Дисертації: "Media Studies and Art History"

1

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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2

Brewster, Shelby Elizabeth. "Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437149634.

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3

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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4

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

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5

McLees-Frazier, Heather Armstrong. "The Image of a Woman's Authority: Representations of Elizabeth I in Portrait and Film." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626594.

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6

Moot, Dennis. "Visual Culture, Crises Discourse and the Politics of Representation: Alternative Visionsof Africa in Film and News Media." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596021641358625.

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7

Horrocks, C. W. "Techno-theory : critiques of culture and technological being." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22366/.

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Анотація:

The work comprises a critical commentary and a portfolio of ten published major texts by the author, presented in whole or part. It represents a set of related themes and approaches to the subject of culture, technology and being. The portfolio critiques and develops theories of technology in response to significant examples within cultural contexts, in order to address and interrogate contradictions and assumptions pertaining to technologically led readings of images, objects and environments. The publications range from critical approaches to major theorists of technology and culture, including Baudrillard, McLuhan and Heidegger; artists who have utilised technology within performative contexts (Warhol, Duchamp, Gorgerous): and phenomenological studies of network-based culture. The commentary focuses on dominant theoretical concepts in order to connect the texts. These include Baudrillard's principle of 'reversibility', McLuhan's reading of disembodiment, Heidegger's 'standing reserve' and Jarry's 'pataphysics'. The work concludes with a critical obituary of Jean Baudrillard, and shows how the portfolio of publications (1999-2011) has had an impact within academe and for a more general readership, and how it informs current research and future publications.

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8

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

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9

Bzura, Katherine. "I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001995.

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10

Khaira, Simran Kaur. "The Decline and Revival of Chinese Picture Books." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338390852.

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11

Valladares, Gisel Corina. "Maybe She's Born With It, Maybe it's Mexicanidad: Depictions of Mexican Feminine Beauty and the Body in Visual Media During the 1950s." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493336026688153.

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12

Leggett, MI. "Official Rebrand and the Importance of Queer Adornment." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1513361488674258.

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13

Gomez, Norberto Jr. "The Art of Perl: How a Scripting Language (inter)Activated the World Wide Web." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/472.

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In 1987, computer programmer and linguist Larry Wall authored the general-purpose, high-level, interpreted, dynamic Unix scripting language, Perl. Borrowing features from C and awk, Perl was originally intended as a scripting language for text-processing. However, with the rising popularity of the Internet and the advent of Tim Berners-Lee’s World Wide Web (Web), in the 1990s, Perl soon became the glue-language for the Internet, due in large part to its relationship to the Hypertext Transfer Protocol (HTTP) and the Common Gateway Interface (CGI). Perl was the go-to language for on the fly program writing and coding, gaining accolades from the likes of publisher Tim O’Reilly and hackers alike. Perl became a favorite language of amateur Web users, whom net artist Olia Lialina calls barbarians, or the indigenous. These users authored everything from database scripts to social spaces like chatrooms and bulletin boards. Perl, while largely ignored today, played a fundamental role in facilitating those social spaces and interactions of Web 1.0, or what I refer to as a Perl-net. Thus, Perl informed today’s more ubiquitous digital culture, referred to as Web 2.0, and the social web. This project examines Perl’s origin which is predicated on postmodern theories, such as deconstructionism and multiculturalism. Perl’s formal features are differentiated from those of others, like Java. In order to defend Perl’s status as an inherently cultural online tool, this project also analyzes many instances of cultural artifacts: script programs, chatrooms, code poetry, webpages, and net art. This cultural analysis is guided by the work of contemporary media archaeologists: Lialina and Dragan Espenschied, Erkki Huhtamo and Jussi Parikka. Lastly, the present state of digital culture is analyzed in an effort to re-consider the Perl scripting language as a relevant, critical computer language, capable of aiding in deprogramming the contemporary user.

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14

Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture." Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.

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15

Kazemimanesh, Sara. "Underground Labyrinths: Woman and Expanded Cinema in Contemporary Iran." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1566556001982398.

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16

Amanat, Shayda. "Iran and the Arab World Through A Female Lens: Deconstructing Western Phantasms and Terrors." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/428.

