Dissertations / Theses: 'Digital art Aesthetics'

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Chan, Ching-yan Janet. "On digital aesthetics scrutinizing aesthetic studies in the digital era /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.

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Chan, Ching-yan Janet, and 陳靜昕. "On digital aesthetics: scrutinizing aestheticstudies in the digital era." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30681893.

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Ho, King Tong. "The poetics of making a new cross-cultural aesthetics of art making in digital art through the creative integration of Western digital ink jet printmaking technology with Chinese traditional art substrates : this exegesis is submitted to AUT University in partial fulfillment of the degree of Doctor of Philosophy." Click here to access this resource online, 2007. http://hdl.handle.net/10292/333.

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Valiquet, Patrick Joseph. "'The digital is everywhere' : negotiating the aesthetics of digital mediation in Montreal's electroacoustic and sound art scenes." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:356cdab4-c690-4eb8-9558-3ae80e51d2df.

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In this thesis I argue that the relationship between the increasing ubiquity of digital audio technologies and the transformation of aesthetic hierarchies in electroacoustic and sound art traditions is not deterministic, but negotiated by producers and policy-makers in specific historical and cultural contexts. Interviews, observations, and historical data were gathered during sixteen months of ethnographic fieldwork in the Canadian city of Montreal between 2011 and 2012. Research was conducted and analysed in collaboration with a transnational group of researchers on a programme of comparative research that tracked global changes to music and musical practice associated with digital technologies. The introduction presents Montreal as a rich ecology in which to track struggles for aesthetic authority, detailing its history as a key site of electroacoustic and sound art production, and its local positioning as a politically strategic 'hub' for the Canadian culture industry. Core chapters examine the specific role of digital mediation in the negotiation of electroacoustic and sound art aesthetics from multiple interlocking perspectives: the recursive relationship between technological affordances and theories of mediation; the mobilisation of digital technologies in the delineation of cultural, professional and generational territories; the political contestation of digital literacies and pedagogies; the articulation of the digital's opposition with analogue in the construction of instruments and recording formats; and the effects of the digital on the dynamics of genre and genre hierarchies. The concluding chapter offers a critique of the notion that digital mediation has shifted the balance between the normative and the generative dimensions of genrefication in the scenes in question, and closes by suggesting how a better understanding of this shift at an empirical level can inform an ongoing rethinking of the interaction between technology and aesthetics among scholars, policy makers, and musicians.

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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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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film. Anthropology

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Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.

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Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

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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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Submitted by CLEBER GAZANA (clebergazana@gmail.com) on 2016-03-13T16:11:00Z No. of bitstreams: 1 cleber_gazana_dis_me_unesp_glitch_art.pdf: 22450806 bytes, checksum: 1ff9ea658df80665b9bdecf854bb12e5 (MD5) Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-03-14T22:39:59Z (GMT) No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5) Made available in DSpace on 2016-03-14T22:39:59Z (GMT). No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5) Previous issue date: 2016-02-17 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) 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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Fontaine, Chantale. "Channeling Aesthetics in the Digital Realm: Designing Virtual Homes for the Artists of Folkvine.org." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/708.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information. B.A. Bachelors Arts and Sciences Art

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Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art." Doctor of Philosophy

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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art." Doctor of Philosophy

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Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.

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Henno, Juliana Harrison. "As correlações entre os sistemas generativos e a fabricação digital no contexto das artes visuais." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21032017-104202/.

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A presente pesquisa pretende examinar a imagem digital decorrente da aproximação das artes visuais com as tecnologias CAD/CAM e os sistemas biológicos de criação. Essa imagem de base computacional e de característica emergente encontra na fabricação digital a oportunidade de se materializar tendo em vista a compatibilidade tanto no sentido da concretização da complexidade da forma quanto da possibilidade de sua singularização seriada. Mais especificamente, pretende-se abordar como os processos e as técnicas de produção digital, ao viabilizarem a geração e materialização da imagem complexa, têm interferido no modus operandi do artista visual, ampliando as formas de operar e representar no campo das Artes ao servirem como instrumento para o desenvolvimento e a representação de novas poéticas. Por meio da referência teórica, da leitura de obras e dos trabalhos práticos experimentais, pretende-se explorar de que forma o artista se apropria dos meios de produção digitais e dos processos generativos de criação, explorando-os como uma linguagem inovadora, que por sua vez amplia e potencializa, a níveis antes insuspeitáveis, as formas de expressão e execução de sua obra. Intenta-se avaliar de que maneira o processo de caráter numérico pode interferir no processo criativo e poético do artista visual de modo a promover novas possibilidades expressivas e, dessa forma, explorar potenciais até então pouco usuais no campo das artes. A tese usa como principais fundamentações teóricas para lançar as bases para o entendimento da relação cada vez mais estreita entre arte e tecnologia as discussões de Taylor (2014), Machado (1997b), Couchot (2003), Lévy (1996), Laurentiz (1991), Moles (1990) e Plaza & Tavares (1998), que investigam a introdução do numérico no campo artístico. Já as discussões de Manovich (2010), Galanter (2010), Couchot (2010), Johnson (2001), Whitelaw (2006) e McCormack (2014) abordam teorias a respeito da complexidade da imagem e esclarecem processos e modelos de sistemas naturais passíveis de emergência. Para apresentar a tecnologia de fabricação digital e seu potencial criativo, a tese se apoia nos autores Kolarevic (2001), Mitchel & McCullough (1995), McCullough (1996), Todd & Latham (1992) e Ganis (2004). Reflexões a respeito da convergência entre os conceitos de emergência e de fabricação baseiam-se nas discussões de Labaco (2013), Whitelaw (2006; 2015) e Moura (2013). This research aims at examining the digital image that originates from the proximity of the visual arts with CAD/CAM technologies and the biological systems of creation. Such computer-based image, that is emergent, can be materialized in the digital fabrication owing to the compatibility both in the sense of making the complexity of the form concrete and of enabling its serial singling. More specifically, we intend to approach how the digital manufacturing processes and techniques have interfered with the visual artist´s modus operandi as they enable the generation and the materialization of the complex image, thus enlarging the ways to operate and represent in the arts field because they work as instruments to develop and represent new poetics. By means of theoretical reference, work reading and experimental practical works, we intend to explore how the artist takes over the means of digital production and the generative processes of creating and he/she explores them as an innovative language, which, in turn, amplifies and potentiates the forms of expression and accomplishment of his/her work to levels unimaginable before. We intend to evaluate how the numerical character process can interfere with the visual artist´s creative and poetic process to promote new expressive possibilities, thus exploring the potential which has been unusual in the arts field so far. The main theoretical support to launch the bases to understand the ever closer relation of art to technology was derived from the discussions by Taylor (2014), Machado (1997b), Couchot (2003), Lévy (1996), Laurentiz (1991), Moles (1990) and Plaza & Tavares (1998). Those researchers investigate the introduction of the numerical in the artistic field. The discussions by Manovich (2010), Galanter (2010), Couchot (2010), Johnson (2001), Whitelaw (2006) and McCormack (2014) bring information of theories related to the complexity of the image, since in those discussions the processes and models of natural systems that are liable to emergence are elucidated. To present the digital manufacturing technology and its creative potential, the theoretical support was derived from Kolarevic (2001), Mitchel & McCullough (1995), McCullough (1996), Todd & Latham (1992) and Ganis (2004). The concepts about the convergence of the concepts of emergence and manufacturing reflect the discussions by Labaco (2013), Whitelaw (2006; 2015) and Moura (2013).

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Turner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.

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Master of Visual Arts This thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?

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Milos, Emil University of Ballarat. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12772.

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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006." Master of Arts

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Milos, Emil. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14608.

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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006." Master of Arts

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Gampe, Johanna. "De l'esthétique numérique : changements nés de la révolution numérique, vus à travers les études des médias, l'art sonore et la philosophie." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010549.

