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Gazana, Cleber [UNESP]. "Glitch Art: uso do erro digital como procedimento artístico e possibilidade estética." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136255.
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Esta pesquisa tem como objetivo constatar a possibilidade e potencialidade estética por meio do uso do erro digital e de usos não projetados dos dispositivos técnicos e softwares na Glitch Art. Por ser um tema quase inédito, foi importante explicar o significado dos termos tilt, bug, failure, fault, error e mistake em relação ao campo técnico e artístico da Glitch Art, à sua prática e a nossa experiência, assim como a definição do termo glitch e de seu uso como designação deste recente gênero artístico. Seguiu-se para a investigação de suas bases fundamentais, classificações, características visuais, procedimentos artísticos, relação com o passado da arte, seus artistas visuais mais expressivos e sua aplicação para além da arte digital. Para tanto, este trabalho apoiou-se, principalmente, nos pensamentos de Moradi, Manon, Temkin e Menkman nos aspectos exclusivos da Glitch Art. Por fim, de modo teórico-prático, resultou a criação da obra Decode, de minha autoria, onde se dialogou e se experienciou as teorias e os procedimentos aqui discutidos.
This research aims to verify the possibility and aesthetic potential through the use of digital error and not designed uses of technical devices and software in Glitch Art. For being an almost unheard subject, it was important to explain the meaning of tilt, bug, failure, fault, error and mistake terms in relation to the technical and artistic field of Glitch Art, its practice and our experience as well the definition of glitch term and its use as designation of this recent artistic genre. We proceed to the investigation of its fundamental basis, classifications, visual characteristics, artistic procedures, relationship with the past of art, its more expressive visual artists and its application beyond the digital art. Therefore, this research grounds on mainly thoughts of Moradi, Manon, Temkin, and Menkman in exclusive aspects of Glitch Art. Finally, with theoretical and practical way has resulted in the creation of my own work Decode, where was connected and experienced the theories and procedures discussed herein.
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Fernandes, José Carlos Silvestre. "A estética do erro digital." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/18260.
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Previous issue date: 2010-02-19This dissertation proposes an outline of an aesthetics of the error in Digital Art. We start with a survey of works in Digital Art that explore the theme of the error, and advance a rigorous definition of what we call error, to introduce our main hypothesis: that the error is a revealing of the Materiality of Informatics. We investigate the particularities of this materiality and this revealing, fundamented in authors such as Hayles, Kittler, Simondon and Fuller. Next, we consider the cultural reverberations of the error state from this revealing of materiality: its subversive connotations, its association with hacker culture, and its sub-text of nostalgia. Our main sources for this second part are Kittler, Stiegler and Pias. Throughout our theoretical discussion, we analyse the works of many artists to demonstrate how each of these themes and concerns are explored therein; we give particular attention to the works of Ant Scott, JODI, and Cory Arcangel. We adopt, however, an anti-hermeneutic approach to most works, molded after the practice of Friedrich Kittler: an emphasis in the technical and social systems implicated rather than in interpretation and a search for meaning contained in the works themselves. We hope to finally present a theoretical framework which may support the analysis and exploration of the aesthetics of error, a fairly unprecedented topic. Moreover, much of our discussion is of interest in fields beyond Digital Art
Esta dissertação propõe-se a esboçar os princípios de uma estética do Erro na Arte Digital. Principiamos com um levantamento de obras de Arte Digital que exploram o tema do erro, bem como com uma definição rigorosa de o que entenderemos por erro, para partir para nossa principal hipótese: de que o erro é um revelar da Materialidade da Informática. Investigamos as particularidades desta materialidade e deste revelar, fundamentados em autores como Hayles, Kittler, Simondon e Fuller. Em seguida, consideramos as reverberações culturais do estado de erro a partir desta revelação da materialidade: sua conotação de subversão, sua associação com a cultura hacker, e seu sub-texto de nostalgia. Nossas principais fontes, para esta segunda parte, são Kittler, Stiegler e Pias. No decorrer da explanação teórica, analisamos as obras de vários artistas para demonstrar como cada um destes temas e destas preocupações ocorre em suas obras no que toca o tema do erro; damos particular atenção para os trabalhos de Ant Scott, JODI, e Cory Arcangel. Adotamos, todavia, uma leitura anti-hermenêutica da maioria das obras, aos moldes daquela praticada por Friedrich Kittler: uma ênfase nos sistemas técnicos e sociais implicados, e não na interpretação e na busca por significados contidos nas próprias obras. Ao fim, acreditamos ter apresentado um framework teórico a partir do qual a estética do erro, um tema relativamente inédito, pode ser pensada e analisada. Além disso, muitos dos temas porque passamos tem interesse para além da Arte Digital
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Gumprich, Dinah M. (Dinah Miriam) Carleton University Dissertation Political Science. "Nonsampling survey error: interviewer induced error and question related error." Ottawa, 1995.
