in Ancient Egypt, Classical Greece and the Jewish Torah, as well as during the Middle Ages. A historical synopsis is given of the conception and development of racial stereotyping through the ages until the present. The study demonstrates how stereotypes gradually adapt with history, politics, and ideology. Stereotypes are in my opinion not necessarily constructed on purpose. Stereotypes are developed and based on historical events, but are transformed in time to fulfil new purposes. My conclusion is that racist stereotypes of Africans are created in the West, by the West, for the West. In many ways, the adaptation of the stereotypes of Africans act as a timeline for Western involvement on the continent. The stereotypical portrayal of Africa as the Dark Continent, “White Man’s Burden” and Godforsaken Continent will firstly be studied. Secondly, the depiction of African-Americans, especially in American popular culture, is discussed through stereotypes like Mammy, Uncle Tom, Jezebel, and Buck. The theme of my practical component, a two part series about the Cape Carnival, discusses the stereotype of the “Jolly Hotnot” or “Coon” and examines the portrayal of Africans as comical. The study shows the important role popular media plays in spreading and reaffirming stereotypes. Stereotypes are often used as a survival method to make the multiplicity of reality manageable, recognisable, and understandable. Stereotyping becomes problematic if the stereotypes are used as generalisations to marginalise a group in terms of features such as skin colour. A type of “cultural decolonisation” would be necessary to counteract this marginalisation, through popular culture created by in Africa, by Africans, for Africans and international popular culture.
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Rye, Caroline. "Living cameras : a study of live bodies and mediatized images in multi-media performance and installation art practice." Thesis, Edinburgh Napier University, 2000. http://researchrepository.napier.ac.uk/Output/5886.
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This thesis is concerned with multi-media performance and installation art practices which foreground the live body in combination with mediatized images. The research is conducted through the making and examination of a number of the researcher's own art works. Practical multi-media performance and installation projects are analysed within the context of specific performance and visual cultural theories in order to advance their contribution to critical and cultural fields. The research champions a symbiotic relationship between theory and practice. Practical works were undertaken and exhibited as solo or collaborative art projects. These works then formed the basis for individual ‘case studies' and were subjected to a critical review informed by a variety of theoretical frameworks including feminist, psychoanalytic and poststructuralist philosophy. This practice-based methodology is contextualised by the mapping of historical and contemporary critical discourses for the field of multi-media performance. The ‘reflection-on-action' results in an understanding of the mechanisms and effects of multi-media performance as a cultural practice. Specifically this thesis aims to answer the question as to whether multimedia performance can form the basis for an ‘interrogation' of our contemporary media dominated society? Through a practice-led enquiry it unpacks the dynamics between a meeting of live bodies and mediatized images, concentrating on the differences and similarities of their experiential sensory qualities. The research then extends these findings into social and political contexts through a comparison with other ‘reality' and ‘identity' re/producing cultural practices. The study concludes that cameras and recorded images used within live and/or time based art contexts can counteract the conventional constitution of mediatized images. To the extent that mediatized images can also be said to reflect and in turn constitute human subjectivity, multi-media performance, therefore, can provoke a re-evaluation of culture and its associated human activities and behaviours.
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Reid, Lawrence. "DUNIDEDCUDIGUNADIE." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3746.
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The artist discusses his Master of Fine Arts exhibit, titled DUNIDEDCUDIGUNADIE. The exhibit is to be held at the Tipton Gallery in downtown Johnson City, TN, from April 2nd to April 10th, 2020. A live reception will be held the evening of April 3rd, featuring a performance with the work, titled Look at You!
The following thesis explores the artist’s formative years – investigating how childhood experiences combine with artistic and theoretical influences to inform his art-making process.
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Bryant, Susan C. "The Beautiful Corpse: Violence against Women in Fashion Photography." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/158.
