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Giaquinto, Kevin. "Digital Chaos| Exploring Relationships Between Technological Advancement and Visual Experience." Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561428.
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More so than any other time in history, humans are being exposed to an enormity of digital images every day. The internet, combined with accompanying technological advancements in cellular communication has created an exceptionally chaotic visual experience within the daily lives of millions of people. Through the use of digital photomontage, my artwork attempts to quantify and evaluate the impact that thousands of digital images may have on the emotional and psychological state of human beings. Concurrently, I am in interested exploring the mental repercussions of visual overload, specifically, how chaotic digital experiences may impact the quality of the human condition as a whole. I use the internet to recontextualize found images through a variety of digital manipulation methods to create a system of aesthetic and conceptual relationships. Each collage is comprised equally from images I have produced myself, and appropriated images found on the internet to indicate the increasingly ambiguous boundary between our physical and virtual realities. I often use images that imply a war-like opposition between our natural and technological environments. I believe such images are indicative of the conflicts that take place on a psychological plane of consciousness within our minds every day as we strive to cope with our new digital reality brought forth by rapid technological advancement.
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Cavallo, David Paul. "Leveraging learning through technological fluency." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61091.
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Mohan, Manisha. "Technological interventions to detect, communicate and prevent sexual assault." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112540.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 83-85).
Every 98 seconds, a person in the United States is sexually abused. Every 16 hours, a woman in the United States is murdered by her romantic partner or ex-partner. Sexual abuse, assault, and harassment are regarded as some of the most common human rights violations in the world by the United Nations. Our work examines methods to prevent sexual assault, from pre-historic times to latest technologies, to inform contemporary designs. In this thesis, we investigate multiple methods to detect initial signs of assault and develop methods for communication and prevention of assault. We also explore olfactory stimuli as a potential means to prevent sexual assault in real-time. We present three technological interventions which can seamlessly integrate with existing clothing to respond to initial signs of assault like forced disrobing. The proposed solutions aim to combat Child Sexual Abuse (CSA), College Campus assault and abuse of elderly and disabled. The proposed solution operates in two modes, an active mode for instances when the victim is unconscious or cannot fight against the assaulter, for example in case infants, bed-ridden patients, elderly, disabled, intoxicated people and the passive mode where the victim can self-actuate the safety mechanism. Both modes release distress signals to prevent an assault in real-time, also alert the victim's friends and family, and call emergency services for help. Our clothing design is based on input from sexual assault survivors, 338 on-line participants, 67 volunteers and 20 users who helped us understand the real world feasibility of our system. Users evaluated the clothing appeal, functionality, cultural sensitivity and provided feedback on their general sense of security wearing the smart clothing. We demonstrate the practicality of our unobtrusive design with user studies that support our technological development and use of olfactory stimuli by showing the effect of smells on sexual arousal and partner selection. We believe our technosocial approach can help improve user safety and prevent sexual assault.
by Manisha Mohan.
S.M.
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Lovell, Emily Marie. "A soft circuit curriculum to promote technological self-efficacy." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/67826.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 35-36).
The development of technological self-efficacy in young people can have a dramatic impact on diversity in the field of computing. Students'self-efficacy and scientific understanding can benefit from engaging in hands-on activities, such as creating soft, electronic textile (e-textile) circuits. There is, however, a notable lack of instructional materials to support such learning experiences. I have developed a workshop facilitation guide which outlines five e-textile activities, accompanied by a collection of low-cost craft and electronic components. The instructional materials target educators, who may facilitate e-textile activities in settings such as science museums, after-school programs, or summer camps. I have assessed the effectiveness and usability of the materials through a short series of workshops, during which I also evaluated their impact on students'technological self-efficacy.
by Emily Marie Lovell.
S.M.
5
Lin, Judy. "Painting Pixels: Mapping the Sublime Philosophy and Capital Attraction onto a Technological Landscape." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1168.
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In three large-scale paintings, I depict the development and presence of Silicon Valley, a high capital powerhouse in Northern California associated with technical innovation. I combine epic nature and expansive capitalist geography as expressions of the sublime, a philosophical art term that refers to greatness beyond all possible calculation, measurement, or imitation. The sublime is seen in Romantic painter Caspar David Friedrich’s and contemporary photographer Andreas Gursky’s works. In my paintings, Friedrich’s traditional sublime meets with Gursky’s contemporary capitalist concerns. My painting technique involves layering several squares to suggest pixelation in the city. Artists Gerhard Richter and Thomas Ruff inspire my abstraction and pixelation as a sublime digital storm. I create my own version of compressed digital images (JPEGs) like Ruff, and I work traditionally similar to Richter with a procedure in arbitrarily layering squares of color. Pixelating Silicon Valley attempts to show the draw to a mysterious digital capital since I am also inspired by geographer David Harvey’s analysis on economic magnets in spaces. Thus, the painting technique for Silicon Valley seeks to map the sublime philosophy and capital attraction onto a technological landscape.
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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.
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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
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Hockman, Jason. "An ethnographic and technological study of breakbeats in hardcore, jungle and drum & bass." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121313.
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During the late 1980s and early 1990s, the United Kingdom's DJ-oriented electronic music community embraced new technologies and developed innovative techniques to master these technologies, resulting in the development of new genres. Three such genres, Hardcore, Jungle, and Drum & Bass (HJDB), emerged at the critical intersection between computer technology and the consumer market, which allowed computer music to be made through the use of home-based studios. The essential instrument in HJDB was the digital sampler, a device that offered musicians the ability to achieve realistic instrumentation through a "cut-and-paste" method of production. The thread that ties these three genres together was their unique usage of fast-paced sampled drums, derived primarily from breakbeats—samples of short percussion solos typically from 1960s to 1980s Funk and Jazz recordings. This dissertation explores a number of important issues that have not been addressed in prior writing on HJDB, and consists of three main objectives. The first is to provide a written history of the genres from the perspective of those that have made the music. This history catalogues the origins of the United Kingdom's DJ-oriented electronic music genres, the incorporation of breakbeats into this music that created the Hardcore genre, and developments that then resulted in the creation of the Jungle genre and subsequently the Drum & Bass genre. The second objective is to provide an explanation of the main technologies used in the creation of this music (e.g., the digital sampler) and the techniques developed by musicians to harness this technology. The third objective is to provide methods for the computational analysis of HJDB music, through automated determination of the breakbeats being used, detection of downbeat locations, and an estimation of the degree of rhythmic modification. Each of these objectives has been informed by over twenty interviews with musicians and label owners from throughout the history of HJDB. Computational methods based on HJDB-specific knowledge are shown to significantly outperform generalized music analysis techniques, highlighting the importance of style-specific approaches for computational musicology.Durant la fin des années 80 et le début des années 90 au Royaume Uni, le monde de la musique électronique destinée aux DJ a adopté de nouvelles technologies et développé des techniques innovantes pour les maîtriser, aboutissant ainsi au développement de nouveaux genres. Trois de ces genres, Hardcore, Jungle, et Drum & Bass (HJDB), ont émergé au croisement critique entre la technologie numérique et le marché grand public, permettant la production de musique numérique dans les "home studios". L'instrument clé en HJDB était l'échantillonneur numérique, un appareil offrant aux musiciens la possibilité de réaliser une instrumentation réaliste grâce à une méthode de production "couper-coller". Le point commun entre ces trois genres était l'utilisation d'extraits de batterie au rythme rapide, principalement dérivés des "breakbeats"—courts extraits de solos de percussion typiques des enregistrements Funk et Jazz de 1960 à 1980.Ce travail explore un grand nombre de problématiques n'ayant pas été traitées dans la littérature HJDB et consiste en trois objectifs principaux. Le premier est de présenter l'histoire de ces genres musicaux du point de vue de leurs créateurs. Il s'agit de passer en revue les origines des différents genres de musique électronique destinée aux DJ—au Royaume-Uni, l'incorporation des "breakbeats" dans cette musique résultant dans la naissance du genre Hardcore, et les développements ayant mené au Jungle et par la suite au Drum & Bass. Le second objectif est de présenter les principales technologies utilisées dans la création de cette musique (par example, l'échantillonneur numérique) ainsi que les techniques développées par les musiciens pour maitriser ces technologies. Enfin, le troisième objectif est de fournir des méthodes pour l'analyse numérique de la musique HJDB, par la détection automatique des "breakbeats" utilisés, celle de la localisation des "downbeats", et une estimation du degrés de modification rythmique. Chacun de ces objectifs a été étayé par des entrevues faites avec plus que vingt musiciens et propriétaires de labels ayant participé à l'histoire du HJDB. Il a été démontré que les méthodes d'analyse informatique inspirées de la connaissance spécifique du HJDB surpassent significativement les techniques générales d'analyse musicale, mettant ainsi en évidence l'importance d'une approche spécifique du genre en musicologie numérique.
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Heyer, Gina Margareta. "Explorations of the painted real : technological mediation in the work of four artists." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6633.
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Thesis (MA)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. This results in visions of the painted real that may be meaningful to contemporary society and have the ability to emotionally affect the viewer.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verhouding tussen fotorealistiese skilderkuns en die spesifieke metodes wat die kunstenaar se vertolking van die werklikheid vergemaklik. Die term, 'realiteit' word krities oorweeg te midde van 'n saamgestelde teoretiese aanslag tot fotorealisme wat mimesis en semiotiek insluit. Deur 'n noukeurige analise van Vermeer se oënskynlike gebruik van die camera obscura, hou ek voor dat fotografiese sig reeds sedert die 17e eeu teenwoordig is. Hierdie gewaarwording dui op 'n dramatiese skuif vanaf 'n klassieke, Kartesiaanse perspektief en skopiese regime tot die model van visie gebied deur die kamera, lank voor die ontwikkeling van fotografie. Ek stel voor dat kontemporêre fotorealistiese skilders nie bloot objektief kopieër nie, maar fotografiese verwysings met 'n gesofistikeerde bewussyn in reaksie tot 'n vinnigveranderende wêreld gebruik. Deur 'n ondersoek na die wyse waarop die camera obscura en fotografiese kamera in die werke van vier kunstenaars gebruik word, stel ek voor dat 'n simbiotiese verhouding die subtiele spanning tussen skilderkuns en fotografiese tegnologie meemaak. Dit lei tot visionêre weergawes van 'n geskilderde realiteit wat 'n betekenisvolle posisie in die kontemporêre samelewing beklee en die moontlikheid besit om die toeskouer op 'n emosionele vlak te affekteer.
