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Lam, Yui-yim Margaret, i 林睿艷. "Realm of media art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985221.
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Lam, Yui-yim Margaret. "Realm of media art". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947382.
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Carpenter, Eleanor J. "Politicised Socially Engaged Art and New Media Art". Thesis, University of Sunderland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485986.
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Exploring the connections and conflicts within politicised socially engaged new media art practices has involved an investigation into the language, characteristics and methodologies of visual art, new medi~ art (NMA) and socially engaged art (SEA), as well as the hybrid practice of socially engaged new media art (SENMA). The investigation includes research through the practice of curating RISK: Creative Action in Political Culture which presented SEA and NMA practice and encouraged dialogue which informed the themes and vocabularies.The thesis focuses on the vocabulary used to: understand values of object and process; define and utilise different kinds of tools; and describe differences between concepts of interactivity, participation and collaboration. It then contextualises the political relevance of these themes by situating them within current theoretical debates about politicised creative practice in chapter 5, mapping the tensions of political intent, strategy and tactics, distribution and distance. Topologies of different types of networks, platforms and open source development methodologies are used to map parallel concepts between politicised NMA and SEA.
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Verschooren, Karen A. (Karen Annemie). ".art : situating Internet art in the traditional institution for contemporary art". Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (p. 187-202).
This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art's future as an art world in its relation to the traditional art institutions.
by Karen A. Verschooren.
S.M.
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Woolson, Ash Kyrie. "Untitled Media Images". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306961851.
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Woolf, Sam. "Expanded media : interactive and generative processes in new media art". Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420707.
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Labiausse, Pierre. "A state of the art media box". Thesis, KTH, Kommunikationssystem, CoS, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-119159.
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Today media centers are often cluttered with multiple devices each controlled by their own remote control. It is often hard and/or painful to manage and utilize these devices, especially for inexperienced users. Simstream wants to build an innovative smart-TV that as much as possible centralizes functions and controls. Operating the system should be intuitive and simple, yet experienced users should have access to more advanced operations. This requires acquiring several inputs as well as integrating the communication devices that are necessary to control the attached external devices. Whenever possible, we want to efficiently process every input while minimizing latencies. As a result, we want all the frequent operation to be as quick and lightweight as possible in order to provide a high quality user experience even under high system loads. This project takes advantage of the widespread availability of touchscreen mobile devices in order to provide an innovative means of control over the television, with remote control mobile applications running on an user’s familiar device. A remote controller will also be sold together with the television, and this remote controller will also have a touchscreen, and will propose the same capabilities as the remote control mobile applications. Finally, this platform will be open to third-party applications, and as a result this thesis project developed a software development kit which is designed to be easy and familiar enough for developers to adopt it and create applications with it. Applications will be developed together with an interface displayed on the remote controllers, in order to tailor the remote control interface to what is currently displayed on the television screenIdag är mediecentrer ofta belamrade med många enheter som är kontrollerade av sina egna fjärrkontroller. Det är ofta svårt och / eller smärtsamt att använda dessa enheterna, särskilt för oerfarna användare. Simstream vill bygga en innovativ smart TV som centraliserar funktioner och kontroller så mycket som möjligt. Att använda systemet ska vara intuitivt och enkelt, men mer erfarna användare ska också ha tillgång till mer avancerade funktioner. Detta kräver att förvärva flera indata samt att integrera kommunikationsenheterna som är nödvändiga för att kontrollera de anslutna externa enheter. När det är möjligt vill vi behandla varje indata på ett effektivt sätt oh samtidigt minimera latenser. Det här betyder att en operation som utförs ofta skall vara så snabb och så lätt som möjligt, för att förbättra användarupplevelse även när systemet är hårt belastad. Detta projekt drar fördel av den vidsprädda tillgången till pekskärma mobila enheter för att tillföra användaren en innovativ kontroll över sin TV, direkt från sin bekanta enhet. Slutligen kommer denna plattformen att vara öppen för tredjepartsutvecklare, och som ett resultat har detta examensarbete utvecklat ett software development kit som är gjort för att vara enkelt och välbekant nog för att utvecklare ska kunna använda det och skapa applikationer med det.