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My senior thesis deals with contemporary depictions of sexualized violence against women in fashion photography. Images of bloodied, bruised, and dead-looking models have proliferated in fashion magazine editorials and advertisements since the 1970s and I want to explore why sexualized violence is seen as sexy and compelling advertising, in light of the fact that domestic violence is the greatest cause of injury to women in America. I produced my own fashion photographs in locations of actual female homicides in Los Angeles County, particularly those nearest to Claremont, with the use of The Los Angeles Times online homicide database, which pinpoints every homicide reported in L.A. County since 2007. We live in a world plagued by violence and by creating my own violent, fashion photographs in actual homicide locations, I hoped to jar the viewer out of neutrality and expose violent advertisements and editorials for what they are: objectifying, exploitative, and perverse expressions of hostility against women. The images abuse and demean commercial speech privileges and glamorize and trivialize horrific, actual experiences of violence suffered by countless women.
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Kirsten, Marnell. "Alternative to what? : the rise of Loslyf magazine." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86663.
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Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: In this study I analyse the first year of publication of Loslyf, the first and, at the time of its launch in June 1995, only Afrikaans pornographic magazine. The analysis comprises a historical account of its inception as relayed mainly by Ryk Hattingh, the first editor of Loslyf and primary creative force behind the publication. Such an investigation offers valuable insights into an aspect of South African media history as yet undocumented. As a powerful contributor to an Afrikaans imaginary, emerging at a time of political renewal, Loslyf provides a glimpse into the desires, tensions and tastes of and for an imagined community potentially still shaped by a censorial past. The magazine is worth studying, in part, as an example of an attempt at reinvesting the prescriptive and seemingly generic genre of pornography with cultural specificity and political content, with a view to making it more interesting and relevant. The study argues that whilst Loslyf succeeded in fracturing the “simulacrum” (Baudrillard 1990: 35) of pornographic representation, it also demonstrated that this kind of „alternativity‟ is difficult to sustain. An analysis of the written and visual content of the first 12 issues of the magazine, under Hattingh‟s editorship, investigates the basis of Loslyf‟s status as „alternative‟ publication. I conclude that the first year of Loslyf contributed towards the broader project of democratic expression in an expanding South African visual economy, as a simultaneously well considered and underrated (at the time of its publication at least) cultural product.
AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die eerste jaar van publikasie van Loslyf as 'n baanbrekende en, in die tyd van sy ontstaan in Junie 1995, die enigste Afrikaanse pornografiese tydskrif. Hierdie analise behels ʼn historiese oorsig van die ontstaan van Loslyf soos hoofsaaklik verhaal deur Ryk Hattingh, die eerste redakteur van Loslyf en primêre kreatiewe mag agter die publikasie. So ʼn ondersoek bied waardevolle insig tot ʼn ongedokumenteerde aspek van Suid-Afrikaanse mediageskiedenis. As ʼn kultuurproduk wat ʼn kragtige bydrae gelewer het tot die Afrikaanse samelewing in ʼn tyd van politieke hernuwing, bied Loslyf ʼn weerkaatsing van die begeertes, spanninge en smake vir en van hierdie gemeenskap – begeertes en smake wat grootendeels gevorm is deur ʼn geskiedenis van sensuur. Dit is waardevol om die tydskrif te bestudeer as voorbeeld van 'n poging om die voorskriftelike en skynbaar generiese pornografiese genre met kulturele bepaaldheid en politiese inhoud te herbelê, ten einde hierdie genre meer interessant en relevant te maak. Hierdie studie beweer dat, terwyl Loslyf daarin slaag om die “simulakrum” (Baudrillard 1990: 35) van pornografiese voorstelling te breek, die publikasie ook demonstreer dat hierdie tipe „alternatiwiteit‟ moeilik volhoubaar is. ʼn Analise van die geskrewe en visuele inhoud van die eerste 12 uitgawes van die tydskrif, onder redakteurskap van Hattingh, ondersoek die basis van Loslyf se status as „alternatiewe‟ publikasie. Ek beslis dat Loslyf se eerste jaar bygedra het tot die breër inisiatief van demokratiese uitdrukking in ʼn ontwikkelende Suid- Afrikaanse visuele ekonomie, as gelyktydig goed deurdagte én ondergeskatte (veral ten tyde van sy ontstaan) publikasie.
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Langesfeld, Ivan. "Fragile Oceans, Synthetic Flotsam and Microbial Collaboration – Explorations in the Visual Communication of the Plastic Crisis." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/pomona_theses/210.