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Cubitt, Sean. "Digital aesthetics." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.
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Berrios, Ruben Ernesto. "Nietzsche's aesthetics." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.
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Fulmer, Tracy. "BLIND AESTHETICS." Miami University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=miami1002992074.
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Vollbrecht, Tracy. "Adaptive Aesthetics." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525685379561019.
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Leonard, Alice. "Error in Shakespeare : Shakespeare in error." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.
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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
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Ng, Wing-han Christina. "Does error correction lead to error reduction?" Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B26173347.
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Costello, Diarmuid. "Aesthetics after modernism." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.
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Pfenningstorff, Barbara. "Aesthetics of immanence." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11035/.
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This thesis is concerned with the spatial contingencies which affect the production and reception of art. The initial argument is premised on 19th century museum architecture and its role in the aesthetic judgement and containment of art. As an idealist formation, the art museum has survived to this day. However, the thesis claims that art is an immanent space which makes sense of the contingencies it contains, and not the other way round. Since the late 1960s, then, artists such as Robert Smithson and Donald Judd have recovered what they term 'architectural afterthought' and 'space as a main aspect of art'. Building on Miwon Kwon's and James Meyer's theories on site-specificity, it is shown that today, the force of this impulse has given way to spatial dispersal, institutional immersion and corporate assimilation. Museums, in turn, have changed with these developments and have incorporated them accordingly. After a short discussion of relevant philosophical spatial concepts, it is further assessed how contemporary art practices make sense of their own space today. It is found, that artists as diverse as Gerhard Richter, James Turrell and Andrea Zittel have set up architectural sites which imbue their constructions with affective contingencies such as analogy, atmosphere and relation. The agency of these works thus furthers the impulse of Smithson and Judd and embodies an immanence of ideal and contingent space. The practice section, finally, stands on its own. It explores experimental sites which exemplify their process, economy of labour and the site-specific or -responsive nature of their display. Their formal configuration is re-organised in the event of each categorical site. In keeping with the claim of the thesis, the forms and (re-)presentations of the work are not awaiting or finalising content but become active productions in themselves.
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Swalwell, Melanie. "Aesthetics and hyper/aesthetics: rethinking the senses in contemporary media contexts." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2002. http://hdl.handle.net/2100/386.
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This thesis addresses the escalation of interest in the senses, across a range of media technological contexts, dating from the mid 1990s. Much of this discourse has focussed on the experiential, particularly intense, multisensory experience of the present. As there are numerous discourses on the senses, technology and affect individually, my concern is to examine some of the intersections between these, in order to reconsider the contemporary significance of aesthetics in media contexts. I develop a ‘hyper/aesthetic’ approach to try to think about aesthetic relations with technology in a nuanced way, opening up a space from which to investigate a variety of relations with technology. Walter Benjamin’s work on the senses and modern technology is useful in this, as is that of two of his commentators, Susan BuckMorss and Miriam Hansen. In providing the outlines of a hyper/aesthetic approach in this thesis, I am, in particular, seeking to complexify understandings of audience reception and meaningmaking, to return some ambivalence to conceptions of the sensory encounter with technology. Hyper/aesthetics is a term that draws together ambivalence, doubling, virtuality, unfamiliarity, innervation, and moving beyond, all concepts that are relevant to the senses and subjectivity. In close readings of case studies drawn from the areas of advertising, computer gaming practices, and new media art, I argue that as well as critiquing their claims to newness, it is also important to attend to the ways in which particular relations with technology exceed or refuse the logic of instrumentality. In particular, these cases consider the emerging aesthetic experiences that technologies of computer gaming and new media art facilitate, and the new subjective possibilities that follow from each. Approaching these studies hyper/aesthetically enables me to go beyond other accounts in appreciating the more experimental character of some of these relations with technology. I particularly focus on the effects and affects generated by encounters with the unfamiliar, including that which is considered strange, ‘unnatural’ or ‘inhuman’, and critically appraise the significance of encounters such as these for the manner in which subjectivity is conceived.