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Wolf, Oliver. "Affinity with artefacts : humans' perception of movement in technological objects." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/44045.
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It is commonly accepted that our relation to inanimate objects is different than to biological entities. When movement comes into play, however, this relation can bring about ambiguities and transfigure familiar relationships between the animate and the world of things. This thesis investigates this relationship and the role of movement. The main focus is on humans' perception of movement, in particular how this affects the relationship to technological objects. It is a known phenomenon that humans tend to focus on life and lifelike processes. This propensity affects the creation as well as the observation of things. As social and emotional beings, humans experience a living presence of objects, and tend to not treat them as dead matter. Apparent for example in emotional attachments to devices like the computer, cell phones or robots. We have a long-standing practice of projecting social roles onto our surrounding as a way to relate and interact with things in the world. Differences in these relationships are affected by the appearance as well as movement of things, a phenomenon that is well-established, for instance, in cognitive psychology and gestalt/animation theory, where it has been demonstrated that abstract objects and shapes, when they move, tend to be interpreted less object-like and more as social and animate beings. Equally, in human-robot interaction, studies with real robots illustrate that people tend to 'anthropomorphise,' and attribute life-like properties to these technological objects with certain human or animal characteristics. The affinity towards the living affects not only the experience and observation but also the creation of technologically animated things. For a long time artists and inventors have been trying to mimic nature and develop technology simulating life-like qualities. These creations, as reported in this thesis, manifest for instance through animated creatures, artistic sculptures and artefacts, the creation of artificial systems, and robotics. The aim of this thesis is to learn more about the role of movement for human perception of the animate/inanimate by presenting movement as the common denominator on three levels. First, this thesis contributes to the understanding of the phenomena by bringing together work from various contexts and as such presenting an interdisciplinary approach to the topic. Second, as a result, a novel methodology is presented that provides a relational approach to examine move ment as a determinant of variances in the interpretation of an entity. Based on a feature-space, used to compare peoples' interpretative relationship to entities, the method allows to evaluate how an entity's movement characteristic affect the way thoughts and actions are directed to them. Third, results are obtained from the application of the methodology in an empirical study, assessing peoples' interpretation of a ready-made object, a technologically modified hairbrush moving autonomously. These show that the movement of an everyday object motivates an interpretation closer to humans and animals. The results correspond to the findings mentioned above. However, as the empirical work brings together people and an autonomously acting robotic object, which lacks anthropomorphic/zoomorphic or mechanoid morphology, in a real world scenario, it transfers these findings from cognitive psychology and computer graphic animation to the field of human-robot interaction.
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Salzberg, Shaun (Shaun David). "Fostering innovation : designing technological solutions to proactively encourage informal communication in the workplace." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82433.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 105-107).
I have designed, built, and evaluated three devices to encourage informal interactions in the workplace. Previous research has found that such interactions can lead to increased idea cross-flow, creativity, productivity, and innovation at large, though few attempts to design architectural, organizational, or technological solutions have succeeded in achieving this. I believe this is because these approaches tended to focus too much on fostering an "ambient awareness" of fellow coworkers with hopes that it would indirectly lead to increased informal interactions. My hypothesis is that proactively creating such interactions as intermediated by a smart artifact in the office space would be more effective. For this thesis, I have built two versions of a device called Food Groups, as well as another one called Media Lab Mixer; Food Groups matches coworkers up to get lunch or dinner together, while Media Lab Mixer uses game dynamics to encourage them to spend more time socializing in a common space. After an initial study, the Food Groups devices received little use and were largely ineffective at fostering informal interactions. Media Lab Mixer, however, showed greater engagement and was more effective at creating the desired results, though it did not have a lasting effect after it was removed.
by Shaun Salzberg.
S.M.
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Sahlen, E. Daniel. "Ceramic technology and technological traditions : the manufacture of metalworking ceramics in late prehistoric Scotland." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2707/.
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The goal of this thesis is to investigate the manufacture of metalworking ceramics in late prehistoric Scotland (ca 1000BC – AD800) from the perspective of ceramic technology and with the aim to reconstruct social and material trajectories. This has been implemented through the use of an integrated analytical methodology, interpreted by developing current theories on technology. Previous studies of metalworking ceramics in Scotland have rarely paid full attention to ceramic technology; research has instead focused on metallurgical issues such as metal identification and material morphology. This is central for answering questions regarding metallurgical processes, but fails to answer important questions regarding the technology and manufacture of the ceramic material. The successful production of moulds and crucibles requires that a craft specialist has expert skills in the preparation and firing of clay as well as understanding of the process and design of metal casting. This makes metalworking ceramics an important resource for investigating variation in individual skill and experience, cultural traditions, and scale of production. The main focus is on moulds and crucibles, but parallels, both in terms of method and theory, are made to other types of metalworking ceramics and pottery. The technological relationship between pottery and metalworking ceramics is therefore a vital link in the assessment of production and technological traditions. In addition, clays from a number of sites have been sampled, with the goal to monitor the utilization of clays for the production of different ceramic materials. Materials from nine primary sites, from Traprain Law (East Lothian) in the south to Mine Howe (Orkney) in the north, are central to the discussion of ceramic technologies. The context of casting and crafts from further sites in Scotland and beyond has been essential in the reconstruction of casting production in the late prehistoric period. Developing from ideas of technology as an active process, this study has investigated the collection and preparation of clays to make different ceramic materials. This investigation has employed a range of analytical techniques frequently applied to the study of archaeological ceramics, including ceramic petrography, Scanning Electron Microscopy, X-Ray Spectrometry and X-Ray Diffraction. The focus has been on technology; studies of provenance are auxiliary to the broader questions. It is a central conclusion of this work that the production of metalworking ceramics saw a development towards a more specialised function and technology during the late prehistoric period, and that this development was closely related to material traditions, to some extent transcending wider social trajectories. This research, highlighting particular and general technologies, has showed that the study of ceramic technology of moulds and crucibles can be a valuable resource for the study metallurgical production and technology.
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Yang, Ren-Shing. "The identification and validation of the technological competencies essential for elementary school practical arts teachers in Taiwan ROC /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901311.
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Sustersic, Paolo. "Domestic spaces in the information era : architectural design, images and life in a technological age." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/361841/.
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The aim of the research is to contribute to a critical interpretation of the multiple dimensions that shape the concept and the practice of contemporary living by analyzing the transformations that domestic space has experienced within the framework of the Information Society. The study emerges from the evidence that the changes that emerged due to the diffusion of information and communication technologies have originated a new social, economic and cultural paradigm that has deeply transformed the way in which contemporary domestic spaces are imagined, designed and lived. Deeply affecting life habits, these changes put into question the persistence of traditional conceptual models related to domestic space such as protection, intimacy, privacy and reproduction of consolidated family structures, recording the appearance of new interpretative categories with respect to private space and the activities developed there, such as connectivity, flexibility, ubiquitousness, transformability and mobile domesticity, among others. The research deals with four main aspects: a) the social and cultural context in which the contemporary debate on domestic space is situated; b) the historical context of the second half of the 20th century when various interpretations of dwelling were formulated in an era dominated by technology and information; c) a proposal to reformulate the concept of living from the perspective of becoming in light of functional transformations of contemporary domestic space epitomized by mediascapes, workspaces and bodyspaces; d) a proposed reading of the interpretative keys on the basis of which the informational house is imagined and designed in relation to the stimuli of objects and spaces, flexibility, digital design and sustainability. The research argues the multidimensionality and complexity of contemporary domestic space steming from both the growing diversity of the actors involved in its production and the variety of factors that influence it. In the culture of dwelling, the role of technology is not univocal and involves all stages of the process of design, construction and use of domestic space. Focusing on advertising and specialized media, the research highlights the role played by images in the construction of a collective imagination of the domestic. In discussing changes in the functional environment, the research highlights how the domestic plays an important role in domestication of technologies. Finally, the research underscores the need for a reformulation of the idea of domestic space within the scope of considering dwelling as an art of becoming, more in keeping with the zeitgeist of the Information Society.
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Lee, Robert William. "Influences of wood-crafting on technological development in Middle to Late Bronze Age Southern England." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371704/.
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This study explores the relationship between wood-crafting activity and technological development in metal tools during the Late-Middle and Late Bronze Age in Southern England. It suggests that a number of tool types and forms can be characterised as direct responses to specific crafting processes. The study further suggests that through analysis of those tools and crafting processes, the socio-technological relationships between craftspeople and materials can be better explored. The thesis makes a case for the importance of wood-use during the British Bronze Age as a material key both to a range of craft activities and technological change. The discussion highlights the lack of a cohesive analysis of its use, potential and material relationships. It suggests that a semantic approach to craft practice can inform as to how those practices were facilitated, and that particular craft processes focussed on wood-use are manifested in surviving tools. Four tool types are examined - socketed axes, gouges, chisels and saws; their morphology and structure are analysed to discern variations in function and structural trends which are suggestive of common approaches to production and use. The results of this analysis are linked to woodcrafting practices to highlight how particular forms of each tool type were targeted to activity. The study concludes by arguing that Bronze Age tool forms, and their production, were the result of a complex network of social, technological and developmental influences. It finds that a number of forms were indeed targeted to specific wood-crafting tasks, and that tools ostensibly produced separately followed common structural trends which derived from those tasks. The study also concludes that certain tool forms such as saws manifest multi-material developmental origins, and that analysis based on crafting functions has the potential to provide a more cohesive perspective of Bronze Age tool development than has previously been developed.
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Burd, Leo. "Technological initiatives for social empowerment : design experiments in technology-supported youth participation and local civic engagements." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42171.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Page 226 blank.
Includes bibliographical references (p. 217-225).
Never in history has the world seen so much discrepancy in wealth, power and living conditions. Believing that information and communication technologies can help address this issue, governments and funding organizations have been investing in bringing computers and internet connectivity to underserved communities. Unfortunately, many of those initiatives end up privileging the community residents who were the most visible, literate or active, leaving behind those who would need additional support and reinforcing even more the status quo. In order to foster a more democratic and participatory society, it is important to create initiatives that are more inclusive and empower individuals to control their own development. In this thesis, I propose a framework for the design and analysis of technological initiatives for social empowerment and I apply the framework in the implementation of two initiatives that focus primarily on youth participation and local civic engagement. In the Young Activists Network initiative, I worked with youth technology centers from different parts of the world organizing young people to become agents of change in the places where they live. In spite of the localized successes, the Young Activists Network approach required so much effort from our partner community organizations and volunteers that it would be virtually impossible to sustain it over time and scale it to other sites. Based on the lessons learned, I started the What's Up Lawrence project, an initiative that aimed at building a self-reinforcing, city-wide network to help young people in the organization of personally meaningful community events.
