To see the other types of publications on this topic, follow the link: Digital art Art.
Dissertations / Theses on the topic 'Digital art Art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Digital art Art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Holder, John Frans Patrick. "Immersive, digital, expressive, art." Thesis, University of East London, 2011. http://roar.uel.ac.uk/3137/.
Full textAbstract:
Ever since I can remember I have been obsessed with alternate realities of one form or another: be it creating a graphical fantasy computer game in the mid 1980's; or as an engineer in rooms full of mainframe computers with their invisible layers of data being interrogated and processed, to more recently creating places that people would explore and spend time in Virtually', such as three dimensional social environments and rich-media websites. Despite a background in creative design and computing as engineer, designer, and media creative, my artistic mind always seems to be thinking in abstract ways about the reality that we inhabit and how that might be expressed, this remains a constant source of inspiration. Employment typically constrained me to a company's requirements, so it was quite rare for me to find enough time to focus completely on developing my personal artistic practice. Embarking on the professional doctorate has changed this over the course of the last 5 years, as I find it a platform from which to explore and evolve my own personal creative practice. I began exhibiting locally in the studio and at University, and through people that viewed my artwork I was invited to exhibit a piece in Athens. This formed part of a group show and my piece received positive media coverage, which led to a place on a prestigious programme later that year in Athens called 'e- MobilArt'. Its aim was to encourage international collaborative art projects, and this would lead to a major exhibitions over the following years. Two collaborations ensued, and as well as creating them in London I travelled to Finland and Austria in order to pursue their development. Through the University of Athens, I was invited to exhibit one of these pieces at a major exhibition, The 2nd Biennale of Contemporary Art, Thessaloniki, this elicited a further invitation to exhibit my other collaborative artwork in Poland at the impressive Rondo Stzuki Art Gallery. After this creative period and exhibitioning I critically reflected upon my pieces and decided I was not satisfied with the installations or their interactive elements, and considered how these elements might be revisited, as their complexity had grown considerably during the collaborative process. At this time a tutorial with my supervisor confirmed that I should look at simplifying future work, thus allowing the audience greater freedom in their interpretation of the piece. After long periods in the studio I realised that my critical thinking had focussed on creative expression that was heavily influenced by several factors and their combination thereof; Interaction, Interface and Immersion. In this document I discuss how the interfaces that allow participants to interact can differ and how that affects the experience; how interaction may be physical or sensory, and what that might mean to the audience or participant, and how the immersion is integral to the participant's experience and may be sensorial and/or narrative based. Since these revelations in how I think about my work, I have created work that utilised unfamiliar (at least to me) and forms of interaction, whilst stripping away complexity, and now I am putting greater emphasis on the experience through relational concepts. Ultimately the work is evolving to become far more about my self-expression and far less about audience constriction of thought.
2
Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
Full text
3
Kavanaugh, Anya. "Effectiveness of Digital Response Art." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/905.
Full textAbstract:
This study looks at the effectiveness of digital media to create response art and deepen attunement with adolescent clients as well as develop self-awareness in the therapist. An arts- based qualitative heuristic self-study was used to analyze data gathered over a six-week period. The subject was the researcher/therapist and the data was gathered during the second-year practicum while working with adolescents at a non-public school. Data was gathered through a process of creating two post-session response artworks using video, animation, or digital drawing and a written reflection for each artwork. Nine artworks and eight written reflections were created in total. The data was analyzed using a phenomenological lens and a digital art therapy lens. Certain themes, such as use of color, rhythm and pace, self as subject, client process, progression of affect, management of environment, and representation of containment were analyzed. These themes revealed a high probability for digital media to assist in deepening attunement with an adolescent client and a more limited chance of development of self- awareness.
4
Heron, Julie. "The art of homecoming." University of Ballarat, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14603.
Full textAbstract:
This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.<br>Masters (Visual Arts)
5
Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
Full textAbstract:
Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.<br>La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.<br>The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
6
Lam, Yui-yim Margaret. "Realm of media art." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947382.
Full text
7
Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.
Full text
8
Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.
Full text
9
Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.
Full textAbstract:
Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.