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Rodriguez, Marcos Alonso. "Critical leadership : from error prevention to error learning." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540603.
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Hällsten, Svetlana. "Error decó." Thesis, Konstfack, Textil, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3627.
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Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.
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Sampath, Krishna. "Visual aesthetics and Usability." Thesis, Linköpings universitet, Interaktiva och kognitiva system, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97706.
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In the field of Human computer interaction, currently aesthetics has become one of the most frequently research dimension. Most of the researchers have found the correlation between aesthetics and usability, while some other could not discover the correlation between aesthetics and usability. This irregularity to find the correlation between aesthetics andusability makes to further research on this topic.Also based on the previous studies and empirical analysis, it is unclear the factors and issues that are affecting usability and aesthetics while analyzing the correlation. This thesis clearly discusses about the previous empirical studies on aesthetics and usability, methods followed by authors to find the correlation and the results obtained by the authors. In this study, systematic review method [12] was followed to extract the knowledge from the databases (ACM and Science Direct). Two persons have participated in the review and 13 articles from 1995-2012 are taken into the study. Three research questions are discussed in detail to analyze the correlation between aesthetics and usability and the factors affecting the correlation between aesthetics and usability. Finally this study is concluded, by discussing the reasons for irregularity in the correlation results.
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Hough, Darren William. "Aesthetics and product usability." Thesis, Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/23107.
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Ednie-Brown, Pia Hope, and pia@rmit edu au. "The aesthetics of emergence." RMIT University. Architecture and Design, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.161628.
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Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significantly developed since design experiments involving digital computation intensified in t he 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Gunningham, F. G. C. "Aesthetics in engineering design." Thesis, Swansea University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637189.
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Bad design must be a contributor to the demise of British manufacturing but good designers are often lost to jobs in management or selling, where the rewards are greater. Further, it is often said that although Britain produces ingenious prototypes, other countries produce better products by paying greater attention to reliability, cost and aesthetics in detail design. The research investigates the place of aesthetics in engineering design in the UK, now and in the past. By surveys and interviews, the attempt was made to quantify the aesthetic content of product design and the reaction of the customer to this aesthetic content. The reaction of electrical engineering designers to the government's sponsoring of good design was sought; the aesthetic content of design in the National Curriculum for schools was explored; the evolution of some styles in the modelling and packaging of products was studied; some attempt was made to determine the economic benefits of considering aesthetics in design; and the greater opportunity that is provided by newer design methods to consider aesthetics has been studied. Few theories guide the designer in his search for aesthetics although all designers have looked for inspiration in nature (e.g. the golden ratio) and perhaps science (e.g. styles that have developed from streamlining). The pioneering giants of design gave high consideration to aesthetic but regretted that their crafted products could only be sold to wealthier customers. With the production methods available in the twentieth century, good aesthetic designs can be (but, only sometimes, are) offered to the general public. Great nineteenth century designers stressed the need for knowledge of the craft of manufacture to ensure the correct use of both materials and methods but modern materials and manufacturing methods develop so rapidly that the education of today's engineers must continue through their working lives.
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Flint, Glenn Peter. "Otpar and political aesthetics." Thesis, Keele University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534309.
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Edvalson, Eric John. "Cozy Mart: Convenient Aesthetics." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6207.
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Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.
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Mijouin, Lola. "Invisible Aesthetics of Noise." Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6856.
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Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ? Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?
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Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.
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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
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Zhang, Zhexi S. M. Massachusetts Institute of Technology. "The aesthetics of decentralization." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123614.
