Thèses : « Art and technology – history »

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Yoo, Ahyoung. « To Be Two Places at Once : Technology, Globalization and Contemporary Korean Art ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.

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Taylor, Grant D. « The machine that made science art : the troubled history of computer art 1963-1989 ». University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.

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[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy

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McCray, William Patrick. « The culture and technology of glass in Renaissance Venice ». Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.

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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. The primary question examined in this work is the nature of this technological change, specifically that observed in the Renaissance Venetian glass industry circa 1450-1550. After providing an appropriate social and economic context, a discussion of Venice's glass industry in the pre-Renaissance is given. Industry and guild trends and conditions which would be influential in later centuries are identified. In addition, the sudden expansion of Venice's glass production in the mid-15th century is described as a self-catalyzed phenomenon in response to prevailing cultural and economic conditions. Demand is identified as a necessary precursor to the production of luxury glass. Building on this concept, activities and behaviors relevant to demand, production, and distribution of Venetian glass are examined in depth. The interaction between the Renaissance consumer and producer is treated along with the position of Venice's glass industry in the overall culture and economy of the city. It is concluded that the technological changes observed in Venice's Renaissance luxury glass industry arose primarily out of perceived consumer demand. Social and economic circumstances particular to Renaissance Italy created an environment in which a technological development such as cristallo glass could take place. The success of the industry in the 15th and 16th centuries can be found in the fruitful interplay between consumers and producers, the manner in which the industry was organized, coupled with the skill of the Venetian glassmakers to make and work new glass compositions into a variety of desired objects.

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Herzog, Richard. « Art history with a click of a mouse or a flip of a page ? / ». Full text available online, 2007. http://www.lib.rowan.edu/find/theses.

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Luckner, Peter P. « The Topology of Time ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405958596.

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Hennig, Sybille. « The machine and painting : an investigation into the interrelationship(s) between technology and painting since 1945 ». Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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Timney, Todd F. « Design History Matters : Visualizing Graphic Design History Through New Media ». VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.

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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.

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Nunez, Adaid German Alfonso. « Between technophilia, Cold War and rationality : a social and cultural history of digital art ». Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12017/.

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Evoking his early personal experiences, computer art pioneer Paul Brown wrote in the mid-1990s that to work with computers was akin to a ‘kiss of death’. According to him, as a result of sheer prejudice, the majority of people in the art world did not acknowledge such artworks as interesting, valid or important. Although recurrent in the literature concerned with such art, Brown’s claims must be confronted with the relative success of artistic practices interchangeably labelled as computer, new media, cybernetic, electronic or simply digital art. However, as attested by this proliferation of labels as well as by the development of numerous dedicated awards, degrees, galleries, museums, awards and publications, the success of such practices cannot be explained by artistic merit alone. Since many in the art world do not accept these artworks, as Brown and others suggest, how can we explain the works’ success in securing and developing their own space over the course of fifty years? This thesis investigates the emergence, development and institutionalisation of the field termed here as ‘art, science and technology’ (AST) between 1965 and the mid-1970s in Europe and North America. Also recognised by the aforementioned labels (among others), AST is an umbrella term that arguably designates the artistic practices interested in the adoption, theorisation and dissemination of post-war technologies and, particularly, information technology. Yet, despite this shared interest, here I argue that it is the particular institutional arrangement of AST that best distinguishes it from other artistic practices. A direct consequence of its rejection, AST’s emergence as a separate field is here explained via a revision of its initial social and cultural contexts. Arising from the technophile cultural climate of the long 1950s, and alongside the massive investments in technology made by Western governments in the same period, early AST developed not within traditional artistic spaces but within industries and universities. In the late 1960s, however, with the rise of economic, political and social uncertainties alongside escalating international conflicts, it became increasingly difficult to justify an art produced with the tools and support of the military– industrial complex. If on the one hand artists such as Brown understood these new artworks as central to art and its history, a normative development of a new technological era, on the other hand opponents located at the centre of contemporary art lambasted these new artworks for their supposedly scientific, commercial and aesthetic pretensions. Differently from previous attempts aimed at justifying the artistic worthiness of art produced with post-war technology, this thesis presents the history of such practices from the point of view of its own struggle – that is, its fight for survival. Ultimately, here I explain and describe how AST became detached from art while claiming its status. This is an effort not interested in the merits of these practices per se but, instead, concerned with AST’s development as an autonomous and prosperous field.

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Levi, Rachel M. « A Digital Crisis ? Art History and Its Reproductions in the 20th and 21st Century ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.

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This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.

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Ikard, Carol. « The Aesthetic Experience, Flow, and Smart Technology : Viewing Art in a Virtual Environment ». ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2831.

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Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.

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Arabindan-Kesson, Anna Evangeline. « Threads of empire| The visual economy of the cotton trade in the Atlantic ocean world, 1840-1900 ». Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3580726.

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This dissertation examines the art and material culture of the Anglo-American cotton trade in the nineteenth century to consider how these transnational processes influenced different modes of production: artistic, industrial and textile. The Anglo-American cotton trade's importance in the nineteenth century rested on the Atlantic slave trade and its aftereffects. Therefore this study foregrounds the centrality of African American history and culture to the trade's structures of exchange, encounter and transmission as they inflected nineteenth-century British and American artistic production and industrial expansion. In four chapters beginning in 1840 and ending at the beginning of the twentieth century, I juxtapose the work of contemporary artists with historical case studies. I argue that these contemporary artists – Leonardo Drew, Lubaina Himid and Yinka Shonibare – offer new interpretive frameworks for approaching the transactional and transnational contexts of nineteenth-century British, American and African American art and material culture.