(cont.) In order to support such a network, I built What's Up, a neighborhood news system that combines the power of the telephone and of the web to make it easier for young people to share information, promote community events, and find out what is happening in their region. This thesis provides a detailed description of these initiatives. It also highlights the main technical, educational and organizational elements that have to be considered in the implementation of technological initiatives for social empowerment and suggests the creation of a special organization to help in the adoption and refinement of such initiatives.
by Leo Burd.
Ph.D.
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Barnickel, Amy J. "A screen of one's own the TPEC and feminist technological textuality in the 21st century." Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4520.
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In this dissertation, I analyze the 20th century text, A Room of One's Own, by Virginia Woolf (2005), and I engage with Woolf's concept of a woman's need for a room of her own in which she can be free to think for herself, study, write, or pursue other interests away from the oppression of patriarchal societal expectations and demands. Through library-based research, I identify four screens in Woolf's work through which she viewed and critiqued culture, and I use these screens to reconceptualize "a room of one's own" in 21st Century terms. I determine that the new "room" is intimately and intricately technological and textual and it is reformulated in the digital spaces of blogs, social media, and Web sites. Further, I introduce the new concept of the technologized politically embodied cyborg, or TPEC, and examine the ways 21st Century TPECs are shaping U.S. culture in progressive ways.ID: 030423289; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2010.; Includes bibliographical references (p. 216-225).
Ph.D.
Doctorate
Department of English--Texts and Technology
Arts and Humanities
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Smyrnaios, Ioannis. "The correlation of technological and stylistic changes, and society, in the production of attic geometric and orientalising finewares." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91116/.
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This thesis investigates stylistic and technological changes in the production of Attic Geometric and Orientalising finewares (c. 900 – 620 BC), and their relationship with society. The transition from the abstract motifs of the Early and Middle Geometric styles to the figurative representations of the Late Geometric and Orientalising styles are examined in conjunction with the technological advances in the ceramic chaîne opératoire, and the social changes that characterise these periods. According to previous studies, the social developments in the Athenian polis between the 9th and 7th centuries BC left traces in the archaeological record suggesting competition among different elite groups. This social competition was expressed through funerary rites, which were subject to continuous changes all across the Attic Early Iron Age. The consumption of decorated finewares in such rites and other important social occasions demarcated the social position of the consumers/users of fine decorated pottery, while ceramic styles adapted to accommodate the changing nature of social demands. An important manifestation of stylistic change was the dominance of the figurative style in pottery decoration during the beginning of the Late Geometric period (c.760 BC). The original hypothesis of this research project is based on the fact that decoration was only part of the total production sequence of Attic Geometric and Orientalising pottery; therefore, it could be likely that the social changes noted during these periods triggered broader advances in ceramic technologies employed for the production of such finewares. This thesis moves away from traditional stylistic approaches and employs a technological approach based on the chaîne opératoire theory in order to explore the behaviour of Attic Early Iron Age potters and their response towards changing consumption demands during an era of significant social transformations.
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Aston, Alisa Mastin. "Intrusive Thoughts and Stress During the Evacuation Phase of a Technological Disaster." UNF Digital Commons, 2004. http://digitalcommons.unf.edu/etd/330.
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The current study investigates the quantity and quality of intrusive thoughts (IT) experienced during the evacuation following a technological disaster. This study is aimed at evaluating which aspects of IT are related to increased frequency and disturbance of intrusive thoughts, as well as stress and coping outcomes.
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Stephenson, Iain James. "Techno-futurism and the knowledge economy in New Zealand a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2003." Full thesis. Abstract, 2003.
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Randall, William Sanford. "How Methane Made the Mountain: The Material Ghost and the Technological Sublime in Methane Ghosts." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460722538.
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Cavallo, David Paul. "Technological fluency and the art of motorcycle maintenance : emergent design of learning environments." Thesis, Cambridge, Mass. : Massachusetts Institute of Technology, 2000. http://web.media.mit.edu/%7Ecavallo/Thesis-index.pdf.
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Afhandling, Massachusetts Institute of Technology, School of Architechture and Planning, Program in Media Arts and Sciences, 2000.Findes også på internet (kræver læseprogrammet Acrobat Reader): http://web.media.mit.edu/%7Ecavallo/Thesis-index.pdf. Litteraturhenvisninger s. 239-246.
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Dieterich, Danielle May. "Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.
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Clucas, Scott Richard. "Construction as a Curriculum Organizer for Technology Education." Diss., Virginia Tech, 1997. http://hdl.handle.net/10919/30772.
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This dissertation was the result of an investigation into the relative importance of construction as a curriculum organizer for the field of technology education. In particular, it concentrated on the relationship between construction technology and the principles of general education and technological literacy. The review of literature focused on the historic roles and meanings of this curriculum organizer and these principles as the discipline evolved from the industrial arts into technology education. Operational definitions were synthesized and the linkages between them was clearly identified.
To address technology education's contribution to general education, or the full development of the human personality, the spheres of human/technology interaction model was developed. The model is based on the idea that people interact with technology and evaluate those interactions from three fundamental perspectives. Those perspectives were identified as the civic-life sphere, the personal-life sphere, and the work-life sphere.
One hundred and forty-eight faculty members of technology teacher education programs in colleges and universities throughout the United States were surveyed. A 77% return rate was obtained. The survey included four major sections in addition to requesting limited information about the respondents and their programs. The four major sections asked the respondents to: 1) Evaluate potential goals for a K-12 technology education program. 2) Determine the relative importance of 10 study areas or curriculum organizers as they related to each of the three spheres of interaction. 3) Determine the percentage of the technology education curriculum that should be allocated to each of the three spheres of human/technology interaction. 4) Provide selected information about the way construction is offered and taught in technology teacher education programs.
Medoid cluster analysis was used to evaluate the data derived from the goals of technology education portion of the survey. Using this information, three clusters were formed and initial respondent membership for each cluster was established. Subsequently, discriminant analysis was used to accomplish three goals: 1) Refine the initial assignment of respondents to the clusters. 2) Identify those variables that offered a significant level of discrimination between clusters. 3) Determine the accuracy of assignment to the clusters or groups. The canonical correlation 2, calculated by the discriminant analysis program, indicated that 66.3% of the variance was explained by the variables that were significant at a .05 level. After comparing the mean scores of the discriminating variables across the three clusters, one cluster was identified as favoring technological literacy, one favored industrial technology education, and one was ambivalent.
T-tests were used to determine if any significant difference existed between clusters or groups. It was of particular interest to this research that no significant difference was found related to the relative importance of construction. All groups concluded that construction should comprise approximately 10% of the technology education curriculum.
Finally, a schedule was established which allocated various percentages of the curriculum to each of the 10 study areas or curriculum organizers as they relate to the three spheres of human/technology interaction. This schedule was based on the relative importance assigned by the technological literacy cluster. The technological literacy cluster offered the most balanced allocation of the technology education curriculum across the three spheres of human/technology interaction.Ph. D.
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Keyser, Nicolet. "The transition from an object-oriented to a systems-oriented approach in art, leading to a redefinition of the concept of sculpture." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52031.
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Thesis (MA)--Stellenbosch University, 2000ENGLISH ABSTRACT: In this thesis I look at the impact of technology on the concept of sculpture. However, I am more concerned with the principles behind technological change as influence, than looking at high-technology advances. A key issue that I address is the consideration of changes in society and art, and I ask the question, to what extent does three-dimensional art remain in any traditional sense 'sculpture'? It is my objective to show these changes, indicated by the transition from an object-oriented to a systems-oriented approach in art leading to a redefinition of the concept of sculpture. Although I deal with my practical work as a separate part in the thesis, there is a close integration and mutual objectives between the practical and theoretical components. The transition occurring in sculpture can directly be traced to the technological advances in society. Scientific knowledge in any period of history reflects the way people understand their world, thus affecting human perceptions of the natural world and in turn influencing artistic creation. In Chapter One, attention is given in general to some of these scientific discoveries, for example the shift from classical science to an organismic approach with its focus on the interconnectedness of all things. Also of importance is the beginning of Chaos Theory, introducing the element of chance. In Chapter Two, more specific changes in the concept of art and sculpture are dealt with. Referring to some important predecessors earlier in the zo" century. I look at art becoming an interactive system, and find the interrelationship between sculpture and architecture useful in illustrating this, because of the foregrounding of the concept of space. In Chapter Three, I examine the different way that artists deal with the issues of urbanity', for example, the Minimalists putting emphasis on the idea of sculpture as an infinitely malleable category. Shifting definitions of urbanity were responses to specific new conditions in the environment, for example, as seen in the changing features of the city. Chapter Four deals with contemporary artists' response to these conditions, starting with examples of an object-oriented approach to sculpture, moving step by step towards a different systems-oriented approach. To conclude, I speculate on all the possibilities that the virtual environments that modern computers allow us to create may for the first time open up. We are at the beginning of a new century full of promise to artists in all fields.
