Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016. / This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction]. / MT2017

The software artwork creation process is investigated using interviews with the artists, Brogan Bunt, Pierre Proske, Nathaniel Stern, Joshua Goldberg and Pall Thayer. This research asks the questions: How do practising software artist experience their development process? How does this process compare with the Agile software development process? How can conclusions made from a comparison between the Agile process and the discussions held with practising software artists shed light on the areas where the Agile process can assist artists and areas which might be avoided? The creative process was investigated from a cognitive psychological angle. The software development process was investigated from an Agile process point of view. Concepts connected with software as art medium provides the themes that face artists who choose software as medium. This study illuminates aspects of the Agile process that may assist software artists as well as highlight areas of the process that may disrupt the creative process. A process that is iterative, allows different cognitive styles and supports collaboration is recommended. Tools such as source code control and exploratory testing can support artwork documentation and exploration of the medium. The practical component of this research relates to the philosophical themes of the underlying software visibility in software art and a visual interpretation of the software development process.

This exegesis details the development of four interactive artworks that enable audiences to observe and reflect on aspects of their own psychophysiology, using the technologies of biofeedback interaction as a way of situating the participant’s subjectivity and bodily experiences within each other as reciprocal phenomena. The central theme addressed through these works concerns the representation and experience of subjectivity as a physiologically embodied phenomenon. Although contemporary theories of psychophysiology and phenomenology have overturned the idea of mind-body separation, many forms of cultural practice continue to represent subjectivity as a fundamentally disembodied phenomenon. The artworks documented in this exegesis extend this process of re-examination through the use of interacting bio-sensing technologies and audience participation. Each of the works create a space where participants and observers alike can become present to aspects of body-mind process. / Doctor of Creative Arts (DCA)

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 146-152). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 146-152). Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M.L.A.)--University of South Florida, 2003. / Title from PDF of title page. Document formatted into pages; contains pages. Includes bibliographical references.

Binder's title on spine: Avant-garde, technology and the creation of an American art. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references. / Microfiche. / viii, 281 leaves, bound ill. 29 cm

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (61 p. : ill. ; 21 x 30 cm. + Archive (75 leaves : ill. ; 21 x 30 cm.)), together in 1 container (23 x 31 cm.). Held in City Campus Collection (T 701.8 LEE)

Thesis (M.S.) -- Central Connecticut State University, 2007. / Thesis advisor: Cora Marshall. "... in partial fulfillment of the requirements for the degree of Master of Science in Art Education." Includes bibliographical references (leaves 77-80). Also available via the World Wide Web.