10
Choe, Nancy Sunjin. "An Exploration of the Qualities and Features of Digital Art Media in Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/19.
Full textAbstract:
Through the lens of a participatory design (PD) approach, this study explored to find qualifying features and qualities of digital art materials, specifically art apps on iPads for art therapy use. The study comprised of two phases: 1) a questionnaire/interview of four art therapists using iPads with clients and 2) four separate focus groups with 15 art therapist and art therapist trainee participants involving multiple stages of cyclic feedback. The focus groups engaged in art directives with nine art making apps identified by the researcher and questionnaire respondents as potentially useful in art therapy. The results revealed that while there was no single commercial art app that satisfied the needs of all art therapists and vast range of clients’ technology skills, artistic abilities, stylistic preferences, and therapeutic needs, three distinct qualities and six concrete features of an “ideal” art app for art therapy use emerged. Additionally, the study’s results expanded the parameters of art therapy’s artmaking practice and visual vocabulary by illustrating digital art media’s potential therapeutic and expressive use. And most importantly, the protection of privacy and confidentiality of client’s digital artwork emerged as one of the most important issue to consider. While this paper discusses the limitless possibilities of digital art media’s meaningful usage in art therapy, it also acknowledges how its unique characteristics may require thoughtful limitations and restrictions.
11
Turner, Rhys. "Etherscapes massless, elastic, technology and control /." Connect to full text, 2004. http://hdl.handle.net/2123/1100.
Full textAbstract:
Thesis (M.V.A.)--University of Sydney, 2005.<br>Title from title screen (viewed 27 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
12
Edström, Jesper, and Nicky Ristic. "Digital art recommendation system : A personalized virtual tour of digital collections." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449497.
Full textAbstract:
The purpose of this project is to create a website with a React-based prototype recommendation system of a large cultural collection. The aim of the website is to provide a function that allows a user to upload an image to which the system consequently recommends correlating artwork from the publicly available collection of the Metropolitan Museum of Modern Art (MET). The correlation coefficient between the uploaded image and the artworks from (MET) is acquired through Pearson Correlation. Furthermore the artwork with the highest correlation to the uploaded picture is shown first, then each subsequent artwork is shown in order of highest correlation. The main challenge for building this prototype was to combine the different components together with JavaScript and the REACT framework. The recommendation engine demands numerical representations of these artworks, and most effort was given to the automatic conversion of photos of artworks into a proper format for the recommendation engine.
13
Jones, Benjamin David. "Digital butterflies of the backstreets : participatory art and the digital divide." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3063.
Full textAbstract:
Through this practice-based research I interrogate the terms community art, activism, social and digital media, as well as community and place. It is an investigation into both theoretical and practical aspects of community art practice and its connection to national and local policies on community, arts and digital media. It considers the increasing role digital technology and social media have in communities and community organisations, in particular under the guise of austerity, and how community organisations (do not) use social media and digital technology to encourage participation. It considers my position and role as an artist, curator and resident within the community that I live in and how, through becoming active and engaged with the place, I can develop a strategy for sustainable and long-term social engagement. This practice based Ph.D. takes as a starting point the stalled housing regeneration, due to the halting of the Housing Market Renewal Pathfinder, in the community where I live. The research builds upon my experience of working as an artist, curator and arts educator since the turn of the millennium where, under consecutive governments the purpose of contemporary art and its educational use has either been to effect social change (New Labour) or its economic value (current coalition government). Through the creation of a series of participatory and digital engagement events and workshops the research interrogates and considers the connections and conflict between the ‘physical’ (public space) and the digital and supposedly ‘open’ (the online). The research will be of use to those who feel an increasing and urgent need to engage with their own community as practitioners as well as community members.
14
Lotz, Felix. "A conversation between Art Nouveau and Digital design." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-193091.
Full textAbstract:
The study contrasts the architecture of the Art Nouveau period 1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way?<br>Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition, fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.
15
Lilas, Zilvinas. "The work of art in the digital era." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327337143.
Full text
16
Sheridan, Jennifer Gayle. "Digital live art : mediating wittingness in playful arenas." Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442720.