Chapter one focuses on the relationship between plantations in the American South and New England, using prints, paintings and textiles that reveal the plantation and factory to be connected landscape. I trace how cotton's movement shaped constructions around place, and materialized connections between communities of labor in antebellum America. Chapter two opens with Lubaina Himid's Cotton.com (2002) and expands the historical relationship of plantation and factory out across the Atlantic. Centralizing Eyre Crowe's Slaves Waiting for Sale, Richmond, Virginia (1861) and the export of printed cotton from Manchester, it examines the convergence of the trade in cotton with the trade in slaves. It considers how these market relations shaped the commodification of the enslaved body, British experiences of factory labor, and Manchester production of printed cloth for consumers across the globe. Chapter three begins with Leonardo Drew's Number 25 to consider the tensions between materiality and abstraction in the production and commodification of cotton and art objects. I then examine paintings by Edgar Degas, A Cotton Office in New Orleans (1873), and Winslow Homer, The Cotton Pickers, (1876) to explore how these artists negotiated the status of cotton as a global commodity and grappled with the changing networks, of labor, production and commerce in postbellum America. Eyre Crowe's painting of factory workers in Lancashire, The Dinner Hour, Wigan (1874) concludes this section, which examines how the international market for cotton was influencing the representation and experience of industry in north west England. My final chapter, commencing with an installation by Yinka Shonibare MBE Scramble for Africa (2003), focuses on the commercial logic and visual rhetoric of three Southern international exhibitions. I examine how these exhibitions constructed the South – through visions of cotton plantations and black cotton pickers – as a space for domestic colonial expansion. Alongside this I look at the ways Africa was being constructed as a new cotton market – both as a site of cultivation and a site of consumption. In both sections I underscore how the language of commerce, colonialism and cotton shaped particular constructions of space and meanings around the African, and African American body. I conclude with the work of Meta Warrick Fuller to briefly examine how black Americans dismantled these tropes of exclusion, signified by cotton, to project claims for equality.

The project argues that the art works under examination here draw on an economic language to visualize particular ideas and constructions around labor, production and race in three ways. It traces the contours of a market-driven aesthetic in the ways cotton was used to illustrate or materialize connections to a circulating economy of goods. It describes how cotton's movement shaped the construction of imagined geographies around sites of labor and spaces of consumption. And it sketches out the speculative vision that emerged throughout the nineteenth century in the material and metaphorical associations of cotton, commerce and African American identity. In revealing the representational possibilities of cotton in this way, this dissertation looks at understudied objects to consider the nuanced ways that local cultural forms have, historically, intersected with global processes in the Atlantic world. It centralizes the experience of African Americans, within an Anglo-American culture of exchange and its relationship to a global network of trade and transmission. In doing so it seeks to reframe the ways we might approach historical processes of visuality and perception in the long nineteenth century in order to create a more global, or at least transnational, perspective on the art of this period.

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Penrose, Joshua Adam. « Situating Sound ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.

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Hansen, James Paul. « Nostalgic Media : Histories and Memories of Domestic Technology in the Moving Image ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492451165107021.

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Rasmussen, Ryan James. « Rhizome ». Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2967.

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The present manifests in a nebulous soup of imagination, and is a state of unbounded curiosity. It is a weaver who stitches what-has-been to what-will-be-has-been. My work prods an American sense of progress, and the effects it has on shaping our future from its seat in the present as it attempts to evade history.

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Agyeman, Cynthia A. « Artists' Perception of the Use of Digital Media in Painting ». Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1443101832.

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Coveny, Eloise. « The moving still the existential nature of time, history and the uncanny : a dissertation submitted to Auckland University of Technology of the requirements for the degree of Bachelor of Art and Design (Honours), 2008 / ». Abstract. Full exegesis, 2008.

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Dissertation (BA--Art and Design) -- AUT University, 2008.
Includes bibliographical references. Also held in print (126 leaves : ill. ; 22 cm + 1 DVD-ROM) in City Campus Theses Collection (T 779.4 COV)

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Cook, Mark. « Telematic Music : History and Development of the Medium and Current Technologies Related to Performance ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447261468.

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Middleton, Steven Anthony, et smi81431@bigpond net au. « A limited study of mechanical intelligence as media ». RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080717.161751.

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The project investigates mathematics, informatics, statistical analysis and their histories, the history of human engagement with machines, and illustrates some uses of artificial intelligence and robotic technologies as media. It is concerned with, amongst other issues, the sentient and not sentient binaries offered in discourses on machine intelligence. The term intelligence is used to distinguish between human and not human. However, a non-human, the intelligent machine, has become incorporated into the processes by which our culture defines intelligence. Those processes were explored in phases of the project that focused upon various kinds of interactions between people and machines, particularly the ways in which those interactions are mediated by knowledge. The discourses that underpin the field of mechanical intelligence spring from the same sources as the rhetoric that delineates human beings from all other things. We make intelligent machines because we have something to prove regarding our own intelligence. The devices expose attributes considered in our culture to be intelligent. The size and technical sophistication of modern robots result from the expenditure of considerable funds across several disciplines. Such machines signify wealth, power and excess, despite any other significance their makers intend.

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Davis, Patrick D. « Podcasting in an Eighth-Grade American History Class ». Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103307/.