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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 79-86).
This thesis explores ways in which decentralized network technologies are used to experiment with and design new modes of socio-technical organization. Drawing on an understanding of aesthetics as a "distribution of the sensible" and Jack Burnham's notion of "systems esthetics", an artistic engagement with society's technological modes of organization, I explore the ways in which the "aesthetics of decentralization" articulates a circuit of desire connecting technical systems, cultural metaphors and social forms. A key countercultural motif in the history of the World Wide Web, decentralization imagines that political objectives of openness, freedom and even libertarian self-sovereignty within a networked society can be achieved through the technical protocols. Chapter 1 examines the logics of the "stack" and the "platform" as the vertical and lateral organizational abstractions of this environmental matrix.
In seeking to negate this centralization of power over digital networks, the decentralized web is a multifaceted technological and cultural phenomenon with disparate agendas, but broadly seeks to reconfigure the technical organization of the web as a commons-oriented peer-to-peer framework. Chapter 2 examines in detail the primary concepts of the decentralized web, reading their propositions as an effort to reconstitute the terms of space, ownership and participation within the networked world. I argue that the decentralized web represents not so much a technical solution as a performative metaphor through which digital publics are called forth in order to denaturalize these hermetic socio-technical environments and imagine new spaces of possibility.
In Chapter 3, 1 argue that the imaginary and aesthetic power of the decentralized web flows from the subjective experience of software as worldbuilding, a process which imputes the rational consistency of synthetic "microworlds" upon the wider social domain. In conclusion, I suggest that the decentralized web falters as a political project because in seeking to build new forms of sociality through software, it fails to antagonize the structures of technological capitalist society. Nonetheless, the conceptual and performative metaphors engendered by these experimental systems call forth new technological discourses in which protocol serves as a guide, rather than a coercive armature, of a social imaginary.
by Zhexi Zhang.
S.M. in Art, Culture and Technology
S.M.inArt,CultureandTechnology Massachusetts Institute of Technology, Department of Architecture
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Giambroni, Caitlin A. "The Aesthetics of Representation." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574717315842711.
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Shaw, Sarah. "Seventeen : ethics and aesthetics." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/23587/.
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My practice-led research in Creative Writing consists of composing a novel closely focalised through three members of a dual-heritage family in Suffolk in 2004 after the teenage daughter is diagnosed with leukaemia. ‘Seventeen: Ethics and Aesthetics’ explores the question: what are the tensions between truth, kindness and the form and poetics of the novel? My critical reflection considers techniques used to convince the reader, and my attempts to represent unconscious psychic processes of the novel’s protagonists in relation to trauma fiction. The aim of the research programme has been to discover the appropriate form for a novel in which characters are paramount. My research methodology has consisted of revising repeated drafts in order to imagine and articulate the points of view of the novel’s protagonists: Rosie, a mixed-race teenager who has a vivid sense of the ridiculous, who wants to separate herself from her family and mix with her friends; Jay, her White mother, who works in anti-racist education and has ambitions as a photographer, together with a tendency to embrace New Age ideas; and Mel, Rosie’s stepfather, who runs an independent cinema, who never intended to be anyone’s father but finds himself caught up in loving Rosie. The novel is about the language and voices used, and about how the relationships between the characters change as a result of Rosie’s illness and impending death. Writing a commentary has informed the discipline of editing and revision. My completed critical reflection recounts decisions made on ethical or aesthetic grounds, while attempting to relate the research to cultural preoccupations in the study and composition of novels. The originality of this contribution to knowledge consists of fiction that focalises three original characters. A claim to originality may also be made in relation to my work on metaphor, metonymy and the unconscious.
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Riley, Mark Simon. "An aesthetics of hauntology." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425350.
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Papadakis, Vasilis. "Error detection and error concealment for MPEG2 over communication networks." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/MQ39981.pdf.
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Eccles, Tim. "Looking for beauty: a call to educators to address the need for aesthetic education in our classrooms /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2204.
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Chang, Edmond Yi-teh. "The aesthetics of Wu : Wang Bi's ontological paradigm and the transformation of Chinese aesthetics /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3031938.