Full text
17
Geiger, William. "The art educator's role in technology education." Online version, 2009. http://www.uwstout.edu/lib/thesis/2009/2009geigerw.pdf.
Full text
18
Minnie, Heinrich. "Homunculi of the Digital City." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32863.
Full textAbstract:
Employing the media of video and installation, Homunculi of the digital city explores what it means to live in a digitally-mediated city. In my work, I personify both the city and city dwellers as cyborgian characters, by drawing on Donna Haraway's definition of the cyborg. I expand my personification further by employing the Homunculus from Johann Wolfgang von Goethe's Faust II (1950, originally published in 1832). I utilise Matthew Gandy, Ingrid Hoelzl and Rémi Marie's discussions around the broader city so to consider the material and immaterial elements that constitute it. The screens that populate contemporary cities embody both these elements: they are physical objects that perform invisible data, in the vein of Boris Groĭs' analogy of an image file being analogous to a piece of music that needs to be performed in order to be sensible. By drawing on these frameworks, I position the city as a high density of screens that are physically ubiquitous, often a prosthetic, and function as a gateway to the immaterial elements of the city.
19
Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.<br>Master of Arts (Visual Arts)
20
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.<br>Master of Arts (Visual Arts)
21
Calderone, Ursula University of Ballarat. "I hope that I have got some art." University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12783.
Full textAbstract:
In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.<br>Master of Visual Arts
22
Calderone, Ursula. "I hope that I have got some art." University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14619.
Full textAbstract:
In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.<br>Master of Visual Arts
23
Konstantelos, Leonidas. "Digital art in digital libraries : a study of user-oriented information retrieval." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1333/.
Full textAbstract:
This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories. The thesis addresses a fundamental question: How to provide description and retrieval services, which are based on the needs of digital art user communities? This raises three research issues. One is the need to combine DL collections into meaningful and functional content. The second is the importance of a user-oriented approach to designing and developing Digital Libraries. The third is the requirement for continuing access to digital art as a record of modern culture. These questions are explored through a needs assessment targeted to Arts & Humanities scholars, digital artists and representatives of the DL community. A data collection methodology is developed, based on the principles of Social Informatics and a case study of evaluation efforts in extant projects. The results from this process demonstrate that the scholarly value of digital art can be established by aggregating material from various repositories into a unified dataset. The results also identify specific documentation and retrieval issues deriving from inclusion of digital art in a DL environment that necessitate further investigation. To this end, a review of sixteen digital art online resources is conducted which reveals ad-hoc collection strategies and metadata deficiencies. The work presents a prototype Digital Library for enhancing the educational outcome of digital art. The application is used as an implementation platform for material aggregation and augmented documentation through the Media Art Notation System (MANS). The summative evaluation findings confirm that the suggested solutions are highly rated by the targeted audiences. The thesis makes a contribution to academic knowledge in situating the representation of digital art within modern society. By critically examining the unique requirements of this material using the resources of social theory, the thesis represents a contemporary and pragmatic perspective on digital media art. In a well-structured Digital Library, the scholarly potential of digital art is much greater than the currently employed ad-hoc context. This work offers a sustained reflection and a roadmap for selecting and consistently applying a strategy that aims to continually improve the quality of digital art provision.
24
Yen, Koon-wai Michael. "Urban channel for electronic media and arts." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951397.
Full text
25
Gould, Jason. "Minimalism and maximalism /." Online version of thesis, 2007. http://hdl.handle.net/1850/4626.
Full text
26
Johnson, Mia. "Digital art on the World Wide Web, 1996-1997." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25074.pdf.
Full text
27
Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
Full textAbstract:
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.<br>Anthropology
28
Clifford, Alison. "Articulating the interstitial : interpretive responses in digital art practice." Thesis, Glasgow School of Art, 2014. http://radar.gsa.ac.uk/3716/.