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The purpose of this study was to see how students used podcasts in an eighth-grade American history unit and the value they placed on them as an educational tool. The 6-week study was conducted in a suburban middle school in a district that is part of a large metropolitan area in Texas. Participants included 29 students and 2 eighth-grade teachers. The research questions were the following: (1) How do students use podcasts in an eighth-grade American history class? (2) How do students perceive the impact of the podcasts on their overall learning of the subject material? and (3) Do the podcasts motivate the students to study? Quantitative data were collected through a Likert-scaled student survey and logs kept by students. Qualitative data were collected through an open-ended portion of the student survey, student focus group discussion, and a faculty interview. The treatment tools were audio podcasts in the form of vocabulary-quiz reviews, historical vignettes, lectures, and a unit test review—all on the topic of the American Revolution. The data indicated that the students primarily used their computers at home to listen to the podcasts as they prepared for quizzes and/or the unit test. The students believed that the podcasts had a positive impact upon their grade, were a positive educational tool, and helped them to better understand the material at hand. The students also wanted to see an expansion of podcast usage in other subjects. The students claimed that it motivated them to study and the participating teachers agreed that it motivated the students to study in a non-traditional manner. Data illustrated a need for further research regarding podcasting’s impact on grades and performance at the K-12 level, student podcast construction, podcast delivery modes, and podcast use with special education and ELL students.

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Morgan, Peter Alexander. « The Apparition of Transference ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430915081.

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Bloxom, Patricia. « Eastern Shore Stories : Technology, Place, and Local Culture ». VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/429.

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The Eastern Shore of Virginia is a narrow peninsula separating the Chesapeake Bay from the Atlantic Ocean. Residents of the rural counties of Accomack and Northampton County share a strong sense of cultural identity based on geography, rooted in a distinct communal sense of place reinforced by an agricultural lifestyle. Storytelling around dinner tables and on front porches at dusk, speeches at high school graduations, family recipes talked through in a grandmother’s kitchen – it is through oral language that Eastern Shore people have primarily shared the knowledge that sustains their sense of communal identity. Oral knowledge of farming techniques and land use are handed down generation by generation through material lessons in the fields and woods. The most natural and effective research method for understanding Eastern Shore culture and its peoples’ sense of place is the collection of oral histories. The interviews collected for the Eastern Shore Stories project focus on farm life on the Eastern Shore of Virginia in the mid-twentieth century, before the widespread use of electricity, tractors, or chemicals. The stories from the interviews seem quaint individually – nostalgic stories of how things used to be – but as a body of interviews, they accrue a weight and a coherence that offer interesting counterpoints to pervasive assumptions about progress and technology. It is those interesting counterpoints that this dissertation explores. This researcher expected to hear about plowing behind a team of mules and scratching out potatoes. She did not expect to hear retired farmers speak of the loneliness of modern farming, of how 2,500 acres used to support fifty families and now barely supports one. What emerged from the collective interviews was a sense that the industrialization of agriculture in this local community has caused unforeseen losses and those losses, however intangible, have been deleterious. Despite this, people from the Eastern Shore struggle to retain a sense of communal identity, defined by geography and familial connections. Their sense of belonging to this particular place persists in the face of rapid technological and cultural changes, creating tension between the place as it was and the place as it evolves in the twenty-first century.

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Chesney, Sarah Jane. « The Fruits of their Labors : Exploring William Hamilton's Greenhouse Complex and the Rise of American Botany in Early Federal Philadelphia ». W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539624009.

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This dissertation explores the world of early American botany and the transatlantic community of botanical enthusiasts from the perspective of William Hamilton, gentleman botanical collector in late eighteenth and early nineteenth century Philadelphia. Drawing on both existing documentary sources and three seasons of archaeological excavation at The Woodlands, Hamilton's country estate on the west bank of the Schuylkill River, I analyze both the physical requirements of botanical collecting as well as the more nuanced social, cultural, and economic elements of this trade and its early modern participants.;The personal experiences of individual participants in this exchange are often traced through the existing documentary evidence they leave behind, in the form of letters, plant orders, and published works. But this botanical exchange was not just intellectual; it was also physical and material, as both knowledge about plants and the plants themselves were shipped back and forth across the Atlantic Ocean. Exploring the physical and material elements of this trade adds immeasurably to our understanding of the experiences of individual participants by locating them and the items exchanged within the physical spaces of these exchanges themselves. The archaeological investigation of William Hamilton's greenhouse complex at The Woodlands explores the physical and material elements of this trade in one specific site of exchange -- Hamilton's greenhouse complex -- and the ways in which those physical and material elements reflect the experiences of the participants in this transatlantic botanical trade.

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Cengel, Lauren Marie. « Making Meaning and Connections : A Study of the Interpretation and Education Practices for the Medieval Collection at the Cleveland Museum of Art ». Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397568655.

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Pourpour, Yannick. « Archéologie cinématographique et évolution des standards technologiques ». Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30091/document.