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Cette thèse explore les nombreux changements nés de la Révolution Numérique à travers l'esthétique. Elle aborde les questions essentielles en trois étapes: le discours, la création et la réception. La première partie rassemble les courants et les mots-clefs qui reflètent le discours principal dans son actualité et son historique. Une étude comparative analyse les approches esthétiques typiques. Que l'on étudie les nouveaux médias, l'art visuel, l'art numérique, le « computer art », l'art de l'information ou l'art du code: on cherche tous à définir les nouvelles qualités spécifiques du médium numérique. La deuxième partie se concentre sur les arts sonores et les drames audio en particulier, mais aborde également la musique assistée par ordinateur. L'attention portée au genre du Hörspiel permet de démontrer comment espace et temps évoluent dans le détail. La mise en place d'une hypothèse de travail portant sur les Sonarios - installations sonores spatiales à interactivité scénique - permet de comparer directement 1'« ancien» genre du Hörspiel au « nouveau» genre des Sonarios, en se fondant sur trois études de cas et un état des lieux de l'art. En outre, elle propose un modèle d'interactivité quantitatif et qualitatif. La troisième partie présente les courants prédominants en philosophie. Elle construit un modèle herméneutique à l'aide de l'ontologie, en commençant par la virtualisation et l'actualisation. Abordant philosophiquement des catégories esthétiques, elle affine ce modèle en y incorporant les découvertes de la deuxième partie. Un modèle graphique de signes algorithmiques, développé en sémiotique et en phénoménologie, est alors intégré au domaine de l'esthétique This dissertation explores the numerous changes arising from the Digital Revolution through aesthetics. It takes on the essential issues in three steps, tackling discourse, creation and reception. The first part assembles trends and keywords that reflect the main discourse, covering both the present and the past. A comparative study analyzes typical aesthetic approaches: whether considering new media art, virtual art, digital art, computer art, information art or code art, it becomes apparent that almost ail approaches seek the specific new qualities of the digital medium. The second part concentrates on sound arts and on audio dramas in particular, but also tackles computer music. The focus on the genre Hörspiel allows demonstration of how space and time change in detail. The setting up of a working hypothesis of Sonarios, defining interactive scenic spatial sound installations, allows the direct comparison of the 'old' genre Hörspiel and the 'new' genre Sonario on the basis of three case studies and a consideration of the state of the art. It, moreover, suggests a qualitative and quantitative model of interactivity. The third part introduces the prominent research sectors of philosophy. Step by step, it constructs a hermeneutic model with the aid of ontology, starting with the processes of virtualization and actualization. Selected philosophical approaches on important aesthetic categories are presented in order to refine and discuss the model, together with an analysis of findings from the second part. A graphical model of algorithmic signs, developed in the context of semiotics and phenomenology, allows the analysis to be embedded in the context of aesthetics

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Charlton, James. "Catch | Bounce : towards a relational ontology of the digital in art practice." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10377.

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How might ‘the digital’ be conceived of in an ‘expanded field’ of art practice, where ontology is flattened such that it is not defined by a particular media? This text, together with an installation of art work at the Exhibition Research Lab, Liverpool John Moores University (13-24 March), constitutes the thesis submission as a whole, such that in the practice of ‘reading’ the thesis, each element remains differentiated from the other and makes no attempt to ‘represent’ the other. In negating representation, such practices present a ‘radical’ rethinking of the digital as a differentiated in-itself, one that is not defined solely by entrenched computational narratives derived from set theory. Rather, following Nelson Goodman’s nominalistic rejection of class constructs, ‘the digital’ is thus understood in onto-epistemic terms as being syntactically and semantically differentiated (Languages of Art 161). In the context of New Zealand Post-object Art practices of the late 1960s, as read through Jack Burnham’s systems thinking, such a digitally differentiated ontology is conceived of in terms of the how of practice, rather than what of objects (“Systems Aesthetics”). After Heidegger, such a practice is seen as an event of becoming realised by the method of formal indication, such that what is concealed is brought forth as a thing-in-itself (The Event; Phenomenological Interpretations 26). As articulated through the researcher’s own sculptural practice – itself indebted to Post-object Art – indication is developed as an intersubjective method applicable to both artists and audience. However, the constraints imposed on the thing-in-itself by the Husserlian phenomenological tradition are also taken as imposing correlational limitations on the ‘digital’, such that it is inherently an in-itself for-us and thus not differentiated in-itself. To resolve such Kantian dialectics, the thesis draws on metaphysical arguments put forward by contemporary speculative ontologies – in particular the work of Quentin Meillassoux and Tristan Garcia (After Finitude; Form and Object). Where these contemporary continental philosophies provide a means of releasing events from the contingency of human ‘reason’, the thesis argues for a practice of ‘un-reason’ in which indication is recognized as being contingent on speculation. Practice, it is argued, was never reason’s alone to determine. Instead, through the ‘radical’ method of speculative indication, practice is asserted as the event through which the differentiated digital is revealed as a thing-in-itself of itself and not for us.

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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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Made available in DSpace on 2016-04-29T14:23:54Z (GMT). No. of bitstreams: 1 Jose Carlos Silvestre Fernandes.pdf: 2842549 bytes, checksum: 564b7814528253ff647a36247f79cc8c (MD5) Previous issue date: 2010-02-19 This 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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Soler-Adillon, Joan 1978. "Emergence as self-organization and as generation of novelty: a framework for understanding emergence in the context of interactive art." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/314388.

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The subject of study of this investigation is the concept of emergence and its viability as a driving force for the creation of interactive artwork. Emergence appears in the literature as related to self-organization and novelty. For many authors it is the result of multiple local interactions among agents within a system, which generate phenomena that could not be understood, nor anticipated, through the analysis of the elements and their behaviors in isolation. For others, emergent phenomena are related to fundamental novelty and, thus, to creativity. These two formulations of emergence are reviewed in this thesis in the context of interactive art and communication. The focus of the study is on the interactive works of the artistic field known as Artificial Life Art. After reviewing the foundational concepts and proposing an approach to both emergence and interactivity, an analytical framework is presented in order to assess the presence of emergence in interactive systems, which in turn shall serve as a first step to designing systems that aim at generating interactive emergent behaviors. L’objecte d’estudi d’aquesta tesi és el concepte d’emergència i la seva viabilitat com a força creativa d’obres d’art interactiu. Emergència apareix a la literatura com a concepte relacionat tant amb el concepte d’auto-organització com amb el de novetat. Per a molts autors és el resultat d’una gran multiplicitat d’interaccions locals entre els agents d’un sistema, que generen fenòmens que no podrien entendre’s ni anticipar-se mitjançant l’anàlisi d’aquets agents i dels seus comportaments de manera aïllada. Per altres, els fenòmens emergents estan relacionats amb la idea de novetat fonamental i, per tant, de creativitat. La tesi revisa ambdues formulacions del concepte d’emergència en el context de l’art interactiu i la comunicació. El focus central de l’estudi són les obres d’art interactiu de la disciplina coneguda com Artificial Life Art (art i vida artificial). Després de revisar-ne els conceptes fonamentals i proposar una formulació tant d’emergència com d’interactivitat, es presenta un model d’anàlisi que permet donar compte de la presència de fenòmens emergents dins en els sistemes interactius, i que alhora és un primer pas cap al disseny de sistemes que tenen la intenció de generar comportaments interactius emergents.

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Grundell, Vendela. "Flow and Friction : On the Tactical Potential of Interfacing with Glitch Art." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129130.

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This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the interface where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is investigated through three questions: What can a viewer see and do by interfacing with the website, and with what means? How is the photo-based material on the website produced, displayed and conceptualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically? With a cross disciplinary approach, three media phenomenological case studies present glitch artworks in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the website’s index and archive pages as well as still images with a focus on camera reconstruction, verbal conceptualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two artworks with still and moving images as well as a thematization of the entire online environment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photographs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The qualitative analysis both emphasizes and problematizes experience, as a complement to quantitative studies about images in relation to a digital flow. The study analyzes how glitch art shapes experiences both by following the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by extension, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.

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Pissini, Jessica M. "Embodied by Design: The Presence of Creativity, Art-making, and Self in Virtual Reality." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594831377515567.

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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.

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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du temps Multiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time

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Guez, Judith. "Illusions entre le réel et le virtuel (IRV) comme nouvelles formes artistiques : présence et émerveillement." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080109/document.

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Les illusions surprennent, amusent et émerveillent. Si parmi les intentions esthétiques du créateur, se trouve l’objectif de provoquer chez le spectateur des interrogations face à sa perception de la réalité quotidienne, alors les illusions peuvent devenir un atout essentiel dans la création artistique.Par ailleurs, le domaine de la réalité virtuelle et mixte, avec ses technologies numériques d’immersion et d’interaction, offre de nouvelles possibilités pour « transporter » le spectateur dans des mondes inhabituels, imaginés par les artistes.Ainsi, à partir de mon double intérêt pour les illusions et la réalité virtuelle et mixte, j’ai été amenée à développer une recherche-création sur les nouvelles formes artistiques d’illusion. Inspirée de la méthodologie complexe d’Edgard Morin, j’ai exploré théoriquement et pratiquement l’espace des illusions entre le réel et le virtuel (IRV), afin d’identifier et de créer ces nouvelles formes artistiques émergeant de la synergie des relations entre le spectateur, l’œuvre et l’artiste. J’ai composé ma propre palette de création d’IRV, qui parcourt les trois frontières : celle entre le réel et le virtuel, celle entre le réel et l’illusion, et enfin celle entre le virtuel et l’illusion. Et j’ai clarifié ma démarche artistique émergeant de cette recherche : viser à l’exploration de nouvelles expériences d’illusions entre le réel et le virtuel, afin d’atteindre de plus grandes profondeurs d’illusion et de présence dans l’expérience proposée au spectateur. Je me rapproche alors de ce que je nomme la survirtualité, le virtuel étant un merveilleux moyen pour imaginer, rêver des mondes d’illusions imbriquées Illusions surprise, amuse and amaze. If among the aesthetic intentions of the creator is the objective of raising questions in the spectator's mind about her own perception of everyday reality, then illusions can become an essential asset of artistic creation. Furthermore, we observe that the field of virtual and mixed reality, with its digital technologies of immersion and interaction, provides new possibilities to "transport" the spectator in unusual worlds, imagined by the artists. Thus, from my double interest in illusions and virtual and mixed reality, I was led to develop a research-creation on new artistic forms of illusion. Inspired from Edgard Morin's method of complexity, I theoretically and practically explored the space of illusions between the real and the virtual (IRV), to identify and create these new art forms emerging from the synergy of the relationship between the spectator, the artistic work and the artist. I composed my own palette for the creation of IRV, which covers the three borders: the one between the real and the virtual, the one between the virtual ant the illusion, and finally the one between the virtual and the illusion. I thus clarified my artistic approach emerging from this research: aiming at the development of experiments nesting several levels of illusions of reality, with the help of real and virtual apparatuses, and striving to explore illusions unique to the virtual, to achieve deeper illusion and presence in the experience offered to the spectator. I can then go closer to what I call the survirtuality, the virtual being a wonderful way to imagine, to dream worlds of nested illusions

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Leite, Marcelo Henrique. "Efeitos especiais digitais na imagem técnica: a desocultação da arte." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01062015-160814/.

