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Grosheva, A. A. "Art and technology." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14369.
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Merline, Mark. "Art and technology." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314899963.
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Wallenstein, Sven-Olov. "Nihilism, Art, and Technology." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38737.
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The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts.<br>The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.
4
Blackwell, Kerry J., University of Western Sydney, and Faculty of Visual and Performing Arts. "Martin Heidegger: art and technology." THESIS_FVPA_xxx_Blackwell_K.xml, 1997. http://handle.uws.edu.au:8081/1959.7/33.
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An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all<br>Master of Arts (Hons) Visual Arts
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Blackwell, Kerry. "Martin Heidegger: art & technology." [S.l. : s.n.], 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030811.151320/.
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Blackwell, Kerry J. "Martin Heidegger: art and technology." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/33.
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An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all
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Blackwell, Kerry J. "Martin Heidegger : art & technology /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030811.151320/index.html.
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Thesis (M.A. (Hons.)- Visual Arts) -- University of Western Sydney, Nepean, 1997.<br>The thesis includes : Appendix 1- Catalogue of Works which comprises 59 coloured slides. The intent of this body of work is to visually interpret the book of poems "Akhenaten" by the Australian contemporary poet, Dorothy Porter. Thesis submitted for the degree of Master of Arts (Honuors) Visual Arts, University of Western Sydney, Nepean, Faculty of Visual and Performing Arts. Bibliography : p. 58-61.
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Langstaff, Holly. "Maurice Blanchot : art and technology." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/101267/.
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Maurice Blanchot (1907-2003), writer of fiction, literary critic, political journalist and thinker, is one of the most influential figures in twentieth-century literature and thought. The relationship between art and technology is a largely unexplored aspect of Blanchot’s writing; this thesis examines his engagement with the question of techne in criticism and fiction over a fifty-year period and demonstrates that he is far from subscribing to the technophobia of probably the most influential thinker of technology, Martin Heidegger. It is argued that writing for Blanchot is a mode of techne which destabilises the opposition between nature and culture, or nature and technology, or nature and history, and provides a means of thinking other than the anthropos. The chronological approach of this thesis stresses how a thinking of writing as techne radicalises over time and indicates the enduring influence of Blanchot. The first chapter considers the treatment of the division, often taken for granted by critics, between literary and everyday language; focussing on Blanchot’s reading of Mallarmé in essays dating from 1940 to 1952, this chapter reveals a shift in his thinking of literature from autonomy to radical non-essentiality. The second chapter examines Blanchot’s critical engagement with Heidegger in essays written in 1953 and shows how we might reconcile Blanchot’s work with ecological thought. A third chapter focuses on the discussion of modern technologies in essays from the 1950s and 1960s and the coincidental emergence of the non-concept of the neuter in literature and criticism; it listens to various apocalyptic tones in work from this period to reveal a continuity between the experience of the technological and of the imaginary. The final chapter explores how ‘technique’ is everywhere implied once the term disappears from Blanchot’s idiom; it argues that fragmentary writing is that techne which outplays the human.
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Swayze, Eddie. "Techno art /." Online version of thesis, 1995. http://hdl.handle.net/1850/12179.
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Campbell, Kurt (Kurt Denver). "The tensions in technology : influences of technology in the modern age." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16268.