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Les technologies de projection et de diffusion des oeuvres cinématographiques ont la réputation d'être des facteurs d'importance négligeable. Or, à l'inverse, elles jouent un rôle fondamental dans leur diffusion et donc leur réception. Par ailleurs, ces technologies, bien que leurs grands principes fondateurs n'aient pas changé depuis près d'un siècle, sont au coeur d'un processus d'évolution perpétuelle. Ce processus permanent aura, lui aussi, un impact sur la manière dont des oeuvres, tournées à l'aide d'équipements aujourd'hui devenus obsolètes, vont se transmettre de génération en génération, par des processus de recopie et de duplication complexes, et dont les conséquences esthétiques et philologiques pour les films restent mal connues. Cette thèse a pour objectif d'étudier, dans une démarche archéologique, les modalités et les processus de cette double évolution à travers les traces que lèguent au présent oeuvres et contextes de diffusion disparus. Ce sont autant de « prophéties », selon le mot de Walter Benjamin, qui feront l'objet de réinterprétations et de réappropriations plus ou moins complexes par les générations suivantes, lesquelles lègueront à leur tour à la postérité des traces de leur propre passage. Cela engendre un complexe processus perpétuel de sédimentation, encore aujourd'hui mal connu, qui constitue le principal objet d'étude de cette thèse
The technologies involved in theatrical projection and the watching of movies have the reputation to be of neglible importance. On the contrary, they have an impact that is at the core of movie reception processes. Even though their basic principles have barely changed in almost a century, those technolgies are involved in a perpetual evolution process. It wil, too, have an impact as to how films shot using equipment now obsolete will require complex duplication and printing operations to ensure they keep being showed. The aesthetical, ethical and philological consequences of these operations are still partly unknown. So, this thesis aims to study, in an archeological way, the said evolution processes and their different consequences, focusing especially on the evidence obsolete and forgotten films or technologies bequeathed to us. In other words, this thesis studies the « prophecies », of the past, as Walter Benjamin put it, prophecies that will be subject to subtle and complex recycling by the next generations. Those will, in turn, hand down the mix they made to posterity, adding evidence of their own existence. That infinite sedimentation mechansim remains scarcely understood This thesis is meant as a contribution on this matter

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Rooney, David, et n/a. « Playing Second Fiddle : A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990) ». Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

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Deupree, William Erik. « Innovation on a budget the development of military technology during the interwar period, 1919-1939 ». Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4934.

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This thesis investigates the progress of technological development during the interwar period of 1919 to 1939. The interwar period was a time of slashed military budgets and isolationist policies. However, despite political, financial, and organizational handicaps, each branch of the military made significant progress in the development of military technology, and the air corps and navy achieved significantly better results. The reason these two branches were able succeed was through a combination of organizational policy and the development of an overarching goal for their respective branch. Within this thesis, I investigated each of the major military branches during the interwar period, specifically the United States Army, Army Air Corps, and Navy. The air corps is considered a separate branch despite being a segment of the army due to its different strategic goal and its growing independence during the interwar period. In my research I found that the army made by far the least technological progress, but did make significant strides in terms of the development of individual components for larger projects. For example, the army developed the M1 rifle and state-of-the-art shock absorbers for tanks. The air corps succeeded in transforming from a small army auxiliary made up of wood-and-fabric biplanes into a largely independent branch of the military made up of all-metal monoplane bombers. The navy developed the aircraft carrier and aircraft to accompany the new ships, in addition to making substantial upgrades to existing ships. These upgrades included strengthening ships against torpedo attacks, making engines more efficient, and adding anti-aircraft guns to the ships' arsenals.
ID: 030422712; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 98-105).
M.A.
Masters
History
Arts and Humanities

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Asagba, Joseph Obukowho. « A Historical Review of the Development of Federal Universities of Technology in Nigeria ». Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278924/.

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The overall purpose of this study was to identify the major factors and events that led to the establishment of the Federal Universities of Technology in Nigeria. The study examined and analyzed the growth and development of the three Nigerian Federal Universities of Technology at Owerri, Akure, and Minna.

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Salah, Wed Mohammed K. « Impact of Assisted Reproductive Technology on the Expression of Epigenetic Marker Histone 3 Lysine 9 in Zygotes ». Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29256.

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Normal zygotic maturation entails significant chromatin remodelling and epigenetic reprogramming of parental genomes to provide the framework for embryonic genome activation during the second cell cycle. Embryonic genome activation is required for proper embryonic development and involves a shift from maternal to embryonic regulation of gene transcription. Activation of the embryonic genome necessitates the transformation of chromatin from a transcriptionally repressed to active state. This event is disrupted by environmental factors such as culture in vitro, resulting in decreased embryonic viability. The biochemical reason for this is, however, unknown. Dynamic alterations in histone 3 acetylation on lysine 9 (H3K9ac) occur throughout preimplantation embryo development, because they are undetectable in oocytes and embryos that have just been fertilised. H3K9ac is detected around the time of first DNA replication (pronuclear stage 3) and increases in amount during preimplantation growth. H3K9ac is frequently connected with changing chromatin conformation to an active state. An increasing body of research suggests that modifications to an early embryo’s development environment, such as those that occur in assisted reproduction technologies (ART), can disrupt the usual processes of epigenetic reprogramming, which can lead to maladaptive lifetime changes in an organism’s homoeostasis. Aim This research aims to evaluate the influence of different in vitro conditions on zygotes, mimicking some ART steps, on the level of histone modification H3K9ac and chromatin configuration under different treatment conditions, and to determine if DNA is cross-linked to H3K9ac in preimplantation embryos using immune-localisation studies. Results Embryos obtained through IVF have greater H3K9ac levels than embryos obtained through natural mating. The opposite occurs when the culture time between IVF and embryos acquired by natural mating is the same. In embryos obtained through natural mating, shortening the insemination duration increases levels of H3K9ac. Embryos generated by IVF have lower levels of H3K9ac disturbance when cultured in an optimal medium. Additionally, the use of sequential media (placing a zygote in a fresh drop of medium after a period of culture) results in lower levels of H3K9ac, compared with a single step (where a zygote remains in a single drop of culture medium for the duration of culture) when an optimal medium (kSOM+AA) is used. A suboptimal single step medium (mod-HTF) manifests lower levels of H3K9ac than when using the same medium in a sequential manner. Using a suboptimal medium (mod-HTF) in the first 4 hours (h) of culture results in higher levels of H3K9ac than when using it in the second 4 h of culture, when combined with an optimal medium (kSOM+AA). Conversely, maturity alone did not cause any H3K9ac disturbance. However, when combining superovulation and age, younger mice showed higher levels of H3K9ac when compared with older mice that had not been superovulated. Zygotes from older superovulated females had lower levels of H3K9ac. Additionally, culturing in a low oxygen tension produced a similar effect to freshly obtained zygotes on H3K9ac. However, zygote density, whether 1 or 10 zygotes per drop of culture medium, had no significant effect on levels of H3K9ac. Additionally, changing the zygote environment and mode of fertilisation caused changes in chromatin configuration demonstrated by different DNA staining (DAPI) levels. A link is also demonstrated between DNA synthesis and H3K9ac in zygotes, using a DNA synthesis inhibitor. Conclusions Results demonstrate that in vitro culture is the main adverse stressor on H3K9ac irrespective of method of fertilisation, and that the impact is exacerbated when suboptimal media are used. Maternal age affects H3K9ac when combined with superovulation methods. While oxygen tension affects epigenetic reprogramming, embryo density does not. Chromatin configuration is affected by different manipulations. A new insight into the relationship between DNA replication and H3k9ac is demonstrated. The usefulness of H3K9ac measurements as a biomarker of stress in the early embryo in ART is confirmed. Implications H3K9ac is shown to have a powerful influence on transcription, chromatin conformation, and DNA replication. If ART manipulation can change this, then ART might indicate bigger epigenome aberrations that are critical for embryonic growth and development. While this research programme has contributed novel information that if applied might improve the quality of zygotes by using an optimising culture medium, decreasing the time of culture and using a low oxygen environment in vitro, it also identifies the need for further research in this discipline.

