Thèses sur le sujet « Film-Installation »
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1
Maziere, Jean-Michel. « Testing the curatorial in artists' film and video installation ». Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/9zx1z/testing-the-curatorial-in-artists-film-and-video-installation.
Texte intégralRésumé :
This PhD by published work critically examines ten years of curatorial practice in the field of artists' film and video by the author. The aim of the thesis and publications is to question and challenge the contemporary integration of artists’film and video installation into the language of the visual arts, the context of the white cube and the privileged definitions of curatorial practice. This PhD also places these questions in a historical context, taking into account the early and often overlooked developments of artists’ film and video exhibition. This research was carried our through individual curatorial projects in the field by scrutinising specific constituent parts of artists’ film and video installation such as the screen, time, space, image, projection, site and audience. The curated exhibitions (the Projects) all took place at Ambika P3, a large postindustrial venue converted into a project space for this purpose in 2007. Each project manipulated these constituent elements and built on them in order to provide new artists’ commissions under the rigour of an experimental and research-led approach. Through this commissioning process, this research developed new collaborative models of curatorial practice, examined and identified key critical areas of curatorial and artistic practice which have been overlooked by critics, writers, curators and the public and proposed new forms of artists’ film and video exhibition. This testing of the boundaries of artist’s film and video installation demonstrated that both the history and context of the practice is engaged with a broad range of paradigms inherited from cinema, sculpture and site specific practice. Furthermore it established that curation is a collective practice engaging numerous participants according to the needs and requirements of each project. The projects revealed that a self reflexive and historically aware approach to curating artists’ film and video can deliver innovative and immersive works outside of the white cube, through an attention to materials, site and form. Through the publications and the commentary it is shown that a critical, collective and process based curatorial practice, attentive to context and its origins expands both the language and the power of the exhibited work.
2
Sjunnesson, Vera. « The businessman, the mosquito and the dragon ». Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-67.
Texte intégralRésumé :
My master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity[I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min.
Examensarbetet består av en skriftlig del och en gestaltande del.
3
van, Wagtendonk Martijn. « A striving flirtation in spliced coordinates ». The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1102448295.
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4
Eastland, Elizabeth. « Telling stories out of school : reframing scientific research through narrative : a multi-screen direct cinema film installation of four female scientists ». Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12777.
Texte intégralRésumé :
This project employs the emerging art practice of participant observation ‘direct cinema’ and the emerging ‘cross-over’ discipline art/anthropology to examine and critique scientific investigative processes from the perspective of female scientists and presents its findings employing structuralist filmmaking approaches. While there have been some anthropological studies of scientists, to the best of my knowledge there have been no participant observational films of the scientific community. This thesis brings new insights into the practice of science by analysing and critiquing scientific investigative processes through participant observational filmmaking and narrative theory. It also brings new understanding to video installation practice by presenting four narrative direct cinema ‘ethnographies’ in a unique multi-screen, multi-modal gallery installation. This thesis, together with the multi-screen installation, explore a visual documentation of the site of scientific investigation, providing insights into scientific discovery processes that have to date remained under-documented. The work shows these processes include non-linear pathways, accidental and serendipitous encounters. The project reveals the process of scientific discovery is an immersive experience of high concentration across a range of cognitive modes, including the aesthetic, in a chaotic and changing environment. It reveals there is an important aesthetic dimension to the environment and discovery dependent on a material engagement with the subject matter. Although I shared the approach to my research with ethnography, this project was developed from the perspective of realist art practice. Through participant observational method of studying female scientists, I introduce an ‘outsider’ perspective which shines new light on the interpretation of scientific processes. The work presents a methodology for presenting multiple interpretations of an ‘objective world’, critiquing the notion of ‘scientific objectivity’ through reframing scientific experimentation within personal narratives. Rather than presenting the film via a single-point perspective of traditional documentaries, my project offers a way of weaving multiple views of reality into a multi-screen multi-modal installation. Its contribution to knowledge is through a narrative interpretation of scientific investigation and innovation in film installation art practice. The work also brings innovation to the body of knowledge – practice-based as well as theoretical – of ethnographic filmmaking.
5
Zhou, Yuanzhi. « Capitalizing China's media industry : the installation of capitalist production in the Chinese TV and film sectors / ». online access from Digital Dissertation Consortium, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290456.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4535. Adviser: Daniel Schiller. Includes bibliographical references (leaves 250-259) Available on microfilm from Pro Quest Information and Learning.