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Greening, Daniel John. "Art, landscape and material : subject into media". Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.
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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces". Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Собко, Богдана Василівна. "Challenges of art promotion in social media". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18265.
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Pinxit, Vaughn. "Stillness: A meditation in new media art". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93556/1/Vaughn_Pinxit_Thesis.pdf.
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While technology is often seen as a noisy, impatient and pervasive aspect of our lives, this practice-led research project investigated the counter proposition–that we might be able to evoke sensations of stillness through technology-mediated artworks. Investigations into stillness were informed by Buddhism, phenomenology, and experiences of meditation and the practice of archery. By combining visual art, performance, installation, video and interaction design, a series of experimental, interdisciplinary artworks were produced and exhibited to evoke a sense of stillness and to impel audiences to consider the form and nature of stillness in relation to time, space and motion.
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Balaskas, Vasileios (Bill). "Mapping utopian art : alternative political imaginaries in new media art (2008-2015)". Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2844/.
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This thesis investigates the proliferation of alternative political imaginaries in the Web-based art produced during the global financial crisis of 2008 and its aftermath (2008- 2015), with a particular focus on the influence of communist utopianism. The thesis begins by exploring the continuous relevance of utopianism to Western political thought, including the historical context within which the financial crisis of 2008 occurred. This context has been defined by the new political, social and cultural milieu produced by the development of Data Capitalism – the dominant economic paradigm of the last two decades. In parallel, the thesis identifies the “organic” connections between leftist utopian thought and networked technologies, in order to claim that the events of 2008 functioned as a catalyst for their reactivation and expansion. Following this analysis, the thesis focuses on how politically engaged artists have reacted to the global financial crisis through the use of the World Wide Web. More specifically, the thesis categorises a wide range of artworks, institutional and non-institutional initiatives, as well as theoretical texts that have either been written by artists, or have inspired them. The result of this exercise is a mapping of the post-crisis Web-based art, which is grounded on the technocultural tools employed by artists as well as on the main concepts and ideals that they have aimed at materialising through the use of such tools. Furthermore, the thesis examines the interests of Data Capitalists in art and the Internet, and the kinds of restrictions and obstacles that they have imposed on the political use of the Web in order to safeguard them. Finally, the thesis produces an overall evaluation of the previously analysed cultural products by taking into account both the objectives of their creators and the external and internal limitations that ultimately shape their character. Accordingly, the thesis locates the examined works within the ideological spectrum of Marxist and post-Marxist thought in order to formulate a series of proposals about the future of politically engaged Web-based art and the ideological potentialities of networked communication at large.
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Yen, Koon-wai Michael. "Urban channel for electronic media and arts". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951397.
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Jensen, Michelle. "New Media and Interactivity". Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Jensen, Michelle. "New Media and Interactivity". University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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Master of Visual ArtsDigital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Klinkon, Heinrich. "Provocations : raw constructs in mixed media /". Online version of thesis, 1990. http://hdl.handle.net/1850/11608.
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Li, Yan-yan Linda. "Media Art for the Mid-Levels Escalator, Central". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595460x.
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Sedar, Dillon J. "How Social Media Affects Today's Creativity". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1500031248776811.
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Cariou, Warren. "Mixed media, intention and contrariety in Blake's art". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0015/NQ35121.pdf.
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Sunderhaus, Nathan. "Urban mediation new media art and the city /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148071505.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Advisor: Michael McInturf. Title from electronic theses title page (viewed Feb. 6, 2007). Includes abstract. Keywords: Urban Architecture; New Media Art; Social Interaction. Includes bibliographic references.
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李欣欣 i Yan-yan Linda Li. "Media Art for the Mid-Levels Escalator, Central". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986651.
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Papadaki, Eirini. "The mediation of art through the mass media". Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246640.
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SUNDERHAUS, NATHAN ALLEN. "URBAN MEDIATION: NEW MEDIA ART AND THE CITY". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148071505.