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Thesis (MA(BK))--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: Technology as a formal structure has been given pride of place in many
developing countries because of its association with modernity and social
development. It has been grouped with Science as a force that operates
beyond reproach because of its perceived rational and instrumental nature. By
surveying current theories of technology, philosophy and technology
development modules, I investigate the implications that modern technology
and technological artifacts have beyond merely their instrumental role. I will
question the current conceptions of technology as a rational, objective force
by arguing that technology operates as a force that more often than not
produces a variety of unintended consequences as part of its impact on
society.<br>AFRIKAANSE OPSOMMING: In menige ontwikkelende lande geniet tegnologie voorrang as ‘n formele
struktuur weens die verbintenis daarvan met moderniteit en sosiale
ontwikkeling. Tegnologie word saam met wetenskap gegroepeer omdat dit,
weens die waarneembare rasionele en instrumentele aard daarvan,
onberispelik funksioneer. Deur huidige teoriee van tegnologie, filosofie en
tegnologiese ontwikkelingsmodules te bestudeer, ondersoek ek dié
aanduidinge wat moderne tegnologie en tegnologiese artefakte bo en behalwe
hul blote instrumentele rolle besit. Ek sal die huidige opvattings van
tegnologie as ‘n rasionele, objektiewe krag bevraagteken deur te argumenteer
dat tegnologie eerder ‘n verskeidenheid van onopsetlike voortvloeisels as deel
van sy impak op die samelewing tot gevolg het.
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Turner, Rhys. "Etherscapes massless, elastic, technology and control /." Connect to full text, 2004. http://hdl.handle.net/2123/1100.
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Thesis (M.V.A.)--University of Sydney, 2005.<br>Title from title screen (viewed 27 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Geiger, William. "The art educator's role in technology education." Online version, 2009. http://www.uwstout.edu/lib/thesis/2009/2009geigerw.pdf.
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Turner, Rhys Stephen. "Etherscapes: Massless, Elastic, Technology and Control." University of Sydney, 2005. http://hdl.handle.net/2123/1100.
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Master of Visual Arts<br>This thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?
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Spolnik, Jennifer Lynn. "Technology in Non-Profit Museums in Ohio: A Survey of Technology Usage and Barriers." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420563676.
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Stiers, Abigail. "The Relationship between Value Systems in Art and Trends in Art and Technology." Fogler Library, University of Maine, 2011. http://www.library.umaine.edu/theses/pdf/StiersA2011.pdf.
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Leclercq, Christophe. "Experiments in Art and Technology : la question environnementale." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010663.
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L'activité théorique et pratique d'Experiments in Art and Technology (E.A.T.) soulève un certain nombre de problèmes esthétiques, ceux posés par une organisation qui soutient la collaboration entre artistes et ingénieurs, à l'intérieur comme à l'extérieur du monde de l'art. Cette thèse interroge l'irruption, jugée symptomatique, de la question environnementale en art, et la mobilisation, par les principaux acteurs d'E.A.T., du concept équivoque d'environnement pour désigner non seulement ce qui nous entoure, mais aussi ce qui peut nous influencer. En confrontant les propos de John Cage, Robert Whitman et Robert Rauschenberg sur leur pratique à des œuvres de références attestant de l'imprégnation des technologies dans nos existences on identifie une approche environnementale qui participe d'une explicitation, par l'art, de l'environnement contemporain. Ces artistes s'efforcent en effet de mettre en évidence, par leur travail, les qualités esthétiques d'un environnement naturel et artificiel, à l'égard duquel on ne peut plus être indifférent. L'attention portée à la perception dans l'expérience de cet environnement, témoigne d'un intérêt commun pour une physique phénoménale qui, bien qu'en relation avec des préoccupations scientifiques, s'en démarque cependant. Il s'agit non seulement de transformer cet environnement diffus en un espace perçu, mais également d'interroger la place et le rôle de l'artiste dans la mise en forme de l'environnement humain. S'élabore ainsi avec E.A. T., une recherche-action centrée sur l'individu, et qui envisage la possibilité, non plus simplement de vivre dans, mais d'exister avec son environnement<br>The theoretical and practical activity of Experiments in Art and Technology (E.A. T.) raises a number of aesthetic problems - those posed by an organization whose aim was to facilitate and encourage collaboration between artists and engineers, both inside and outside the art world. This thesis investigates the eruption of environmental issues in art and the use made by E.A.T.'s main actors of the ambiguous concept of the environment, a concept which includes not only what surrounds us but also that which can have an influence on us. By juxtaposing and comparing what John Cage, Robert Rauschenberg and Robert Whitman had to say about their practice with key works on the infiltration of technology into our lives, we will identify an environmental approach that is part of an “explicitation” of the contemporary environment by and through art. These artists strive to highlight, through their work, the aesthetic qualities of a natural and artificial environment, the consequences of which cannot leave us untouched or indifferent. The focus on perception in the experience of this environment reflects a common interest in a 'phenomenal physics' which, even if related scientific concerns, also differs significantly from them. It is not only a question of the transformation of this pervasive environment into a perceived space but also a matter of investigating the place and role of the artist in the shaping of the human environment. Thus we see in E.A.T.'s program an activity a form of action-research focused on the individual, which envisages also the possibility not only of living in but of existing with one's environment
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Greh, Deborah Ellen. "Computers in art education /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778184.