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Dieterich, Danielle May. « Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age ». University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.

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Bryans, Dennis Lindsay, et gpp@optusnet com au. « A seed of consequence : indirect image transfer and chemcial printing : the role played by lithography in the development of printing technology ». Swinburne University of Technology, 2000. http://adt.lib.swin.edu.au./public/adt-VSWT20060118.162852.

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The history of printing is dominated by studies of mechanical typography. In this thesis the role of lithography in modernising printing is presented as an alternative path. The conventional explanation of how different printing processes work is generally made by dividing them into relief, intaglio and planographic processes. This explanation is of questionable value now, in a world where digital pre-press and offset printing hold sway. It is an outmoded idea to think that different ways of delivering ink under pressure is at the core of printing. Instead, it is more useful to focus our attention on the role played by direct and indirect image transfer. The similarities between the uses made by Gutenberg and Senefelder of direct and indirect image transfer has a greater importance than has the simplified division of printing processes into classes based upon depth of impression which is, essentially, a mechanical idea grounded in the typographic tradition. The idea presented here is that Gutenberg's application of indirect image transfer in his invention of moveable type provoked changes of greater importance than did the alternative invention of printing illustrations directly from metal plates or wooden blocks. Similarly, direct lithography was transformed by Senefelder into a vehicle for indirect image transfer by the invention of lithographic transfer paper. This invention had important ramifications for the future of lithography and for the preservation of photographic images. The combination of chemical printing and indirect image transfer made the capture of photographic images possible for the first time. In the nineteenth century, lithography also provided the first means by which photographs could be reproduced with printing ink in books - typography following here rather than leading the way. These issues have not been clearly recognised by many. The widely acknowledged superiority of typography to print economically, sharply, and at speed, was not surpassed by lithographers (who tended to concentrate on technical illustration and decorative printing) for many years. It was not until indirect image transfer was applied to the lithographic press that this barrier to progress was overcome, and, at last, text and image were efficiently transferred photographically to the rotary offset press.

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Ólafsdóttir, Margrét. « Les arts plastiques et les technologies numériques en Islande : histoire et "glocalisation" ». Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010540/document.

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Une absence d'oeuvres d'art des médias en Islande au tournant du siècle dernier, qu'elles soient électroniques ou numériques, a initié cette recherche. Elle a incité l'auteur à entreprendre une analyse de l'histoire des arts plastiques du pays au moment où il était en train de devenir indépendant du Danemark. Cette période est marquée par une quête identitaire, où la définition de la particularité culturelle a dominé le discours sur l'art. En plaçant l'art du passé dans le contexte de la colonie, et l'art moderne dans celui de la lutte pour l'indépendance, il devient possible de montrer que l'absence des arts des médias peut être expliquée par le contexte postcolonial de l'après-guerre. Elle montre finalement comment l'isolement des artistes a été brisé dans ce contexte. Pour finir elle examine comment le pouvoir politique et les institutions culturelles ont réagi à la globalisation des technologies électroniques et numériques qui ont contribué à changer la création et la pratique artistique
A lack of media art in Iceland at the turn of last century, whether electronic or digital, initiated this research. The deficiency encouraged the author to undertake analysis of the history of art in Iceland, at a time when it was becoming independent from Denmark. This period is characterized by the nation's quest of identity, where the definition of cultural particularity dominated the discourse on art. By placing the art of the past in the context of the colony, and modern art in that of the struggle for independence, it is possible to show that the lack of media arts can be explained by the postcolonial situation after the war. Finally, it shows how the isolation of artists was broken in this context. To conclude it examines how the political and cultural institutions have reacted to the globalization of electronic and digital technology that has contributed to change the artistic creation and practices

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Cresto, Lindsay Jemima. « A re-significação da relação entre design e tecnologia na obra dos Irmãos Campana ». Universidade Tecnológica Federal do Paraná, 2009. http://repositorio.utfpr.edu.br/jspui/handle/1/174.