AFRIKAANSE OPSOMMING: In hierdie tesis kyk ek na die impak van tegnologie op die konsep van beeldhou. Maar, ek is egter meer geintereseerd in die invloed van die beginsels agter tegnologiese verandering as in die gebruik van uiters gevorderde tegnologiese instrumente. 'n Belangrike aspek vir my is die wyse waarop die veranderinge in die samelewing afgedruk work op kuns. Derhalwe vra ek tot watter mate drie-dimensionele kuns op enige tradisionele wyse steed as 'beeldhou' beskou kan word? Dit is my doelwit om hierdie veranderinge uit te wys, soos gesien kan word in die transformasie vanaf 'n objek-gerigte benadering na 'n sisteem-gerigte benadering tot die konsep van beeldhou. Hoewel ek die praktiese werk as 'n aparte deel van die tesis hanteer, is daar in nabye integrasie met gemeenskaplike doelwitte tussen die praktiese en teoretiese komponente. Die transformasie in beeldhou kan direk verbind word met die tegnologiese vooruitgang in die samelewing. Wetenskaplike kennis van enige tydperk, is 'n indikasie van die wyse waarop die mense hulomgewing verstaan. Dus affekteer dit mense se persepsie van die natuur, en in reaksie die persepsie van die kunstenaar. In hoofstuk een, word aandag gegee in die algemeen aan sommige van hierdie wetenskaplike ontdekkings, byvoorbeeld die skuif vanaf klassieke wetenskap na 'n organismiese benadering met sy fokus op die integrasie van alle dinge. Ook belangrik is die onstaan van Chaos Teorie wat klem plaas op die onvoorspelbaarheid van dinge. In hoofstuk twee kyk ek na meer spesifieke veranderinge in die konsep van kuns in die algemeen, asook beeldbou. Daar word terugverwys na sommige belangrike kunstenaars aan die begin van die 20ste eeu. Klem word geplaas op kuns as interaktiewe sisteem, en ek vind die interverhouding tussen beeldhou en argitektuur as 'n belangrike voorbeeld, as gevolg van die benadering tot die konsep van ruimte. Hoofstuk drie ondersoek die verskeie wyses waarop beeldhouers kyk na kwessies soos verstedeliking, byvoorbeeld die Minimaliste met hul beklemtoning van die idee van beeldhou as manipuleerbare kategorie. AI hierdie veranderinge is 'n reaksie op spesifieke nuwe kondisies binne die samelewing, byvoorbeeld soos gesien in die veranderende kenmerke van stede. Hoostuk vier deel dan spesifiek met hedendaagse beeldhouers se reaksie op hierdie kondisies, met die doelom voorbeelde te bespreek van van 'n objek-gerigte benadering tot beeldhou asook 'n sisteem-gerigte benadering tot beeldhou. Om af te sluit, spekuleer ek oor al die nuwe moontlikhede wat 'virtuele realiteif, daar gestel deur die moderne rekenaars, aan beeldhou kan bied. Ons staan aan die begin van 'n nuwe eeu vol potensiaal vir kunstenaars op alle gebiede.
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Braun, Catherine Colletta. ""I'm really not a technology person" digital media and the discipline of English /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1141781398.
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Appiah, Edward. "An exploration of ICT for graphic design education at a public university: issues of ideation and pedagogy." Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1339.
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Thesis submitted in fulfilment of the requirements for the degree
Doctor of Technology: Design
in the Faculty of Informatics and Design
at the Cape Peninsula University of TechnologyDesign education has been fundamentally changed by computers and new digital technologies. New ideas and new frontiers have emerged. Available literature shows ICT has revolutionalised design education through the online studio and blended learning. In response to the growing needs of ICT in design education, new courses are being designed, while collaborations on design projects are emerging owing to virtual design studios (VDS). Researchers in design, especially in professional architecture and engineering, believe that ICTs enhance the teaching and learning of design. The adoption of ICT at the various stages of problem solving has not yet been reflected in the teaching of graphic design, especially in idea development. In developing economies, in the recent past, more attention has been paid to graphic design pedagogy, as it particularly relates to using ICT in ideation. Using the ‘multi-method’ approach, the research captured both quantitative and qualitative approaches in a pragmatic paradigm. It explored how ICT has affected the teaching and learning of ideation in graphic design in a university in a developing country. This included investigating pedagogical models and paradigms that had informed graphic design education since the incorporation of ICT. It surveyed ICT methods and the players involved in graphic design education, and documented the everyday experiences of students and educators in the lecture rooms to obtain a more holistic impression of teaching and learning. Empirical evidence suggests considerable access to computer and ICT methods by students especially. Various perceptions on the use of ICT by students in ideation activities as far as graphic design education is concerned, and how ICT is informing ideation, were also captured through the data. The study revealed activity systems of ICT integration as something that created contradictions. The contradictions were characterised by activities of collaborations and uses of ICT by students on one hand, and lecturers on the other hand. There were significant revelations of the development of the graphic design processes of using ICT in ideation. Ultimately, they were revelations of complexity of the design process for which there were no precise and fixed formulas that bring together form, function, and context conditions, and which gave credence to the orientation of pragmatism in terms of epistemology to which the study ascribed from the beginning. The study therefore elicits a review of the pedagogy of graphic design, with constructivism becoming relevant in the teaching of ideation in graphic design education.
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Vieregge, Quentin David. "Narratives of Architectural Revolution in Online Christian Rhetoric." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3394.
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Abstract
This dissertation examines how online Christian communities reconcile the democratizing, anti-hegemonic effects of dialogic web tools, such as wikis, blogs, and video-sharing sites with the authoritarian characteristics of some organized religions. In the first chapter, I discuss technodeterminism and what I call the theme of "revolutionary architectures" in digital humanities scholarship. This theme occurs in narratives that assume that a new interface, Internet tool, or type of coding will redefine the rhetorical relationship between writers, readers, and site administrators, usually in a benevolent way. I argue that scholars within the field of Computers and Composition use narratives of architectural revolution to inscribe communication technologies with certain inherent values even as they claim that these tools require responsible use from an informed, reflective citizenry. The theme of revolutionary architecture reveals the desire within the field of Computers & Composition to view technology as both a space for ideological conflict and a redemptive tool to cure social ills.
In the second chapter I analyze how narratives about the democratizing and collaborative potential of wikis collide with the needs and practices of three Christian wikis. The three wikis--Theopedia, OrthodoxWiki, WikiChristian--are opinionated encyclopedias intended to simultaneously inform and persuade their viewers of each website's respective version of the Christian faith. Opinionated wiki writing complicates assumptions about what should be argued and who should be able to author thesiss. To respond to these complications, the Christian wikis emphasize two different types of ethotic appeals, what I coin "genesis-ethos" and "composed-ethos." Genesis-ethos refers to the rhetor's character outside of the text, whereas composed ethos refers to the textual representation of the rhetor's credibility. I argue that Christian wikis must rely on a combination of genesis and composed-ethos in order to manage a point-of-view argumentative wiki.
In the third chapter, I examine how dialogic web technologies have provided the Emergent Church with an opportunity to create an updated gospel narrative. I define and analyze this narrative with a kairotic lens, especially as defined by German theologian Paul Tillich. The leaders of the Emergent Church movement draw upon the ideas, language, and metaphors of post-Web 2.0 technologies to explain how Christianity can thrive in a 21st century world. Several Emergent Church writers recognize that traditional organized religion has become increasingly irrelevant in a culture that prioritizes decentralized decision making, networked organization, and the opinions of the laity alongside more authoritative voices (i.e. clergy, pastors, and church leaders). They view blogging tools, open source technology, and social networks as a way to convey Christianity to a frustrated audience of Christians and non-believers.
In the fourth chapter, I speculate on the collaborative possibilities of video-sharing sites, such as YouTube. Even though technologists and compositionists have reinforced a narrative of YouTube as a revolutionary collaborative tool, the website fails to foster intimacy between users. This lack of intimacy stultifies the potential for collaboration between video authors and viewers; in turn, the efforts of writing instructors to use YouTube have not yet taken full advantage of the site's possibilities. One alternative Christian video-sharing site, GodTube, has the potential to engage video authors and viewers in meaningful dialogue and a more intimate online atmosphere. Martin Buber's I-You and I-It relationships are used as a lens to describe the difference between the two video-sharing sites.
In the final chapter, I discuss how my research into online Christian rhetoric can be used in writing-intensive classes, especially composition courses. My argument about genesis-ethos applies to previous scholarship on wikis and procedural rhetoric; I speculate on how writing teachers can teach with wikis in new ways. Finally, the rhetoric of the Emergent Church offers an example for how scholars within the field Computers & Composition can articulate their values to students, faculty, and administrators outside of the field of English Studies. In the conclusion, I argue that the counterintuitive uses of these dialogic web tools opens up new imaginative opportunities for their use in the writing classroom.
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SILVA, Sabrina Tenório Luna da. "Imagem Reciclada – Uma análise dos processos de visualidade contemporânea no cinema de found footage." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17277.
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FACEPE
Found footage é uma regime estético que tem como base a apropriação de imagens preexistentes para a realização fílmica. Questões concernentes à reciclagem, ao arquivo e à memória são despertadas por essas obras. Além de tais temas, temos como objetivo investigar como os filmes experimentais em found footage relacionam-se com a confluência tecnológica imagética corrente, analisando a conexistência entre arquivos de distintos formatos e materialidades dentro de um mesmo espaço temporal. Para isso, investigaremos obras provenientes de distintas tecnologias, buscando evidenciar aspectos de representação mnemônica, narratividade histórica e as relações que esses filmes estabelecem com o arquivo. No início da pesquisa será realizado um mapeamento em torno das obras seminais do found footage. A partir disso, buscaremos delinear conexões estéticas e discursivas com a contemporaneidade e em seguida realizaremos uma releitura crítica sobre os conceitos de memória, narratividade histórica e arquivo. Após a releitura bibliográfica e histórica, seguiremos para a análise de filmes contemporâneos em found footage buscando, com isso, investigar as distintas formas através das quais o excesso imagético proporciona um segundo uso para as imagens tecnológicas.
Found footage is an aesthetic regime that has the appropriation of preexisting images as the main basis of the film realization. Questions concerning to the recycling, the archive and the memory are awaken by its works. Beyond this, we intend to investigate how found footage experimental movies relate with the current image technological confluence, analyzing the coexistence between archives of distinct formats and material inside the same temporary space. To this, we will investigate works from different technologies, searching to evidence aspects of mnemonic representation, historical narrative and the relations that found footage films establish with the archive. In the beginning of the research we will map the seminal works of found footage. From there, we intend to outline discursive and aesthetic connections with the contemporary works to later make a critic analysis of the concepts of memory, historic narrative and archive. In the end, we will follow to the bibliographic analysis and subsequently to the analysis of found footage contemporary films, in order to investigate the various ways in which the imagery excess provide a second use to the technical image.
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Jamison, Sally. "Popular culture and literacy learning negotiating meaning with everyday literacies /." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Jamison_S%20MITthesis%202007.pdf.
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Ortega, Schelin Sean Harry. "Does This Mix Sound “Trve” To You? : Authenticity, Retro Culture and Metal Mixes." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37643.
