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Tesis sobre el tema "Interactive art"

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Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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1

Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.

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This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. I
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2

McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.

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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other inter
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3

Komarova, Maria. "Interactive technologies on art museum websites." Kansas State University, 2015. http://hdl.handle.net/2097/18947.

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Master of Science<br>Department of Communications Studies<br>Gregory Paul<br>This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by h
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4

Strindlund, Nathalie. "Exploring relations between Interaction attributes and Pleasures in multisensory interactive art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23788.

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The interest in designing interactive systems is going beyond their functionality and more towards their aesthetics. Often, research fails to address how qualities of the interaction as a medium can actually create pleasurable experiences. However, it points out the importance of understanding temporal aspects of interactions to understand their aesthetics. The aim for this thesis is to address this by the creation and evaluation of an interactive artwork working as a platform to explore relations between Interaction attributes and Pleasures, as well as how temporal aspects in interactions can
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5

Drummond, Jon R. "Interactive electroacoustics." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.

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Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to
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6

Murat, Mathilde. "Scénographie interactive, interfaces et interférences." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20013/document.

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La démarche artistique à laquelle se lie ce travail de thèse est le fruit d’interrogations sur ce qui constitue les liens kinesthésiques et perceptuels à l’environnement. Ralliées à ces explorations, les technologies de l’interactivité, issues de la pensée cybernétique et de l’essor de l’informatique, permettent l’instauration de scénographies qui se construisent par interférence avec la corporéité,dans son caractère autopoïétique, au travers des dispositifs d’interfaces. L’interactivité est appréhendéeici dans son volet hypermédia. Cette thèse est l’expression d’un travail de recherches prati
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7

Babic, Kristopher T. "InterDraw - An Online, Interactive, Collaborative Art Program." Digital WPI, 2000. https://digitalcommons.wpi.edu/etd-theses/825.

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InterDraw is an art program that facilitates the artistic collaboration of multiple users. The goal of this collaboration is the creation of one unique computer image that represents a combination of the ideas and images provided by each of the users. InterDraw extends the already collaborative nature of the World Wide Web through the use of the Java programming language, which provides InterDraw with its cross-platform capabilities. Previously, collaborative art-like programs have been developed for specific operating systems or environments. This limitation prohibits any collaboration wi
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8

Chanhthaboutdy, Somphout. "Vanité interactive : recherche et expérimentation artistique." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080060/document.

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Ce travail se positionne dans le domaine de l'interactivité sensorielle, de la 3D temps réel et des arts visuels. Cette étude artistique et technique s’inscrit directement dans une recherche entamée depuis des années, sur la question de la représentation sublimée de la mort, qui se retrouve pleinement transfiguré dans l’emblème de la Vanité et sur la recherche de nouvelles façons d’entretenir un dialogue en rétroaction avec l’œuvre. Sur le point artistique, la recherche analyse le processus de création, qui a mené de la représentation sublimée de la mort en vidéo, à la réalisation et l’expérim
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9

Drummond, Jon R. "Interactive electroacoustics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.

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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.
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10

Margerison, Paul. "An algorithmic and interactive approach to computer art." Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240001.

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11

Keays, William G. (William George) 1960. "Using high-bandwidth input/output in interactive art." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/61839.

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Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1999.<br>Includes bibliographical references (leaves 75-78).<br>Are we making the best use of commonly available high-bandwidth input/output ( I/O) devices on our computers? How would research on this subject be affected if it were driven by a purely artistic mandate? The bandwidth in question refers specifically to video input and output devices, the only high-bandwidth devices that are on found on common, conventional computers. Under normal circumstances, these devices transmit moving two dimensional ima
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12

Blackaller, Luis (Luis Eduardo Blackaller Bages). "Performing process : the artist studio as interactive art." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44806.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.<br>Includes bibliographical references (p. 123-127).<br>Digital technology has radically changed human communication in the last few decades. The digital medium has pushed cultural artifacts towards forms defined by interaction, participation, and social systems. This thesis looks at recent changes of artistic practice in the realm of digital visual arts. In order to study the intersection between interactive art and the digital image, I will describe the design
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13

DUNNE, THOMAS G. "DEFINING THE ART OF INTERACTIVE REAL-TIME 3D." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085463758.