6
Delaporte, Marie-Laure. « L’artiste à la caméra : hybridité et transversalité artistiques (1962-2015) ». Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100145.
Texte intégralRésumé :
A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’image du corps à travers l’objectif de la caméra, oscillant entre présentation et représentation chez Carolee Schneemann, Yvonne Rainer et Bruce Nauman. Le film d’artiste parvient également à dépasser la spécificité des médiums en exaltant sculpture et installation, en créant des formes et des espaces de l’entre-deux, en déplaçant le visiteur comme le font Robert Smihtson ou Anthony McCall, en révélant des aspects invisibles. Enfin, il s’agit de comprendre comment le film peut devenir un modèle de pensée et de réflexion pour les autres arts mais aussi pour le médium de l’exposition qui se voit récitée selon de nouveaux principes temporels et spatiaux. L’artiste à la caméra franchit ainsi les frontières de la danse et de l’opéra, met en jeu le corps et la perception du visiteur face à la redéfinition des écrans et des conditions d’exposition telles les oeuvres de Matthew Barney, Bill Viola ou Pierre HuygheSince the 1960’s the link between filmic and artistic practices has intensified. From now on artists and performers use the movie camera not only to record their practice but to transform and reveal it. Artist’s film becomes a way to discuss with the other arts and to create hybrid and transversal shapes. This dissertation aims to demonstrate that the artist with a movie camera, is a category in its own way, which goes beyond the documentary of recording the piece. It renews the body’s image through the camera’s eye, between presentation and representation with the pieces of Carolee Schneemann, Yvonne Rainer and Bruce Nauman. The artist’s film achieves to go beyond the medium’s specificity by glorifying sculpture and installation, by creating shapes and spaces of in-between, moving the visitor as did Robert Smithson or Anthony McCall, by revealing invisible aspects. We would like to understand how film can become a model of thinking for the other arts as well as for the medium of exhibition which reactivated according to new temporal and spatial principles. The artist with a movie camera goes beyond the thresholds of dance and opera, challenges the body and the perception of the visitor facing the definition of the screens et de exhibition’s condition like the ones of the pieces made by Matthew Barney, Bill Viola or Pierre Huyghe
7
Kachtík, Petr. « Audiovizuální instalace ». Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232389.
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This thesis is concerned with the relationship between sound and image, their manipulation in real time. The main topic of this work is the permeation of these two elements into a single composition. I work with documentary footage witch I try compose according to the principles of VJing.
8
Bentley, James E. III. « Looking Back : An Examination of Family Archives ». Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.
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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.
9
Manikowski, Rebekah. « Unreliable Narrators ». Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/747.
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Unreliable Narrators is a record of the process to create a mixed media installation about how and why we tell stories, and how we as an audience discern the truth of those stories. The installation tells three different perspectives of the same story. Part documentary and part detective search, this project has viewers following the subject as she pieces together her story and ultimately has them deciding for themselves what to believe.
10
O, Donnell Sarah. « Tracing a Process ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339194276.
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11
Holtsclaw, Anita. « To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art ». Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76536/1/Anita_Holtsclaw_Thesis.pdf.
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To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.
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Wickman, Annika. « I mötet med Bill Violas videokonstverk Five Angels for the Millennium ». Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-898.
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Uppsatsen behandlar upplevelse. Analysen av upplevelse utgår från uppsatsförfattarens möte med den amerikanske videokonstnären Bill Violas installation Five Angels for the Millennium (2001).
Forskningsansatsen är främst fenomenologisk vilket innebär att fokus ligger på att undersöka vad som är, vad det föreställer och hur den upplevande uppfattar detta.
I bakgrunden står frågan hur upplevelse, med utgångspunkt i en persons möte med ett videokonstverk, kan analyseras teoretiskt. Uppsatsförfattaren för samman ett antal teoretiker som alla skrivit om emotioner, i form av känsla eller affekt, i samband med en tolkningsakt. De forskare som det främst refereras till är Bent Fausing, Mark Hansen, Laura Marks, Janet H. Murray, Lynne Pearce och Roland Barthes. Barthes har även påverkat förhållningssättet till analysen i stort.