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Despite the rapid development in technology that enables metal music producers today to create “perfect” sound mixes, many bands, artists and producers choose to make their creations sound old or “retro”. A song is created for this study and mixed in two different ways, one with a more“retro” direction and the other with a more “modern” direction. Five respondents were then made to listen to both mixes and were interviewed on what they thought of each respective mix and why they think retro culture is so prevalent today. The data gathered from the interviews show that the respondents describe retro mixes as dirty, saturated and raw while they described modern mixes as clean, hi-fi and overly compressed. The respondents associate old sounding mixes to authenticity, genuinity and honesty but don’t describe modern mixes as fake or dishonest. The respondents comment that the streamlined nature of music production today leads to very uniform sounding mixes and the abundance of similar sounding mixes creates a demand for more honest, authentic and genuine music. The respondents claim that retro culture would not be possible without the aid of modern technology.
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Ahrbom, Petter, and Merita Norberg. "Med hjärta, själ och öron : om managerns roll och relation till artister." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17874.
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Syfte och Forskningsfrågor Syftet med uppsatsen är att skapa förståelse för hur relationen och rollfördelningen mellan managers och artister kan se ut och vad som påverkar detta, samt hur manageryrket har påverkats av den förändring som skett i musikbranschen i och med den tekniska utvecklingen. För att nå upp till detta syfte har vi arbetat med tre forskningsfrågor: Vilka roller och vilken arbetsfördelning finns mellan managers och artister? Hur ser managers relationer till deras artister ut och vad påverkar detta? Hur påverkar nya förutsättningar managerns roll och relation till artister? Metod Vår forskning har haft en induktiv ansats då vi ville utgå ifrån empirin och låta de intervjuades berättelser styra uppsatsens riktning. Vi valde en kvalitativ metod då vi ville få en bild av hur våra intervjupersoner själva upplevde sina roller och relationer. Vår empiriska studie består av intervjuer med 6 managers och 4 artister. Slutsatser Vi har genom vår analys och slutdiskussion sett att roller, arbetsfördelning och relationer mellan managers och artister kan se väldigt olika ut från fall till fall. I grunden anses att artisten ska ansvara för de kreativa delarna och managern för de affärsmässiga delarna av artistskapet. Det är dock vanligt att parterna lägger sig i och vill vara involverade i varandras arbete. Vi har också upptäckt att det ofta är svårt att skilja mellan vad som är kreativt och vad som är affärsmässigt. Managers ser sig ofta som både anställda, säljare, samarbetspartners och en extra bandmedlem samtidigt. Relationen mellan managers och artister är ofta både personlig och professionell, och vilken del som upplevs som viktigast påverkas bland annat av hur parterna ser på sina roller gentemot varandra. Tillit är avgörande för en fungerande relation oavsett hur personlig eller professionell relationen är. De nya förutsättningarna i musikbranschen har inte minskat managerns uppgift, men däremot förändrat den. Bland annat krävs det idag att managern har kunskaper inom fler områden än tidigare.The purpose of this paper is to increase the understanding for the different roles, division of work and the relationships between artists and music managers and what factors that may affect it, as well as what influence the new technological changes within the music industry have on the music managers’ work. The study is based on interviews with six artist managers and four artists. We can draw the conclusion that roles, division of work and the relationships between artists and music managers may look very different from one case to another. Basically, both artists and managers believe that the creative parts should be the artists’ responsibility while the business parts should be the managers’ responsibility. However, we have found that it is common that both actors want to participate in the other’s work and that is often is difficult to separate the creative tasks from the business tasks. The relationship between artists and music managers is often both personal and professional. However, trust is always important. The changes in the music industry have not reduced the importance of the music manager, but might have changed the roles and tasks that the manager will have to face.
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Serrander, Agnes, and Isabelle Larsson. "Digitalisering i bildämnet." Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-39799.
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This study aims to explore how today's digitalization looks in art specific educational research, bylooking at how teaching and teachers act towards digital techniques and tools to developstudents’ knowledge and abilities in arts education. The overview is constructed by a systematicsearch on two different databases. The presentation of the articles is done through three thematicdivisions: (i)The effects of teachers' view on digitalisations’ role in arts education, (ii)Teachers design of digitalarts educationand (iii)Students learning in relation to design of digital arts education. After thethematization of the eight articles a discussion is made in relation to the chosen problem area andtwo related questions “What kind of impact does teachers' attitudes on technology have onteaching?” and “How can different ways of working with technology change how students evolvetheir skills and competence?” have been asked. The results show that there are two main viewson digitalisation’s role in education, the ones that are against it and are for the traditional ways ofthe art subject and the teachers who are for the use of digital tools and can see the knowledgethat students develop
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Gallois, Aurélie. "Personnages artificiels anthropomorphes et technologiques à la scène." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCC016.
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De grands metteurs en scène, précurseurs d’un nouveau théâtre, tels que Maurice Maeterlinck ou Edward Gordon Craig, souhaitaient représenter la vie en ne se contentant plus de la présence corporelle de l’acteur mais en incorporant des éléments conventionnels à la scène. Ils refusaient la simple imitation du réel au profit d'un théâtre artificiel et symbolique, avec pour problématiques les questions de la représentation de la figure humaine et de l’illusion du vivant. Cette volonté de s’émanciper du corps de l’acteur tel qu’il est dans l’usage privé, dans le quotidien, par l’utilisation de masques, de marionnettes ou encore des techniques de leur temps, comme des jeux de lumières ou des effets d’optiques, annonçait déjà l’apparition des nouveaux médias sur le plateau. C’est dans cette filiation que sont apparus sur scène, dans les années 1990, de nombreux personnages inorganiques créées grâce à des projections vidéo sur supports bi ou tridimensionnels, des hologrammes, et par la présence de robots humanoïdes et androïdes. On retrouve cette volonté de remplacer les corps des acteurs par des personnages artificiels utilisant les technologies de notre temps avec les personnages vidéo de Denis Marleau et Stéphanie Jasmin, les hologrammes de Michel Lemieux et Victor Pilon ou encore les robots d’Oriza Hirata. Ces personnages atypiques, qu’ils possèdent ou non une matérialité sur scène, qu’ils soient physiques ou virtuels, possèdent différents niveaux de présences suivant leur intégration au plateau et la dramaturgie, leur autonomie et leurs interactions avec leur environnement ou les corps réels qui leur donnent la réplique et avec lesquels ils partagent la scène. Comme nous allons le découvrir, ces nouvelles pratiques et esthétiques théâtrales visant à utiliser des Personnages Artificiels Anthropomorphes et Technologiques (PAAT) questionnent l’impact de notre époque en pleine révolution numérique et robotique sur nos corporéités et notre humanité, ce qui soulève un certain nombre d'enjeuxFamous directors, precursors of a new theater, such as Maurice Materlinck or Edward Gordon Craig, wanted to represent life on stage, weaving some conventionnal elements into the stage, instead of just making the best of the bodily presence of the actor on stage. They repressed the very simple imitation of real for some artificial and symbolic theatre questionning the representation of human's figure and the illusion of the living. Getting rid of the actor's body like it is in its private use, in its everyday life, through the use of masks, puppets or even elder technologies as light works or optical effects, heralded the appearence of the new medias on stage. Thereby, emerged back in the 90's, many inorganic characters made with video projections in two or three dimensions, holograms, and the presence of humanoids and androids. We can find that will to replace the actors' bodies with artificial caracters using technological projections in Denis Marleau and Stéphanie Jasmin's video caracters, Michel Lemieux and Victor Pilon's holograms, and again in Oriza Hirata's robots. All these atypical characters, whether they own or not some materiality (or corporality) on stage, or that they are physical or virtual, all of these own different levels of presence according to their integration on stage and dramaturgy, to their self-suffiency and to the interplays they share with each their environnement and the real bodies with which they interact and perform. As we will see, these new theatrical and aesthetics practices that aim to use some Anthropomorphic and Technological Artificial Characters, do question the impact of our time, dealing with digital and robotic revolution, on our corporealities and our humanity, definitively raises a number of issues…
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Rosales, Sepulveda Juan Carlos. "A technological innovation for capsicums production in Peru: the mechatronics arms." reponame:Repositório Institucional do FGV, 2014. http://hdl.handle.net/10438/13331.
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Peru agricultural exports have increased in recent years due to (i) free trade agreements with many countries (United States, Canada, European Union, China, Thailand, Singapore, Japan, Chile, among others), (ii) an increasing international demand for healthy products, (iii) country´s economic development and (iv) more private investments in this sector (Velazco 2012). Also, if we can compare among Peru three main regions (Coast, Andean highlands and the Jungle), It is the Coast (western region) that has a developed agricultural production due to unique weather conditions, private investments, public infrastructure, transport costs and quality of land (Gomez, 2008). This country development is also related to the production of non-traditional products for export like asparagus, artichokes, capsicums, bananas, grapes, among others; produced by agro industrial companies and small farmers and that are mainly labor intensive (Gomez, 2008 and Velazco, 2012). This very successful export diversification and self-discovery process was the result of a combination of strong natural comparative advantages (mainly excellent agro climatic conditions) and a significant innovation effort. It meant the introduction and expansion of new products and markets, the entry of new firms, and experimental research and the adoption of new techniques and process technologies developed abroad (in irrigation, crop management, post-harvesting, sanitary control, storage and packing) to produce high-quality, niche (gourmet) and higher value-added products, in line with consumer trends in sophisticated food markets. In products such as asparagus, mango, organic coffee and capsicums, Peru has become a leading world exporter (OECD). For this reason one of the government main tasks for the next years is to meet urgent agriculture producer’s needs in the areas of technological Innovation and business management (MINAG). In this context, this thesis analyzes the applicability of a new technology – the mechatronic arms – specifically to capsicums production sector in Peru. We chose Capsicums production sector (paprika, chilli pepper) because is mainly labor intensive and is the sector where my family company (DIROSE SAC) operates. This innovation consists in a 40 arms mechatronic combine, and it was first created in order to improve the efficiency on the labor intensive phase of harvest for this kind of agriculture products. It is estimated that a laborer with brief training operating the machine would be equivalent to 40 people that not only would work during daytime, but also on the night shift as well. Also, using this new technology can allow a company to make additional crops that would increase their yields and annual revenues. This thesis was developed as a business plan to make this new product available for other agriculture companies that operates in the capsicums production sector in Peru; however, this new technology has the potential to be modified in order to be available to other kind of agriculture products, in Peru and other countries.
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Kim, Kyung-Ah, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Yin-Yang O-Hang and technological art." THESIS_FPFAD_SD_Kim_K.xml, 1997. http://handle.uws.edu.au:8081/1959.7/439.