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14

Vorhees, Chris. "A series of viewer interactive sculptures." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1168144.

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The challenge of creating a dialogue between a viewer and an artwork is the next logical step in the evolution of my artwork. The problem is to find a way of creating art that does not only remain visual. By the same token, also to create something that does not remain purely conceptual and out of touch. In order to make the experience of encountering artwork more meaningful, a merging of physical and mental interaction in the viewer is strived for.This project serves as a tool for reflection on myself and understanding a way of working. It also provides an opportunity to clarify many of t
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15

Voirol, Mary Agnes. "Interactive mechanized fairytale jewelry." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178353.

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The Primary objectives of this creative project were the exploration of well-known fairy tales (such as Snow White), and the process of creating interactive jewelry based on my own personal interpretation of these stories. I designed and constructed seven jewelry pieces using traditional metal working techniques along with innovative contemporary surface treatments such as etching, sandblasting and colored pencil decoration. Each piece contained a "surprise" interactive element - some pieces contain moving parts, while others contain small pieces of fabric tape on which sentences are written.
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16

Ha, Byeongwon. "Nam June Paik as a Pioneer of Interactive Art." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5405.

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Nam June Paik (1932-2006) is well known as the father of video art. However, this study demonstrates the importance of his earlier interactive art (1961-63), which historically has been overshadowed by his video art. At the climax of his career in interactive art, Paik introduced his two-way art to the public at his first solo exhibition in Wuppertal, West Germany, in 1963. Interactive art itself has been a peripheral area in the history of art, and it has plural pioneers across disciplinary boundaries. Among the several origins of interactive art, Nam June Paik utilized music as a fundamental
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17

Sommerer, Christa. "Modeling complex adaptive systems and complexity for interactive art." Thesis, University of South Wales, 2002. https://pure.southwales.ac.uk/en/studentthesis/modeling-complex-adaptive-systems-and-complexity-for-interactive-art(3d7143e3-eb05-49b9-8965-0ffa53767eb9).html.

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Complex System Sciences, as a field of research, has emerged in the past decade. It studies how parts of a system give rise to the collective behaviours of the system and how the system interacts with its environment. It approaches the question of how life on earth could have appeared by searching for inherent structures in living systems and trying to define common patterns within these structures. Complex Systems are also often described as systems where the whole is more complex than the mere sum of its parts, and these systems are also considered to be at the point of maximum computational
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18

Raboisson, Nathanaëlle. "Esthétique d'un art expérientiel : l'installation immersive et et interactive." Paris 8, 2014. http://octaviana.fr/document/18500332X#?c=0&m=0&s=0&cv=0.

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L’art expérientiel tend à confondre, par ses qualités, oeuvre et expérience. En art contemporain, certains artistes conçoivent des installations qui nécessitent une implication corporelle forte pour être reçue par leur visiteur, pour être vécue. Cette thèse est dédiée à l’étude du processus de réception de l’installation en tant qu’oeuvre d’art expérientiel. Comment se construit l’expérience de cette catégorie d’oeuvre ; quelles sont ses modalités et ses propriétés ? Après un bref état de l’art, nous avons étudié, dans une première approche théorique, le dispositif technique pour en dégager le
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19

Sikora, Andrzej. "Interactive relationships between artist and recipient in virtual art." Doctoral thesis, Katowice : Uniwersytet Śląski, 2020. http://hdl.handle.net/20.500.12128/18633.