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Scientific evidence that the ocean plastic crisis is larger in scale and more sinister than previously thought continues to mount, but the rate of plastic production is only rising. What will it take to decisively turn the tide against plastic? We need scientists, politicians, and industry changemakers to continue producing knowledge and positive change in the industry, but we need to go further still. This thesis explores art as an alternative visual communication strategy with the capacity to encourage curiosity, empathy, and positive engagement with the issue of ocean plastics. The series of work explores bacterial bioluminescence as an artistic medium in juxtaposition with objects of found ocean plastic. The photographs in the series build on the concepts of mutualism, illumination, critical densities, and interspecies communication to reimagine how we might further the discourse around ocean plastic.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Zhao, Meng. "The Media, Education, and the State: Arts-Based Research and a Marxist Analysis of the Syrian Refugee Crisis." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/education_dissertations/8.
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By 2019, the Syrian civil war has lasted for nearly eight years and it has created the largest humanitarian crisis since WWII (Achlume, 2015). Using the siege of Aleppo in 2016 as a case study, the author applied a Marxist-humanist theoretical framework and incorporated arts-based research methodology to examine how US news media supports capitalist social relations. The research question for this study was: how do the US media depictions of the siege of Aleppo, Syria in 2016 reflect capitalist social relations? There were three sub-questions that followed: (1) Which elements of the siege of Aleppo in 2016 get the most attention in the specific outlets examined? In what ways do these depictions support the US government and/or corporate interests? (2) What are some of the ways in which Syrian refugees are depicted in the various outlets examined? How and in what ways is US humanitarian policy reflected? How are Syrian’s racialized through these depictions? and (3) How are corporate and government interests tied to these media outlets? This study used narrative inquiry, visual analysis, and critical discourse analysis as research methods to discover five major themes found in US news media’s reporting on the siege of Aleppo in 2016. The author then examined these five main themes through a Marxist-humanist lens to discover how the US news media, the supposed “gatekeeper” for the public, establishes, maintains, and reinforces an ideology that supported hegemony for the dominant class.
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Kihlgren, Grandi Lorenzo. "Créer la solidarité transnationale à travers le visuel à l’ère des médias sociaux. Une enquête sur la seconde révolution égyptienne." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0179.
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Est-il possible de construire à travers Internet un sentiment solidaire transnational vis-à-vis des revendications politiques restreintes à un cadre strictement national ? Quels liens peuvent naître et se déployer dans ce but de solidarité ? Quels sont alors les dispositifs technologiques et les espaces communicationnels à disposition, comment l’information se diffuse-t-elle et trouve-t-elle un public, et enfin de quelle manière est-il possible d’en mesurer l’impact ? La thèse tente de répondre à ces questions à l'aune de la seconde révolution égyptienne de 2013 qui a provoqué la chute du gouvernement de Morsi. Dans un climat national de forte polarisation politique, cette révolution a été accompagnée par une vague d’activisme en ligne : au sein des réseaux sociaux se sont ainsi développés des espaces virtuels d‘information, de coordination et de débats. Or, parmi ces espaces, certains ont pour vocation de susciter une réponse solidaire de la part d’une audience étrangère éloignée des événements politiques en Égypte et de ses enjeux. Pour donner à comprendre une telle communication transnationale, ce travail fait dialoguer un portrait socio-historique des jeunes protagonistes de la vague révolutionnaire égyptienne avec une description analytique des mécanismes visuels de communication de la page Facebook Operation Egypt dont la résonnance dans les espaces virtuels a été remarquable. Cette double perspective répond au désir de saisir les causes profondes de l’activisme en ligne de la jeunesse égyptienne « connectée » afin d’appréhender conjointement un contexte historique particulièrement marqué par une volonté de changement politique et l’avènement d’une rencontre liant étroitement la contestation juvénile et les nouvelles technologies d’information. Enfin, la thèse pose un regard sur la construction d’une solidarité transnationale connectée. Le travail de terrain présente une approche expérimentale mixte, qualitative et quantitative. Du côté qualitatif, une démarche sémiologique a été développée pour analyser les œuvres visuelles contestataires expressément conçues pour circuler sur les médias sociaux et faire l’objet d’une diffusion transnationale. Du côté quantitatif, les données recueillies visent à documenter la portée des différentes formes d’interaction virtuelle nationale et internationale engendrées par ces contenus.L’enquête menée permet enfin d’intégrer une réflexion sur la fonction de cette typologie d’espaces virtuels comme media de discussion publique et leur contribution à l’émergence d’une sphère publique transnationaleIs it possible to build a transnational sense of solidarity across