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Este trabalho tem por objetivo investigar a re-significação de artefatos, mediada pelas inter-relações entre arte, design e tecnologia, na obra de Fernando e Humberto Campana. Esta pesquisa analisa e discute como acontecem os processos dinâmicos de revalorização dos artefatos, por meio de refuncionalizações, no mobiliário dos irmãos Campana, no período compreendido entre 1989 e 2008. Os designers possuem uma obra caracterizada pela intervenção dos materiais, muitos destes industriais e incomuns ao mobiliário. Partindo do material, que é o ponto principal de seu trabalho, os irmãos desenvolvem uma linguagem híbrida; utilizam processos artesanais e o gesto corresponde aos movimentos: trançar, enrolar, envolver, combinar. Estas práticas expressam conceitos e visões sobre o design e o papel da tecnologia nos processos de fabricação. A fabricação independe de processos mecanizados em muitos móveis; em outros é empregada tecnologia de ponta. Desta forma, os designers fazem várias propostas, desde os diálogos com as possibilidades de fabricação, passando por conceitos que remetem à arte de vanguarda e da década de 1960, passando por conceitos do design pós-moderno, abordando questões como reuso, reciclagem e ready made. Permitem um olhar de mediação sobre as várias faces do Brasil: a pobreza, o desenvolvimento, o artesanato, o design, o luxo, a multiplicidade e a criatividade. Com estas propostas, os designers acabam por re-significar a visão de pensar e fazer design. A percepção, discussão e análise destas questões foram desenvolvidas com base em procedimentos metodológicos adotados, tais como: análise de material de divulgação dos irmãos Campana, como a mídia impressa e eletrônica; análise semiótica, com base nos fundamentos de Charles S. Peirce; análise das interações entre design e tecnologia, a partir de termos associados ao design dos irmãos Campana; análise do hibridismo cultural e como este se apresenta na obra dos designers. A partir da análise do mobiliário, é possível perceber a gestualidade dos irmãos Campana, que convida a repensar a história do design brasileiro.
This study aims to investigate the re-signification of artifacts, mediated by the inter-relationships between art, design and technology, in the work of Fernando and Humberto Campana. This research examines and discusses how to place the dynamic processes of revaluation of artifacts through rework of function, the furniture of the Campana brothers in the period between 1989 and 2008. Designers have a work characterized by the intervention of materials, many of the industrial and unusual furniture. Based on the material, which is the main point of their work, the brothers develop a hybrid language; craft and use cases corresponding to the gesture movements: braid, curl, involve, combine. They express concepts and views on the design and the role of technology in manufacturing. They employ manufacturing processes of independent mechanized in many mobile and in other high technology is employed. Thus, designers have several proposals, from the dialogues with the possibilities of manufacturing, through concepts that refer to the art and avant-garde, to the art of the 1960s, through concepts of post-modern design, addressing issues such as reusing, recycling and ready made. They look for a mediation on the many sides of Brazil: poverty, development, craft, design and luxury, the multiplicity and creativity. With these proposals, the designers will ultimately mean re-thinking of the vision and drive design. The perception, discussion and analysis of these issues were developed based on methodological procedures adopted, such as analysis of material to disseminate the Campana brothers, as printed and electronic media, semiotic analysis, based on the grounds of Charles S. Peirce, analysis of interactions between design and technology, from terms associated with the design of the Campana brothers; hybridism and cultural analysis of how this is presented in the work of designers. From the analysis of furniture, it is possible to see the gestures of the Campana brothers, who calls to rethink the history of Brazilian design.

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Young, Theresa L. « Living tools : an environmental history of afforestation and the shifting image of trees ». Thesis, Kansas State University, 2013. http://hdl.handle.net/2097/15674.

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Master of Arts
Department of History
Bonnie Lynn-Sherow
In the second half of the nineteenth century, the Timber Culture Act (1873) and the development of the field of scientific forestry shifted the social conception of trees from a cultural icon, into living technological tools. Beginning with the antebellum publications of George Perkins Marsh, who argued for the preservation and restoration of forests for the benefit of all, scientists, railroad developers, and plains settlers advocated for the cultural importance of trees as a living tool. Assured by railroad-boosters, the budding Forestry Bureau, and pro-tree legislators that rainfall would follow their planting efforts, waves of emigrants who relocated to the grasslands from the eastern forested areas planted millions of trees in an attempt to afforest the open prairies, creating traceable environmental and social changes over time. Environmental historian Elliott West asserts, “Only people have tried on a massive scale to move imagined environments out of their heads and to duplicate them in the world where others live,” and the grasslands of Kansas is one of these environments. This thesis argues that the scientific field of forestry developed a system of prairie tree planting (afforestation) aimed at altering the environment of the Great Plains with artificial forests and created a technological construction of the Kansas environment. The enactment of the Timber Culture Act was a watershed moment because it elevated the social conceptions of trees to that of a living tool and created the need for a national Forestry Bureau. Primary source documents reveal that the general perception held in the nineteenth century was that the natural environment and climate was malleable. The development of profit-centered tree farms furthered the idea that forests were like any other manageable crop. The changes over time in the forest cover of Kansas resulted in an altered ecology and the introduction of invasive species, but most importantly, it altered the cultural perception of how Kansas should look.

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MacRobbie, Danielle Elizabeth. « An Investigation of Technological Impressions in Steve Reich and Beryl Korot's Three Tales ». Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1382368248.

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Murray, Nicky. « A history of apprenticeship in New Zealand ». Lincoln University, 2001. http://hdl.handle.net/10182/1599.