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Niniejsza dysertacja to analiza „podstawowego doświadczenia VR” — interaktywnej relacji pomiędzy twórcą a odbiorcą jego dzieła, które jest rodzajem interaktywnej sztuki osadzonej w cyfrowej rzeczywistości. Studium zagadnienia rozpoczyna się od próby przyjrzenia się trójkątowi Autor — Dzieło — Odbiorca, który był tematem burzliwego dyskursu między luminarzami XX wieku, od Umberto Eco do Michela Foucaulta; ta historyczna perspektywa jest wszakże tylko preludium do kolejnego rozdziału, gdzie znacznie współcześniejsi nam rozmówcy zastanawiają się nad relacją bezpośredniego uczestnictwa w szt
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20

Hanney, Lesley. "Family assessment and interactive art exercise : an integrated model." Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/46525.

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This thesis presents research into the development of a family assessment and interactive art exercise that is designed for children between the ages of two to eleven with complex psychiatric difficulties and those who have been exposed to significant abuse, trauma, and neglect and with family relationship problems. An overview of the field of child development, trauma and attachment is presented. Various clinical approaches and tools that have been used to engage and assess children is then explored and analysed including psychodynamic and systemic, such as art therapists, family therapists a
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21

Hanney, Lesley. "Family assessment and interactive art exercise an integrated model /." View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/46525.

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Thesis (Ph.D.)--University of Western Sydney, 2009.<br>A thesis presented to the University of Western Sydney, College of Arts, Social Justice and Social Change Research Centre, in fulfilment of the requirements for the degree of Doctor of Philosophy in the field of Art Therapy. Includes bibliographies.
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22

Kuzminsky, Tracy V. "Interactive Whiteboard Technology within the Kindergarten Visual Arts Classroom." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/21.

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The purpose of this document is to design and record a Kindergarten visual arts unit using the Activboard to determine how student achievement, motivation, and interest are impacted. Methods of data collection include both observational recording and student interviews. The Activboard facilitates a highly interactive study of the art curriculum and data collected throughout the unit indicates a positive impact on student achievement, motivation, and interest.
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23

Lopez, Juan. "PORTRAITURE: AN INTERACTIVE EXPERIENCE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4205.

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Linking his thematic inspiration (the strange, the bizarre, the weird and the odd) to his artistic reflection, Lopez conceives of his work as based on his fascination with human facial expressions. "It is there where it is born", he says. Like Leonardo, he believes that the eye is the superior organ. Lopez's use of form and color represents his main objective: to show emotion, humanity and elegance. For that, it is necessary for him to reveal character as well as beauty. It is again, the approach used by the great masters such as Leonardo, Vel&aacute;zquez, G&eacute;ricault and Goya in represe
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24

Munro, Samantha Fawn. "Being for others : critical reflections on the stranger, the estranged and the self in participatory art." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017771.

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By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate
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25

Johnson, Grant. "Otherworldly goods." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2361.

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Thesis (M.F.A.)--West Virginia University, 2002.<br>Title from document title page. Document formatted into pages; contains vi, 32 p. : ill. (some col.). Includes sound file in the mp3 audio format. Vita. Includes abstract. Includes bibliographical references (p. 29).
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26

Oxborrow, Marie Lynne Aitken. "Interactive Web Technology in the Art Classroom: Problems and Possibilities." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3172.

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Research has shown that the use of technology in curriculum, and art classrooms in particular, can benefit students. This thesis outlines these benefits which include the potential for technology to make learning more personal, assist students in their future careers, and allow opportunity for collaboration. Still, several obstacles impede the full-fledged realization of that potential, often leading teachers to avoid or ignore technology in their pedagogical strategies. This thesis addresses these obstacles and provides practical and theoretical solutions. Once these obstacles are overcome, t
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27

Seaman, William. "Recombinant poetics : emergent meaning as examined and explored within a specific generative virtual environment." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/recombinant-poetics(e26d7312-0586-4c42-bb25-3e47cc2d4a39).html.