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Frost, Stephen. "Natural Bridge: Environmental Art in New Media Documentary". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367220.
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The Natural Bridge Project is a pilot study into design form as it applies to the Digital Media Documentation of Environmental Art. This component of the project aims to develop a new form of New Media Art Documentary that will help urban people reconnect with the natural environment.
The project throws doubt on existing assumptions surrounding “connectivity” via the Internet and the positive attributes of social media. It argues that social media actually disconnects people from each other and from the natural environment. In an attempt to offer a solution to this problem, the Natural Bridge Project seeks ways to use digital media not as a marketing tool but rather as a way to promote wellbeing through an appreciation of the natural environment through art.
It begins by studying the design of documentary films on art and identifies two dominant design formulas. It finds that one formula is primarily concerned with commerce and the other with ideology. The research then identifies “content-driven” design, as espoused by the Program for Art on Film (a joint venture between the New York Metropolitan Museum and the J.P. Getty Trust), as a viable alternative but discovers that the Program has not conducted studies into the practical application of content- driven design.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
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Hoebarth, Juergen. "Art organisations in the age of social media : how Hong Kong's non-profit art organisations are dealing with the use of social media to address their audiences". HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1492.
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Aspén, Lisa. "Art and Advertising". Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12540.
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The thesis examined whether there is a distinct boundary between art and advertising. The collected data showed how art and advertising are linked to each other and also differ from each other, in particular through the latter half of the 1900’s. What was happening in society came to have great impact on what happened in art and advertising. In postwar Germany, capitalism realism evolved from the German pop art where the art was removed from the art gallery and placed on the streets where the people were, in an era that was characterized by a gap between the rich and the poor. Capitalism Realism went on to advertising which at the time was using the techniques of subliminal persuasion and later turned into a post-modern advertising. The study included examples of artists who collaborate with advertising, where advertising has worked artistically and how the artist became a trademark. The study also showed that there are strong objections in the art world to working with advertising, but not vice versa. Advertising seems happy to work with arts.
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Payne, Catherine Lily. "Topologies: Nature, Mind, Thought. Media Art in the Anthropocene". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16042.
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This thesis advances the theory that perceptions of ‘nature’ are changing in an era increasingly understood as the Anthropocene, and that it is possible to map such changes in key film, video and media art. ‘Nature’ is recognised as a contested and complex assemblage, and a pressing problem shared across disciplines is: how to ‘see’ or think about ‘nature’ in the contemporary era. This thesis uses the term ‘the Anthropocene’ to recognise that human actions en masse are now considered equivalent to a geological force and to offer a global context for re-approaching the concept of nature. It asks: What do media artists ‘bring to light’ in their work about contemporary ways of seeing and thinking about nature? How do they reconcile the vastness of geological time with the fleeting and fugitive nature of the senses? And are perceptions of nature changing? These questions are approached through two distinct, yet complementary, research methodologies: a creative work, and a parallel written text. The creative work, Topologies: The Hidden Landscape, is a study of the fugitive nature of our senses in relation to the vastness of the geological record, and comprises a cycle of nine short video ‘miniatures’ (total duration approximately 33 minutes). The parallel written text, Topologies: Nature, Mind, Thought—Media Art in the Anthropocene (approximately 65,000 words), contextualises the research questions and the creative work, within the larger interdisciplinary fields of the arts, humanities and sciences. These situate the research into the media arts within the Great Acceleration (1945–ca. 2015) and the rise of Earth system science between the late 1970s to 2015—a period proposed as a major epistemological break in the way people see nature, and one of emergent conscious awareness of anthropogenic change. The thesis looks closely at ‘small things’ and forms in the media arts—such as the reprise of the field diary, notebook, sketch, étude, miniature and social media trail—to provide a way to link and connect ideas across fields and disciplines, and to sketch the emergence of a topological mode of thought. To do this, the thesis introduces Michel Serres’s concept of topology and extends Gilles Deleuze’s concept of cinema as a ‘mode of thought’ into the media arts to map new ways of seeing and thinking about nature. The written text provides an analysis and discussion of key media art that shares a method of ‘composing with time and space’ to see what they ‘give rise to’. Works have been selected from the fields of experimental cinema, video, sound, music and media art, and include works by Fiona Foley, Santu Mofokeng, Binh Danh, Errol Morris, Terrence Malick, Iannis Xenakis, Claude Ballif, Jeremy Welsh, Brad Miller and Gayle Chong Kwan. The thesis reveals that key media artists perceive the world as a complex topology of sensate, physical, conceptual and cultural space, and point to the media arts as a site for re-thinking relationships to nature.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market". Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Choe, Nancy Sunjin. "An Exploration of the Qualities and Features of Digital Art Media in Art Therapy". Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/19.