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Анотація:

This thesis explores how today’s Sheherazades, in this case women photographers from the Middle East, create alternative representations that constitute new meanings and understandings of life, gender, and politics in Iran and the Arab world.

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17

Jones, Nikkole R. "La Gioconda." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1861.

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Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.

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18

Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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19

Chmielewska, Katarzyna. "In Martha We Trust? The Cultural Significance of the Martha Stewart Phenomenon." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4267/.

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The thesis examines the relationship between Martha Stewart's rendition of domesticity and a broader cultural trend of the late 1990s U.S. domestic retreatism. It argues that the mode of construction and representation of the "domestic dream" in Stewart's programs cannot be examined outside of such concepts as class and ethnicity, whose understanding depends on the cultural, social, and political context of a given era, a context, in which they become transparent as aspects of the Western (white, patriarchal) status quo. Performing a deconstructive reading of these categories as employed by Stewart in the process of creation of her media persona, the thesis examines what the negative as well as positive reactions to "Martha Stewart" convey about the condition of American society of the late 1990s and early 2000s.

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20

Reynolds, Alisa. "Edward Steichen and Hollywood Glamour." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/9.

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Анотація:

As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.

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21

Huang, Stephanie M. "Nostos: On Recollecting Loss and the Physical Manifestation of Loss." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/760.

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This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.

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22

Köhler, Anders. "Undersökande av kli-ljud inom ASMR i en neutral ljudmiljö." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15240.

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Denna studie har utförts med bas i frågeställningen huruvida rosa brus kan nyttjas för att replikera den övergripande ljuddynamik som förekommer inom kli-inriktade ASMR-verk med hänseende till envelope-egenskaper samt övergripande frekvensregister och hur den akustiska karaktären av en sådan ljudartefakt kan komma att uppfattas av ett antal respondenter. Tidigare forskning inom ASMR har jämförts med auditivt inriktad litteratur för att styrka relevansen av denna sortens studie varpå ytterligare framtida forskningsutsikter har spekulerats kring. Angreppsmetoden har grundats i användandet av en noise gate-teknik med fokus på side chain-kompression samt en vocoder för replikerandet av den ljuddynamik som har inhämtats från ett kli-inriktat ASMR-verk. Ljudtekniska data för designen av artefakten införskaffades med hjälp av spektrogramanalyser och kvalitativa intervjuer stod till grund för experimentets utförande. Studieresultaten visade huvudsakligen på att rosa brus sannolikt besitter en god förmåga att approximera kli-ljud i det tekniska sammanhang som har studerats och därmed inge behag hos en lyssnare. Även övergångar mellan distinkt olika ljudsegment av denna typ visade sig besitta mycket goda möjligheter att inge behag.

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23

Weiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.

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This paper explores how photographs have affected mourning processes in the past and how photo-technology may be able to change the way in which we mourn in the future. It includes an overview of the history of post-mortem photography and discusses the perspectives of well-known media theorists such as Roland Barthes and Susan Sontag. It engages with psychologists by including their perspectives on the effect that photographs have on the mourning process. A project was created to investigate how photo-technology can affect the bereaved. The project places photographs of a mother into pictures of her children taken after she had passed away. These photographs were later shown to her sons in order to explore how this impacts their memories and mourning processes.

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24

Owen, Benedict Novotny. "Cartoon Conceptualism: Periodical Comics and Modernism in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494086092509444.

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25

Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.

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26

Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.

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27

White-Fredette, Cassandra. "Looking to the Future, Selling the Past: Churchill Weavers Marketing Strategies in the 1950s." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/6.

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This thesis explores the Churchill Weavers stereocards housed at the Kentucky Historical Society and Berea College based on visual analysis. By examining the stereocards as advertisements and comparing them to a series of short films created by the company, I will discuss how the Churchill Weavers created a brand that emphasized both an image of traditional American rural production and modern urban consumption. I will further discuss how the marketing strategies used by the Churchill Weavers exemplify a larger trend in American advertising in the years following World War Two.

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28

Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.

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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.

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29

Elkan, Daniel Acosta. "The Colonia Next Door: Puerto Ricans in the Harlem Community, 1917-1948." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1505772980183977.