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Almlöf, Jonas. "Quantum error correction." Licentiate thesis, KTH, Kvantelektronik och -optik, QEO, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-106795.
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This thesis intends to familiarise the reader with quantum error correction, and also show some relations to the well known concept of information - and the lesser known quantum information. Quantum information describes how information can be carried by quantum states, and how interaction with other systems give rise to a full set of quantum phenomena, many of which have no correspondence in classical information theory. These phenomena include decoherence, as a consequence of entanglement. Decoherence can also be understood as "information leakage", i.e., knowledge of an event is transferred to the reservoir - an effect that in general destroys superpositions of pure states. It is possible to protect quantum states (e.g., qubits) from interaction with the environment - but not by amplification or duplication, due to the "no-cloning" theorem. Instead, this is done using coding, non-demolition measurements, and recovery operations. In a typical scenario, however, not all types of destructive events are likely to occur, but only those allowed by the information carrier, the type of interaction with the environment, and how the environment "picks up" information of the error events. These characteristics can be incorporated into a code, i.e., a channel-adapted quantum error-correcting code. Often, it is assumed that the environment's ability to distinguish between error events is small, and I will denote such environments "memory-less". This assumption is not always valid, since the ability to distinguish error events is related to the \emph{temperature} of the environment, and in the particular case of information coded onto photons, Denna avhandling är en introduktion till kvantfelrättning, där jag undersöker släktskapet med teorin om klassisk information - men också det mindre välkända området kvantinformation. Kvantinformation beskriver hur information kan bäras av kvanttillstånd, och hur växelverkan med andra system ger upphov till åtskilliga typer av fel och effekter, varav många saknar motsvarighet i den klassiska informationsteorin. Bland dessa effekter återfinns dekoherens - en konsekvens av s.k. sammanflätning. Dekoherens kan också förstås som "informationsläckage", det vill säga att kunskap om en händelse överförs till omgivningen - en effekt som i allmänhet förstör superpositioner i rena kvanttillstånd. Det är möjligt att med hjälp av kvantfelrättning skydda kvanttillstånd (t.ex. qubitar) från omgivningens påverkan, dock kan sådana tillstånd aldrig förstärkas eller dupliceras, p.g.a icke-kloningsteoremet. Tillstånden skyddas genom att införa redundans, varpå tillstånden interagerar med omgivningen. Felen identifieras m.h.a. icke-förstörande mätningar och återställs med unitära grindar och ancilla-tillstånd.Men i realiteten kommer inte alla tänkbara fel att inträffa, utan dessa begränsas av vilken informationsbärare som används, vilken interaktion som uppstår med omgivningen, samt hur omgivningen "fångar upp" information om felhändelserna. Med kunskap om sådan karakteristik kan man bygga koder, s.k. kanalanpassade kvantfelrättande koder. Vanligtvis antas att omgivningens förmåga att särskilja felhändelser är liten, och man kan då tala om en minneslös omgivning. Antagandet gäller inte alltid, då denna förmåga bestäms av reservoirens temperatur, och i det speciella fall då fotoner används som informationsbärare gäller typiskt
QC 20121206
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Anderson, O. E. "Grammatical error prediction." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595506.
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In this thesis, we investigate methods for automatic detection, and to some extent correction, of grammatical errors. The evaluation is based on manual error annotation in the Cambridge Learner Corpus (CLC), and automatic or semi-automatic annotation of error corpora is one possible application, but the methods are also applicable in other settings, for instance to give learners feedback on their writing or in a proofreading tool used to prepare texts for publication. Apart from the CLC, we use the British National Corpus (BNC) to get a better model of correct usage, WordNet for semantic relations, other machine-readable dictionaries for orthography/morphology, and the Robust Accurate Statistical Parsing (RASP) system to parse both the CLC and the BNC and thereby identify syntactic relations within the sentence. Different techniques are investigated, including: sentence-level binary classification based on machine-learning over n-grams of words, n-grams of part-of-speech tags and grammatical relations; automatic identification of features which are highly indicative of individual errors; and development of classifiers aimed more specifically at given error types, for instance concord errors based on syntactic structure and collocation errors based on co-occurrence statistics from BNC, using clustering to deal with data sparseness. We show that such techniques, when applied, can detect, and sometimes even correct, at least certain error types as well as or better than human annotators. We finally present an annotation experiment in which a human annotator corrects and supplements the automatic annotation, which confirms the high detection/correction accuracy of our system and furthermore shows that such a hybrid set-up gives higher-quality annotation with considerably less time and effort expended compared to fully manual annotation.