the Internet with regards to strictly national political demands? What links can arise and be deployed towards achieving solidarity? What are the technological devices and communication spaces available, and how does information spread and find its audience? Finally, how is it possible to measure the impact of such dynamics?This thesis attempts to answer these questions in light of the second Egyptian Revolution of 2013 that led to the fall of the Morsi government. In a national climate marked by strong political polarization, this revolution was accompanied by a wave of online activism: virtual spaces of information, coordination and debate unfolded within social networks. Among these spaces, some were intended to elicit a desire for solidarity from a foreign audience distant from the political events in Egypt and its issues.To help understand such transnational communication, this work combines a socio-historical portrait of the Egyptian Revolution’s young protagonists with an analytical description of the visual communication mechanisms of Operation Egypt – a Facebook page that had vast impact in virtual spaces. This dual perspective responds to a desire to grasp the root causes of the online activism of Egypt’s “connected” youth in order to jointly apprehend a historical context particularly marked by a desire for political change, as well as the advent of a closely linked encounter between juvenile protest and new information technology. Finally, this thesis focuses on the construction of connected transnational solidarity.The fieldwork presents a mixed, qualitative and quantitative experimental approach. On the qualitative side, a semiological approach has been developed to analyze the visual works of protest expressly conceived to transnationally circulate on social media. On the quantitative side, the data collected is intended to document the scope of the various forms of national and international virtual interaction generated by this content.Finally, this study allows us to integrate a reflection on the function of this typology of virtual spaces as the media of public discussion and their contribution to the emergence of a transnational public sphere
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Sisk, Christopher Andrew. "In Media Res." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5444.
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We are inundated by a constant feed of media that responds and adapts in real time to the impulses of our psyches and the dimensions of our devices. Beneath the surface, this stream of information is directed by hidden, automated controls and steered by political agendas. The transmission of information has evolved into a spiral of entropy, and the boundaries between author, content, platform, and receiver have blurred. This reductive space of responsive media is a catalyst for immense political and cultural change, causing us to question our notions of authority, truth, and reality.
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Larcher, Jonathan. "Des arts filmiques en anthropologie. Enquête, expérience et écologie des images en "tsiganie"." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH045/document.
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Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnellesThis research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies
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Stephan, Arlindo Antonio. "Entre as artes visuais e o design: o movimento concreto e o projeto na atualidade." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-27022013-101901/.
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Esta tese visa a identificar os aspectos projetivos, tecnológicos e imagéticos, atuantes nas tendências construtivas e concretas das artes visuais, em sua relação com as teorias do design. Esta relação é mediada pelas tecnologias da imagem em contínua evolução, principalmente, a partir do início do século XX. No Brasil, na segunda metade do século XX, os artistas e teóricos do Movimento Concreto propuseram uma arte industrial e ligada aos processos de comunicação, o que proporcionou uma maior aproximação entre as artes visuais e o design, aproximação esta também possibilitada pelas imagens tecnológicas e computacionais, abrindo a contemporaneidade artística no Brasil. O objetivo deste trabalho é entender essa transformação na qual as tecnologias das imagens causam modificações nos processos de criação artísticos e de design, adotando como tese que os meios digitais, na atualidade, ampliam as potencialidades criativas na realização de projetos e as aproximações entre estes campos do conhecimento.The main objective of this thesis is to identify projective, technological and pictorial aspects that influence the constructive and concrete trends of visual arts within its connection with design theories. Such connection is mediated by image-related technologies that are in continuous evolution, mainly since the beginning of the 20th century. In Brazil, during the second half of the 20th century, artists and theorists of the Concrete Movement proposed an approach to view art that was both industrial and connected with communication processes. Such approach was further enhanced by technological and computational images, effectively determining the beginning of the contemporary era for the arts in Brazil. The goal of this work is to understand this transformation in which image-related technologies lead to modifications in the creative processes of art and design. We argue that current digital media enhance the creative potential in the development of projects along with a closer interaction/connection between art and design.