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van, den Bosch Craig David. "Technology pursuing the dialectical image /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/vandenbosch/vandenBoschC0507.pdf.
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da, Nobrega Carlos Augusto Moreira. "Art and technology : coherence, connectedness, and the integrative field." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2248.
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This thesis is a theoretical and practical intervention in the field of art and technology. It proceeds from the re-examination of four specific domains that in the past 40 years have considerably informed the invention of new aesthetic forms. They are: art, science, nature and technology. We have identified that each one of these domains and the way they inform one another reflects the influence of a Western analytical tradition based on fragmentation, dichotomies and dualities. In consequence of this, art of the last decades has suffered from a sort of mechanistic thought which results from a predominantly weary aesthetic model, founded in dualities such as: object/process, form/behaviour, meaning/information. The main question that the present study addresses is how to overcome this predominantly reductionist inheritance and to develop an aesthetic model able to interconnect in an integrative fashion those disparate domains, respective discourses and practices? The answer to this question, developed throughout this thesis, is an aesthetic principle built upon the notions of resonance, coherence and field models, rooted in an integrative view of living organisms based on the theory of biophotons. This constitutes the main contribution of the thesis to new knowledge. The theoretical approach of this thesis is developed upon the revision of the concept of form, supported by a Gestalt analysis as provided by Rudolf Arnheim, and has involved the consideration of the ideas of Gilbert Simondon (the concept of "concretisation") and Vilem Flusser (the concept of "apparatus"), in order to gain a deeper insight into the nature of technology. In conclusion, the practice-based methodology of this thesis has been to develop artworks based on the confluence of living organisms (plants) and artificial systems in order to permit empirical observation and reflection on the proposed theory. The major outcome of the practice is the artwork "Breathing", a hybrid creature made of a living organism (a plant) and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts and interacts with the observer through his/her act of breathing. This work is the result of an investigation into plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes.
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Burns, Ian. "Art Viewing and New Technology: Manufacturing the Screen Image." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365383.
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This exegesis outlines the procedures, processes and methodology used in developing a significant body of studio work that investigates the dominance of the screen-image in contemporary art and culture. Following the established modes of practice-based research, the outcomes can be seen in two phases: the work developed and exhibited during the candidature, and the culminating submission exhibition. All the outputs resulted from intensive studio practice, although without using the studio as a hermetic environment, but rather as the base for practice attuned to the feedback loop of constant interaction and review of the most recent developments in exhibition practice and technique. All of the works discussed in the exegesis and developed towards the final submission demonstrate the progressive interrogation of the production of a screen-image from primitive forms such as the camera obscure through to the high-definition digital television image. A clear evolution is evident in the forms and strategies for dealing with the relationship between the screen and the machinations and industry that is behind bringing the image to fruition. The final submission exhibition brings these processes to a point of conclusion, if not resolution, where the material production experience and knowledge of the limits of the technology combine to demonstrate a new understanding of the impact of digitally generated screen-images and the role of the image in the age of new technology...<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Queensland College of Art<br>Full Text
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Sterthaus, Kerstin. "Motion in architecture and the convergence of art and technology : Art center in Berlin, Germany." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1136709.