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Through the lens of a participatory design (PD) approach, this study explored to find qualifying features and qualities of digital art materials, specifically art apps on iPads for art therapy use. The study comprised of two phases: 1) a questionnaire/interview of four art therapists using iPads with clients and 2) four separate focus groups with 15 art therapist and art therapist trainee participants involving multiple stages of cyclic feedback. The focus groups engaged in art directives with nine art making apps identified by the researcher and questionnaire respondents as potentially useful in art therapy. The results revealed that while there was no single commercial art app that satisfied the needs of all art therapists and vast range of clients’ technology skills, artistic abilities, stylistic preferences, and therapeutic needs, three distinct qualities and six concrete features of an “ideal” art app for art therapy use emerged. Additionally, the study’s results expanded the parameters of art therapy’s artmaking practice and visual vocabulary by illustrating digital art media’s potential therapeutic and expressive use. And most importantly, the protection of privacy and confidentiality of client’s digital artwork emerged as one of the most important issue to consider. While this paper discusses the limitless possibilities of digital art media’s meaningful usage in art therapy, it also acknowledges how its unique characteristics may require thoughtful limitations and restrictions.
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Di, Mauro Marta Emilia <1994>. "Nuove forme di New Media Art: nascita e sviluppi del mercato della Software Art". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15375.
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La tesi si concentra sullo studio e l'analisi del mercato della Software Art, con approfondimenti sui processi di nascita, produzione, sviluppo e vendita delle opere di Software Art e del contesto in cui essa è stata creata.
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Mondloch, Kate. "Thinking through the screen media installation, its spectator, and the screen /". Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1031040591&sid=32&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Frears, Lucy. "Unlocking landscapes using locative media". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13330/.
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This interdisciplinary research is situated within the practice and discourse of locative media at the confluence of art, location and technology. The practice-based research project aims to use the arts to address a crisis arising from rapid redevelopment in a marginal coastal town – Hayle, Cornwall. A recent supermarket build on a prominent Hayle heritage quay led to UNESCO’s threat to de-list the entire Cornwall and West Devon Mining Landscape World Heritage Site, awarded only in 2006. Research builds on recent findings on the link between increased sense of self and community cohesion through connection to heritage and participation in the arts. Media artists, participants and theorists have indicated that locative media experiences can promote connection to landscapes and their histories. However, these claims are unsubstantiated by empirical research to date. This research seeks to redress that through systematic analysis (unusual in the arts and therefore distinct). The main research question posed was: Does locative media allow people to develop a deeper connection with landscape and, if so, how? A smartphone deep map app was created – an evocation of a Cornish post-industrial landscape assembled from audio memory traces, sound and visual images revealed using GPS and the moving body. The Hayle Churks app weaves past and present, absence and presence and digital content into physical place. The Hayle Churks app is a research tool and published creative practice that received a national award in 2014. The empirical data is an original contribution to knowledge. Additional contributions include a timeline – a historical overview of the relationship between locative media art and emerging technologies and a deep map app reference tool for artists. The research explores the role of immersion and embodiment and how recording and listening to audio and voice performance affect immersion. Readers of this thesis are encouraged to access the Hayle Churks smartphone app prior to and during reading.