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Almlöf, Jonas. "Quantum error correction." Doctoral thesis, KTH, Kvantelektronik och -optik, QEO, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-180533.
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Quantum error correction is the art of protecting quantum states from the detrimental influence from the environment. To master this art, one must understand how the system interacts with the environment and gives rise to a full set of quantum phenomena, many of which have no correspondence in classical information theory. Such phenomena include decoherence, an effect that in general destroys superpositions of pure states as a consequence of entanglement with the environment. But decoherence can also be understood as “information leakage”, i.e., when knowledge of an encoded code block is transferred to the environment. In this event, the block’s information or entanglement content is typically lost. In a typical scenario, however, not all types of destructive events are likely to occur, but only those allowed by the information carrier, the type of interaction with the environment, and how the environment “picks up” information of the error events. These characteristics can be incorporated into a code, i.e., a channel-adapted quantum error-correcting code. Often, it is assumed that the environment’s ability to distinguish between error events is small, and I will denote such environments “memory-less”. But this assumption is not always valid, since the ability to distinguish error events is related to the temperature of the environment, and in the particular case of information coded onto photons, kBTR «ℏω typically holds, and one must then assume that the environment has a “memory”. In the thesis I describe a short quantum error-correction code adapted for photons interacting with a “cold” reservoir, i.e., a reservoir which continuously probes what error occurred in the coded state. I also study other types of environments, and show how to distill meaningful figures of merit from codes adapted for these channels, as it turns out that resource-based figures reflecting both information and entanglement can be calculated exactly for a well-studied class of channels: the Pauli channels. Starting from these resource-based figures, I establish the notion of efficiency and quality and show that there will be a trade-off between efficiency and quality for short codes. Finally I show how to incorporate, into these calculations, the choices one has to make when handling quantum states that have been detected as incorrect, but where no prospect of correcting them exists, i.e., so-called detection errors.QC 20160115
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Peikert, Christopher Jason. "Cryptographic error correction." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/38320.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2006.Includes bibliographical references (leaves 67-71).
It has been said that "cryptography is about concealing information, and coding theory is about revealing it." Despite these apparently conflicting goals, the two fields have common origins and many interesting relationships. In this thesis, we establish new connections between cryptography and coding theory in two ways: first, by applying cryptographic tools to solve classical problems from the theory of error correction; and second, by studying special kinds of codes that are motivated by cryptographic applications. In the first part of this thesis, we consider a model of error correction in which the source of errors is adversarial, but limited to feasible computation. In this model, we construct appealingly simple, general, and efficient cryptographic coding schemes which can recover from much larger error rates than schemes for classical models of adversarial noise. In the second part, we study collusion-secure fingerprinting codes, which are of fundamental importance in cryptographic applications like data watermarking and traitor tracing. We demonstrate tight lower bounds on the lengths of such codes by devising and analyzing a general collusive attack that works for any code.
by Christopher Jason Peikert.
Ph.D.
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Kosek, Peter M. "Error Correcting Codes." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417508067.
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Altice, Nathan. "I Am Error." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/405.