Den metod som används är att först skildra mötet med verket och att därefter analysera mötet utifrån fyra olika infallsvinklar. Från analysen av vad som mött den upplevande, flyttar perspektivet till att se vad som skett i den upplevande, för att därefter undersöka hur den upplevande utvecklat en relation till verket. Slutligen diskuteras verkets religiositet, bl.a. med hänvisning till Wassily Kandinskys texter om det andliga i konsten, Walter Benjamins beskrivning av upplevelse, nyare forskning om religiös upplevelse och Violas kontext och uttalade avsikt.
I texter om Viola framkommer det att de som mött hans verk delar en likartad upplevelse. Analysen är avsedd att ge en förståelse för hur Viola går till väga för att få den som möter hans verk att känna och tänka på ett visst sätt. Slutsatsen är att den upplevande, i mötet med verket, möter Violas ideologi, vilken kan sägas vila i utgångspunkten att människan måste finna en ny form av verklighet. Implicerat är att den värld hon lever i idag inte är människovänlig.
13
Nery, Maria Angelica Del. « SALA DEVIR CINEMA : seis variações poéticas de uma película cinematográfica ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-25072018-165152/.
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Estudo, no plano das poéticas visuais (multimeios), sobre um ser em devir quando perde uma de suas potências constitutivas. A partir da apropriação de uma película cinematográfica de 35 mm, de origem desconhecida, comprada pela internet, foram realizados 6 experimentos poéticos em composição contínua. Esta experiência foi operada em diferentes meios expressivos e problematiza o estatuto da imagem na passagem de um meio a outro - imagem cinematográfica, fotograma, fotografia, vídeo, gravura, imagem instalada no espaço e jogo de mesa.This research in the area of visual poetics (multimedia) studies the becoming of a being losing one of his/its constituent potencies. Starting with the appropriation of a 35 mm strip of cinematographic film, from an unknown source, bought through the Internet, six poetic experiments were realized in a continuous composition. This experiment was carried out through different expressive mediums and questions the status of image during the passage from one medium to another: cinematographic image, frame, photography, video, print, installation art, board game.
14
Rafferty, Eileen N. « Jimmy Hit His First Home Run ». VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/958.
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This document begins with the end of a life and ends with the beginning of hope. It is a brief description of the artist's history, artistic and literary influences, and subsequent works produced during graduate school, specifically Dichotomy, Swan Dive, and Jimmy Hit His First Home Run. Topics discussed include Human Physiology, Transference, Buddhism, and Bubbles. This document was created in Microsoft Word 2004 for Mac, Version 11.2.
15
Goss, Scott. « When I'm Not Here ». Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397773821.
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Veloz, Franco. « Embodied narratives : Embodied experiences as a call for action ». Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-750.
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Things, spaces and people collaborate in order to create an immersive experience. This project investigates this collaboration in order to combine them for an embodied way of tell and perceive stories. Can a immersive experience help to close the gap between information and the person, the event and the story? In the following essay I am going to analyze the components that are part of the experience. I am interested in the connection between perception, memory, atmosphere and objects. Inquire how they are related and what they represent in order to tell stories with them. I try to question the way we perceive and expand the function of telling and receiving stories to the whole body and everything around us. With these new questions, create my project – Johan’s Room – and experiment with them, trying to connect the audience with the story.
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Finkelstein, Marta R. « Cute As A Button ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3795.
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Cute As A Button explores powerlessness, vulnerability, illness and addiction all wrapped up in tender buttons and a cute, cuddly creature. Using animation, sculpture, sound and an intimate space, I surround the viewer in a saccharine nightmare, one that references the dark underbelly of the cute and the sweet. The visual and aural elements are representative of the psychological and emotional states of powerlessness, which are overcome by the act of making and exploring a medium over which I can have complete control.
18
Yes, Melissa R. « Space Program ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494286481799127.
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Ballard, Susan Patricia Art College of Fine Arts UNSW. « Out of order : explorations in digital materiality ». Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42596.
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Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
20
Stansell, Thomas Micah. « Between You and Me ». Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.
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In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.
21
Clementi-Smith, Jonathan. « Divine horsemen and people inbetween : a study of the spaces between magical time and mechanical motion ». Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3998.