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Seymour, Ronda Lee. "Using electronic media to enhance art instruction by home schoolers". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2001. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2001.Source: Masters Abstracts International, Volume: 45-06, page: 2810. Typescript. Abstract appears on leaves 1-2. Includes bibliographical references (leaves 58-60).
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Corbett, Jon Michael Robert. "Indigitalized : traditional Métis artistic expression in contemporary media art". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55891.
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This thesis examines a re-indigenizing process facilitated through traditional and computer-based media artistic expressive forms. My recent discovery of my Canadian Indigenous ancestry has brought me to investigate how my identity as a contemporary artist has been impacted by my exploration of Indigenous forms of expression that were lost to me due to my grandmother’s assimilation to a homogenized Canadian ideal.
I examined the relationships between my contemporary artistic practice and Indigenous perspectives to develop an exhibition of work that bridged computer-based media and traditional Métis beading practice.
My artistic influences and a descriptive account of my current artistic practices is synthesised with my new Indigenous knowledge of identity and expression, which not only produced several works of art, but also generated new programmatic methodologies and a computer-based media toolkit that can aid Indigenous artists with developing computer and media based art projects.Graduate Studies, College of (Okanagan)
Graduate
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media". Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
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Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.
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Jafari, Jasmine. "The Persian Art of Denial". Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/501.
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LIU, MINGYUAN. "Disabled: Media, Fashion and Identity". Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20106.
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Nedkova, Iliyana. "Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice". Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.
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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there a need for distinct curatorial theory and practice of new media art underpins the hypothesis and furthermore puts the selected curatorial projects to the test. What emerges is a strong argument for the incorporation of new media art and its associated curatorship into the more encompassing entity of contemporaineity - its art, as well as its theory and practice of curating. Inspired by the method of critical reflection, Curating Contemporary Art opens with a hypothesis featuring an introduction, literature review and curatorial methodology outline. A novel notion of curatorial constituents: pre- production, production and post-production is proposed and then further investigated in relation to each of the four selected case studies. This approach provides a navigable structure for each of the three chapters. Specific issues of the curatorial constituents are highlighted under the relevant stage in each chapter. This host of curatorial issues with references to a range of appendices, including a detailed bibliography, lie at the thesis research core. The thesis ends with a synthesis or a conclusion. Overall, the thesis aims to enrich the current curatorial discourse through professional-confessional analysis of issues such as curatorial premise, theme-led practice, eo- curatorship, curatorial commissions, public commissions, funding, added value, ownership, genre and time-based notions. Here, a refreshing curatorial eye is cast on those issues in an attempt to foreground the importance of exhibition making, its theory and practice. Period-wise, the current investigation positions the thesis as part of the larger and ongoing project for curatorial historisation of the decade at the end of the 20th and at the beginning of the 21 st Centuries. It also asserts its intention to boldly go where no comprehensive curatorial study has ventured before by probing deeply into our assumptions about new media art, contemporary art and curatorship such as: is there a specific entity as curating computer based art or just curating contemporary art? Furthermore, it builds its innovative hypothesis around the three forms of relationships between the two art worlds under scrutiny: antagonistic, ambiguous and convergent, by comparing curatorial views and analysing experiences from across the two 'ideological camps'; by distinguishing between curatorial practice and curatorial theory while tracing their own origin and historical precedents. The antagonism of the mainstream art world towards new media and vice versa has contributed to the marginalisation of new media art and even its demarcation outside of the cultural mainstream. The marked ambivalence between the two fields of study is explored through the oscillating love-hate relationship which provides evidence for the reasons why the contemporary art world still sends out mixed signals of love and enmity about its digital other half. At the other end of the spectrum, the relationship between new media art and contemporary art appears much more convergent, amicable and mutually beneficial. The pioneering example set by New York's Postmasters Gallery is discussed in the self-reflective contemporary context of ARC Projects Gallery, Sofia.
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Doyle, Denise. "Art and the imagination in avatar-mediated online space". Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536629.
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Matthews, Kathryn F. "The Art of Adjustment". VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1863.
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Flannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art". OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.
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This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.
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Lindstrand, Jennifer. "Educating the imagination: fostering compassionate empathy through art and media". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92406.