Full textAbstract:
The research investigates definitions and representations of the interstitial through digital art practice and through critical reflection and discussion in an accompanying textual dissertation. It began with a series of photographic light paintings which I argue via metaphorical mappings, are representations and definitions of the interstitial (or what Duchamp termed the infra-slim) in terms of moments, forms and spaces. Practice-based study then aimed to create new audiovisual interpretative responses that articulate the interstitial based on these definitions. The investigation through practice encompassed a combination of two distinct approaches towards the creation of form, each with its own aesthetic. Firstly the use of generative systems and algorithms that allow for unforeseen visual outcomes, resulting in a more organic aesthetic; and secondly, direct manipulation of form through 3D modelling and montage techniques, leading to pre-defined visual outcomes that demonstrate an aesthetic that is more synthetic in nature. Over the course of the study, both approaches were employed to create a series of motion-based audiovisual artworks that explored and negotiated tensions between these seemingly conflicting visual aesthetics in response to the source images. In doing so, a dialogue between these distinctive aesthetics unfolded, and a new interstitial aesthetic emerged.
29
Paquette, Andrew John. "The development of proficiency among undergraduate digital art students." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-development-of-proficiency-among-undergraduate-digital-art-students(1eecb985-b369-4207-aaa0-80383188c0aa).html.
Full textAbstract:
Teaching digital artists has received ongoing criticism from industry sources, who feel that graduates are rarely well-prepared for employment. This is a problem for students when they seek employment, for employers who must hire qualified digital artists, and for the reputation of educational institutions that provide instruction in this domain. Students from the Netherlands’ International Game Architecture and Design (IGAD) visual arts programme participated in research designed to investigate how proficiency develops in the technical and creative discipline of digital art. This study used an exploratory mixed methods design that triangulated archival data on the 625 digital art students who have attended IGAD with qualitative data collected from 20 current students, five digital art supervisors and five employed IGAD graduates. A mixed methods design was chosen so that historical performance could be compared with data collected directly from student participants, particularly on the subject of how prior experience influenced later development. Student participants provided information relevant to their learning process, industry supervisors evaluated student work against professional standards, and employed graduates provided perspective on the transition from student to industry practice. Data collected for the quantitative study was in the form of archival records regarding prior experience and later performance. The qualitative study utilised learning logs, progress reports, project files and interviews with all participants. Correlation and analysis of variance (ANOVA) tests were used in the quantitative phase of the study. Case study analysis was used for the qualitative phases of the study.
30
Hancock, Mary T. "Cultivating Territories and Historicity: The Digital Art of Skawennati." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530332.
Full text
31
Casbarro, Shaun M. "Experimental digital printing methods." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265100.
Full textAbstract:
Computer prints have long been viewed as final products. All the work was traditionally completed on the computer then printed as final output, without alteration or adaptation. Unlike other forms of fine arts printing (photo or printmaking) there are no chemical alterations or multiple printing procedures. I have used this exploration to experiment with numerous approaches to digital printing. Several artists have inspired my work, both in approach and technique. Those artists include Robert Rauschenberg, David Hockney, and Man Ray. This creative project is both an experiment in creative printing techniques and the aesthetic creation of experimental works of digital art.The purpose of this project is to explore and experiment with techniques and practices that will push my own digital work to new levels, and open areas of further study for myself and other digital artists.<br>Department of Art
32
Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.
Full textAbstract:
This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind.
The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color.
Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.
33
Freeman, Julie. "Defining data as an art material." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/31793.
Full textAbstract:
Digital technology, and speci cally digital data, forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human. It is unsurprising that one of the most prevalent materials of our time is used by artists to create work. This thesis defines data as an art material. It investigates the variety of manifestations of data when used in art, through the review of existing artwork and the development of new artworks and visualisations that use a dataset collected for this research. Through the lens of conceptualising data as an art material, a definition and manifesto of data art is put forward (Chapter 2). In addition, a taxonomy for describing data as an art material is proposed and its usage explored by applying it to a number of data art descriptions and by analysing a database of data artworks tagged with relevant terms (Chapter 3). Temporal, biological, and real-time, terms from the taxonomy, are particularly relevant to the way in which digital technology mediates our connection to nature. To explore these forms of data within artwork, a collaboration with Dr Chris Faulkes, Reader in Evolutionary Ecology, facilitated the design and implementation of an electronic system to collect data from a colony of animals. Chapter 4 describes the tracking system which resulted in a real-time stream of biological temporal data. Translations of this data are explored in more detail through the practical application of various computational techniques including scientific analysis (Chapter 5), animation, sonification, data visualisation (Chapter 6) and soft robotic objects (Chapter 7). The thesis demonstrates that an inanimate object, animated through the translation of data, can have a body language through which to effectively convey characteristics of living things (Chapter 8). Finally, public engagement events are presented in Chapter 9, with reflections, contributions and future work concluded in Chapter 10.