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This PhD “Film by Practice” sets out to question and explore the nature of film poetry. The poetry of the cinematic image is described by the filmmaker Jean Epstein as the “unveiling of the magic inherent in the visual object beyond the capacity of words to define” (Epstein, cited in Sitney, 1978: xxiii). This is a daunting task that the study interprets through the moving image with particular reference to the magical temporal art of trance possession, which is processed within the genre of experimental ethnographic documentary and intercultural film. This thesis is an experiment in form, taking the filmmaker Maya Deren’s notion of film as comprising of “narrative horizontals” and “poetic verticals” (Deren and Sitney, 1971: 178) explored through a practical investigation of movement and time in space both beyond and within the film frame, studied through the art installations Divine Horsemen (2005) and People Inbetween (2007). It is focused through a reading of Gilles Deleuze’s Bergsonian philosophies of cinema as “movement-images” and “time-images” (Deleuze, 1989: xvi, xvii), exhibited as multi-screened video art installations that evolve within the space and hence exist in a perpetual state of “becoming”. Whether this is the sounds and images that change depending on where they are viewed, or the narrative theme of the works as “becoming other”. The themes of “in-betweenness” and the “mix” are investigated through these two video documentary artworks; first, by a third party restaging/remixing of the experimental ethnographic footage of Haitian Voodoo trance possession shot by Maya Deren, unfinished and posthumously released as Divine Horsemen the Voodoo Gods of Haiti (1985); and second, diaspora and the intercultural are explored through the first person personal. Intercultural documentary and experimental ethnography filtered through me with specific reference to my own triangular ethnicity, being British, Sri Lankan, though classified as Dutch Burgher, a “lost white tribe” (Orizio, 2000: 2): a journey into racial “becoming” as an “in-between” belonging to a diasporic community.
22
Cox, Joseph M. « MOLOCH : Developing a German Expressionist Puzzle Game ». Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492777907436196.
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Benetti, Liliane. « Ângulos de uma caminhada lenta : exercícios de contenção, reiteração e saturação na obra de Bruce Nauman ». Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-18112013-163120/.
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Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formalAngles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.
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Zoulek, Nick. « Analyzing the Intersections of Saxophone and Digital Media Through Media Theory ». Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562771812450533.
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White, Kelley. « Space : A Discovery of Visual Language ». VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2487.
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Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.
26
Antariksawan, Anhar Riza. « Interaction thermique acier inoxydable fondu-eau sur l'installation SEIZIES : analyse et interprétation ». Grenoble INPG, 1993. http://www.theses.fr/1993INPG0038.
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Le contact entre le jet d'eau et l'acier inoxydable fondu observe dans l'installation experimentale seizies provoque une pressurisation et une liberation de l'energie mecanique. On propose dans ce memoire une analyse et une interpretation de cette interaction a l'aide d'un modele thermodynamique et d'un modele parametrique. Les objectifs de ce travail sont: l'evaluation du terme source de l'interaction, a savoir l'energie reellement transmise dans l'interaction et celle transformee en travail mecanique et l'amelioration des connaissances sur l'interaction thermique metal fondu et notamment dans le cas d'une injection de l'eau sur le metal fondu. Les resultats importants sont: le travail mesure experimentalement est representatif du travail maximum liberable dans seizies, la masse d'acier participant a ete determine et certains mecanismes physiques ont ete valides
27
Franklin, Donna. « Meaningful Encounters : Creating a multi-method site for interacting with nonhuman life through bioarts praxis ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1574.
Texte intégralRésumé :
This research advocates a multi-method approach to bioarts praxis, reflexively and critically questioning the contemporary contexts that frame our engagement with nonhuman life. In doing so, the research aims to generate further community engagement with nonhuman life and the environment, and engender critical discourse on the implications of developing biotechnologies.
Hegemonic institutions influence the way culture is produced and how information is constructed and understood. Habermas (1987) suggests that these institutions will inevitably influence the individual’s lifeworld as they shape lived experience through the process of systemic colonisation. I assert that this process also shapes how individuals engage with or understand nonhuman life. Through the implementation of three major projects the research aims to develop the capacity of bioarts in challenging such institutions by providing the opportunity for hands-on life science activities and real-time interactions with nonhuman life. The research by employing such methods aims to counter-act the impact of urbanised living and indifference to environmental conservation.
Each aspect of the creative praxis provides a reflexive case study to establish the research aims and answer the research agenda. This includes my creative bioartworks, an art-science secondary educational course and a curated group exhibition, symposium and workshop. This research provides an alternative communicative approach to hegemonic institutions such as the mass media, scientific biotechnological industries and traditional gallery spaces (Shanken, 2011).