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This work explores the concept of empathy, what empathy is and why it is important in relation to the field of education. The idea of a compassionate empathy, in which one moves from understanding to deeply caring, is examined as an essential component of creating a more just world. The ability to empathize is based on recognition and identification with another's feelings, beliefs or experience. In order to develop this type of compassionate knowing, it is important that a strong imagination be present. Simply put, without imagination empathy cannot exist. As with compassionate empathy, so too does the imagination need to be centered around care. Education can play a vital role in helping to foster a moral imagination. In this context, both the arts and media are explored as specific examples of tools for nurturing this type of imagination and empathy.Ce travail explore le concept de l'empathie, sa signification et son importance en matière d'éducation. L'idée d'une empathie compatissante, où l'on se réoriente à partir de la compréhension pour en arriver à la bienveillance, est examinée comme élément essentiel à la création d'un monde plus juste. La capacité d'empatiser est fondée sur la reconnaissance et l'identification des sentiments et croyances ainsi que sur l'expérience des autres. Pour développer ce type de savoir compatissant, il est important qu'une forte imagination soit présente. En termes simples, sans l'imagination, l'empathie ne peut pas exister. Tout comme l'empathie compatissante, l'imagination doit par le fait même être centrée sur la bienveillance. L'éducation peut avoir comme rôle vital de favoriser une imagination morale. C'est à l'intérieur de ce contexte que les arts et médias sont explorés à titre d'exemples spécifiques d'outils pour cultiver ce type d'imagination et d'empathie.
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Eriksson, Björling Mikael. "Reshaping the picture : communication in the new media age". Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2274.
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The last decade a number of digital mediums such as computers, internet, digital cameras and mobile phones have entered people’s lives. How have these mediums changed the way we communicate and consume media? This work examines two ongoing trends in this new digital media landscape. The first trend is about how newspapers have reshaped in the digital media landscape. The second trend is about personal publishing in general and blogging in particular. The questions asked are: How have the new mediums changed the way we communicate, create and consume media? And how are pictures used and what role do they play? It is important to ask these questions now when we are in the midst of a changing media landscape. A qualitative research approach with in-depth interviews, document analysis and a literature study has been performed. The thesis describes how people’s means for communication have changed through history. From the oral culture, the writing culture, the printing culture until the first media age and today’s new media age. It concludes that the new media age is different compared to the previous ages. Today’s communication and media flow is to a higher degree multi-directional compared to the previous ages. People have the means to respond and interact with traditional media such as newspapers. The interaction with the readers has become an important part of the publishing process. Personal publishing and blogging is blossoming and today there are numerous tools available for personal publishing of content at internet. The creation of digital content images and text has become easier and faster. The new digital technologies have eliminated the time and space boarders. Millions of mobile phones with inbuilt cameras results in that we witness pictures of situations we never had pictures of before. These pictures can easily be published for a large audience instantly regardless time and space. The new media age is about personalization and individualization of content creation, content publishing and content consumption. Interactivity is important and the main driver is communication between people.
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Geiger, William. "The art educator's role in technology education". Online version, 2009. http://www.uwstout.edu/lib/thesis/2009/2009geigerw.pdf.
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Koutsomichalis, Marinos G. "A hypermedia and project-based approach to music, sound and media art". Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.
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This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.
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Marner, Anders. "Digital media embedded in Swedish art education : a case study". Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.
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In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
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Jim, Alice Ming Wai 1970. "Urban metaphors in Hong Kong media art : reimagining place identity". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84516.