34
Grabner, Sarah M. "Art Games: Performativity and Interactivity." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523973549005374.
Full text
35
Lam, Yui-yim Margaret, and 林睿艷. "Realm of media art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985221.
Full text
36
Suliman, Helen-Joy. "Framing the digital the viewing environment for web specific art work /." Access electronically, 2004. http://ro.uow.edu.au/theses/234.
Full text
37
Dot, Anna. "Art i Posttraducció. De teories i pràctiques artístiques digitals." Doctoral thesis, Universitat de Vic - Universitat Central de Catalunya, 2019. http://hdl.handle.net/10803/667805.
Full textAbstract:
La trajectòria de l'artista català Antoni Muntadas i el seu diàleg constant amb els estudis de la traducció demostren que la retroalimentació entre aquesta disciplina i les pràctiques artístiques és possible i enriquidora per a totes dues parts. De caire interdisciplinar i antiessencialista, en aquesta tesi s'estudien els potencials d'aquesta retroalimentació en el tercer mil·lenni i en el marc de la posttraducció mitjançant l'anàlisi d'onze projectes artístics que vehiculen reflexions sobre la traducció en el context digital. L'obra de Muntadas, Eugenio Tisselli, Nora Al-Badri i Jan Nikolai Nelles, John Cayley, Daniel Jacoby, Jan Monsalvatje, Vanessa Place i Pip Thornton, ens ha permès conceptualitzar la figura de l'artista posttraductor, així com assenyalar a la importància de les seves aportacions per al futur de l'estudi de la traducció en l'era de la informació.<br>La trayectoria del artista catalán Antoni Muntadas y su diálogo constante con los estudios de la traducción demuestran que la retroalimentación entre esta disciplina y las prácticas artísticas es posible y enriquecedor para ambas partes. De carácter interdisciplinar y antiesencialista, en esta tesis se estudian los potenciales de esta retroalimentación en el tercer milenio y en el marco de la post-traducción mediante el análisis de once proyectos artísticos que vehiculan reflexiones sobre la traducción en el contexto digital. Así, la obra de Muntadas, Eugenio Tisselli, Nora Al-Badri y Jan Nikolai Nelles, John Cayley, Daniel Jacoby, Jan Monsalvatje, Vanessa Place y Pip Thornton, nos ha permitido conceptualizar la figura del artista post-traductor, así como señalar la importancia de sus aportaciones para el futuro del estudio de la traducción en la era de la información.<br>The career of Catalan artist Antoni Muntadas and his dialogue with translation studies prove that a feedback between this discipline and the artistic practices is possible and enriching for both parts. From an interdisciplinar and antiessencialist perspective, this thesis presents a study about the potentials of this feedback loop in the third milennium and within the framework of posttranslation through the analysis of eleven artistic projects that reflect on translation in the digital context. Thus, the work by Muntadas, Eugenio Tisselli, Nora Al-Badri and Jan Nikolai Nelles, John Cayley, Daniel Jacoby, Jan Monsalvatje, Vanessa Place and Pip Thornton, has allowed us to conceptualize the figure of the post-translation artist, as well as to highlight the importance of their contributions to the future of the study of translation in the information age.
38
Marshall, Jonathan. "The Adventures of a Young Artist, and the Promise of the Digital Culture in Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2158.
Full textAbstract:
An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.
39
Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
Full textAbstract:
Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateurs<br>Mixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
40
Herbert, David. "Internet art and interaction : a study into the creation of a taxonomy of interaction in online art works." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/11943.