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Maffioletti, Catherine. « Beyond the mirror : towards a feminised (cartographic) process of spatiality in moving-image & ; installation based art ». Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6107/.
Texte intégralRésumé :
Going against phalloculocentrism’s situation in a hom(m)o-sexual paradigm and structuration of the male gaze and moving towards a gyneacentric perspective, the thesis explores how a feminised process of reception and interaction with artworks might arise. My installation and moving-image practice-led research is driven by a central question: How might a feminised form of spatiality, based on a gyneacentric model, deform an audience’s phalloculocentric reading of an artwork? The purpose of this thesis is to find a practice-led feminist method of producing an artwork that actively represents the feminine and de-centres an audience’s (male) gaze. By dislocating the eye from the lens of a camera, I propose to alter an audience’s usual cinematic experience of an image of the feminine through my artwork. This is developed through my proposition for composing an experience of her image through inter-relational exchanges in order to shift the register of reception from gazing to “touching”. I claim this could provide a potential for an embodied feminised process of spatiality and perception. A method of cartographically mapping the feminine through diagrams, photographs, drawings and video is developed in the preparation and installation of the central artwork that structures the thesis, (f)low visibility, in a nightclub. Feminist (installation and video) practitioners’, Martha Rosler, Louise Bourgeois, Mona Hatoum and Pipilotti Rist, approaches to representing the feminine are also investigated. The preparatory designs attempt to subvert the potential for a voyeuristic reception and/or exhibitionistic composition of the installation. This forms an investigation into how the reception and interaction with a feminised image might arise through a tactile process of exploration. I propose that although (f)low visibility produced ungraspable feminised on-screen images it afforded embodied partially locatable inter-relational exchanges in its reception of her. Luce Irigaray’s and Donna Haraway’s theories of embodiment are developed and intertwined in my conclusion. I claim that interaction with and reception of monstrous cyborg images on-screen occurred through the navigation of a fantasy of intrauterine “touching” in (f)low visibility’s installation as a feminised process of spatiality.
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Hofman, David. « Étude et installation d'un contrôle optique large-bande dans une machine de dépôt sous vide de grandes dimensions ». Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE1277/document.
Texte intégralRésumé :
Les optiques utilisées pour les expérimentations utilisant la lumière blanche ou des lasers, sont généralement traitées afin de fonctionnaliser optiquement la surface pour, par exemple accroître leur faculté à réfléchir la lumière ou au contraire à la transmettre. Ceci est fait au moyen de machines de dépôt sous vide dans lesquelles différentes techniques de dépôt peuvent être utilisées. Dans tous les cas, de la matière est envoyée sur la surface de l'optique à traiter : des couches minces de différents matériaux sont alternativement déposées à leur surface. Cette amélioration des fonctions optiques exploite l'interférence des rayons lumineux qui sont réfléchis ou transmis par ces couches minces. Mais pour que le traitement soit efficace, il est nécessaire que les épaisseurs de chaque couche déposées respectent un schéma défini à l'avance : le design optique, il s'agit du plan de l'empilement des couches à déposer et de leurs épaisseurs théoriques.Différentes techniques de contrôle in-situ de l'épaisseur des couches minces existent. L'une d'elles, le contrôle quartz, est une technique de contrôle largement répandue pour sa simplicité de mise en œuvre mais possède une précision limitée à seulement quelques pourcents. Le sujet de cette thèse porte sur le développement et l'installation dans une machine de dépôt, prévue pour de grandes optiques, d'un système de contrôle basé sur l'analyse spectrale d'une lumière réfléchie par l'optique en cours de dépôt. Il s'agit d'un contrôle optique large-bande, technique mise en place dans la grande machine de dépôt du laboratoire afin de remplacer le contrôle quartz.Nous commencerons cette thèse par un aperçu des différentes techniques de dépôts utilisées au laboratoire puis des techniques de contrôle d'épaisseur les plus répandues dans le domaine des couches minces. Ensuite, nous continuerons sur le design et l'installation du système optique qui permet d'effectuer la mesure des couches en cours de dépôt. Enfin, nous monterons que les spécifications fixées sur les empilements de couches minces ont été atteintes avec précision et répétabilitéThe optics that are generally used for the experiments using white light or lasers, have their surfaces usually treated in order to enhance their optical characteristics. This is done inside vacuum coating machines with different possible techniques. With all these techniques, some matter is deposited on the optical surface: several thin films of different materials are deposited in a stack. These improvements use the light interference properties of the beams that are reflected or