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This dissertation examines representations of the city and media art in Hong Kong from the late 1980s to the present to establish a link between the ways in which the city's place identity is re-imag(in)ed. Charting the course of media art in Hong Kong in relation to the parallel development of contemporary art in the region, it provides critical analyses of dominant urban metaphors that play a significant role, both locally and internationally, in the current representation of Hong Kong and its artistic practices. Specifically, the study explores how media artists have been dealing with four central urban metaphors that frequently arise in discussions of Hong Kong in relation to its place identity: City in Transition, Panoramic City, Compact City, and Mobile City. The hypothesis of this essay concerns the ways in which both the selected media artists and their works negotiate central urban metaphors in their search for Hong Kong's place identity. I designate each of these negotiations as a 'spatial portrait': a space of representation in which social experiences and relations are reconstructed and investigated. Through the critical analysis of these spatial portraits, I consider the development, shifts and imbrications of urban metaphors for Hong Kong and their contributions to, as well as their limitations for, understandings of artistic representations of urban space. Recognizing the local-global nexus from which these works emerge through considerations of the imaging of Hong Kong in the media and tourism industries, I propose an interpretation of the metaphor of the Mobile City as an updated version of the City of Transition. Ultimately, this dissertation offers an understanding of urban metaphors in Hong Kong media art in relation to the re-imag(in)ing of place identity situated between globalization discourse and the cultural politics of urban space, location and representation. It concludes that contemporary art's contribution to t
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Cappitelli, Francesca. "The chemical characterisation of binding media in 20th century art". Thesis, Royal College of Art, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444980.
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This dissertation describes the application and optimisation of an analytical technique, named thermally assisted hydrolysis and methylation - gas chromatography / mass spectrometry [THM.-GCMS]. THM.-GCMS is a modification of pyrolysis - gas chromatography / mass spectrometry [Py-GCMS] which involves an on-line derivatisation process known as thermally assisted hydrolysis and methylation. The method is based on the high temperature reaction of tetramethylammonium hydroxide with macromolecular materials containing functional groups susceptible to hydrolysis and methylation. During this research THM.-GCMS was used for the chemical characterisation of the most frequently-used binding media in 20th century art: oils, acrylics, alkyds and poly(vinylacetates). The major classes of binding media used in 20th century paints have been previously studied in conservation using a range of techniques, the most important being GCMS, Py-GCMS and Fourier transform infrared spectroscopy [FTIR]. However, this project was novel in that it demonstrated the possibility of chemically characterising a wide variety of both natural and synthetic binders found in modem works of art using a single technique, THM.-GCMS. Standard samples of oils, egg yolk, acrylics, poly(vinylacetates) and alkyds as well as samples containing these materials from nine painted works of art were successfully studied using THM.-GCMS. Among the art works studied, those by Marcel Duchamp and Pablo Picasso were investigated for the first time.
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Dunfee, Melissa Catherine. "Financial Challenges of New Media Art in Contemporary Arts Institutions". University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1487646333901318.
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Hendrick, Catharina Carmel. "The Agile Museum : organisational change through collecting 'new media art'". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36093.
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This thesis investigates how collecting new media art affects the museum institutionally. The aim and purpose of this research was to understand how the process of collecting new media art within two regional case study museums (one in the UK and one in the Netherlands) is changing how they operate and function. The two regional museums in this research, I suggest, are innovative and adaptable organisations with agile organisation, agile curation and an agile organisational culture and leadership. Best practice is fostered, experimentation is cultivated and staff work in a collaborative and flexible manner so that new media art can be acquired. The theoretical approach, the Congruence Model of Organizational Behavior, considers how organisations are best aligned in terms of four major components: people, formal structure, informal culture and critical tasks/workflow. The research evaluated the congruence between the four major components and signals the subtle, but important ways in which new media art has reshaped them. A case study qualitative approach was used; interviews were carried out with participants and thematic analysis was employed to analyse the data. Three broad themes emerged from the research. First, new ways of organising – agile teams with a project-based ethos were apparent. Second, collaboration inside and outside the organisation – working across units and disciplines inside the museum and building networks outside the museum which promotes knowledge exchange, learning and collaborative practice were evident. Finally, staff agency and leadership – the organisational culture facilitates autonomy for staff where informed risk-taking and proactivity flourish. This research extends our knowledge of the reciprocal relationship between new media art and how the two museums operate and function. This study has gone some way towards enhancing our understanding of how new media art impacts, in nuanced ways, the museum’s structure and culture, and skills and expertise.