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This research aims to suggest a means of creating a closer relationship between technological artwork and its viewers through applying 'naturalising' technology in art using the theory of Yin-Yang O-Hang. The questions are raised : 1/. What are the vital factors of technological artworks? 2/. What sorts of methods can make using technology in arts more effective? 3/. How to overcome the difficulties in getting an intimate relationship between viewers and technological artworks? In order to optimise the aesthetic use of technology in art, the research is thus focused on 'naturalising' technology as a possible solution to overcome the negative aspects of technological artworks through the application of the theory of Yin-Yang O-Hang.Throughout this research, the author has discussed the fundamental concerns of the theory and its applications in Western and Eastern art. Furthermore, in investigating a number of artworks, the trends have been explored in technological art which are compatible with nature and humanity. The author has tried to find a way of applying the theory of Yin-Yang O-Hang to make technological art more intimate and accessible to viewersMaster of Arts (Hons)
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Daffara, Sara. "Non-flint raw materials in the European Middle Palaeolithic: variability of Levallois and discoid knapping methods and study of the supply areas." Doctoral thesis, Universitat Rovira i Virgili, 2020. http://hdl.handle.net/10803/669893.
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El projecte integra dades procedents de diferents matèries, és a dir, la tecnologia lítica, la caracterització i l'estudi de les àrees de subministrament de matèries primeres lítiques, per tal d'idefine les estratègies d'explotació d'ambdós territoris i matèries primeres litiques, emprades pels grups neandertals europeus, sobretot no siliceus matèries primeres, amb especial atenció a les estratègies d'explotació de vena quars. Per assolir els objectius de la recerca actual, s'han seleccionat quatre llocs europeus del Paleolític Mitjà. Tots els llocs comparteixen la presència en els seus conjunts lítics de quars de vena com a matèria primera principal o complementària i una significativa presència de seqüències de reducció de discoides i Levallois aplicades en diferents litologies (quarsita, quarsita, pórfir, síenita, sílex i xeringa). obtingudes a partir de l'estudi tecnològic dels conjunts lítics considerats, permeten definir per primer cop l'expedient tecnològic posat en marxa com a adaptació a les característiques mecàniques i petrogràfiques de les matèries primeres emprades en termes d'elecció dels espais naturals de conformació del nucli superfícies i desenvolupament de les seqüències de punt.El proyecto integra datos procedentes de diferentes temas, es decir, tecnología lítica, caracterización y estudio de las áreas de suministro de materias primas líticas, con el fin de idear estrategias de explotación de ambos territorios y materias primas líticas, empleadas por grupos europeos de neandertales, especialmente no silíceas materias primas, con especial atención a las estrategias de explotación del cuarzo en las vetas. Para alcanzar los objetivos de la presente investigación, se han seleccionado cuatro sitios europeos del Paleolítico Medio. Todos los sitios comparten la presencia en sus ensamblajes líticos de cuarzo venoso como materia prima principal o complementaria y una presencia significativa de secuencias de reducción discoide y de Levallois aplicadas en diferentes litologías (cuarzo de vena, cuarcita, pórfido, sienita, pedernal y sílex). obtenidos del estudio tecnológico de los conjuntos líticos considerados permiten por primera vez definir el recurso tecnológico puesto en acción como adaptación a las características mecánicas y petrográficas de las materias primas empleadas en términos de elección de los espacios en blanco naturales, de la conformación del núcleo superficies y del desarrollo de las secuencias de corte.
The project integrates data coming from different subjects, i.e. lithic technology, characterization and study of the supply areas of lithic raw materials, in order to idefine exploitation strategies of both territories and lithic raw materials, employed by European Neanderthal groups, concerning especially non-siliceous raw materials, with particular attention for vein quartz exploitation strategies.To achieve the objectives of the present research, four Middle Paleolithic European sites have been selected. All the sites share the presence in their lithic assemblages of vein quartz as main or complementary raw material and a significant presence of discoid and Levallois reduction sequences applied on different lithologies (vein quartz, quartzite, porphyry, syenite, flint and chert).The results obtained from the technological study of the considered lithic assemblages allow for the first time to define the technological expedient put into action as adaptation to the mechanical and petrographic characteristics of the raw materials employed in terms of choice of the natural blanks, of shaping of the core surfaces and of development of the knapping sequences.
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Barnes, James L. "An international study of curricular organizers for the study of technology." Diss., Virginia Tech, 1987. http://hdl.handle.net/10919/37284.
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The purpose of the study was to identify the key descriptors of a definition of technology and curricular organizers for use in the study of technology. Seven panels were used for the three round Delphi to identify the key descriptors and curricular organizers. The panels included: (1) technology educators, (2) philosophers of education, (3) philosophers of technology, (4) historians of technology, (5) anthropologists of technology, (6) futurists, (7) industrialists/business leaders.
A Thurstone and Chave Method of Equal Appearing Intervals was used to assign scale and Q values to each item ranked in the Q sort. An 80th centile was used for an item to achieve a consensus. The results of both research questions were rank ordered based on scale value from highest to lowest. Fourteen key descriptors of a definition of technology obtained a consensus. These are innovation; invention; creative; extends human capabilities (physical, social ,and intellectual); a process (change, individual, corporate, design, creative, and systematic); extension of human potential; problem solving; purposeful human manipulation of the material world; closely linked to science but not simply applied science, body of knowledge; used to solve problems and create opportunities; played an important role in the emergence of Homo sapiens; a system of tools, knowledge, and behaviors associated with the exploitation of environments; and has social, economic, political, and environmental impacts. Seven curricular organizers achieved a consensus. These are problem solving; process organizers (creativity, enterprise, systems, inventions, and problem solving); the process of technology; design and innovation; research and development; and awareness of implications and potential of technology (health, food, communication, production, and control).Ed. D.
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Martinho, Maria Teresa Duarte. "O interesse pela história da arte-um estudo dos frequentadores dos cursos livres da S.N.B.A. e do AR.CO." Master's thesis, Instituições portuguesas -- ISCTE-Instituto Superior de Ciências do Trabalho e da Empresa -- -Departamento de Ciências e Tecnologias de Informação, 1999. http://dited.bn.pt:80/29179.
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Walker, Janice R. "Literacy, Technology, and Change: The Gates of Hell." Scholar Commons, 1999. https://scholarcommons.usf.edu/etd/1552.
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In this dissertation, I first briefly examine the history of technology as it impacts on literacy practices, and especially the history of resistance to technological developments in the humanities. In so doing, I also briefly examine some of the possible ideological underpinnings of this resistance, including looking at some of the arguments proposed to counter it. More specifically, I consider how literacy practices, pedagogical practices, and assessment and gatekeeping practices in the field of composition studies impact on and are impacted by the intersection of computer technologies and our field. Finally, I offer some suggestions for ways in which our pedagogical practices may need to be reconsidered in light of changes in how we communicate.
In particular, I propose guidelines for writing teachers to help negotiate the transitional period between traditional and neo-traditional forms, bridging the gaps between existing standards for producing print documents and as yet undetermined standards required by new forms. That is, I present guidelines that I hope, rather than stifle change, can help guide authors in determining which existing standards make sense for new new forms, and which need to be reconsidered, thereby providing the flexibility necessary to cope with change. Because it is imperative that we consider the effect of our teaching of writing and reading on the further development of these technologies, as well as the effect of further development of these technologies on our teaching and study of writing and reading, I also suggest ways we may need to rethink the academy, including the position of the composition classroom itself.
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Kim, Kyung-ah. "Yin-Yang O-Hang and technological art /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.102630/index.html.
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Fachinello, Sandra Albuquerque Reis. "Ecos digitais: propostas poéticas." Universidade do Estado de Santa Catarina, 2007. http://tede.udesc.br/handle/handle/734.
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Previous issue date: 2007-11-01Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The art produced with digital mean, known as digital art, involves complex questions related to the specificity of the digital media which question the ways of production, exhibition, distribution, aesthetic appreciation, authorship, that encloses the quarrels of copyright, industrial patent, free and commercial software. This study also tackles a variety of issues concerning digital production, from the poetical possibilities explored, to the quarrel of problems such as domain and access of digital language. The present research investigates artistic proposals that use digital environment, the relation between the poetical richness and the technological and technical knowledge, which depends on the access to digital means. Reflecting on the story of artists who explore the digital media, as well as texts of theoreticians and art critics, the adopted methodology was the bibliographical research and interviews with the artists: members of the SCIArts group, Tania Fraga and Malu Fragoso. The criteria for the selection of these artists was based as their contribution to the field of Brazilian digital art through exhibitions an participation in events which discuss art and technology. The study examines the poetical process of the digital production present in artworks, such, interactive installations and artistic proposals of the digital medias, as the Poetical Atrator , Gravity Fluxions: pulsations and the Tracajá Project . Were clearly articulated in speeches of the interviewed artists and in the importance of the quarrel on the technique and technology and about questions of the access and domain implied at the digital art research. The artists alert for the necessity of support to the creation of groups to research free software, for development of appropriate means of evaluations in brief that are not specific for research in digital ways, to the increase of public funding that would finance equipment and programs of high cost, and discussion on the property right of these equipment and programs. They also point out the precariousness of the critical and the exhibition spaces without the necessary structure to slow this kind of artworks in Brazil. The research Digital Echoes - poetical proposals considers that the poetical proposals in digital ways - low or high tech - creates a space of fertile artistic and critical exploration
A arte produzida com meios digitais, nomeada de arte digital, envolve questões complexas suscitadas pela especificidade dos meios digitais que questionam os modos de produção, de exibição, de distribuição, de apreciação estética, de autoria, que abrange as discussões do direito autoral, patente industrial, software proprietário e livre. Enfim, são questões que vão desde as possibilidades poéticas exploradas até o domínio e acesso da linguagem digital. A presente pesquisa busca perceber nas propostas artísticas que se utilizam do digital, a relação entre a riqueza poética e o conhecimento técnico e tecnológico, o qual depende do acesso aos meios digitais. Refletindo sobre o relato de artistas que exploram os suportes digitais, assim como de textos de teóricos e críticos de arte, a metodologia adotada foi a pesquisa bibliográfica com entrevistas semi-estruturadas e presenciais com os artistas do SCIArts, Tania Fraga e Malu Fragoso. A escolha destes artistas deu-se pelo caráter de serem artistas brasileiros pesquisadores em meios digitais, com exposições e participações em eventos atuais que discutem arte e tecnologia. O estudo aponta o processo poético dos meios digitais presente nas instalações interativas e propostas artísticas das mídias digitais como o Atrator Poético, Gravity Fluxions: pulsations e o Projeto Tracajá, que ficou mais esclarecido nas falas dos artistas entrevistados e na pertinência da discussão sobre a técnica e tecnologia e sobre questões de acesso e domínio implicadas nas pesquisas em arte digital. Os artistas alertam para a necessidade do incentivo à criação de grupos de pesquisa, que investiguem software livres, para a adequação das avaliações nos editais que não são específicos para pesquisas em meios digitais, para o aumento de editais de fomento que consigam financiar equipamentos e programas de custo mais elevado, e para a discussão sobre o direito de propriedade desses equipamentos e programas, além de salientarem a precariedade da crítica e dos espaços de exposição sem a estrutura necessária. A pesquisa Ecos digitais - propostas poéticas considera que as propostas poéticas em meios digitais sejam low ou hight tech criam um espaço de exploração fértil
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Wang, Li-yan. "Teaching Art in an Age of Technological Change." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392038782.