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30

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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Анотація:

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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31

Jacoway, Paul R. "Are Documentaries Journalism? The Gap Between a Shared Truth and Verification." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1406801661.

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32

Taouchichet, Sofiane. "La presse satirique illustrée française et la colonisation (1829-1990)." Thèse, Paris 10, 2015. http://hdl.handle.net/1866/13602.

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Анотація:

- Thèse réalisée en cotutelle entre les Université de Montréal et Paris Ouest Nanterre la Défense. -Thèse construite à partir de logiciels libres et gratuits : Ubuntu, Lyx, LibreOffice, Zotero, The Gimp.
Notre enquête doctorale étudie l’illustration de la colonisation dans la presse satirique illustrée française entre 1829 et 1990. Cette thèse ambitionne d’éclairer un aspect méconnu de l’iconographie coloniale, à partir du dépouillement et de l’analyse de vingt-deux périodiques satiriques qui touchent diverses sensibilités éditoriales. Afin de confronter iconographie satirique et non satirique, deux journaux illustrés généralistes sérieux com- plètent le corpus. En suivant un parcours chronologique, il s’agira de présenter les axes caractéristiques de l’iconographie satirique coloniale. Pour comprendre la construction, le fonctionnement et le rôle des images expansionnistes issues des titres satiriques, cette recherche entend également définir le genre « presse satirique ». En analysant l’évolution historique, les caractéristiques populaires et les traits distinctifs de cette catégorie médiatique, nous mettrons en évidence les relations déterminantes qui existent entre le genre et les images coloniales.
This doctoral investigation studied satirical colonial iconography in the French satirical illustrated press between 1829 and 1990. From counting and analysis of twenty-two satirical periodicals, representing di erent editorial lines, this thesis aims to inform an unknown part of this colonial iconography. Two serious illustrated papers complement the general corpus to reintegrate results in the general fields of media images. For a diachronic, the aim should be to identify the major axes of the colonial satirical illustration. To understand the construction, operation and role of colonial imagery from satirical titles, this research also intends to define the genre "satirical press". By analyzing the historical evolution, popular features and the hallmark of this media class, we will highlight the crucial relationship between gender and colonial images.

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33

Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

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Анотація:

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

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34

Rosenberger, Nathan C. "Art in the ashes| Class, race, urban geography, and Los Angeles's postwar Black art centers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10032310.

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Анотація:

“Art in the Ashes” uncovers the implications of race, place, and class in Los Angeles through an in depth exploration of urban black art centers. By examining a cross-section of creative spaces in the city, including the Watts Towers Arts Center, Compton Communicative Arts Academy, the Inner City Cultural Center, and Brockman Gallery in Leimert Park, this thesis probes the real and imagined meanings associated with these centers’ social, economic, and cultural geography. In doing so, the work redefines and refines current understandings of the black community in the postwar era, exposing the complicated racial and ethnic partnerships and pressures that grew out of art and activism in the 1960s. Through extensive archival research, secondary source analysis, and personal interviews, “Art in the Ashes” finds a vibrant and highly diversified black experience and identity in Los Angeles that closely follows issues of economics, geography, racial understanding, politics, and culture.

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35

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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36

Ralphs, SCT. "On Distance: From art history to Ernest Mancoba." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8203.

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Анотація:

In this thesis the central narratives of Western art history, specifically those related to modernism and African art, are considered in light of a climate of criticism concentrated over the past thirty years in Western and South African an historiography. In considering complexities of interpretation of the life and work of the African modernist painter, Ernest Mancoba, I address a perceived need for a critical discourse pertaining to early black South African modernist art. As a way of organising both my critique and contribution, I establish and use the thematic of distance. This work argues for greater consideration of individual motivation and circumstance in our understanding of early African modernist art production.

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37

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

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Анотація:

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

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38

Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Анотація:

Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.