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"The essence of architecture is the power of adaptation to fresh facts.” Berthold LubetkinThis creative project was my way of exploring if a convergence of art and technology in architecture can exist today.This exploration involved two focus points: one was movement and the other was glass technology.Movement was used for the exploration of the spatial relationships within an interpretation of our society today: the movement on the site as well as the inner motion of the single building elements.Glass was my modern technology tool for translating artistic ideas within architecture. It acts as a mediator between inside and outside space, between art and technology and creates a connection to the ‘understanding’ of our society.This paper is presented in five parts. The first part is the introduction to my thesis and the theoretical research about art and technology. Second is the process which I used for this project. The project is the third part. The fourth part is about glass, which represents my way of exploring the convergence of art and technology within architecture today. The last part of this paper is the overall conclusion.<br>Department of Architecture
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Yoo, Ahyoung. "To Be Two Places at Once: Technology, Globalization and Contemporary Korean Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.
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Kuzminsky, Tracy V. "Interactive Whiteboard Technology within the Kindergarten Visual Arts Classroom." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/21.
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The purpose of this document is to design and record a Kindergarten visual arts unit using the Activboard to determine how student achievement, motivation, and interest are impacted. Methods of data collection include both observational recording and student interviews. The Activboard facilitates a highly interactive study of the art curriculum and data collected throughout the unit indicates a positive impact on student achievement, motivation, and interest.
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Hahn, Michael Gerard. "Examining the creative process : electronic technology in art and design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11765.
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Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.
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Iordanidou, Chrysavgi. "Daylight openings in art museum galleries : A link between art and the outdoor environment." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215338.
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This thesis is investigating how the typology of daylight openings in art museum galleries is affecting the connection to the outdoor environment. Museum architecture nowadays emphasizes on the museum’s public role and interaction with the urban context, with transparency as the key to this approach. Considering the benefits and challenges of introducing natural light in art museum galleries, its controlled use enhances the experience of both the artworks and the space. The different typologies of daylighting and their design parameters have a direct impact on the connection to the outdoor environment and the shaping of views. Two case studies are analyzed in order to investigate various daylight openings designs, their integration in the exhibition space and the relationship they form with the exterior. Examining the findings, a discussion is developed on the range of factors that affect the connection to the outdoors. The thesis concludes that the design of daylight openings determines the way and the degree the galleries communicate with the exterior environment.
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Oxborrow, Marie Lynne Aitken. "Interactive Web Technology in the Art Classroom: Problems and Possibilities." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3172.
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Research has shown that the use of technology in curriculum, and art classrooms in particular, can benefit students. This thesis outlines these benefits which include the potential for technology to make learning more personal, assist students in their future careers, and allow opportunity for collaboration. Still, several obstacles impede the full-fledged realization of that potential, often leading teachers to avoid or ignore technology in their pedagogical strategies. This thesis addresses these obstacles and provides practical and theoretical solutions. Once these obstacles are overcome, teachers will be better able to incorporate new technology in their lessons, such as social media, podcasts, open-source websites, and online programs. As an example of art teaching that uses technology, this thesis also provides a sample lesson plan for secondary students, incorporating elements of interactive Web technologies that have been recommended by art education scholars.
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Peddisetty, Naga Raju. "State-of-the-art Intrusion Detection: Technology, Challenges, and Evaluation." Thesis, Linköping University, Department of Electrical Engineering, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2792.
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<p>Due to the invention of automated hacking tools, Hacking is not a black art anymore. Even script kiddies can launch attacks in few seconds. Therefore, there is a great emphasize on the Security to protect the resources from camouflage. Intrusion Detection System is also one weapon in the security arsenal. It is the process of monitoring and analyzing information sources in order to detect vicious traffic. With its unique capabilities like monitoring, analyzing, detecting and archiving, IDS assists the organizations to combat against threats, to have a snap-shot of the networks, and to conduct Forensic Analysis. Unfortunately there are myriad products inthe market. Selecting a right product at time is difficult. Due to the wide spread rumors and paranoia, in this work I have presented the state-of-the-art IDS technologies, assessed the products, and evaluated. I have also presented some of the novel challenges that IDS products are suffering. This work will be a great help for pursuing IDS technology and to deploy Intrusion Detection Systems in an organization. It also gives in-depth knowledge of the present IDS challenges.</p>
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Holmes, Tiffany. "Eco-visualisation : combining art and technology to reduce energy consumption." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2784.
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Artworks that display the real time usage of key resources such as electricity offer new strategies to conserve energy. These eco-visualisations-or artworks that creatively visualise ecologically significant data in real time-represent a substantial contribution to new knowledge about dynamic feedback as a tool to promote energy conservation and environmental site-based learning in this interdisciplinary project that expands and builds on prior findings from the fields of art, design, environmental psychology, and human computer interaction (HCI). The aims of this research endeavor were to locate answers to the following questions related to energy conservation in various public contexts. Might dynamic feedback from data-driven artwork create a better understanding of resource consumption patterns? Which environments are best for promoting eco-visualisation: borne, workplace, or alternative spaces? What kinds of visualisation tactics are most effective in communicating energy consumption data? These initial questions generated a four-year research project that involved an extensive literature review in both environmental psychology and art history that culminated in three different case studies, which targeted the effectiveness of eco-visualisation as an innovative conservation strategy. The three primary claims to be proven with supporting evidence from the literature reviews and case studies are: (1) eco-visualisation offers novel visual ways of making invisible energy data comprehensible, and encourages site-based learning; (2) eco-visualisation that provides real time visual feedback can increase environmental awareness and possibly increase the conservation behaviour in the viewing population; (3) eco-visualisation encourages new perceptions of linkages between the single individual and a larger community via site-based dialogue and conversation. Although the results of the three case studies are generally positive and prove the claims, there are larger social and environmental questions that will be addressed. How can eco-visualisation be productively integrated into the home or workplace without becoming a disposable gadget that represents a passing fad or fancy? Most importantly, how can energy conservation interventions be conceived to be as sustainable as possible, and non-threatening from a privacy perspective? These questions and more contribute to the discussion and analysis of the results of the three case studies that constitute the primary source of new knowledge asserted here in this dissertation.
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NASCIMENTO, ELEN CRISTINA CARVALHO. "ELECTRONIC ART: THE MISSING LINK BETWEEN DESIGN, SCIENCE AND TECHNOLOGY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30067@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Este trabalho propõe a reflexão sobre a relevância da Arte Eletrônica no processo de formação e produção para o conhecimento contemporâneo, bem como suas afinidades com o campo do Design, desde os princípios históricos até as práticas de produção e experimentação transdisciplinares que ampliam os limites entre Arte, Ciência e Tecnologia. Os capítulos refletem os problemas epistemológicos encontrados e trazem à análise, conceitos e exemplos de obras de Arte Eletrônica, desde estágios iniciais de experimentação até modelos publicamente apresentados. Foram também realizadas entrevistas com professores, alunos, especialistas e pesquisadores de áreas relacionadas para auxiliar em análises comparativas de interpretação.<br>This work proposes to reflect on the relevance of Electronic Art in the process of formation and production of the contemporary knowledge, as well as its affinities with the field of Design, from historical principles to practices of transdisciplinary production and experimentation that expands the boundaries between Art, Science, and Technology. The chapters reflect the epistemological problems encountered, and bring the analysis, concepts, and examples of works of Electronic Art, from initial stages of experimentation, to publicly presented models. In addition, interviews were conducted with teachers, students, specialists, and researchers from related areas to assist in comparative analysis of interpretation.
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Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.
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Ramer, Heber M. "Emancipatory technology as liberal art education : a rationale and structure /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401442298.
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Morgan, Leah H. "Computer art methodologies for teachers how two art teachers learned to use technology and disseminate that knowledge to other teachers /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3273563.
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Thesis (Ed.D.)--Indiana University, Art Dept. of Curriculum and Instruction, 2006.<br>Title from PDF t.p. (viewed Nov. 21, 2008). Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2767. Adviser: Enid Zimmerman.
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Partin-Harding, Melissa C. "Innovative Teaching Strategies: Teaching Art Photography In The Digital World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308282675.
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Hemmerla, Paul S. "Factors related to the level of instructional use of computer based technology by Missouri secondary art teachers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999297.
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Essex, Elizabeth. "A Service-Learning Approach to an Arts-based Technology Course to Increase Pre-service Teacher Receptivity to Teaching Technology." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1690.
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The following question and sub-question guide this thesis project: 1) How does a service-learning approach in an arts-based technology course increase pre-service teacher receptivity to teaching technology? 2.) What are some barriers to teaching technology for pre-service teachers? A positive service-learning experience provides good learning models which have the potential to address the barriers to teaching technology for pre-service teachers by influencing their self-efficacy. Included in this thesis is a unit plan which responds to these research questions. There are many barriers to teaching technology for teachers including lack of funds, availability and quality of computer hardware and software, teaching models for using computer technology in instruction, time to learn to use computer technology, and teacher attitude (Rogers, 2000). A service-learning approach in an arts-based technology course could increase pre-service teacher receptivity to teaching technology by addressing these needs, the most important of which is providing pre-service teachers with a model for using computer technology in their instruction. Computer hardware and software availability is a problem which the teacher educator can address through writing a grant for funds, computer hardware and software, introducing the pre-service teachers to free and open source software, and negotiating with the partner school's administration and classroom teachers. Equally important is discussing this process with the pre-service teachers so they may learn from that experience. A positive experience teaching using computer technology has the potential to change pre-service teacher attitude about the ability of a teacher to influence students and their personal ability as a teacher (Wade, 1995; Root & Furco, 2001). Through service-learning, K-12 students and pre-service teachers have the opportunity to teach each other about digital art. It is through these unit plans that a mutual relationship is formed, which enables learning to occur on both ends. Throughout the unit plan, pre-service teachers are given time to reflect on their learning experiences and discuss what they are learning by working with the students. When teaching digital art to pre-service teachers, while it is important to give goals, guidelines and some basic instruction to lay the ground work for future discoveries, pre-service teachers and students alike need the opportunity to find the solutions to their own technical and artistic problems. The curricular ideas and unit plans contained within this thesis may serve as idea-generators for teacher educators interested in enriching their computer technology curriculum for pre-service teachers by incorporating service-learning into their practice. The big ideas were chosen to emphasize the idea of a learning community. Students and pre-service teachers develop a relationship over the course of teaching in which both learn from each other through the pre-service teachers' lessons and how the lessons are interpreted by the students. In effect, these unit plans are a beginning for future projects which integrate service-learning and the digital arts.
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Patera, Marianne. "The potential of 3D visualisation technology in art and design education." Thesis, Glasgow School of Art, 2009. http://radar.gsa.ac.uk/4735/.
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This thesis investigates the potential of 3D visualisation technology for learning and teaching in Art and Design higher education. The aim of this research was not merely to employ the 3D technology but also to identify, design and evaluate an appropriate learning and teaching activity. Three empirical studies were conducted as part of this investigation on the topics of: Colour Theory Colour Experience Spatial Understanding The purpose of this study was to evaluate the effectiveness of the learning activity in its entirety, for learners, tutors and institutions. This research demonstrated that different educational topics may require different technological solutions. It proved that the implementation of carefully designed educational technology can enhance current learning, teaching and assessment processes in Art and Design education.
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Gerstein, Rosalyn. "Interpreting the female voice : an application of art and media technology." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/15110.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1986.<br>MICROFICHE COPY AVAILBLE IN ARCHIVES AND ROTCH.<br>Bibliography: leaves 224-227.<br>by Rosalyn Gale Gerstein.<br>Ph.D.
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Epstein, Michael 1969. "Moving fiction : novelists, technology designers, and the art of the exchange." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/39166.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.<br>Includes bibliographical references (leaves [61]-63).<br>How can concepts from literature and technology design combine to create new forms of storytelling on mobile devices? This paper examines the theory and practice of bringing literary techniques into mobile technology design. First I present a model of media technology evolution which is not progressive, but atemporal-grounded in the ongoing expressive challenges of the humanities. This theory forms the basis for what I call the exchange: temporary collaborations between creative writers and interaction designers which lead to new forms of fiction and communications technology. I promote close readings of literature as a starting point for the exchange, examining specific passages for mobile storytelling inspiration and innovative means of modeling users. I then look at nascent efforts in storytelling over mobile devices, focusing on museum tours, grassroots organizations, artist collectives, research groups, and, lastly, my own work. In the end, I advocate a hybrid form of "Moving Fiction," combining mobile media characters with live actors, music, and sensory input from the surrounding environment.<br>by Michael Epstein.<br>S.M.
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Haikes, Belinda. "A MEDIATED INTIMACY: ART, TECHNOLOGY, AND EXCHANGE IN THE DIGITAL AGE." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/485.
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A Mediated Intimacy; Art, Technology and Exchange in the Digital Age examines the role of intimacy in the technologically extended work of art. The text posits that there are three strategies that the technologically extended work of art uses to create mediated intimacy. These strategies are technological completion, where the viewer/participant completes the work; technological exchange, where the viewer/participant enters into an exchange with the work; and technological displacement, where the viewer is displaced from their time and place and occupies a new co-constructed space. The strategies are analyzed through the theories of subjectivities of the self, and Foucault’s approach to inter-subjective exchanges is employed to understand how they function. The strategies are further demonstrated through analysis of works by Gary Hill, Janet Cardiff and Martine Neddam. A concrete example of the three strategies is presented in an original mobile media based project, Cite, Site, Sight: Richmond.
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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
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Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
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Clayton, Jane. "The art of regeneration : the establishment and development of the Foundation for Art and Creative Technology, 1985-2010." Thesis, University of Liverpool, 2012. http://livrepository.liverpool.ac.uk/8413/.
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This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio-economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. This research concludes that FACT, in its establishment and development, has been heavily influenced by the unique local conditions of Liverpool, and by wider national policy, and it asserts that the organisation’s growth was aided by its location in a city that was in receipt of increasing levels of financial support after the social unrest of the early-1980s, throughout New Labour’s policies of ‘social inclusion,’ and following the award of European Capital of Culture status in 2003. Intrinsically linked to these funding opportunities was the process of institutionalisation that FACT has undergone, and the rebranding of the organisation in 1997 and opening of the FACT Centre in 2003 are cited as the main reasons for the redefinition of the organisation’s aims and objectives. These claims are supported by the interrogation of the Video Positive festivals, the Collaboration Programme and the Moving Image Touring and Exhibitions Service, sub-brands which comprised FACT’s core offer prior to the opening of the FACT Centre. The changes that have taken place within each of these projects is identified as symptomatic of the power of national funding and government policy, the changing technological environment and the production and consumption of art.
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Meiron, David. "A descriptive evaluation of a video art production." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University, 1992.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2716. Typescript. Accompanying videorecording, "Truth" : a video art piece, cataloged separately. Includes bibliographical references (p. 27-28).
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Van, Gelder Pia. "Machinic affinities." Thesis, The University of Sydney, 2012. https://hdl.handle.net/2123/27316.
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Audio-Visionaries is a body of work that includes open-circuits and
assemblages that create audio-visual outputs. Through electronic
experimentation, exploration and improvisation the work practically
investigates the notion of machinic affinities, whose theoretical
implications this paper will investigate. The work, and this paper,
engage in media archaeology as a methodology, an emerging field of
media theory which re-examines forgotten or quashed ideas and
practices dealing with media technologies. This methodology manifests
itself in the work by employing everyday media machines, along with
heirloom technologies, and by appropriating historical and contemporary
interdisciplinary techniques, in order to reveal machinic liveness. The
paper examines these techniques and their relationship to threads of
both esoteric and popular philosophy, science and psychology that
discuss the ontology of machines.
Machinic affinity is a feeling of closeness or fondness for machines. For
the purpose of this paper I will limit my discussion to machines of a
specific nature, excluding computer technology in order to focus on a
more general class of machines that generate audio or video media;
media-machines. This affinity is precipitated by an animist belief; that all
objects are living or have a spirit. This esoteric philosophy, often
associated with primitive cultures, has been recently re-examined by
contemporary theorists and artists. I will discuss how this discourse has
influenced my art making.
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Taylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989." University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
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[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
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Quan, Annie Phuong. "Mini Printer for Nail Art." Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors162022581425803.
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Yoon, Sohhyoun. "VIRTUAL REALITY IN ART EDUCATION." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2021.
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This thesis project presents possible uses of Virtual Reality for art education. To understand VR, this thesis reviews the history of using technology in educational environments and explores the concepts, definitions, and characteristics of VR in general. Then, it shows diverse purposes of VR for education and art educational environments. For an art class, the units present the use of Teen Second Life, which is a free on-line virtual world. The units demonstrate how art educators may use Teen Second life for high school art classes to build students’ understandings of their identities by creating their avatars, clothing, objects and artwork and by displaying the artwork in a virtual community. The purpose of this thesis project is to suggest possible uses of VR for art educational environments.
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Gallegos, Jason S. "An Art Unconfined." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253706484.
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DOHERTY, WILLIAM. "ART + DEMOCRACY: Expanding the meaning and practice of Democracy through Public Art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22783.
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This thesis contributes to an EU Policy Lab project entitled The Future of Government 2030+. The aim of which is to generate knowledge in the context of the rapidly changing relationship between citizens and government.Using a co-design and speculative design process this thesis specifically looks at informing a citizen centric perspective on envisioning and formulating the design of new interactive tools and forms of engagement. Looking at the potential of art’s role in rethinking the way democracy and governments operate and exploring how citizens could interact, participate and engage in democracy. Investigating how new forms of debate and decision making could unfold in both domestic and public spaces in a future model of participatory democracy.A framework for a future model of government is presented in this thesis through prototype scenarios. This framework emerged from citizens visions of communication and interaction with a future government. The framework focuses on two key areas where artistic expression is used: 1: The formulation and communication of issues of concerns. 2: Community organising for creative participation in addressing these issues.The discussions on art and democracy by philosophers John Dewey and Bruno Latour were influential in the formulation and selection of the methodological approach. Culminating in a sequential design research process conducted through public probes, cultural probes and co-design workshops.
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Prusak, Błażej, and Olena Rybak. "Adaptation of the world art market to the conditions of the pandemic within digital technology." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/54608.
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1. Art market worldwide statistics & facts | Statista. URL:
http://www.ukrstat.gov.ua/ (дата звернення: 04.12.2021).
2. Vickers M. Marketing and Buying Fine Art Online.: URL:
https://archive.org/details/ marketingbuyingf00vick (дата звернення: 06.12.2021).
3. Hermann, M., Pentek, T. and B. Otto (2015). Design principles for
Industrie 4.0 Scenarios. Working paper No.01/2015. Technische Universität
Dortmund, 15 p.<br>The authors looked into the aspects of world art market adaptation to
the conditions of the pandemic within digital technology, analyzed the main market
trends, described changes in the trade mechanisms. The main challenges of the
current art market were defined, and the ways to resolve them were outlined.