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This research derives from a survey of primary and secondary literature and my practice as a professional artist using electronic information delivery systems. The research has informed the creation of an interactive art work, authored so that emergent meaning can be examined and explored within a specific generative virtual environment by a variety of participants. It addresses a series of questions concerning relationships between the artist, the art work and the viewer/user. The mutable nature of this computer-based space raises many questions concerning meaning production, i.e., how might
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28

Head, Donna J. "Advanced Placement Art History: Effective Teaching Strategies in the Art Beyond the European Content Area." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1037.

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This thesis presents a study of current research on effective teaching strategies in art beyond the European tradition content area of the Advanced Placement Art History (APAH) examination administered by the College Board. Three Advanced Placement Art History teachers participated in this study. Each teacher demonstrated successful and effective strategies in her APAH program. The criteria for selection required that each participant taught the class for three years (2001-4) and their students scored higher than the national average as published by the College Board. Each teacher discussed wi
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29

Ryan, Bengtsson Linda. "Re-negotiating social space : Public art installations and interactive experience." Doctoral thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-11723.

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Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres.   The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces
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30

Woolf, Sam. "Expanded media : interactive and generative processes in new media art." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420707.

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31

Vasconcelos, Francisco Wesdley da Silva. "Refrains, mantras and chaos: compossibility and contemplation in interactive art." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7285.

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nÃo hÃ<br>This research aims to restore, in the realms of cyberart, the notions of refrain, compossibility and contemplation, through the development of an interactive installation named Ritus. Based on the Deleuzian notion of refrain as an expressive material capable of creating territories, a study was conducted concerning repetition as an enabler of the difference in philosophy and contemporary art. The concept of compossibility was adopted as a narrative model to artistic processes based on computer programming. The question of contemplation in art was treated in order to conceive the po
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32

Bech, Tine. "Playful interactions : a critical inquiry into interactive art and play." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/25212/.

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My practice-based doctoral research explores how I, as an artist, can create conditions and possibilities for playful interaction in and around interactive artworks. Using practice- based research methods four artworks were created, presented and examined in relation to my research questions concerning play. The three key research questions were: 1] How do the properties and affordances of materials and technologies foster play and interactions? 2] How can artists conceptualise physical participation and play in interactive artworks? 3] What kind of play takes place in and around interactive a
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33

Enros, Max. "Development of an Interactive VR Experience for an Art Museum." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79463.

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In this project, a prototype for a virtual reality museum experience was developed. The virtual environment contains paintings and birds that the user can interact with to display information. A text panel or an image is displayed next to the object the user interacted with. The text or image displayed contains information about the object. A narration of the information can be played for some of the images and text panels. This enhances the experience of the museum compared to looking at an object in the real world. The virtual reality experience allows the museum to be more interactive and f
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34

Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.

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35

Genest, Valérie, and Valérie Genest. "Rêves de L'Infini... : réflexions sur l'installation immersive interactive." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25334.

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Ce texte d’accompagnement du projet explique dans le détail les notions relatives à ma recherche-création en arts visuels. Les principaux points traités sont en lien avec l’installation immersive interactive travaillée par l’entremise de la fibre optique, la lumière et la microprogrammation. Il s’agit d’une œuvre multidisciplinaire et hybride qui allie la sculpture et l’art numérique dans un ensemble médiatique interactif rappelant à la fois le microcosme et le macrocosme dans son esthétique visuelle générale.<br>Ce texte d’accompagnement du projet explique dans le détail les notions relatives
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36

Cason, Nancy F. (Nancy Foster). "The Effect of Interactive Multimedia on the Critical Writings of Art History Survey Students." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332664/.

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In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for a
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37

Buccellato, Steven. "AdTech Interactive Media Network /." Online version of thesis, 1994. http://hdl.handle.net/1850/11757.

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38

Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Thesis, Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170/document.

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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de visio
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39

Smith, Jeffrey Statler. "Multi-camera: interactive rendering of abstract digital images." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/341.

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The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspec
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40

Nigten, Anne. "Processpatching : defining new methods in aRt&D." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5655/.