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O objeto do estudo deste trabalho são as imagens de efeitos especiais digitais em computação gráfica (Computer Graphic Image - CGI) inseridas em narrativas cinematográficas da atualidade, principalmente a partir dos anos 1990, com a pluralidade de novas formas de viabiliza-lás baseadas em simulação e no contexto de uma sociedade em mutação nas formas de criação e reprodução técnica do audiovisual. A indagação proposta é identificar se os efeitos especiais simulados por CGI e as imagens decorrentes são apenas reconfiguração de velhas práticas e técnicas modernizadas tecnologicamente, ou estão neles embutidos novos modelos de compreensão do mundo na atualidade, se há um regime visual rearticulando o imaginário na pós-modernidade com nova relação entre representação e simulação. Essas articulações podem abrir espaços para se repensarem as relações atuais com as imagens digitais em um contexto entre a razão e a técnica, na óptica moderna, e o tempo presente e o prazer, na dimensão pós-moderna. O objetivo do presente estudo é estabelecer um diálogo com os efeitos especiais de segunda geração ou Digital Visual Effect (DVFx) para além de sua aplicabilidade prática somente como ferramenta para a linguagem narrativa em filmes mas desenvolver novas articulações entre o visível e o dizível, as possíveis visibilidades dos efeitos especiais como um novo regime visual na arte cinematográfica. O estudo avança para além de uma historicidade ao entender que as possibilidades trazidas pela tecnologia de computação gráfica (CG) produziram uma significativa renovação das possibilidades visuais no cinema contemporâneo, o que com certeza reflete e refletirá ainda mais na forma de consumo dos produtos audiovisuais produzidos a partir da ampliação do uso dessas tecnologias digitais e seu paralelo com estética, a arte e a cultura. A desocultação do processo criativo presente na técnica abre portas para a compreensão renovada do imaginário social e especialmente às formas de sua manifestação no campo das artes e da cultura. A metodologia empregada neste estudo será baseada em dados secundários desde livros e autores, pequenos trechos de filme, frames e até aplicações tecnológicas para demonstrar as configurações trazidas pelos efeitos especiais em computação gráfica (CG). * frames: é cada um dos quadros ou imagem fixa de um produto audiovisual. The object of study are the images of digital special effects in computer graphics (Computer Graphic Image - CGI) inserted in film narratives of today, mainly from the 1990s, with the plurality of new ways to make them viable based on simulation and in the context of a changing society in ways of creating and technical audiovisual playback. The proposed inquiry is to identify whether the special effects simulated by CGI and the resulting images are just rewriting practices and old techniques technologically upgraded, or are embedded in them new models of understanding the world today, if there is a visual scheme rearticulating the imaginary postmodern with new relationship between representation and simulation. These joints can open spaces to rethink the current relations with the digital images in a context between reason and the technique in modern optics, and the present time and pleasure, in the postmodern dimension. The aim of this study is to establish a dialogue with the special effects of second generation or Digital Visual Effect (DVFx) in addition to its practical applicability only as a tool for narrative language in movies but develop new links between the visible and the speakable, the possible visibility of special effects as a new visual regime in cinematic art.). The study goes beyond a historicity to understand that the opportunities brought about by computer graphics technology (CG) produced a significant renewal of visual possibilities in contemporary cinema, which certainly reflects and further reflected in the form of consumption of the produced audiovisual products from the expanded use of these digital technologies and its parallel with aesthetics, art and cultura.A unblinding of the creative process in this technique opens the door to a renewed understanding of the social imaginary and especially the forms of its manifestation in the arts and culture. The methodology used in this study is based on secondary data from books and authors, small snippets of film, frames and even technological applications to demonstrate the settings brought by special effects in computer graphics (CG). * Frames: is each of the frames or still image of an audiovisual product.

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Cunha, Ana Carolina da. ""Estética relacional na cibercultura": visão social dos coletivos Superflex e De Geuzen a respeito da linguagem digital." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5212.

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Made available in DSpace on 2016-04-26T18:17:57Z (GMT). No. of bitstreams: 1 Ana Carolina da Cunha.pdf: 999430 bytes, checksum: 04828c376e3f4f5a3c79333cb1ca6102 (MD5) Previous issue date: 2009-05-11 Secretaria da Educação do Estado de São Paulo This research has as main objective the analysis of projects 2 and Karlskrona Superchannel of collective Superflex, Denmark, and projects Frivolity and Folly and Fripperies and Trimmings, of the group De Geuzen, the Netherlands, in the light of the theory of relational aesthetics of Nicolas Bourriaud. From the 1990s, Bourriaud set the parameters for contemporary artistic production that is based on and is embodied from social exchanges. Given this theoretical framework, the relevance of the research lies in the fact that focus on productions that use digital cyberspace and language as means of dissemination and transmission of artistic proposals - language and tools then viewed with reservation by Bourriaud. The problem of research, ultimately theoretical, lies precisely in this tension between the internal relational aesthetics of the French philosopher and the chosen corpus. Established relational groups, such as De Geuzen and Superflex, advocate the use of technological devices and declare that, in some art propositions, technology and the Internet facilitate and potentialize objectives of social exchange. Both groups focus more on the network relations provided by the Internet than the technology it encloses. They both make use of the digital language as relational/communicational tools. Thus, it is clear that, unlike what Bourriaud thought, it is not the fact that these groups use the technology that they lose their relational character. For the demonstration of this reflexive perspective, this work has considered alongside the research, the theories of Lemos, Lovejoy, Lévy, Trivinho, Virilio and Baudrillard on cyberculture, and the reflections of Musso, Parente, Prado, and Miltrop Latour, among others, on the networks. The theory of society as a network, designed by Castells and for which contributed Mafessoli, had significant importance in this research. Other important findings were made by direct research on the groups websites and through personal analysis of their works and access to documents submitted by them in symposia and electronic publications. In addition to the corpus of the study, art expressions that use technology and social exchange, as the foundation of production, were also presented, such as the propositions of tactical media and locative media as well as experiments in social networks A presente pesquisa tem como principal objetivo a análise dos projetos Karlskrona 2 e Superchannel, do coletivo Superflex, da Dinamarca, e os projetos Frivolity and Folly e Fripperies and Trimmings, do grupo De Geuzen, da Holanda, à luz da teoria da estética relacional de Nicolas Bourriaud. A partir dos anos 1990, Bourriaud estabeleceu parâmetros para a produção artística contemporânea que se calcava nas e se corporificava a partir das trocas sociais. Dado esse referencial teórico, a relevância da pesquisa reside no fato de centrar-se em produções que utilizam o ciberespaço e a linguagem digital como meios de divulgação e transmissão de propostas artísticas ferramentas e linguagem até então vistas com ressalva por Bourriaud. O problema da pesquisa, teórico em última análise, reside justamente nessa tensão interna entre a estética relacional do filósofo francês e o corpus escolhido. Grupos relacionais consagrados, como o De Geuzen e o Superflex, defendem o uso dos aparatos tecnológicos e declaram que, em algumas propostas artísticas, a tecnologia e a internet facilitam e potencializam objetivos de intercâmbio social. Ambos os grupos focam mais as relações em rede que a internet proporciona do que as tecnologias que ela encerra. Utilizam as linguagens digitais como ferramentas relacional-comunicacionais. Dessa forma, fica claro que, diferentemente do que pensava Bourriaud, não é pelo fato de esses grupos utilizarem a tecnologia que eles perdem o seu caráter relacional. Para a demonstração dessa perspectiva reflexiva, foram consideradas, durante a pesquisa, as teorias de Lemos, Lovejoy, Lévy, Trivinho, Virílio e Baudrillard sobre a cibercultura, bem como as reflexões de Musso, Parente, Prado, Latour e Miltrop, entre outros, a respeito das redes. A teoria da sociedade em rede, concebida por Castells e para a qual contribuiu Mafessoli, teve importância relevante no trabalho. Outras constatações importantes foram realizadas mediante pesquisa direta em páginas eletrônicas dos grupos, bem como por meio de análise pessoal das obras e de acesso a documentos apresentados pelos grupos em simpósios e publicações eletrônicas. Em complementação ao corpus do estudo, manifestações artísticas que utilizam, como base fundamental de produção, a tecnologia e as trocas sociais também foram apresentadas, como, por exemplo, as propostas de mídia tática e mídia locativa e as experimentações em redes sociais

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López, Gabrielidis Alejandra. "Datificación e Individuación. Estudio sobre la corporalidad digital en prácticas artísticas contemporáneas." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/669634.