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Deupree, William Erik. "Innovation on a budget the development of military technology during the interwar period, 1919-1939." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4934.
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This thesis investigates the progress of technological development during the interwar period of 1919 to 1939. The interwar period was a time of slashed military budgets and isolationist policies. However, despite political, financial, and organizational handicaps, each branch of the military made significant progress in the development of military technology, and the air corps and navy achieved significantly better results. The reason these two branches were able succeed was through a combination of organizational policy and the development of an overarching goal for their respective branch. Within this thesis, I investigated each of the major military branches during the interwar period, specifically the United States Army, Army Air Corps, and Navy. The air corps is considered a separate branch despite being a segment of the army due to its different strategic goal and its growing independence during the interwar period. In my research I found that the army made by far the least technological progress, but did make significant strides in terms of the development of individual components for larger projects. For example, the army developed the M1 rifle and state-of-the-art shock absorbers for tanks. The air corps succeeded in transforming from a small army auxiliary made up of wood-and-fabric biplanes into a largely independent branch of the military made up of all-metal monoplane bombers. The navy developed the aircraft carrier and aircraft to accompany the new ships, in addition to making substantial upgrades to existing ships. These upgrades included strengthening ships against torpedo attacks, making engines more efficient, and adding anti-aircraft guns to the ships' arsenals.ID: 030422712; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 98-105).
M.A.
Masters
History
Arts and Humanities
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Amaral, Carla Giane Fonseca do. "Arte e ensino tecnológico : deslocamentos para pensar a formação docente." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/111889.
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Esta pesquisa insere-se no contexto do ensino tecnológico e tem como inquietações iniciais os diferentes movimentos provocados pela presença de intervenções artísticas realizadas por alunos em um campus de um Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul. Ao observar os tensionamentos referentes à presença da arte nessa escola, percebeu-se que alguns docentes apresentavam certo tipo de resistência ou desconfiança com relação a tais atividades. Para entender os movimentos que a arte provoca nesse ambiente dedicado ao ensino de técnicas para o mercado de trabalho, desenvolveu-se esse estudo com o objetivo de investigar os possíveis deslocamentos na docência no ensino tecnológico, a partir da relação desses docentes com a arte, em especial com práticas artísticas contemporâneas. A questão central da pesquisa pretendeu entender que deslocamentos a arte, em especial a arte contemporânea, pode provocar para a docência no ensino tecnológico. O referencial teórico é centrado em diversos autores: Friedrich Nietzsche, com sua valorização da arte como potência para a vida, fazendo acreditar em sua potência para a formação docente; Nadja Hermann, com estudos a respeito da contribuição da experiência estética para a educação, permitindo pensar sobre a possibilidade de uma educação estética na Educação Profissional e Tecnológica; Michel Foucault, com a noção de deslocamento, auxilia a problematizar os movimentos provocados pelas práticas artísticas contemporâneas nesse campo; Luciana Loponte, com o conceito de docência artista, questiona as possíveis brechas para um processo contínuo de invenção de si mesmo entre os docentes da EPT. A pesquisa tem uma abordagem qualitativa e realizou-se a partir da produção de dados com aplicação de questionários aos docentes da escola durante exposição de práticas artísticas e, em outro momento, enquanto era feita exibição de vídeos artísticos no saguão da instituição. Como estratégias metodológicas, também foram realizadas entrevistas com docentes de variadas formações, entrecortadas por reproduções de obras de arte. Além disso, foi feita análise de documentos a respeito do ensino de arte na escola pesquisada e levantamento bibliográfico a respeito da trajetória do ensino profissionalizante no Brasil e da formação docente para esse sistema de ensino. O estudo destaca diversos deslocamentos na relação entre os professores da EPT e a arte: a necessidade de formação continuada que aparece nos relatos dos docentes é problematizada a partir de suas formações iniciais; a reação às práticas artísticas na escola se relaciona com a abertura dos docentes à arte na vida cotidiana e com as concepções de arte que circulam nesse cenário; a formação inicial dos docentes não parece ser determinante para a forma como se relacionam com a arte; está se instaurando um processo de abertura às experiências estéticas na escola pesquisada e a docência artista já se faz presente na atuação profissional de alguns docentes que da EPT. A pesquisa reforça as discussões a respeito das relações entre a arte contemporânea e a formação docente, apontando o potencial da arte para a criação de alternativas de formação continuada a partir dos questionamentos trazidos pelas produções artísticas contemporâneas a esse sistema de ensino.This search insets in the context of technological education and it has as initial concerns, the different movements caused by the presence of public artistic interventions performed by students in a campus of Federal Institute of Education, Science and Technology in RS. By observing the tensions related to the presence of art in that school, it was noticed that some teachers of technical education showed one kind of resistance or distrust regarding these activities. To understand the movements that art causes this environment dedicated to teaching techniques for the labor market, this study was developed in order to investigate possible displacements in teaching in technological education, from the relationship of teacher with art, especially with contemporary artistic practices. The central research question wanted to understand that displacements the art, especially contemporary art, can lead to teaching in technological education. This search is supported by several authors: Friedrich Nietzsche, with his appreciation of art as potency for life, making believe in its potency for teaching formation; Nadja Hermann, with studies regarding the contribution of aesthetic experience for education, making to think about possibilities of aesthetic education in PTE; Michel Foucault, with the notion of displacement, helps to problematize the movements caused by contemporary art practices in this area; Luciana Loponte, with de concept of artistic teaching, questions the possible gaps for a continuous process of inventing oneself among PTE teachers. The research has a qualitative approach and was carried out from the production data with application of questionnaires to teachers during exposure of artistic practices and, at another time, as was done artistic exhibition of videos in the hall of the institution. As methodological strategies were also conducted interviews with various formations teachers, interspersed with reproductions of works of art. In addition, was made analysis of documents about the learning of art in school researched and literature about the vocational training course in Brazil and continuing formation teachers for this school system. The study highlights several displacements in the relationship between teachers PTE and art: the necessity of continuing education that showed in the teachers’ reports is problematic from their initial formation; the reaction to artistic practices in school relates to the opening of teachers of art in daily life and the conceptions of art that circulate in this scenario; the initial teacher formation has not seemed to be decisive in this process; is introducing a process of displacement toward a bigger opening to artistic experiences at the school researched and artistic teaching is already present in the professional performance of some teachers who PTE. The search reinforces the discussions about relationship between contemporary art and teacher’ formation, pointing out the art potential to create alternatives of continuing education from questions brought up by contemporary artistic productions to this educational system.
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Naanda, Raimo Ndapewa. "The integration of identified employability skills into the Namibian vocational education and training curriculum." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5357.
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BibliographyThesis (PhD (Curriculum Studies))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Since the advent of the 21st century the world has been experiencing rapid changes in knowledge, technology and information. These changes pose challenges to the providers of education and training in general and vocational education and training in particular. The impact of technological advancement and the nature of organisational changes in the workplace demand skills of an increasingly higher level – particularly skills in the areas of information technology, problem solving and communication. The problem identified in this study was that graduates from vocational training centres (VTCs) in Namibia did not have appropriate employability skills needed at the workplace, as indicated by Namibian employers. The aim of this study was to identify the types of employability skills considered important by employers at the workplace and to determine how such skills could be integrated into the vocational education and training curriculum in Namibia. A literature review conducted revealed that employers require workers with the following key, core or employability skills: communication, information technology, working with numbers, working with others, problem solving and improving one’s own learning and performance. The population for this study was 493 employers providing on-the-job training or employing vocational training centre graduates. A total of 244 out of the 493 employers responded. The population of the study represented the following occupational sectors: auto trades, building construction trades, metalwork trades and electrical engineering trades. Data for the study were collected through reviewing the literature on employability skills, a survey questionnaire to employers and face-to-face interviews conducted with selected employers during the research. The following questions were explored in the questionnaire and structured interviews: i) Which employability skills are important at the workplace? ii) Who is responsible for developing employability skills? iii) If it is the responsibility of vocational training centres to foster employability skills, at which educational level should employability skills education be introduced? iv) How should the acquisition of employability skills be promoted? v) How should employability skills be assessed? The study found that employers in Namibia considered employability skills such as teamwork, time management, a positive attitude, problem solving, planning, and coping with multiple tasks as the most important skills they required from vocational training centre graduates. Employers further indicated that employability skills could be developed at family/home settings as well as at school and vocational training centres and suggested that employability skills education be introduced from level 1 during the first year of training. It was also found that portfolios, observation and practical assessment were credible approaches for assessing employability skills and that this should be done in real-life contexts. Based on the conclusions arrived at in the study, it is recommended that a policy framework for employability skills be developed and implemented in the Namibian vocational education and training system. Specific recommendations are made regarding the following aspects: the type of employability skills; whose responsibility it is to develop these skills; at which level of training the development of employability skills should be implemented; how they could best be learned and how the learning of employability skills could be assessed.