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39

Seaver, Nicholas Patrick. "A brief history of re-performance." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59573.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 93-97).
Discussions of music reproduction technology have generally focused on what Jonathan Sterne calls "tympanic" reproduction: the recording and playback of sounds through microphones and speakers. While tympanic reproduction has been very successful, its success has limited the ways in which music reproduction is popularly imagined and discussed. This thesis explores the history of "re-performance," an alternative mode of reproduction epitomized by the early twentieth-century player piano. It begins with a discussion of nineteenth-century piano recorders and the historical role of material representation in the production of music. It continues with the advent of player pianos in the early twentieth century that allowed users to "interpret" prerecorded material, blurring the line between performance and reproduction and inspiring popular reflection on the role of the mechanical in music. It concludes with the founding of the American Piano Company laboratory in 1924 and the establishment of a mechanically founded rhetoric of fidelity. Bookending this history is an account of a performance and recording session organized by Zenph Studios, a company that processes historical tympanic recordings to produce high-resolution data files for modern player pianos. Zenph's project appears futuristic from the perspective of tympanic reproduction, but is more readily understood in terms of the history of re-performance, suggesting a need for renewing critical attention on re-performative technologies. Contemporary developments in music reproduction such as music video games and sampling may make new sense considered in the context of re-performance. This alternative history aims to provide a ground on which such analysis could be built.
by Nicholas Patrick Seaver.
S.M.

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40

Epstein, Michael 1969. "Moving fiction : novelists, technology designers, and the art of the exchange." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/39166.

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Анотація:

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.
Includes bibliographical references (leaves [61]-63).
How can concepts from literature and technology design combine to create new forms of storytelling on mobile devices? This paper examines the theory and practice of bringing literary techniques into mobile technology design. First I present a model of media technology evolution which is not progressive, but atemporal-grounded in the ongoing expressive challenges of the humanities. This theory forms the basis for what I call the exchange: temporary collaborations between creative writers and interaction designers which lead to new forms of fiction and communications technology. I promote close readings of literature as a starting point for the exchange, examining specific passages for mobile storytelling inspiration and innovative means of modeling users. I then look at nascent efforts in storytelling over mobile devices, focusing on museum tours, grassroots organizations, artist collectives, research groups, and, lastly, my own work. In the end, I advocate a hybrid form of "Moving Fiction," combining mobile media characters with live actors, music, and sensory input from the surrounding environment.
by Michael Epstein.
S.M.

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41

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

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

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42

Wylde, Nanette. "A brief history... interactive multimedia art installation: discussion of process, media, content, and response." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384359452.

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43

Gerstein, Rosalyn. "Interpreting the female voice : an application of art and media technology." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/15110.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1986.
MICROFICHE COPY AVAILBLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 224-227.
by Rosalyn Gale Gerstein.
Ph.D.

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44

Spitz, David (David Ethan). "Contested codes : toward a social history of Napster." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/39188.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, June 2001.
"June 2001."
Includes bibliographical references (leaves 77-83).
In the years since its inception, some interpretations of the software program known as "Napster" have been inscribed into laws, business plans, and purchasing decisions while others have been pushed to the fringes. This paper examines how and why certain assumptions about Napster gained consensus value whereas others did not. The analytical approach involves an examination of discourses about Napster in several arenas - legal, economic, social, and cultural - and is informed by a conceptualization of Napster as an ongoing encounter between, rather than the accomplishment of, inventor(s), institution(s), and interest(s). While acknowledging the importance of empirical examinations of Napster's impact on firms and markets, as well as the proscriptive advice which it supports, the focus here is on providing a contextualized understanding of the technology as an object whose meanings were contested and ultimately resolved, or at least stabilized, within, across, and through a broader systems of power and structured interests.
by David Spitz.
S.M.

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45

Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.

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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.

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46

Hole, Yukiko. "The Art of David Lamelas| Constructions of Time." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977417.

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David Lamelas’s life-long research projects have included examinations of social phenomena. The artist takes interest in the dynamics of mass communication and media, urban mundane activities, and documentary films. He employs the element of time often in the structure of his art as an innovative approach by which to study his subjects.

I argue that in pairing the element of time with social phenomena, Lamelas exposes how people’s perceptions, both the visual experience and the thought processes impacted by these experiences, tend to work, therefore leading viewers to consider systems of knowledge and their own accumulation of knowledge. His artwork provokes viewers to open their minds to new ways of seeing and thinking, stimulates self-awareness, and challenges their concepts of knowledge.