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Esta tesis es un intento de repensar la corporalidad de la subjetividad contemporánea a partir de la relación cada vez más íntima que establecemos con los datos y los objetos digitales. A partir de la noción de individuación de Gibert Simondon y su metodología ontogenética se postula la posibilidad de la aparición de un segundo cuerpo digital. Hemos profundizado el lazo y las tensiones que existen entre el cuerpo somático y el cuerpo digital a partir de distintas prácticas y piezas artísticas.

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Younes, Elhem. "Poïétique de l’indiscernable : approche esthétique de la perception dans les environnements virtuels et oniriques." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080017.

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Poïétique de l’indiscernable est une approche esthétique des modalités perceptives et imageantes déployées dans la relation aux environnements virtuels et oniriques. Elle désigne dans notre recherche-création, un état de conscience singulier et l’ensemble des qualités esthétiques d’une image. L’analyse détaillée des phénomènes du rêve, de l’hallucination, de l’imagination ainsi que des illusions perceptives, fondée sur une étude transdisciplinaire alliant science et phénoménologie, révèle les différents régimes de mise en jeu d’une conscience immersive et d’un sentiment de présence dans leur rapport causal à l’esthétique de l’indiscernable propre aux images oniriques. Le rêve, pris comme modèle de référence pour la mise en place d’une expérience onirique, nous a permis d’apprécier les conditions nécessaires et suffisantes à l’instauration d’un état d’indiscernabilité qu’il fallait compléter par les théories cybernétiques spécialisées en la matière. A partir de cette étape d’investigation les enjeux pratiques liés à notre démarche artistique se sont articulés. Ils concernent le processus même de génération d’un ensemble d’images numériques animées et d’une matière virtuelle destinée à une expérience interactive en temps réel et les dispositifs de mise en relation des spectateurs avec ces dernières. L’esthétique de l’indiscernable doit être le résultat d’une poïétique de l’indiscernable basée sur le principe de conversion créative caractéristique des phénomènes oniriques étudiés. Les images générées doivent éveiller l’imaginaire grâce à la structure intrinsèque et extrinsèque, instaurer une poïétique du regard et donner à vivre un état d’indiscernabilité Poietics of the indiscernible is an aesthetic approach to perceptual and imaginary modalities deployed in relationship to virtual and oneiric environments. In our research-creation, it designates a singular state of consciousness and a set of aesthetic qualities of an image. A detailed analysis of dreaming, hallucination, imagination and perceptual illusions phenomena based on a transdisciplinary research linking science and phenomenology, reveals different challenging regimes putting at stake both an immersive consciousness and a sense of presence in their causal link to the aesthetic of the indiscernible proper to oneiric images. Dreaming, taken as a model reference for the establishment of an oneiric experience, allowed us to assess the necessary and sufficient conditions for triggering a state of indiscernibility that had to be completed by cybernetic theories specialized in this matter. From this investigation step practical issues related to our artistic approach have been hinged. The latter deals with the creation process of a range of digital animations and a virtual matter intended for a real time interactive experience, and the apparatus for putting spectators through them. The aesthetic of the indiscernible must be the result of Poietics of the indiscernible based on creative conversion, which is the essential principle of the studied oneiric phenomena. The computer-generated images have to awaken one’s imaginary by means of the intrinsic and extrinsic structures, establish a Poietic of gaze and eventually give rise to a state of indiscernibility

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Jackson, Rebecca. "The Glitch Aesthetic." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/80.

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The miscommunication between sender and receiver during transcoding indexes specific historical moments similarly to analog film's indexical trace. Iconography and glitch art begin to establish glitch's deictic index. The glitch aesthetic exposes societal paranoia by illustrating dependence on the digital and fear of system failure. With the advent of video sharing sites like Youtube and popular cyberfilms, the glitch aesthetic has evolved into a pop culture artifact.

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Contreras-Koterbay, Scott, and Łukasz Mirocha. "The New Aesthetic and Art: Constellations of the Postdigital." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu_books/112.

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The case for the new aesthetic -- Manifestations of the new aesthetic -- Glitch ontology and the new aesthetic -- Setting the stage : the new precursorsand boundaries for a new aesthetic art -- Letting go : new aesthetic artists and the new aesthetic art that works -- Teleology and the new aesthetic -- Conclusion -- References -- Biographies. "The new aesthetic and art: constellations of the postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory andcontemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples ofart that are increasingly an important influence for today's culture and society." https://dc.etsu.edu/etsu_books/1118/thumbnail.jpg

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Pedroso, Anderson Antonio. "Vilém flusser : de la philosophie de la photographie à l’univers des images techniques." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL103.

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La pensée de Vilém Flusser (1920-1991) a donné lieu à une abondante bibliographie critique sur ses apports en matière de communication, où son pari d’une « nouvelle imagination » fait tenir ensemble l’art, la science et la technologie, sous l’égide de sa philosophie de la photographie. L’archéologie de sa pensée, proposée ici, a été construite en tenant compte de l’ancrage disciplinaire de ses travaux dans les théories de la communication et des médias : elle s’est intéressée à la notion de l’art que Flusser développe au cours de son parcours, afin de saisir le déploiement de cette dimension artistique, son statut et ses contours, aussi bien que sa portée. La notion d’art chez Flusser est indissociablement liée à l’histoire : l’expérience traumatisante de l’exil est devenue centrale dans sa pensée critique de tout totalitarisme. L’ensemble de pratiques et de savoirs qui fondent son rapport au monde et qui informent sur l’élaboration de sa pensée sont travaillés par une Kulturgeschichte, vue depuis la perspective d’une « post-histoire ». Mais il y a en particulier une pensée du jeu, ludique, où l’objectif est moins de jouer à l’intérieur des règles établies que de déjouer les règles, de « jouer pour changer le jeu ». Autrement dit, il s’agit d’une pensée radicalement dialogique et polyphonique, dont la Kommunikologie, façonnée comme métathéorie, représente l’essor de Flusser. Sa trajectoire historique et les savoirs qui lui sont associés contribuent à la construction d’une pensée cybernétique qui projette les lignes fondamentales d’une Kunstwissenschaft, dans laquelle il propose une sorte d’iconoclasme sans renoncer aux images The thought of Vilém Flusser (1920-1991) has given rise to an abundant critical bibliography on his contributions in the field of communication, where his wager on a "new imagination" brings together art, science and technology, under the aegis of his philosophy of photography. The archaeology of his thought, proposed here, is constructed alongside this disciplinary underpinning of his work in the theories of communication and media: it involves the notion of art that Flusser developed during his career, in order to grasp the deployment of this artistic dimension, its status and its contours, in his thought. Flusser's notion of art is inseparably linked to history: the traumatic experience of exile becames central in his critical thinking regarding all totalitarianism. The practices and knowledge that underpin his relationship to the world and guide the development of his conception are worked on by a Kulturgeschichte, seen from the perspective of a "post-history". But there is, in particular, a playful thinking of the game, where the objective is less to play within the established rules than to thwart the rules, to "play to change the game". In other words, it is a radically dialogical and polyphonic way of thinking, whose Kommunikologie, shaped as metatheory, directs the development of Flusser's work. His historical trajectory and the knowledge associated with it contribute to the construction of a cybernetic way of thinking that sketches the fundamental lines of a Kunstwissenschaft, in which he proposes a kind of iconoclasm without giving up images

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Simmons, Kathryn Elizabeth. "Reveal." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619778070373745.

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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.

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

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Skåreus, Eva. "Digitala speglar : föreställningar om lärarrollen och kön i lärarstudenters bilder." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1328.