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I Am Error is a platform study of the Nintendo Family Computer (or Famicom), a videogame console first released in Japan in July 1983 and later exported to the rest of the world as the Nintendo Entertainment System (or NES). The book investigates the underlying computational architecture of the console and its effects on the creative works (e.g. videogames) produced for the platform. I Am Error advances the concept of platform as a shifting configuration of hardware and software that extends even beyond its ‘native’ material construction. The book provides a deep technical understanding of how the platform was programmed and engineered, from code to silicon, including the design decisions that shaped both the expressive capabilities of the machine and the perception of videogames in general. The book also considers the platform beyond the console proper, including cartridges, controllers, peripherals, packaging, marketing, licensing, and play environments. Likewise, it analyzes the NES’s extension and afterlife in emulation and hacking, birthing new genres of creative expression such as ROM hacks and tool-assisted speed runs. I Am Error considers videogames and their platforms to be important objects of cultural expression, alongside cinema, dance, painting, theater and other media. It joins the discussion taking place in similar burgeoning disciplines—code studies, game studies, computational theory—that engage digital media with critical rigor and descriptive depth. But platform studies is not simply a technical discussion—it also keeps a keen eye on the cultural, social, and economic forces that influence videogames. No platform exists in a vacuum: circuits, code, and console alike are shaped by the currents of history, politics, economics, and culture—just as those currents are shaped in kind.
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Dou, Meng, and Esra Ekiz. "Differentiation through Aesthetics in Supermarkets." Thesis, Linköpings universitet, Företagsekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71158.
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Background:This thesis strives to analyze aesthetic services used in supermarkets. Supermarkets facefierce competition and varied marketing dilemmas such as traditional marketing versusservice marketing. Nevertheless, encompassing elements from both traditionalmarketing, such as physical products, and service marketing, such as relationshipbuilding, supermarket management is challenging. Thus, it is crucial to understandconsumers’ perceptions for both services and products in order to satisfy their needs andwants and succeed in the market place. Therefore, this thesis offers a betterunderstanding of aesthetic elements used in supermarkets from customers’ perspective.Aim:The main purpose of this thesis is to investigate the applications of aesthetics insupermarkets. It intends to examine and theorize the consumer perceptions regardingaesthetic elements applied in supermarkets; to test the differentiation strategy insupermarkets, through the usage of aesthetic elements, from consumers’ perspective.Definitions:Aestheticization of daily life: it can be seen as the extension of art or the appreciation ofart on daily life. It suggests ‘the collapse of the distinction between high art and massculture, leveling out of symbolic hierarchies and cultural declassification’ (Featherstone,2007). It reflects onto business through its emphasis on beauty, sensory appeals,pleasure consumption etc. Analyzing aesthetic applications in supermarkets from acustomer perspective, this thesis finds out that from both companies’ and consumers’perspective, these applications are based on aestheticization of daily life.Completion and Results:Aesthetic elements used in supermarkets are identified in the content analysis anddiscussed in the empirical study through focus group interviews. It is found out thataesthetic services indeed improve customer satisfaction. However, the fierce pricecompetition limits supermarkets’ services to instrumental rather than expressiveperformance. Moreover, utilized aesthetic services in supermarkets tend to bestandardized, due to benchmarking processes, in consumers’ eyes, causing theseservices to lose their value to be differentiated.
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Obrador, Espinosa Pere. "Media aesthetics based multimedia storytelling." Doctoral thesis, Universitat Politècnica de Catalunya, 2011. http://hdl.handle.net/10803/33293.
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Since the earliest of times, humans have been interested in recording their life experiences, for future reference and for storytelling purposes. This task of recording experiences --i.e., both image and video capture-- has never before in history been as easy as it is today. This is creating a digital information overload that is becoming a great concern for the people that are trying to preserve their life experiences.
As high-resolution digital still and video cameras become increasingly pervasive, unprecedented amounts of multimedia, are being downloaded to personal hard drives, and also uploaded to online social networks on a daily basis. The work presented in this dissertation is a contribution in the area of multimedia organization, as well as automatic selection of media for storytelling purposes, which eases the human task of summarizing a collection of images or videos in order to be shared with other people.
As opposed to some prior art in this area, we have taken an approach in which neither user generated tags nor comments --that describe the photographs, either in their local or on-line repositories-- are taken into account, and also no user interaction with the algorithms is expected. We take an image analysis approach where both the context images --e.g. images from online social networks to which the image stories are going to be uploaded--, and the collection images --i.e., the collection of images or videos that needs to be summarized into a story--, are analyzed using image processing algorithms. This allows us to extract relevant metadata that can be used in the summarization process.