Full textAbstract:
Using the hypothesis that interaction with net art can be categorised, the primary purpose of the research was to generate a taxonomy of this interaction. Emphasis is given to interactive web based works that require the user to participate by contributing material to the piece. An initial period of contextualisation was required to position net art within contemporary arts culture this included an examination of previous attempts at categorising interactivity and the exploration of connected historical art practices. Most previous attempts at categorisation either characterise types of interactive work, or detail specific interactive characteristics the work itself may have. This aim of this thesis was to take an alternative approach by focusing on the interaction itself in order to create a taxonomy. To establish this characterisation of interactivity, several practical pieces of internet art were created that doubled as data collection tools. The main outcome of this project resulted in the development of my own Connected, Partially Connected and Unconnected ( C.P.U.) model of interactivity. This in turn necessitated the examination of the interactive process which resulted in defining a loop of interaction . This loop of interaction specifies several separate phases to the interactive process, the C.P.U. model of interactivity occupying one of these phases. This thesis primarily provides a platform with which to further interrogate interaction with net art. An unexplored area of Human Computer Interaction (HCI) that is specific to net art has been identified and is therefore of use to theorists and researchers working in this area. It is also of use to artists enabling them to better understand how interaction is understood within the context of their own practice.
41
Marner, Anders. "Digital media embedded in Swedish art education : a case study." Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.
Full textAbstract:
In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.<br>Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
42
Partin-Harding, Melissa C. "Innovative Teaching Strategies: Teaching Art Photography In The Digital World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308282675.
Full text
43
Hermosilla, Abby L. "Virtual Elsewhere/s: Decolonizing Cyberspace in Skawennati's Digital Territories." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619431752147577.
Full text
44
Li, Yan-yan Linda. "Media Art for the Mid-Levels Escalator, Central." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595460x.
Full text
45
Müller, Martina. "A semiotic investigation of the digital : what lies beyond the pixel /." Access via Murdoch University Digital Theses Project, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.
Full textAbstract:
Thesis (Ph.D.)--Murdoch University, 2008.<br>Thesis submitted to the Faculty of Arts and Education. Invitation to exhibition titled: In the eye of the beholder, in back of thesis. Includes bibliographical references (leaves 116-118).
46
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.
Full text
47
Kruger, Leanne. "Metapolis : virtual reality vs. real virtuality in a digital art pavillion." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29982.
Full textAbstract:
This dissertation focuses on architecture in the information age.Information technology is evolving at an alarming rate, which opens up a vast landscape of possibilities within the architectural realm. These possibilities are discussed and implemented into anarchitectural intervention, with a specific focus on the relationship between the real and the virtual. A digital art pavilion is proposed on the corner of Proes and van der Walt streets in Pretoria CBD, where the Munitoria Complex (Tshwane Municipal Offices) is currently situated. This intervention should act as a catalyst for positive change by narrowing the digital divide that is currently causing social and cultural segregation; providing a tool for upliftment by informing city dwellers. This negates the current "culture of ignorance" by stimulating a culture of knowledge.<br>Dissertation (MArch(Prof))--University of Pretoria, 2011.<br>Architecture<br>unrestricted
48
Dracoulis, Wendy Fay, and wdracoulis@gmail com. "Coloured light." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.
Full textAbstract:
This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.
49
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.
Full text
50
Braun, Jenny Lynn. "Gradient fill." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1553.
Full textAbstract:
The amount of information and the speed at which it is changing is fascinating and overwhelming. The capacity of our computer systems to process this information far exceeds the limits of our brains, making the systems of processing and organizing seem foreign and abstract. The anxiety caused by this information overload compels me to try and make sense of these systems by slowing things down, by recreating digital actions and artifacts by hand.
At times my need to archive this digital world is genuine and results in sincere attempts to create physical records of the software and programs we use. But this cloud full of information, data, systems, and images is so elusive and mysterious that the frustration of creating a genuine archive encourages me to pull from software and systems at will, mashing them up in ways that are both generative and degrading. These then result in quasi-scientific, semi-fictitious images and installations that investigate possible histories and cultures that this invisible world might hold.