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47

Arzuaga, Rachel. "A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1501191626277916.

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48

Schrier, Karen L. "Revolutionizing history education : using augmented reality games to teach histories." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/39186.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005.
Includes bibliographical references (leaves 154-162).
In an ever-changing present of multiple truths and reconfigured histories, people need to be critical thinkers. Research has suggested the potential for using augmented reality (AR) games- location-based games that use wireless handheld devices to provide virtual game information in a physical environment-as educational tools. I designed "Reliving the Revolution" as a model for using AR games to teach historic inquiry, decision-making, and critical thinking skills. "Reliving the Revolution" takes place in Lexington, MA, the site of the Battle of Lexington (American Revolution) and simulates the activities of a historian, such as evidence collection and interpretation. Participants interact with virtual historic figures and gather virtual testimonials and evidence on the Battle, each triggered by GPS to appear on the handheld devices depending on one's specific location on or around the Lexington Common. The participants collect differing evidence based on their historic role in the game (Minuteman soldier, loyalist, African American/Minuteman soldier, or British soldier) and then collaboratively evaluate who fired the first shot to start the Battle of Lexington.
(cont.) I envision "Reliving the Revolution" not as a standalone educational solution, but as an activity integrated into a broader history curriculum that teaches students how to approach and evaluate complex social problems. This thesis provides a detailed rationale for each of my design choices, as well as an assessment of each choice based on the results of iterative game testing. In my analysis of the game's design, I focus specifically on four game elements: (1) collaborative, (2) role-playing, (3) storytelling or narrative elements; and (4) kinesthetic and mobility. Results of trials of the game suggest that "Reliving the Revolution" and similar AR games can enhance the learning of: (1) historical name, places, and themes; (2) historical methodology and the limits to representations of the past; and (3) alternative perspectives and challenges to "master" historical interpretations. The game motivated participants to gather, evaluate, and interpret historical information, devise hypotheses and counter-arguments, and draw informed conclusions.
(cont.) My trials also suggested that AR games such as "Reliving the Revolution" can enhance learning because it can: 1. Create an authentic "practice field" for solving problems and using real-world contexts and tools. 2. Increase the potential for collaboration among participants, and enhance opportunities for reflection. 3. Enable participants to take on and express new identities through role-playing. 4. Encourage participants to explore more deeply a physical site and to consider interactions between the real and virtual worlds.
by Karen L. Schrier.
S.M.

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49

Nadeau, James A. (James Andrew). "The medium is the medium : the convergence of video, art and television at WGBH (1969)." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/39146.

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Анотація:

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2006.
Leaf 77 blank.
Includes bibliographical references (leaves 74-76).
On March 23rd 1969 Boston's public television station WGBH broadcast a program titled The Medium is the Medium. The program was a half-hour long compilation of short videos by six artists. The six pieces ranged from electronically manipulated imagery set to the music of the Beatles to an attempt at communication between four separate locations through audio-visual technology. As the narrator, David Oppenheim, the cultural executive producer for the Public Television Laboratory, intones at the beginning of the show, "what happens when artists explore television?" What happened was a program unlike anything seen before. The Medium is the Medium was the result of the pairing of artists with engineers. This pairing was the brainchild of the Rockefeller Foundation, which decided to bring these two together in what was the Artists-in-Television program. Founded in 1967 it gave seed grants to two public broadcasting stations, WGBH in Boston and KQED in San Francisco. These grants enabled the stations to begin residency programs matching artists with members of their production staffs. Several of the artists in the program had made films but most were coming to this type of time-based art work for the first time. The Artists-in Television program gave these artists the opportunity to expand their ideas into an art from involving television technologies. It offered those working in more traditional media the technology and expertise to try their hands at a nascent art form, video.
by James A. Nadeau.
S.M.

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50

Hammer, Steven Reginald. "Writing (Dirty) New Media: Technorhetorical Opacity, Chimeras, and Dirty Ontology." Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27537.

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There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a “rhetoric of technology” that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use. In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write on or through our technologies, but that we write in collaboration with them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and “glitches” as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call object-oriented art.

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