Multimedia-storytellers usually follow three main steps when preparing their stories: first they choose the main story characters, the main events to describe, and finally from these media sub-groups, they choose the media based on their relevance to the story as well as based on their aesthetic value. Therefore, one of the main contributions of our work has been the design of computational models --both regression based, as well as classification based-- that correlate well with human perception of the aesthetic value of images and videos. These computational aesthetics models have been integrated into automatic selection algorithms for multimedia storytelling, which are another important contribution of our work. A human centric approach has been used in all experiments where it was feasible, and also in order to assess the final summarization results, i.e., humans are always the final judges of our algorithms, either by inspecting the aesthetic quality of the media, or by inspecting the final story generated by our algorithms.
We are aware that a perfect automatically generated story summary is very hard to obtain, given the many subjective factors that play a role in such a creative process; rather, the presented approach should be seen as a first step in the storytelling creative process which removes some of the ground work that would be tedious and time consuming for the user. Overall, the main contributions of this work can be capitalized in three:
(1) new media aesthetics models for both images and videos that correlate with human perception,
(2) new scalable multimedia collection structures that ease the process of media summarization, and finally,
(3) new media selection algorithms that are optimized for multimedia storytelling purposes.
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Huynh, Boi Tran. "Vietnamese Aesthetics From 1925 Onwards." University of Sydney. Sydney College of the Arts, 2005. http://hdl.handle.net/2123/633.
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Twentieth century art in Viêt-Nam underwent immense changes due to the nation�s encounters with the West, through colonialism and two great wars. This thesis examines the significant impact of architecture, clothing painting and sculpture on the development of Vietnamese aesthetics. The very public nature of architecture and clothing will be used as a cultural backdrop for the changing aesthetic ideals in painting and sculpture. The thesis examines the aesthetic merits of Socialist Realism, introduced after reunification in 1975, in particular, its relationship to the art of the Republic of Vie�t- Nam (South Viêt-Nam) from 1954 to 1975. Vietnamese post-war art historians have consistently omitted the significant cultural developments of this period in their writings. A study of this distinctive era will clarify aesthetic changes in the last decades of the twentieth century. After a long period of isolation and ideological constraint, remarkable cultural changes occurred when Viêt-Nam re-established contact with the outside world. This thesis will present the subsequent changes in aesthetics, as an attempt to balance tradition and modernity, within the context of market reforms and the internationalisation of Vietnamese art. These events had a significant impact on the contemporary art market in Viêt-Nam. Through the changes that art history has noted, this thesis argues that the interactions with outsiders were either an impetus or a pressure for changes in Vie�t-Nam�s drive for modernity.
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Armstrong, Kevin Anthony. "Aesthetics/ethics, two modern views." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37936.pdf.
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Etherington, Ben Karl. "Literary primitivism : essence, aesthetics, politics." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608758.
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Wilson, Ross Michael. "Subjective universality in Kant's aesthetics." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614777.
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Baum, David. "Introducing aesthetics to software visualization." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-175905.
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In software visualization, but also in information visualization in general, there is a great need for evaluation of visualization metaphors. To reduce the amount of empirical studies a omputational approach has been applied successfully, e.g., to graph visualization. It is based on measurable aesthetic heuristics that are used to estimate the human perception and the processing of visualizations. This paper lays a foundation for adopting this approach to any field of information visualization by providing a method, the repertory grid technique, to identify aesthetics that are measurable, metaphor-specific, and relevant to the user in a structured and repeatable way. We identified
25 unique aesthetics and revealed that the visual appearance of the investigated visualizations is mainly influenced by the package structure whereby methods are underrepresented. These findings were used to improve existing visualizations.
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Asikainen, Henna Maaria. "Art, nature and environmental aesthetics." Thesis, Northumbria University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410378.
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Walters, David. "The aesthetics of Pierre Boulez." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/3093/.
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To enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham.
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Cochrane, Richard. "Towards an aesthetics of music." Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364620.
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Lien, Vincent Wen-Shan. "E.M. Forster and transgressive aesthetics." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341812.
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Downey, John William. "Aesthetics, critical theory, and cinema." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260587.
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Caballero, Carlo. "Fauré and French musical aesthetics /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122166m.
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