transmitted by the thin films. But in order to make this effect the most efficient, it is necessary that the layer thicknesses respect an optical design: the layer stack and their theoretical thicknesses.Different in-situ thickness monitoring techniques exist. One of them, the quartz crystal microbalance technique, is widely used for its simplicity but it only allows an accuracy of a few percent. The thesis topic was the development and the installation of a thickness monitoring, in a large coating chamber used for large optics coating, in order to replace th quartz microbalance monitoring. . This is a broadband optical system performing a spectral analysis of the reflected beam from the optic during the coating. We will start this manuscript with a quick overviewof the deposition techniques available at the laboratory. Then, we will review the most widely used thickness monitoring methods in the domain of thin films. We will continue with the design and the installation of the optical system inside the coating chamber. Finally, we will show that the success criteria of the deposition tests were met with accuracy and repeatability
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Armstrong, Keith M. « Towards an Ecosophical Praxis of New Media Space design ». Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Texte intégralRésumé :
This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
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KE, TING-RU, et 柯廷儒. « Application of Graphite Film to Development of Fuel Cell Collector Plate and Power Installation ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/h58dvd.
Texte intégralRésumé :
碩士國立勤益科技大學
冷凍空調與能源系
107
This study developed a lightweight collector plate for long-term stable output, which is fixed into the fuel cell module and combined with circuit design to develop a power installation. The FR-4 Glass/Epoxy was used as substrate of collector plate, and the substrate was coated with a layer of copper as conductive layer by using thermal evaporation process. The copper plated conductive layer was covered with graphene suspension, graphene dispersion, graphene ink and graphene target material as corrosion-resistant layer. The sheet resistance and Tafel electrochemical tests were performed for the collector plate, and then 2cell fuel cell module was assembled for AC impedance spectrum measurement, performance test and stability test. The test results showed that the graphene dispersion can deliver 1.2W in the open 2cell fuel cell module. It has the best performance among the four materials. Afterwards, the fuel cell module is assembled and bonded by using this material and hot pressing technique in the concept of PCB, and the fuel cell module is partially cooled by water chiller and fixture to prevent the MEA from being damaged by high temperature in the course of hot pressing. Finally, it is combined with circuit and small hydrogen storage tank to form a power installation. The maximum power output is 1.4W, the power is successfully supplied to LED lamp, fan and mobile phone.
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Hsu, Jen-Ken, et 許仁根. « The impact of installation methods and environment on power-generation performance of thin film solar modules ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/72385175749605087343.
Texte intégralRésumé :
碩士明道大學
材料科學與工程學系碩士班
101
Recently, due to rising oil prices and environmental consciousness, people start to install photovoltaic systems to generate green energy, and expect to decrease pollution on Earth and to save on electrical bills. As a result, building-integrated photovoltaic (BIPV) attracts more and more attentions. However, there is still little information about maximizing benefits of generating solar electricity, since it involves complicated considerations such as PV module tilt angle, facing direction and shading effect. Physical properties of PV modules should also be taken into account for installation. This thesis aims to investigate environmental effects on power generation of PV modules. From the experimental results, it is found that for 1 kW PV module the annual power generation for the tilt angle of 90° (vertical) is only half of that for the tilt angle of 23.5°. The module with the tilt angle of 0° (horizontal) has an intermediate annual power output. For the shading effect investigations, it is found that when shading on one sub-cell in a module, white spots are formed due to the enormously increased series resistance, thus lowering the power generation. Also, the vertical (to the module lines) shaded module can have higher retaining power output than the parallel shading module. Finally, from the module physical property test, thin film PV modules exhibit greater capabilities of isolation of heat, ultraviolet light and infrared light. In summary, this thesis can be expected to provide relevant and reliable information about practical installation for PV systems.
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Kolev, Vesselin Zlatanov. « Long-optical-resonator passively mode-locked laser prototype for ultra-fast pulsed laser ablation and deposition installation ». Phd thesis, 2003. http://hdl.handle.net/1885/148439.
Texte intégral
34
Dannelly, David. « Secondary World : The Limits of Ludonarrative ». Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6082.
Texte intégralRésumé :
Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track