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This Master's thesis is a history of apprenticeship in New Zealand. Apprenticeship has traditionally been the main route for entry into the skilled trades. At one level apprenticeship is a way of training people to do a particular job. The apprentice acquires, in a variety of formal and informal ways, the skills necessary to carry out their trade. The skills involved with each trade, tied inextricably to the technology that is used, are seen as the 'property' of the tradesperson. Learning the technical aspects of the job, however, is only a part of what goes on during an apprenticeship. The apprentice is also socialised into the customs and practices of the trade, learning implicitly and explicitly the hierarchies within the workplace, and gaining an appreciation of the status of his or her trade. Apprenticeship must also be viewed in the wider context of the relationship between labour and capital. The use of apprenticeship as an exclusionary device has implications for both worker and employer. Definitions of skill, and the ways in which technological advances are negotiated, are both dependent on the social setting of the workplace, which is mediated by social arrangements such as apprenticeship. This thesis thus traces the development of apprenticeship policies over the years, and examines within a theoretical context the debate surrounding those policies. Several themes emerge including the inadequacy of the market to deliver sustained training, the tension between educators and employers, and the importance of a tripartite accord to support efficient and equitable training. Apprenticeship has proved to be a remarkably resilient system in New Zealand. This thesis identifies factors that have challenged this resilience, such as changes in work practices and technology, and the historically small wage differentials between skilled and unskilled work. It also identifies the characteristics that have encouraged the retention of apprenticeship, such as the small-scale nature of industry in New Zealand, and the latter's distinctive industrial relations system. It is argued that benefits to both employer and worker, and the strength of the socialisation process embodied in apprenticeship, will ensure that some form of apprenticeship remains a favoured means of training young people for many of the skilled trades.

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Pourpour, Yannick. « Archéologie Cinématographique et Evolution des Standards Technologiques ». Phd thesis, Université Paul Valéry - Montpellier III, 2011. http://tel.archives-ouvertes.fr/tel-00705346.

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Les technologies de projection et de diffusion des oeuvres cinématographiques ont la réputation d'être des facteurs d'importance négligeable. Or, à l'inverse, elles jouent un rôle fondamental dans leur diffusion et donc leur réception. Par ailleurs, ces technologies, bien que leurs grands principes fondateurs n'aient pas changé depuis près d'un siècle, sont au coeur d'un processus d'évolution perpétuelle. Ce processus permanent aura, lui aussi, un impact sur la manière dont des oeuvres, tournées à l'aide d'équipements aujourd'hui devenus obsolètes, vont se transmettre de génération en génération, par des processus de recopie et de duplication complexes, et dont les conséquences esthétiques et philologiques pour les films restent mal connues. Cette thèse a pour objectif d'étudier, dans une démarche archéologique, les modalités et les processus de cette double évolution à travers les traces que lèguent au présent oeuvres et contextes de diffusion disparus. Ce sont autant de " prophéties ", selon le mot de Walter Benjamin, qui feront l'objet de réinterprétations et de réappropriations plus ou moins complexes par les générations suivantes, lesquelles lègueront à leur tour à la postérité des traces de leur propre passage. Cela engendre un complexe processus perpétuel de sédimentation, encore aujourd'hui mal connu, qui constitue le principal objet d'étude de cette thèse.

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Clegg, Bridget Dearie. « Craftivista : Craft blogging as a platform for activism ». Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1271901842.

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Moss, Eloise. « Cracking cribs : representations of burglars and burglary in London, 1860-1939 ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:aa6bf0cb-a792-483f-b79b-7fbe864e3582.

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This thesis explores how burglars and burglary in London were understood in cultural, criminological, legal, political, and economic discourse during the period 1860-1939, demonstrating how the ideas about crime and the criminal circulating in these domains were mutually constitutive. Specifically, it identifies how characterisations of burglary in visual and written forms of media — encompassing legal and criminological documents, as well as those produced by the press and commercial advertising, and in fiction, theatre, and film — cultivated a range of attitudes towards the crime to a greater or lesser extent. Encompassing not only fear-mongering and sympathetic representations, but also those designed to be exciting, to challenge preconceptions, and to entertain, I argue that these conflicting attitudes towards burglary and burglars emerged in response to specific changes in the cultural landscape: the advent of mass literacy and corresponding interest in narratives of crime that reflected the social, cultural, and political concerns of an audience diverse of class, age, and gender; the commercial imperatives of the insurance and entertainment industries as the middle classes expanded, including the development of household insurance and the popularity of the ‘true crime’ genre; debates surrounding women’s increasing social and sexual agency and their alignment with particular crimes; and the evolution of new modes of policing and regulation. The thesis thereby uses the topic of burglary to illuminate a broader range of contemporary preoccupations and experiences with gender relations, class structures and stereotypes, and the moral authority of state and society. By approaching burglary as a focus of interactions not only between police, criminal, and victim, but also between the market, consumers, and the state, this thesis uncovers new terrain upon which crime intersected with everyday lives historically.

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Dotson, Jessica N. « INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & ; THEATRE ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.

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Abstract INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE Jessica Nicole Dotson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015. Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.

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Ivanov, Gunnela. « Vackrare vardagsvara – design för alla ? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925 ». Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.

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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).

Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.

Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.

Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.

Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.

Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

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Linnell, Caroline. « Fake it til you make it ? : En studie i alternativa fyllnadsmaterial för mindre fanerskador ». Thesis, Linköpings universitet, Malmstens Linköpings universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-159914.