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Syftet med avhandlingen är att undersöka visualiserade föreställningar om bildläraryrket vid Lärarutbildningen genom att analysera hur bildlärarstudenter i digital bild gestaltar sig som lärare, samt betydelser av kön i dessa bilder. Bilderna har analyserats diskursivt för att söka svar på frågorna: Vad är det i lärarrollen som kommer till uttryck i dessa bilder? Vilka betydelser av kön visualiseras? Vilka visuella grepp har bildmakarna använt? Hur kan man förstå de val studenterna gjort? Det empiriska materialet består av femtionio bilder, gjorda av fyrtiofem kvinnor och fjorton män. Bilderna producerades av bildlärarstudenter vid Institutionen för estetiska ämnen, Lärarutbildningen, Umeå universitet under en kurs i digital bildbehandling under åren 2000–2002. Samtliga har gett sitt godkännande att delta i studien. Avhandlingen består av två metodologiska linjer som båda bygger på bilder, dels bildskapande som pedagogisk metod, dels bildanalys som vetenskaplig metod. Bildskapande som pedagogisk metod baserar sig till stor del på den engelska fotografen Jo Spence arbeten. Bilderna antas då utgöra en arena för reflektioner kring och problematisering av yrkesrollen samt att de gestaltar föreställningar, förgivettaganden och förväntade erfarenheter inför läraryrket. I bildanalyserna har de individuella gestaltningarna betraktats som en repertoar av möjliga positioner vid lärarutbildningen som studenterna kan representera sig i. Bilderna har därför analyserats som utsagor inom den kontexten. I tolkningar har sedan en kombination av genusteorier, semiotiska och sociokulturella teorier använts. Collaget och montaget har övervägande utgjort bildernas tekniska grund och i de skapade bildrummen förekommer flertalet gestaltande grepp som intertextuella referenser till genrer inom konstvärlden och populärkulturen, allt från kanoniserade konstverk till filmer, fantasy och reklam, multipla jag, värdeperspektiv, primär- och sekundärbilder och att man satt samman olika bildkvaliteter och därmed skapat olika fiktionsgrader i bildrummen. Bilderna har delats upp i två kategorier. ”Professionen i centrum för uppdraget” gestaltar en lärare tillsammans med andra människor i en social situation vilken refererar till en yrkestradition. ”Personligheten i centrum för uppdraget” lyfter fram den gestaltades personlighet eller att andra aspekter kan rymmas i lärarrollen. Här visualiseras ideala figurer, motstånd och en intimisering av skolans praktik. För samtliga bilder finns ett genomgående tema, att skriva in lärargestalten i ämnet bild eller konst- och populärkulturen. Ämnestillhörigheten framstår som en central föreställning om legitimitet och auktoritet. När personligheten är i centrum för läraruppdraget, brukas i högre grad stereotypa gestaltningar. När läraruppdraget är i centrum gestaltas det som en social gruppaktivitet för männen medan kvinnorna gestaltar uppdraget som en individuell uppgift vilket framstår som olika föreställningar om hur femininitet respektive maskulinitet konstrueras i lärarpraktiker. Även reflexivitet eller ett prövande förhållningssätt till praktiken förekommer i högre grad i kvinnornas bilder vilket även tolkas som en förväntad feminin hållning. Kvinnors kroppar representeras inte i lika hög grad som mäns kroppar när uppdraget är i centrum. Här kan en samhällelig diskurs kring sexualiserade bilder vara verksam, men även representationer av makt- eller legitimitet. The aim of the thesis is to examine visualized conceptions about the profession of art teachers in the Art Teacher Education Programme. This is accomplished through analysing how art teacher students represent themselves as teachers in digital images and recognize the impact of gender. The pictures are analysed discursively in order to search for the answers to the following questions: What in the teacher’s role is expressed in these pictures? What kinds of figures or representations are chosen? How can these choices be understood? What visual devices are used? The empirical material of the thesis is based on a selection of pictures made by art teacher students during a course in Computer graphics/Digital Image Processing at the Department of Creative Studies in Teacher Education, Umeå University, between the years 2000-2002. There are fifty-nine pictures made by forty-five women and fourteen men. Each student has accepted the conditions of participation in the study. The images may be assumed to give shape to ideas, things taken for granted and expected experiences; and subsequently constitute an arena for problemizing of and reflection on the professional role. The thesis contains two methodological lines that include images, art making as a pedagogical method and analysis as a scientific method. Art making as a pedagogical method is based to a large extent on the work of Jo Spence, an English photographer. Rhetoric, the referentiality of the pictures and their intertextuality in combination with gender theoretical tools formed the basis of image analysis as a scientific method. A combination of gender theories and semiotic and sociocultural theories was then used in the interpretations. Collage and montage largely made up the technical basis of the images, and in the created pictorial spaces most rhetorical devices occurred as intertextual references to genres in the world of art and popular culture, from canonized works of art to films, fantasy and commercial advertising, multiple egos, value perspectives, primary and secondary images, and combinations of different image qualities resulting in the creation of different degrees of fiction in the pictorial spaces. The pictures were divided into two categories. “The profession at the centre of the assignment” depicts a teacher together with other people in a social situation, which refers to a professional tradition. “The personality at the centre of the assignment” emphasizes the depicted individual’s personality or that other cultures can be included in the teacher’s role. What are visualized here are ideal figures, resistance and intimization of the practice of schools. In all the images there is an all-pervading theme, namely to engrave the teacher’s persona in the subject of art or the art and popular culture. The attachment to the subject appears as a central conception of legitimacy and authority. When the personality is at the centre of the teaching assignment, stereotypical representations are used to a higher degree. When the teaching assignment is at the centre, it is depicted as a social group activity for the men, while the women depict the assignment as an individual task, which appears as if different conceptions of femininity and masculinity are constructed in teaching practices. Reflexivity or a searching attitude to the practice also occurs to a higher degree in the women’s images, which in turn is also interpreted as an expected feminine attitude. Women’s bodies are not represented to the same high extent as men’s bodies when the assignment is at the centre. A general discourse on sexualized images may be at work here, but also representations of power or legitimacy.

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Haag, Isabelle. "Kulturkritikernas paradigmkamp : En komparativ studie om filmkritik och dess språkliga framställningar på digitala plattformar." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-90989.

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The aim of this bachelor thesis was to examine how cultural art journalistic critique manifests on different digital platforms today. I chose to focus on film criticism as it not only tells a story about the movies but also about the society. The bachelor thesis also aims to examine if there are any differences in how amateurs and professional journalists frames film criticism and in extension the society. The research questions examined were:How are the reviews composition and content arranged? How does the reviews rhetoric get constructed? How do the writers approach appraisements in their texts and how do these get framed? Do the texts have an inclination towards the aesthetic or the journalistic paradigm? I used Hulténs mass media rhetoric analysis which is a form of qualitative media content analysis in order to find differences and similarities in the texts. By closely examining the reviews, I found that references to popular culture were of great significance in the field of journalistic film criticism. They do not only show the journalists habitus but also their position in the field and the fields doxa. The study shows that the amateurs often emulates and are inspired by the professional journalists. The amateurs also largely depend on the aesthetic paradigm whilst the professionals strives for an equiponderant relation to both paradigms. My conclusion is that the amateurs compose a heterodox rebellion towards the current doxa on the field and that the professionals reigns the field with their knowledge and their complex and critical portrayal of movies and the society.

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Björck, Catrine. ""Klicka där!" : En studie om bildundervisning med datorer." Doctoral thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-101997.

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The aim of this thesis is to study the teacher’s role when pupils are using computers to create their art work. Working with computers raises new questions for teachers and pupils. Working with digital technology requires teachers to develop new pedagogical, educational and classroom-oriented strategies. The aim of the study is therefore to investigate these strategies and what kinds of challenges and questions arise from them. I investigate how teachers at the senior level of compulsory school conduct education and learning in teaching situations when digital visual work is in focus. The theory I use is Discourse Psychology combined with Bakhtin’s theory of dialogue and learning. The Discourse Psychology approach stresses context and the idea that people construct knowledge of the world in dialogue with others. The concept of interaction is used in the study and includes how teacher and pupil interact with the use of verbal language and gestures, where the computer also can be an actor. The method consists of interviews and observation, documentation using a small video camera attached to the teacher as well as by taking notes in the classroom. When digital technology is a part of education, teachers need to have good understanding not only of handling the technology but also deciding in what way they would like to use and work with computers in education. The research contributes to an understanding of art education with computers and the conditions in school when working with digital technology.

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Ze, Yuefeng. "La nouvelle esthétique de l'encre : une pratique de l'art lettré traditionnel chinois à l'épreuve du numérique." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20074.