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In the context of a rapidly changing domain of contemporary electronic art practice- where the speed of technological innovation and the topicality of art 'process as research' methods are both under constant revision- the process of collaboration between art, computer science and engineering is an important addition to existing 'R&D'. Scholarly as well as practical exploration of artistic methods, viewed in relation to the field of new technology, can be seen to enable and foster innovation in both the conceptualisation and practice of the electronic arts. At the same time, citing new media a
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41

Pope, Simon. "Who else takes part? : admitting the more-than-human into participatory art." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:5a34e4c6-0031-40d5-8bc0-2157e53f91ea.

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This practice-led research concerns how participatory and dialogic art practice can come to terms with conditions after the Anthropocene (Crutzen & Stoermer 2000), the epoch when humans were recognized as 'an earth-changing force' (Lorimer 2015). These forms of art practice draw heavily on a social-constructivism that emphasizes human cultural endeavour above all else. But if we are to live in an epoch when humans can no longer presume to have mastery over nature (Plumwood 1993), then how can such a anthropocentric practice remain tenable? Indeed, it now seems impossible, inappropriate even, t
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Liu, Mankun. "The production of differential spaces through participatory art in Hong Kong 2000-2019." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/853.

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Since the preservation campaigns at Lee Tung Street, the Star Ferry Pier and the Queen's Pier that erupted in early to mid-2000s, Hong Kong participatory art has undertaken an increasingly proactive role in local spatial movements, which marks the organizational and strategical evolvements of this artistic category that differentiate it from earlier public and community art. While research initiatives after 2010 have identified regional geospatial politics as one major concern for local participatory art today, existing studies tend to take a contextual approach with main emphases on why art b
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Chenzira, Ayoka. "Haptic cinema: an art practice on the interactive digital media tabletop." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39500.

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Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema". This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction wi
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Schiller, Gretchen Elizabeth. "The kinesfield : a study of movement-based interactive and choreographic art." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2384.

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Through the exploration of practice and theory, this thesis aims to elucidate the characteristics of movement-based interactive art and the kinesfield, a term developed during the course of the research to describe the publics' body-medium. Movement-based interactive art is based on choreographed movements of the body, media and specialized technologies which facilitate new forms of participatory movement experience. This emergent art form has initiated new methods of experiencing and presenting dance in the public domain. lt is argued that this leads to new artistic developments which may con
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45

Bedworth, Jonathan. "Music as embodied action : interfacing autonomous systems and rhythmical expression." Thesis, University of South Wales, 2001. https://pure.southwales.ac.uk/en/studentthesis/music-as-embodied-action(d720a3e7-8b3f-466c-9663-877f31e60c1c).html.

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This thesis concerns a particular relationship between music practice, computer technology and the importance of rhythm as a vehicle of musical expression. The intention is to explore new technology to allow for computer-mediated improvisation of rhythmic forms that are derived from a consideration of West African drumming. In developing the thesis an analysis of personal practice is used to reveal the role of music technology and the musical aims implicit behind its adoption. The exploration of rhythm is seen as important both compositionally and as a means of mediating collaborative musical
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46

Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.

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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it imp
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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art Postcard from Tunis /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.112222/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"Thesis submitted for the degree of Doctor of Philosophy in the School of Communication, Design and Media, University of Western Sydney, 31 August 2003" Includes bibliography.
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Keating, Marla Jo Matlick. "Computers in college art and design programs /." Online version of thesis, 1992. http://hdl.handle.net/1850/11630.

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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art : postcard from Tunis." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/746.

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This thesis consists of the production of an inter-active computer-based artwork, an analysis of its research outcomes, and an exploration of the theoretical issues that influenced the artistic practice. The artwork, Postcard from Tunis, is an Integrationist exploration of writing and its transformation at the human-computer interface. It is set in a personal portrait of Tunis, a city with a rich history of writing. The thesis starts with the theory of writing. The conventional view of real writing as representation of speech is shown to have serious limitations.Postcard from Tunis offers user
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50

Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Electronic Thesis or Diss., Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170.

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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de visio
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