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Arbetet handlar om en studie i alternativa fyllnadsmaterial för mindre fanerskador. Syftet är att tydliggöra och vidga konservatorns palett av alternativa fyllnadsmaterial och skapa riktlinjer för lagning av mindre fanerskador med hjälp av dessa material. Parallellt med min undersökande del diskuteras även andra frågor såsom vilka värden möbler bär på samt vikten av att skapa ett nätverk med informationsutbyte för vidareutveckling av metoder och material inom möbelkonservering. I arbetet redogör jag för generella skillnader mellan möbelkonservering och möbelrestaurering. Undersökningen baserar sig på en analys av svar från mitt frågeformulär där svarspersonernas erfarenheter och praktiska undersökningar delvis har legat till grund för urvalet av material jag valt att gå vidare med i mina undersökningar. I dessa undersökningar testade jag olika fyllnadsmaterial på provplattor fanerade med björk och valnöt. I arbetet redogör jag för traditionella fyllnadsmaterial och i slutsatsen redogör jag för de material som jag anser kan utvecklas till att bli lämpliga komplement till de traditionella fyllnadsmaterialen, till exempel Aquazol 500 och Arbocel.
This is a study of alternative filling materials for smaller damages in veneer. The aim is to document and expand the palette of filling materials for furniture conservators and to create guidelines for the conservation and restoration of smaller damages in veneer. Parallel to this study I discuss other issues, such as the different values that can be found in an object. The importance of networking and the giving and sharing of information which is essential for the development of new techniques and materials. The difference between furniture conservation and furniture restoration is presented briefly. My tests are based on an analysis of the answers from my questionnaire where the respondents experience and practical skills serve as a partial base for the choice of materials that I have chosen to examine. My tests were executed on both birch and walnut veneer. I describe the pros and cons of traditional filling materials and in the conclusion, I present the filling materials that I believe can be a good complement to the traditional filling materials, such as Aquazol 500 and Arbocel.

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Adamson, Greg, et g. adamson@ieee org. « The mixed experience of achieving business benefit from the internet : a multi-disciplinary study ». RMIT University. Business Information Technology, 2004. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20041105.112155.

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From 1995 the Internet attracted commercial investment, but financially measurable benefits and competitive advantage proved elusive. Usage for personal communication and business information only slowly translated into commercial transactions. This reflects a unique feature of Internet development. Unlike other media of the 19th and 20th centuries, widespread Internet use preceded commercial investment. The early military and research use led to an architecture that poorly supported the certainty and security requirements of commercial transactions. Subsequent attempts to align this architecture with commercial transactional requirements were expensive and mostly unsuccessful. This multi-disciplinary thesis describes these commercial factors from historical, usage, technical, regulatory and commercial perspectives. It provides a new and balanced understanding in a subject area dominated by poor communication between separate perspectives.

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Joly, Noémi. « ZERO et le devenir immatériel de l’art à l’épreuve de la technique, 1958-1964 ». Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040048.

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ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensible
ZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience

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Kline, Amanda Le. « Speculation on the Trajectory of Human Kind ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404324124.

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Gros, Gilles. « Histoire et épistémiologie de l'art dentaire ». Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30007.

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L’épistémologisation de l’art dentaire se fonde sur l’évolution de deux concepts-clés des sciences de la nature : la matière, objet de la physique et de la chimie, et la vie, objet de la biologie. Elle est marquée par deux grandes discontinuités qui délimitent les trois grandes périodes de son histoire. La première discontinuité se situe au début du 18e siècle quand Fauchard, influencé par les idées de Galilée et de Descartes, fait de l’art dentaire une science de l’ingénieur et l’introduit dans la modernité. La seconde discontinuité a lieu à la fin du 19e siècle, après que l’art dentaire a intégré des concepts-clés énoncés par C. Bernard, Virchow et Pasteur qui accentuent sa biologisation et que des découvertes technologiques révolutionnaires le conduisent à instituer une alliance durable entre science et technique. Au 20e siècle, l’invention technique débouche sur l’affolement technique et la biologisation s’accélère. Alors l’art dentaire prend conscience de la nécessité d’atténuer la discordance entre valeurs organiques et valeurs mécaniques. Ce qui l’amène à renouveler son paysage disciplinaire, à se spécialiser et à adhérer à la pensée complexe. A la fin du 20e siècle, il accède aux mécanismes de la vie et se mêle d’ingénierie tissulaire, d’où de fortes présomptions d’une vaste réforme de son programme épistémologique et thérapeutique au 21e siècle
The epistemologisation of the dentistry is based on the evolution of two concept-keys of sciences of nature : matter, object of physics and chemistry, and life, object of biology. It is marked by two great discontinuities which delimit the three great periods of its history. The first discontinuity is at the beginning of the 18th century when Fauchard, influenced by the ideas of Galileo and Descartes, makes dentistry engineering and introduces it into modernity. The second discontinuity takes place at the end of the 19th century, after the dentistry integrated concept-keys stated by C. Bernard, Virchow and Pasteur who accentuate his biologisation and whom revolutionary technological discoveries lead it to institute a durable alliance between science and technology. At the 20th century, the technical invention leads to the technical panic and the biologisation accelerates. Then the dentistry becomes aware of the need for attenuating the discordance between organic values and mechanical values. What leads it to renew its disciplinary landscape, to specialize and adhere to the complex thought. At the end of the 20th century, it reaches the mechanisms of the life and is interfered tissue engineering, from where strong presumptions of a vast reform of its epistemological and therapeutic program to the 21th century

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Ceci, Veronica B. « /100 (Out of One Hundred) ». Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397821954.

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Halsall, Francis. « Art, art history and systems-theory ». Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.

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Grosheva, A. A. « Art and technology ». Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14369.

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Merline, Mark. « Art and technology ». The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314899963.

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Williams, Cheryl Lynn. « Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education / ». Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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Thèses sur le sujet « Art and technology – history »

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