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Depuis la fin du XXe siècle, notre monde a été affecté par une grande mutation des activités humaines. Dans cette mutation, les sciences de la cognition jouent sans doute un rôle central. Le développement des sciences cognitives, surtout depuis sa phase de Seconde Cybernétique, fait émerger de nouveaux paradigmes et offrent au monde humain la nouvelle génération des technologies de l'informatique – le numérique. En parallèle avec les technologies numériques qui ont profondément transformé le rapport sensible de l’être humain au monde, les dispositifs scientifiques et conceptuels mis en œuvre dans la Seconde Cybernétique ont également provoqué un grand retentissement dans tous les domaines scientifiques et philosophiques occidentaux. Ces dispositifs nous conduisent à ré-évaluer les connaissances déjà modélisé dans le cadre de la modernité à partir d’une approche totalement nouvelle, celle du système évolutif. Le retentissement de la Seconde Cybernétique a un impact fort dans le domaine de l'art. D'une part, les technologies numériques offrent à la création artistique de nouveaux moyens techniques de modélisation de l'œuvre d'art en s'accompagnant de l'apparition de nouvelles expressions artistiques, de nouvelles esthétiques et de nouveaux enjeux pour les représentations artistiques. D'autre part, les dispositifs conceptuels et scientifiques mis en place par la Seconde Cybernétique ont conduit les théoriciens de l'art et les esthéticiens à réévaluer les phénomènes artistiques (l’œuvre d’art, l’activité artistique, la perception esthétique, l’évolution culturelle de l’art, etc.) dans une perspective totalement nouvelle de l’esprit : le naturalisme de l’esprit. Mes travaux tentent de proposer une réflexion sur l’œuvre d’art en relation avec la cognition à partir des dispositifs scientifiques, technologiques et conceptuels constitués dans le cadre de la Seconde Cybernétique, mais aussi à partir des dispositifs conceptuels issus de l’art lettré traditionnel chinois. Les deux paradigmes de pensées du réel, tout en étant à l'origine de deux cultures très éloignées et très différentes, révèlent par contre un même principe de l'appréhension du monde. À partir de ce principe, la réalité doit être analysée en tant que phénomène d’émergence en cours relevant d'un rapport d'interaction ; le monde se définirait comme réseau des relations dynamiques capables de s'auto-organiser pour l’émergence de nouvelles structures. Cette approche du réel nous conduit à reposer la question de l’œuvre d’art, à la fois en tant qu’objet de création et en tant qu’objet de réception esthétique, à partir des nouveaux paradigmes liés aux processus d’émergence comme processus biologiques ou processus numériques. Cette thèse peut être résumée par les quatre points suivants : 1. L’art relève d’une capacité cognitive créatrice qui résulte de la phylogenèse de l’espèce humaine et qui est individualisé par le développement ontologique de chaque personne. 2. L’art, comme culture, relève d’un système d’appréhensions cognitives du réel ; ce système s’organise dans le même principe que l’algorithme évolutionniste basé sur la variation, l’accumulation, la sélection darwinienne et l’hérédité. 3. L’œuvre d’art relève d’une extériorisation expressive de l’artiste, de ses états mentaux, de son imaginaire du réel se produisant dans son cerveau ; la création de l’œuvre d’art s’inscrit dans un processus d’émergence qui relève d’un rapport dialectique s’effectuant entre un schéma mental se produisant dans le cerveau de l’artiste et son extériorisation progressive en œuvre d’art par les actions. 4. Les systèmes numériques, à la fois en tant qu’outils technologiques autant que paradigme de représentations du monde, constituent une interface d’interaction entre les différentes cultures dans le cadre de la création artistique Since the end of 20th century, our world has been affected by a grand mutation of human activities. The cognitive science plays the central role without any doubt in this mutation. The development of the cognition science, especially since its second cybernetic phase, does emerge new paradigms and offers a new computer science generation, digitization, to the world. In parallel with the digital technologies that has profoundly transformed human senses to the world, the scientific and conceptual devices implemented in the second cybernetics have also caused a great impact in almost all scientific and occidental philosophic aspects. These devices made determinant concepts for all contemporary theories of evaluative system in the world. We propose to, based on this concept, revaluate all modelled knowledge in the context of modernity. The impact of the second cybernetics has a strong impact in the art’s field, as well as in the theoretical studies of the art in the creation of art’s works. On one hand, digital technology, especially the artificial intelligence systems and devices from the second cybernetics, provides the artistic creation of new techniques for modelling the artwork accompanied by the emergence of new arts, new look and new challenges for the performing arts. On the other hand, conceptual and scientific arrangements put in place by the second cybernetics, led the art theorists and designers to evaluate the artistic phenomena (the work of art, the artistic aesthetic perception, cultural evolution, art, etc.) in a totally new perspective in mind: naturalism of spirits. My work attempts to propose a reflection on the work of art related to cognition which based on scientific, technological and conceptual devices, set up within the framework of the second network device, but also from the ancient chinese concept from the mind, especially taoist and chinese lettered thoughts.The two paradigms of thinking, while the origin of the two cultures are very remote and different, but released from the same principle of the understanding of the world. Based on this principle, the reality must be analysed as a phenomenon of the emergence ; the world would be defined as a network of relationships and self organize to the emergence of new structures.This approach leads us to raise the question on the issue of work of art, at the same time as a subject of creation, as an object of esthetic reception and an artifact which is a network of intersubjective relations (culture), based on the new paradigms associated with processes of emergence like biological processes or digital processes. This thesis can be conclute by the four following points: 1. art is a creative cognitive ability, which is the result of the phylogeny of human beings and is tailored to the ontological development of each individual. 2. Art, like culture, releases a real concern cognitive system. this system is on the same principle as the evolutionary algorithm based on the change, the accumulation, darwinian selection and heredity. 3. the work of art is an representation of the artist's expression, of his mental states, of his imagination of the real occurring in his brain; the creation of a work of art is a part of the process of development which releases a dialectical relationship between a mental pattern produced in artist’s brain and his progressive expression of work of art. 4. the digital systems, at the same time as technological tools as well as the paradigm of representations of the world, build up an interface of interaction between different cultures in the context of artistic creation

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Jacobs, Bidhan. "Vers une esthétique du signal. Dynamiques du flou et libérations du code dans les arts filmiques (1990-2010)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030089.

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Au cours de la décennie 1990, l'introduction puis l’expansion accélérée du numérique par les industries techniques ont favorisé le développement dans les arts filmiques d’un courant critique spontané et collectif portant sur le signal. Nous élaborons une histoire des techniques et des formes esthétiques critiques du signal, en faisceaux de segments, selon une taxinomie qui prolonge le structuralisme matériologique des années 70 (Malcolm Le Grice, Peter Gidal, Paul Sharits, Anthony McCall). Cette histoire embrasse et met en perspective cinéma, vidéo et numérique, de manière à réorganiser nos conceptions distinctes de ces champs selon le domaine des sciences (duquel dépendent détection, codification et visualisation du signal). Nous proposons une histoire des techniques à rebours sous l’angle particulier de la computation du signal, processus systématique commun à l’ensemble des technologies filmiques et entendu comme un ensemble de règles opératoires propres à un traitement calculatoire de données. Dans la double tradition d’une part de Jean Epstein, Marcel L’Herbier ou Jean Renoir, et de l’autre du structuralisme expérimental (Paul Sharits, Malcolm Le Grice…), de nombreux artistes contemporains, tels Paolo Gioli, Philippe Grandrieux, Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte ou HC Gilje (pour n’en mentionner que quelques uns), ont élaboré une intelligence du signal grâce à deux entreprises critiques simultanées. La première, au registre du dispositif, conteste la technologie programmante et vise les libérations du code ; la seconde, au registre de l’image, conteste les normes de visualité et enrichit les palettes visuelles et sonores du flou. Nous tentons d’établir, formuler et organiser les logiques qui, traversant et déterminant la diversité des initiatives artistiques dont nous observons les spécificités et singularités, relèvent d’un même combat artistique contre la standardisation During the 90s, with the introduction, then accelerated expansion of digital by the technical industries, has promoted the development of a spontaneous and collective critical current on the signal in the filmic arts. We develop a history of technics and critical aesthetic forms of signal, in beam segments, according to a taxinomy that extends the 70s’ materiologic structuralism (Malcolm le Grice, Peter Gidal, Paul Sharits, Anthony McCall). This history embrace film, video and digital, to reorganize our different conceptions of these fields according to the scientific viewpoint (which detection, codification and display of the signal depend on). We propose a backward technological history from the viewpoint of the signal computation, a systematic process common to all filmic technologies, and understood as a set of operating rules specific to computational data processing.In the double tradition, first of Jean Epstein, Marcel L'Herbier or Jean Renoir, on the other hand experimental structuralism (Paul Sharits, Malcolm Le Grice...), many contemporary artists such as Paolo Gioli, Philippe Grandrieux Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte or HC Gilje (just to mention a few) has developed a signal intelligence thanks to two simultaneous critical enterprises. The first, on the register of the apparatus, challenges the programming technology and aims the liberation of the code ; the second, on the register of the image, challenges the norms of the visuality and expand the visual and sound palettes of blur. We try to formulate and organize the logics which, crossing and determining the diversity of artistic initiatives whom we observe specificities and singularities, belong to the same artistic battle against standardization

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Júnior, Jair Sanches Molina. "Cinema ao vivo e experiências audiovisuais em tempo real." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-152733/.

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Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido. Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.

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Bjornson, Steven A. "Interactivity by design: interactive art systems through network programming." Thesis, 2016. http://hdl.handle.net/1828/7741.

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Interactive digital art installations are fundamentally enabled by hardware and software. Through a combination of these elements an interactive experience is con- structed. The first half of this thesis discusses the technical complexity associated with design and implementation of digital interactive installation. A system, dreamIO, is proposed for mediating this complexity through providing wireless building blocks for creating interactive installations. The technical details–both hardware and software– of this system are outlined. Measurements of the system are presented followed by analysis and discussion of the real world impact of this data. Finally, a discussion of future improvements is presented. The second half of this thesis examines an example interactive installation, Trans- code, which uses the proposed system as the building block for the piece. The piece is presented as evidence for the value of the proposed system and as a work of art in it’s own right. The use of the dreamIO system is detailed followed by a discussion of the interactivity and aesthetic form of the work. The purposes of these specific design choices are then presented. Finally, the work is analyzed through a combination of Relational Aesthetics and Cybernetics. Graduate

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Pascoal, João Miguel de Matos. "“YouTube Killed the MTV Star” : did Hip-Hop music videos become the blueprint for other genres of music videos in the digital age?" Master's thesis, 2015. http://hdl.handle.net/10400.14/19487.

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This dissertation presents a deeper look in to Hip-Hop music videos. Starting with a chronological timeline, where we focus in the most relevant music videos that show an evolution in the genre’s aesthetics throughout the years, we build up to the present decade (from 2010 to the present year of 2015), where we intend to find out how much have Hip-Hop music videos evolved, and what elements from past decades have been incorporated in that same evolution. We will also present an in-depth look on the present decade as far as music videos are concerned, and what impact the digital age has in musical culture. Have audiences’ habits changed? What are the main goals of an artist when making a music video and do they match with the record label’s goals? Has the role of music video changed? By constructing both of these studies, we also intend to answer a question that becomes more and more frequent as we see today’s music videos: did Hip-Hop music videos become the blueprint for other genres of music videos? In a world where things can no longer be presented in “black or white” statements and the internet has brought cultures together in an unprecedented way, exchanging cultural influences and learning from each other, one can argue that Hip-Hop, and particularly Rap music, has had a significant influence in the way we produce music videos nowadays. This dissertation intends to be a reflexion on these questions and we have tried our best to obtain a cohesive conclusion, leaving the door open to a future study regarding the role of aesthetics in directing a music video, and whether or not it plays a role as (or even more) important as the narrative beneath the video.

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Pereira, Selma. "A moda na era pós-digital." Doctoral thesis, 2018. http://hdl.handle.net/10400.2/7265.

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O fenómeno moda surgiu intimamente ligado à modernidade, à cultura das massas, ao cinema. A moda abraçou a evolução tecnológica da era digital e difundiu-se pela multiplicidade de ecrãs. Com o capitalismo estético, enunciado por Gilles Lipovetsky, a moda hibridizou-se com outras áreas artísticas e de consumo. A lógica de produção de moda, assente nos conceitos do novo, do efémero e da sedução, apoderou-se e remodelou outros campos da sociedade contemporânea. O surgimento de artefactos de moda no panorama da arte contemporânea floresce com a estética pós-digital, ou seja aquela que se propõe para lá do domínio ou mesmo da subjugação ao digital. Estes artefactos questionam e obrigam a repensar a forma como a moda é exposta em galerias/museus, o seu lugar enquanto objeto artístico e a interação entre este e o público. São objetos de desejo que se transformam em agentes indutores de pensamento crítico. A investigação tem como ponto de partida os artefactos de moda pós-digitais, sendo nosso objetivo investigar a convergência da moda com a média-arte digital, numa perspetiva pós-digital, enquanto forma de crítica social e de expressão patrimonial, através da análise, interpretação e criação de artefactos/instalações. Com esta tese conseguimos demonstrar que a moda tem vindo a “evoluir” do digital para o pós-digital, e que neste último domínio acentuou as dimensões de criação de desejo e de consciência crítica, assim como em alguns casos recuperou a dimensão de expressão patrimonial. No decorrer desta tese foram criadas seis artefactos/instalações, publicados vários artigos em fóruns científicos e apresentadas comunicações. The fashion phenomenon was closely linked to modernity, the masses’ culture and the cinema. The Fashion embraced technological evolution of the digital era and spread out through the multiplicity of screens. With the aesthetic capitalism, enunciated by Gille Lipovetsky, the fashion hybridized with other artistic areas and of consumption. The logic of fashion production, based on the concepts of the new, ephemeral and of seduction, seized and remodelled other fields of contemporary society. The emergence of fashion artefacts in the contemporary art scene develops with post- digital aesthetics, proposes beyond the importance or even the influence to digital. These artefacts question and compel to rethink the way fashion is exposed in galleries/ museums, its place as an artistic object and the interaction between this and the public. They are objects of desire, which become critical thinking inducers. The research has as a starting point the post-digital fashion artefacts; it is our goal to investigate the convergence of fashion with Media-Art, in a post-digital perspective, as a way of social criticism and patrimonial expression, through the analysis, interpretation and creation of artefacts/ installations. With this thesis we have been able to demonstrate that fashion has been “evolving” from digital for the post-digital, and that in the latter domain fashion has been develop from digital to post-digital emphasized the dimensions of creation of desire and critical awareness, as in some cases it has regained the dimension of patrimonial expression. In the course of this thesis six artefacts/installations were created, published several articles in scientific publications and presented Communications.

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Guimarães, Francisco José Rosales Santana. "I-lugar : imersão no património cultural mediado por média-arte digital." Doctoral thesis, 2018. http://hdl.handle.net/10400.2/7391.

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Um lugar é um espaço geográfico delimitado pela natureza ou pela ação do homem. Mas alguns destes lugares tornam-se excecionais pela estética configurada pela ação da natureza, por estarem associados a eventos históricos, por terem servido de inspiração artística ou por serem eles próprios o resultado de produção artística. Estes espaços tornam-se assim lugares de património cultural (material, imaterial) ou natural, com memória e poética próprias, pela sua delimitação, configuração ou artefactos neles presentes, integrados numa narrativa que materializa o conceito de estética do lugar. A fruição destes lugares é efetuada normalmente por visita física, utilizando-se informação disponível sob a forma de folhetos, placas/sinalética e em alguns casos por guias digitais, ou por visita remota via website. No entanto, a evolução da tecnologia ao nível da realidade aumentada, hipermédia, utilização de Internet e dispositivos móveis, aliada ao conceito de média-arte digital, permite encontrar outras soluções. No entanto, estas soluções devem possibilitar uma forma de imersão e interação, enquadrada numa narrativa, que permita uma fruição mais reflexiva do lugar sob a forma de diálogo em busca da sua essência. Esta investigação utiliza um artefacto digital designado I-Lugar criado no contexto da investigação, utilizando website/blog (forma de hipermédia), narrativas digitais e realidade aumentada para testar este tipo de solução. O artefacto está centrado na necessidade de criar um meio de perceção da essência do lugar através da reflexão pela literatura, aplicando o pensamento de Heidegger (2016) relacionado com a origem da obra da arte e a literatura como forma de reflexão segundo Candido (2011), neste caso, aplicada a lugares de património. Seguindo uma metodologia baseada em estudos de caso, questionários e no processo de criação em média-arte digital, esta investigação descreve o artefacto I-Lugar e a sua aplicação a património natural (Jardim Calouste Gulbenkian) e património cultural (Fernando Pessoa e Street Art Lisbon). Como resultado da estratégia de validação da investigação são apresentadas as conclusões sobre a adequação do conceito utilizado na solução, face aos 45 questionários de avaliação sobre a intervenção com o artefacto I-Lugar e 16 questionários enviados a entidades gestoras de património, sobre o conceito em investigação. Em síntese, esta investigação tem como propósito estudar a forma como se podem conjugar narrativas digitais, hipermédia e realidade aumentada para melhorar a perceção e descoberta do público sobre a essência dos artefactos no seu contexto enquanto lugar de património. Isto é, na perceção estética que permita despoletar emoção na fruição, por imersão na poética do lugar, utilizando literatura para a reflexão sobre o lugar e seus artefactos. A place is a geographical space delimited by the nature or action of man. But some of these places become exceptional, because of the aesthetics set by the action of nature, because they are associated with historical events, because they have served as artistic inspiration or because they themselves are the result of artistic production. These spaces thus become places of cultural (material, immaterial) or natural heritage, with their own memory and poetics, for their delimitation, configuration or artefacts present in them, integrated in a narrative that materializes the concept of the aesthetics of the place. The enjoyment of these places is usually done by physical visit, using information available in the form of leaflets, signage and in some cases, by website or digital guides. However, the evolution of technology in terms of Augmented Reality, hypermedia, use of the Internet and mobile devices, coupled with the concept of digital media art, allows finding other solutions. However, these solutions must also enable a form of immersion and interaction, framed in a narrative, that allows a more reflexive enjoyment of the place in the form of dialogue, in search of its essence. This research uses a digital artifact designated I-Place created in the context of research using website/blog (hypermedia form) and Augmented Reality to test this type of solution. The artifact is centered on the need to create a means of perceiving the essence of the place through reflection by literature, applying the thought of Heidegger (2016) related to the origin of the work of art and literature as a way of reflection according to Candido (2011), in this case, applied to heritage sites. Following a methodology based on case studies, questionnaires and the process of creation in digital art, this research describes the artefact I-Lugar and its application to natural heritage (Calouste Gulbenkian Garden) and cultural heritage (Fernando Pessoa and Street Art Lisbon). As a result of research validation strategy, we present the conclusions about the adequacy of the concept used in the solution, considering the 45 evaluation questionnaires on the intervention with the I-Lugar artifact and 16 questionnaires sent to entities responsible for heritage places management, to evaluate the concept under investigation. In summary, this research aims to study how digital narratives, hypermedia and Augmented Reality can be combined to improve public perception of the discovery of the essence of artefacts in their context as a heritage site. That is, in the aesthetic perception that allows to trigger emotion in the fruition, by immersion, in the poetics of the place, using literature to reflect on the place and its artifacts.

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Scholz, Petr. "Důsledky rekonceptualizace povahy novomediálních uměleckých děl." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-412251.

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Within the new social and technological conditions of the second half of the 20th century, new conceptions of art are being established, later described as "New Media Art". Automated processes (often with integration of artificial intelligence) of artistic creation questions the status of authorship over the final artifact. Next to the ambiguities regarding the status of the artist, the nature of the works themselves is also changing (uniqueness, simulations). The aim of the thesis is to provide theoretical and philosophical analysis of new media artworks based on the synthesis of theoretical background provided by perspectives of multiple authors. This theoretical frame, along with own practical knowledge, will be used for the analysis of selected specific new media art projects, which will provide a closer view on the contemporary computer generated artworks. The end of the thesis will be formulate thoughts about possible future developments in the field of automated creation of algorithmic art or authorship.

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Carvalho, Margarida Ribeiro Ferreira de. "A Obra “Faça-você-mesmo”: Estética da Participação nas Artes Digitais." Doctoral thesis, 2015. http://hdl.handle.net/10362/14990.

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A presente dissertação de doutoramento propõe-se a analisar criticamente a noção de obra de arte participativa, traduzida pela designação de obra “faça-você- -mesmo”, que apela à participação ativa e ao agenciamento do público que se tornam parte integrante do processo criativo engendrado pela obra. A nossa reflexão sobre a obra “faça-você-mesmo” insere-se no contexto da “cultura da participação” e da expansão dos media sociais e tem como principal objeto de estudo a obra participativa nas artes digitais. Esta tese postula uma análise das práticas participativas nas artes digitais à luz de uma genealogia artística e crítica que atravessa o século XX e é marcada pela experimentação com a ativação do público e a abertura da obra, traduzindo-se numa instabilização de limites entre arte, quotidiano e sociedade. A nossa abordagem metodológica enraíza-se numa tradição de pensamento crítico e interdisciplinar próprio das humanidades sendo que recorremos à articulação entre teoria crítica e análise de casos concretos. Assim, de modo a compreender a experiência do público com a obra participativa, elaborámos um conjunto de conceitos que nos permitem conceber uma estética da participação nas artes digitais. Paralelamente, de forma a conhecermos o universo temático das práticas participativas nas artes digitais, criámos uma proposta de três linhas temáticas no âmbito das quais analisámos múltiplas obras concretas, colocando-as em relação com os seus contextos sociais, culturais e políticos. As obras “faça-você-mesmo”, descritas nesta dissertação, tendem a situar-se numa posição intermédia entre os dois extremos das práticas artísticas autónomas “auto- -reflexivas” e dos projetos artísticos comunitários, que visam facilitar discussões e sugerir soluções para problemas concretos. Algumas das obras participativas discutidas neste estudo possuem caraterísticas em comum com a atitude “faça-você-mesmo” preconizada por determinadas formas de ativismo político, nomeadamente, a organização não-hierárquica, a autonomia e a participação direta dos voluntários. Ao convocar a participação do público, a obra “faça-você-mesmo” constitui-se como um projeto dialógico de experimentação criativa que se pode articular com uma dimensão política. Porém, este estudo salienta que a obra de arte participativa deve ser vista à luz de uma tensão entre disrupção e incorporação, liberdade e controlo que carateriza a dinâmica das redes digitais e do capitalismo contemporâneo. A presente dissertação propõe de modo fundamentado três linhas de investigação futura. Primeiramente, a exploração do campo das práticas curatoriais e museológicas em ambientes participativos. Seguidamente, a análise do modo como o campo da arte contemporânea e a condição do artista vão evoluir sob a influência do acesso generalizado aos meios de produção e distribuição artística nomeadamente através da World Wide Web. Por fim, o estudo dos novos regimes de interação e expressividade das imagens nas redes digitais.

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Sie, Zong-yuan, and 謝宗遠. "The Influence of Aesthetic Acceptance, Service Quality, and Playability on Visitors’ Satisfaction toward Digital Art Exhibitions." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/07264079878486986127.

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碩士 國立臺南大學 數位學習科技學系碩士班 100 Related to digital art exhibitions used to assess usually are the subjective opinions, or the authors directly given to the concept of the work, unable to get an objective idea to evaluate a work of art. This study use to such as Receptional Aesthetics, Service Quality and Playability to construct a model to evaluate digital art exhibitions, to more objective assessment of the works of art. During the exhibition of this study to gather exhibitors people fill out questionnaires, through quantitative analysis to evaluate this exhibition on the correlation between the data and understand the effectiveness of audience satisfaction. Through the correlation coefficient can be obtained, the effects are a significant relationship between the various dimensions, however, in this dimension of "reception aesthetics" for the viewers to visit the exhibition, there is no positive impact of relationship. Perhaps in the works on the design and interactive way this study did not close to visiting the exhibition audience, audience interaction and works too complicated, does not clearly convey the concept of the work. This study hopes that this evaluation model help right back engaged in the research and put forward relevant discussion, help this type of research can explore them in depth

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Yang, Li-Ying, and 楊力穎. "The Influence of Digital Technology on Aesthetic Visual Perception：A Case Study of Digital Images of Art Works in National Palace Museum." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/2aau9k.

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碩士 國立臺北藝術大學 博物館研究所碩士班 99 Through integration of digital technology and modern media techniques, all conventional media including text, graphic, and audio can be easily converted into digital formats and further stored, edited, and disseminated by computers. With the increasing prevalence of computer and networking facilities, the role that computers play has shifted from a computing instrument to an important media center. Influenced by this trend, many arts museums have applied digital technology to interpretation of art works to enhance the accessibility of both the museum and collections. Their effort has also produced fruitful results. The aim of this paper is to investigate how physical museums can influence the results of digital archive programs and issues concerning aesthetic visual perception and digitalization of art works. In this paper, art museums are viewed as an intermediary between art works and the audience. Through analysis of commonality and generality of visual perception, this paper attempts to explore the effects of digital technology on aesthetic visual perception. National Palace Museum is selected as a subject for case study and cross-validation. Results indicate that through digitalization of art collections, museums can directly deliver their basic research of historical or cultural works to the audience. In terms of the content of permanent exhibitions, using original art works as the main exhibits can highlight the characteristics of the collection but is also limited to display techniques and protection of the art works. Online exhibitions and educational activities (hereafter referred to as online resources) are based on existing collections of the museum and primarily intended to promote the collections. Because items to be exhibited will be converted into digital images, online exhibitions or resources are not subject to physical constraints and can also encompass items from across different eras and genres. In the application of digital images in permanent exhibitions, displaying digital images and their originals in parallel can present a different angle of the art works. Displaying online resources without their originals in permanent exhibitions can help the audience directly associate the resources to the exhibition and educational content. Through digitalization of art works, details in art works that may be easily neglected can be emphasized, and art elements can be edited or added to create a certain atmosphere or present the history or artist techniques behind the art works. Besides, images captured by technological instruments can extend the audience’s visual experience. Through use of various imaging techniques and visual effects, museums can guide the audience to experience the implicit content and history of art works. Digital technology and digital images can provide diverse looks of art works. They can be used to integrate themes and content to guide and influence audience''s aesthetic visual perception. However, National Palace Museum’s various online resources and online archive systems have not been properly connected and utilized in collaboration with physical exhibitions in the museum. As a result, repetition and fraction of online audience’s visual perception may occur. In the present, all the units of online exhibitions or resources offer explanations of the diverse looks and meanings of art works but within a single context. Despite the fact that visitors are allowed to select the content to view on their own, the museum can also actively present resources related to the content selected by the audience, guiding them to further explore related information.

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Chen, Yi-Ming, and 陳宜明. "Research on Aesthetic Experience of Digital Art Creation—A Case Study of Senior Grades in Elementary School." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/46098345954419074957.

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碩士 國立臺北教育大學 藝術與造形設計學系碩士班 99 The researchers from their reflections on the art of the found, the current progress of society, life becomes easy and quick, living without fear, pay more attention to the rich spiritual life.Within the open environment, art forms are not subjected to restrictions, media authoring tools are diverse, and life are closely related.The Information Age also contributed to the birth of digital art and transformation is the so-called "Art of Life, Life with Art".Through the curriculum design, digital art for students to experience the creative process, to guide children to make good use of digital learning, observing, recording and sharing the beauty of artistic experience, to feel affection for children, their imagination and innovative thinking, research has become by the specific direction of observation. A.Principle of the aesthetic learning experience for students' digital art creation. 1. Express of students' aesthetic experience is established on their life experience. 2. Learning of life situations can incentive of students' emotional resonance. 3.Integration of formal and informal courses extends students' self-learning. 4.Review and discuss with scholars and teachers will be helpful to correct and modify the courses. B. Learning situation of the aesthetic experience about students' digital art creation. 1. The progress of digital art creation represents the liberation of limit. 2. A concrete expression of aesthetic experience changes by progress. 3. Proper use of materials impacts expression the aesthetic experience of students. 4. Cooperative learning and interactive discussion make students becoming builders of learning. C. Discovery of the aesthetic learning progress for students' digital art creation. 1. Digital art can explore students' vision of art appreciation. 2. Digital art creation can guide students realizing the aesthetic experience. 3. Maintaining flexibility and adjustment can create well classroom atmosphere. 4. Multiple assessments can handle the expression of students' aesthetic experience.

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Dissertations / Theses on the topic 'Digital art Aesthetics'

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