This research explores parallels, connections and synergies between public art, artistic practice beyond the gallery context, and Web 2.0, the Internet platform for user‐ generated content, online communication medium and host for web-based communities. I look at the impact, actual and potential, of Web 2.0 on the ways in which public art is made. Through Web 2.0 a different set of criteria and methods can be established in order to re-examine the practice of art. What can public art learn from Web 2.0? What are the possible debates that Web 2.0 can provoke in the field of public art? What novel forms of audience engagement with, and participation in, public art could be inspired by the practices of co-creation and sharing integral to Web 2.0? Has the relationship between artists and audience changed because of Web 2.0? Web 2.0 prompts us to reconsider the ways in which public art is produced. In my approach I take into consideration that Web 2.0 is useful in expanding the possibilities of public art by providing a unique opportunity for shared creativity in the public space. I call this field Public Art 2.0. This study considers the attributes of Web 2.0 as a methodological framework for public art. It offers a reconsideration of the understanding of the contentious issues surrounding the practice using Web 2.0 as a platform of shared creativity. To validate this argument further, this research investigates two case studies: the Big Art Mob (2006) and the Bubble Project (2002). Both initiatives represent an area where public art and Web 2.0 intersect. This thesis includes a report of findings from qualitative interviews with members of both projects. Public Art 2.0 is a hybrid type of practice that borrows from the digital world and applies the principles of Web 2.0 in the physical space. Public Art 2.0 is a creative space where changes are welcomed at any time. Public Art 2.0 is open source — a process of creation, encouraging multi-authorship and shared creativity. Public Art 2.0 is viral — it can be replicated and re-presented many times by anyone that wishes to do so. Public Art 2.0 is a platform that anyone can build upon and a process that enhances the ability to create together.

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Thesis (M.A.-Res.)--University of Wollongong, 2009. / Typescript. Includes bibliographical references: leaf 107-115.

Made available in DSpace on 2016-04-26T18:12:49Z (GMT). No. of bitstreams: 1 Bruno Mendonca.pdf: 15521252 bytes, checksum: 0e00cdbacb1c2ad6f27e9f29c008aa84 (MD5) Previous issue date: 2012-12-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this research is to study and analyze the viral poetic of interdisciplinary groups which have produced some multimedia and social media actions. To understand this research one has to keep in mind that the viral poetic projects and actions are the ones which investigate and explore the ability to reach out while communicating on the social media by considering the importance of some elements such as the emergency and the autopoiesis . This research presents the timeline and the mapping of these groups artistic manifestations along with an explanation on the project development and on the creative process. The groups which were selected for this research are the ones that use the tools, aids and methodology of mass communication to produce their work while presenting a strong political positioning that spreads out to a macro environment and to the social media as well. The theoretical justification of this research is based on previous studies published by Jussi Parikka, Malcolm Miles and Vilém Flusser and the most recent studies of Cesar Baio and Fabio Oliveira Nunes. We aimed at analyzing their artistic projects, their political, social, economical and cultural extension and the impact produced when they reached out the public. The complexity and the hybridism of these contemporary practices push for an investigation on these artistic movements which have been recently found in the mass communication environment / A presente pesquisa tem como objetivo estudar e analisar as poéticas virais de grupos interdisciplinares que trabalham com estruturas de natureza corporativa e que promovem ações multimidiáticas e em rede. No caso pode-se entender por poéticas virais projetos e ações que investigam e exploram além do potencial da comunicação em rede, elementos como emergência e autopoiesis. A pesquisa é composta por uma contextualização histórica e um mapeamento dessas práticas artísticas e pelo estudo das obras e projetos destes grupos e seus processos de criação. No caso os objetos de pesquisa estudados são grupos que se apropriam de ferramentas, suportes e metodologias da comunicação de massa para a realização de trabalhos com um forte posicionamento político e que se desdobram de forma macro-ambiental e em rede. Para a fundamentação teórica a pesquisa se apóia em pesquisadores como Jussi Parikka, