Thesis (MDram (Drama))—University of Stellenbosch, 2005. / Oral Art (Woordkuns) as a performing art form is a burgeoning independent theatre genre that has developed especially over the last decade with the rise of the national arts festivals. By investigating the literary term word art, the eclectic nature of oral art as a theatre genre, the oral art text and the role of the visual within an oral art performance, we are able to give a paraphrase or definition of oral art as a theatre genre. Oral art as a performing art form can firstly be defined with reference to the origins of the oral art text, namely an existing work(s) that originated as a non-dramatic literary work(s) and that is revisited within a new context; secondly a shift in the dramatic presentation from physical action to the spoken word. The eclectic nature of oral art is a further characteristic of this theatre genre. Oral art has the ability to change in form and function and not only can it be biographical or autobiographical, but it can also be socio-politically intended. The hybrid nature of oral art – oral art texts combine in many cases works from different genres – also shows many similarities with other theatre genres like cabaret and black political protest theatre. Three possible structures are identified within the oral art text, namely an episodic structure, a developing story line or argument and a compilation consisting of a number of short stories or narratives. The oral art text can be compiled from a number of literary genres and the choice of material is determined by the overarching theme and the format of the performance. Visual elements support the oration within an oral art performance. The different types of texts used in the compilation of an oral art program determine the presentation style and stage composition. Physical action is representational rather than realistic. The use of décor, props, costumes and lighting are minimal and multi-functional.

Wassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was translated from German into English by Michael Sadler. Naming it at first, “The Art of Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote color and music theories based on angles, synesthetic experiences, subjective instincts, chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and bring forth into the new generation of technology where we can see music as numerical expressions. The goal of this iPhone Application is to teach users the relationship between color and music based on Kandinsky’s theories. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Esta tese apresenta estudos sobre a arte contemporânea inserida nas tecnologias, denominada Artemídia, e suas possíveis correspondências com o contexto do jogo. Embasados em uma metodologia de investigação teórico-bibliográfica, na preocupação de entender e evidenciar nesta trajetória, as possibilidades e os tipos de interações sociais que ocorrem durante a participação do espectador nesta referida proposição artística, buscamos articular, de modo interdisciplinar, conceitos e teorias que envolvem arte, tecnologia e sociedade. Para isso, na observação de diversas instalações artísticas em suas formas de interação, identificamos e analisamos alguns parâmetros que contribuíram para a produção desta associação entre arte, jogo e sociabilidade, dentre eles, olhamos com mais proximidade para as circunstâncias da abertura à participação e interação do sujeito na obra de arte, bem como deslocamento da mesma para os centros urbanos; além disso, foi examinada sua vocação à interatividade quando mediada pelos artefatos tecnológicos, fator que abriu passagem para perceber e considerar a provocação para um olhar de encantamento e fascínio em determinados participantes, observamos também as possibilidades de ampliação das percepções e estímulo às sensações de sinestesia, além de analisar mais a fundo os conceitos contextuais do jogo. Desta maneira, explanamos sobre a Artemídia, suas relações com as tecnologias e seus aspectos voltados para a brincadeira, diversão e entretenimento, o que evidenciou sua capacidade de produção de estímulos, tanto para as interações sociais quanto na motivação de mudanças de comportamento dos sujeitos. Deste modo, consideramos que as possíveis correspondências entre o jogo e a Artemídia, bem como suas formas de interação e mediação, podem constituir um estado de transformação social e produção de socialidade. / This thesis presents studies about contemporary art embedded in recent technologies, denominated as Media Art, and their possible relations with the game context. Based on a theoretical bibliographic research methodology, to understand and evidence in this trajectory, social interactions possibilities that occur during the spectator participation in this referred artistic proposition, we articulate, in interdisciplinary way, concepts and theories that involve art, technology and society. For this, from the observation of the artistic installations and theirs interaction forms, we identified and analyzed some parameters that contributed to the production of this association between art, game and sociability, so we look more closely at the openness circumstances of the art participation and their interaction to the subject, and to displacement of the Media Art to the urban centers were also seen; moreover, its vocation to interactivity was examined when mediated by technological artifacts, the reason that made us to perceive and consider a look of enchantment and fascination in certain participants, was also observed synesthesia as possibilities of expanding perceptions and stimulating feelings, as well as analyzed deeply the game contextual concepts. In this way, we explain about Media Art, their relation with technologies and aspects that with involve play, fun and entertainment, whose motivation ability was demonstrated both for social interactions and for the instigation of subjects' behavior changes. Therefore, we consider that the possible matches between the game and Media Art, including their forms of interaction and mediation, constitute in some kind of social transformation and sociality production.

Esta tese apresenta estudos sobre a arte contemporânea inserida nas tecnologias, denominada Artemídia, e suas possíveis correspondências com o contexto do jogo. Embasados em uma metodologia de investigação teórico-bibliográfica, na preocupação de entender e evidenciar nesta trajetória, as possibilidades e os tipos de interações sociais que ocorrem durante a participação do espectador nesta referida proposição artística, buscamos articular, de modo interdisciplinar, conceitos e teorias que envolvem arte, tecnologia e sociedade. Para isso, na observação de diversas instalações artísticas em suas formas de interação, identificamos e analisamos alguns parâmetros que contribuíram para a produção desta associação entre arte, jogo e sociabilidade, dentre eles, olhamos com mais proximidade para as circunstâncias da abertura à participação e interação do sujeito na obra de arte, bem como deslocamento da mesma para os centros urbanos; além disso, foi examinada sua vocação à interatividade quando mediada pelos artefatos tecnológicos, fator que abriu passagem para perceber e considerar a provocação para um olhar de encantamento e fascínio em determinados participantes, observamos também as possibilidades de ampliação das percepções e estímulo às sensações de sinestesia, além de analisar mais a fundo os conceitos contextuais do jogo. Desta maneira, explanamos sobre a Artemídia, suas relações com as tecnologias e seus aspectos voltados para a brincadeira, diversão e entretenimento, o que evidenciou sua capacidade de produção de estímulos, tanto para as interações sociais quanto na motivação de mudanças de comportamento dos sujeitos. Deste modo, consideramos que as possíveis correspondências entre o jogo e a Artemídia, bem como suas formas de interação e mediação, podem constituir um estado de transformação social e produção de socialidade. / This thesis presents studies about contemporary art embedded in recent technologies, denominated as Media Art, and their possible relations with the game context. Based on a theoretical bibliographic research methodology, to understand and evidence in this trajectory, social interactions possibilities that occur during the spectator participation in this referred artistic proposition, we articulate, in interdisciplinary way, concepts and theories that involve art, technology and society. For this, from the observation of the artistic installations and theirs interaction forms, we identified and analyzed some parameters that contributed to the production of this association between art, game and sociability, so we look more closely at the openness circumstances of the art participation and their interaction to the subject, and to displacement of the Media Art to the urban centers were also seen; moreover, its vocation to interactivity was examined when mediated by technological artifacts, the reason that made us to perceive and consider a look of enchantment and fascination in certain participants, was also observed synesthesia as possibilities of expanding perceptions and stimulating feelings, as well as analyzed deeply the game contextual concepts. In this way, we explain about Media Art, their relation with technologies and aspects that with involve play, fun and entertainment, whose motivation ability was demonstrated both for social interactions and for the instigation of subjects' behavior changes. Therefore, we consider that the possible matches between the game and Media Art, including their forms of interaction and mediation, constitute in some kind of social transformation and sociality production.

Text in English with abstracts in English, Afrikaans and Setswana. Translated titles in Afrikaans and Setswana supplied / Dataset link: https://doi.org/10.25399/UnisaData.14101913.v1 / The gap between diverse cultures living in a globalized world is not intransigent nor unassumingly flexible. This space is an arena of dissimilarities and correlations, which result in interactions that incite unusual expectations. ‘Cultural hybridity’ is clearly mirrored within contemporary society. New methods and approaches are required to comprehend the lived experiences of escalating displacement. This research traces the trajectory of migration, identity, self and other from the point of view of contemporary diasporic artists. Notions of ethnicity, authenticity, identity, transnationality, singularity and duality are debated against the backdrop of the creative practices of Anish Kapoor and Yinka Shonibare. Informed by Homi K. Bhabha’s concept of the third space, and also theories of hermeneutic translation by Georg Gadamer and Paul Ricoeur, this dissertation creatively and critically investigates the ambiguities and ambivalences in this field of inquiry. / Die gaping tussen uiteenlopende kulture wat in ’n geglobaliseerde wêreld woon, is nóg onversetlik nóg pretensieloos veerkragtig. Hierdie ruimte is ’n arena van ongelykhede en korrelasies wat lei tot interaksies wat ongewone verwagtings ontketen. “Kulturele hibridisme” word duidelik in die eietydse samelewing weerspieël. Nuwe metodes en benaderings word vereis om die werklike ervarings van toenemende ontheemding te verstaan. Hierdie navorsing spoor die trajektorie van migrasie, identiteit, self en ander vanuit die oogpunt van eietydse diasporiese kunstenaars na. Idees rondom etnisiteit, egtheid, identiteit, transnasionaliteit, enkelvoudigheid en tweevoudigheid word teen die agtergrond van die kreatiewe praktyke van Anish Kapoor en Yinka Shonibare bespreek. Hierdie verhandeling, wat geïnspireer is deur Homi K. Bhabha se konsep van die derde ruimte, asook teorieë van hermeneutiese verplasing deur Georg Gadamer en Paul Ricoeur, ondersoek op ’n kreatiewe en kritiese wyse die dubbelsinnighede en teenstrydighede in hierdie ondersoekveld. / Sekgala magareng ga ditso tse di farologaneng tse di tshelang mo lefatsheng le le susumetsanang ga se a tsepama le mme ga se obege bonolo. Sebaka seno ke serala sa dipharologano le dikamano tse di lebisang kwa dikgolaganong tse di tlhosetsang ditsholofelo tse di sa tlwaelegang. Tota 'motswako wa setso' o bonala sentle mo setšhabeng sa sešweng. Go tlhokega mekgwa le selebo se sentšhwa go tlhaloganya maitemogelo a phuduso e e oketsegang. Patlisiso eno e lebelela motlhala wa bofudugedi, boitshupo, jwa sebele le jo bongwe go tswa mo mogopolong wa batsweretshi ba sešweng go tswa mo mafelong a bofudugedi (diaspora) Go ganetsanwa ka megopolo ya lotso, boammaaruri, boitshupo, boditšhaba, bongwefela le bobedi go lebeletswe ntlha ya ditiragatso tsa boitlhamedi tsa ga Anish Kapoor le Yinka Shonibare. Thesisi eno e e theilweng mo mogopolong wa ga Homi K. Bhabha wa sebaka sa boraro, le ditiori tsa saense ya boranodi ka Georg Gadamer le Paul Ricoeur, e batlisisa ka boitlhamedi le ka tshekatsheko, ketsaetsego e e mo lephateng leno la dipatlisiso. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)