AFRIKAANSE OPSOMMING: Die snelle veranderinge op die gebied van kennis, tegnologie en inligting sedert die begin van die 21ste eeu bied groot uitdagings aan die verskaffers van onderwys en opleiding in die algemeen en beroepsonderwys en -opleiding in die besonder. Die uitwerking van tegnologiese vordering en die aard van organisatoriese veranderinge in die werkplek vereis groter hoërorde-vaardighede as vantevore – veral vaardighede op die gebied van inligtingstegnologie, probleemoplossing en kommunikasie. Die probleem wat in hierdie studie aan bod gekom het, was dat gegradueerdes van beroepsopleidingsentrums in Namibië nie oor voldoende indiensneembaarheidsvaardighede wat in die werkplek benodig word, beskik nie, soos aangedui deur Namibiese werknemers. Die doel van hierdie navorsing was om die soorte indiensneembaarheidsvaardighede wat werkgewers by indiensneming van personeel as belangrik beskou te identifiseer, en om vas te stel hoe sodanige vaardighede in die kurrikulum vir beroepsonderwys en .. opleiding in Namibië geïntegreer kan word. Literatuuroorsig het getoon dat werknemers benodig word met die volgende belangrike, kern- of indiensneembaarheidsvaardighede: kommunikasie, inligtingstegnologie, syfervaardigheid, samewerking met ander persone, probleemoplossing en die verbetering van eie leer en prestasie. Die navorsingspopulasie vir hierdie studie het uit 493 werkgewers bestaan wat indiensopleiding verskaf of wat persone in diens het wat reeds hul beroepsopleiding voltooi het. Tweehonderd-vier-en-veertig werkgewers het uiteindelik aan die vraelysondersoek deelgeneem. Die motor-, konstruksie- en metaalwerkbedryf, asook die elektriese-ingenieurswesesektor, is in die navorsingspopulasie verteenwoordig. Data is ingesamel deur literatuuroorsig te doen oor indiensneembaarheidsvaardighede, en deur vraelyste en persoonlike onderhoude. Die volgende vrae is in die vraelys en tydens gestruktureerde onderhoude gestel: i) Watter indiensneembaarheidsvaardighede is in die werkplek belangrik? ii) Wie is verantwoordelik vir die ontwikkeling van indiensneembaarheids-vaardighede? iii) Indien dit die verantwoordelikheid is van beroepsopleidingsentra om indiensneembaarheids-vaardighede te bevorder, op watter opvoedkundige vlak behoort opleiding met betrekking tot indiensneembaarheidsvaardighede ingestel te word? iv) Hoe behoort die aanleer van indiensneembaarheidsvaardighede bevorder te word? v) Hoe behoort indiensneembaarheidsvaardighede geassesseer te word? Daar is bevind dat werkgewers in Namibië indiensneembaarheidsvaardighede soos spanwerk, tydbestuur, positiewe houding, probleemoplossing, beplanning en die hantering van veelvuldige take as die belangrikste vaardighede beskou wat hulle van potensiële opgeleide werknemers verwag. Werkgewers het aangedui dat indiensneembaarheidsvaardighede in die huis, in skole en deur beroepsopleidingsentrums ontwikkel kan word. Hulle het voorgestel dat opleiding in indiensneembaarheidsvaardighede in die eerste jaar van opleiding by die beroepsopleidingsentrums vanaf vlak 1 aangebied behoort te word. Verdere bevinding was dat die assessering van kwekelinge se portefeuljes, waarneming en praktiese assessering geloofwaardige benadering tot die assessering van indiensneembaarheidsvaardighede is en dat dit binne die konteks van die werklike lewe gedoen behoort te word. Daar word op grond van die bevindinge onder meer aanbeveel dat beleidsraamwerk vir die ontwikkeling van indiensneembaarheidsvaardighede in die Namibiese beroepsonderwys en .. opleidingstelsel ontwikkel en geïmplementeer word. Spesifieke aanbevelings word gemaak ten opsigte van die tipes indiensneembaarheidsvaardighede, wie se verantwoordelikheid dit is om hierdie vaardighede te ontwikkel, op watter opleidingsvlak die indiensnemingsvaardighede geïmplementeer behoort te word, hoe dit ten beste aangeleer kan word, en hoe die leerproses met betrekking tot indiensneembaarheidsvaardighede geassesseer kan word.
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Geraldo, Luis Gustavo Bueno. "As galerias do virtual: o ciberflâneur e a produção artística no ciberespaço." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-26112011-222821/.
Full textAbstract:
Este trabalho tem como propósito analisar o conceito do ciberflâneur e sua relação com a produção artística que utiliza as redes digitais como recurso estético. O conceito do ciberflâneur é uma construção teórica sobre a figura do flâneur, personagem das metrópoles do século XIX, que propunha um novo olhar sobre os fenômenos urbanos. A pesquisa resgata a relação com a arte moderna que havia na figura original para traçar paralelos com as relações entre o ciberflâneur e a arte da rede. Através da análise de obras que utilizam a internet como base feita no capítulo final deste trabalho, buscamos apontar novos aspectos na conceituação do ciberflâneur, deflagrando aspectos no conceito que podem ser relacionados com as práticas artísticas da rede.This paper aims to analyze the concept of the cyberflâneur and its relation to artistic production that uses digital networks as an aesthetic tool. The concept of the cyberflâneur is a theoretical construct about the figure of the flâneur, the character of the metropolis of the nineteenth century, which proposed a new way of looking to the urban phenomena. The work rescues the relation of the original concept with modern art to draw parallels with the relationship between the cyberflâneur and network art. By examining works that use the Internet as basis in the final chapter of this paper we point out new aspects in the conceptualization of the cyberflâneur, making more evident some aspects of the concept that can be related to artistic practices.
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Firmeza, Yuri. "Performance e tecnologia: o lugar do corpo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-06102015-105048/.
Full textAbstract:
Esta pesquisa discute o lugar do corpo dentro do contexto das hibridizações natural/artificial que se apresentam na contemporaneidade. A pesquisa também compreende a apresentação de propostas experimentais oriundas e atreladas com o pensamento teórico deste trabalho. Ao longo da dissertação, ainda que implicitamente, o corpo - qual seja ele - é tratado sob o prisma de um corpo-ensaio. Ensaio não no sentido de algo a ser corrigido e passado a limpo, finalizado por práticas coercitivas, mas, ao contrário, um corpo em estado de constante invenção, arrebatado pelas forças entrópicas do mundo e em constante enfrentamento e negociação com as formas de controle e poder.This research discusses the place of the body within the context of the natural/artificial hybridizations that arise in the contemporaneity. The research also comprehends the presentation of experimental proposal coming from and related to the theoretical aspect of this work. Throughout the dissertation, even that implicitly, the body is treated under the prism of a body-test. Test not in the sense of something to be corrected, finished by coercive practices, but a body in a state of constant invention, caught by the entropic forces of the world, and in permanent confrontation and negotiation with forms of control and power.
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Horrocks, C. W. "Techno-theory : critiques of culture and technological being." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22366/.
Full textAbstract:
The work comprises a critical commentary and a portfolio of ten published major texts by the author, presented in whole or part. It represents a set of related themes and approaches to the subject of culture, technology and being. The portfolio critiques and develops theories of technology in response to significant examples within cultural contexts, in order to address and interrogate contradictions and assumptions pertaining to technologically led readings of images, objects and environments. The publications range from critical approaches to major theorists of technology and culture, including Baudrillard, McLuhan and Heidegger; artists who have utilised technology within performative contexts (Warhol, Duchamp, Gorgerous): and phenomenological studies of network-based culture. The commentary focuses on dominant theoretical concepts in order to connect the texts. These include Baudrillard's principle of 'reversibility', McLuhan's reading of disembodiment, Heidegger's 'standing reserve' and Jarry's 'pataphysics'. The work concludes with a critical obituary of Jean Baudrillard, and shows how the portfolio of publications (1999-2011) has had an impact within academe and for a more general readership, and how it informs current research and future publications.
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Guerra, Priscila Duarte. "A face revisitada por meio de máscaras pós-humanas: desafios estéticos e subjetivos." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-06022018-095724/.
Full textAbstract:
A presente pesquisa pretende examinar as possibilidades estéticas e subjetivas inerentes a máscaras pós-humanas. A fim de analisar a abordagem artística da face, selecionamos algumas obras de Lygia Clark, Hyungkoo Lee, France Cadet e Sterling Crispin para estudos de caso. Estes, destacados nos capítulos um, dois, três e quatro, nos permitem analisar de forma detalhada, trabalhos que esclarecem indutivamente a dinâmica da situação investigada. Em diálogo com os estudos de caso, é conduzida pesquisa de laboratório em que a face é também elaborada como máscara artística no âmbito da produção da pesquisadora, criada a partir da confluência entre meios artesanais, de produção de massa e meios digitais, ao gerar modelos tridimensionais e sua consequente representação física por meio da fabricação digital. Agrupamos as obras de acordo com vínculos aos procedimentos artísticos de recriação, dissimulação e simulação. Determinados assuntos surgidos das análises das obras ganharam embasamento teórico por meio de tópicos conceituais que discutem aspectos estéticos e subjetivos. Para a realização do estudo, desenvolvemos pesquisa bibliográfica, estudo de caso das obras dos artistas selecionados, pesquisa em laboratório e participações em congressos e mostras ligadas à Arte Tecnológica. Os resultados subjetivos e perceptivos da manipulação da face na arte tecnológica refletem o questionamento acerca da construção de singularidades e as transformações na concepção de ser humano. Assim, intenciona-se contribuir com o meio acadêmico, a sociedade e as artes na discussão sobre as subjetividades emergentes em contexto tecnológico.This research intends to examine the aesthetic and subjective possibilities inherent to posthuman masks. In order to analyze the artistic approach of the face, we selected some works by Lygia Clark, Hyungkoo Lee, France Cadet and Sterling Crispin for case studies. These, highlighted in chapters one, two, three and four, allow us to analyze in detail works that clarify inductively the dynamics of the situation investigated. In dialogue with the case studies a laboratory research is conducted where the face is also fabricated as an artistic mask within the scope of the researcher\'s production, created from the confluence of artisanal, mass production and digital media, generating three-dimensional models and its consequent physical representation through digital fabrication. We grouped the works in accordance with the artistic procedures of recreation, dissimulation and simulation. Certain issues arising from the analysis of the works have gained theoretical basis through conceptual topics that discuss aesthetic and subjective aspects. For the study, we developed bibliographic research, case study of the works of selected artists, laboratory research and participation in congresses and exhibitions related to Technological Art. The subjective and perceptive results of the manipulation of the face in the technological art reflect the questioning about the construction of singularities and the changes in the concept of human being. Thus, it intends to contribute to academia, society and the arts in the discussion about emerging subjectivities in technological context.
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Gigliotti, Carol A. "Aesthetics of a Virtual World: Ethical Issues in Interactive Technological Design." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391600444.
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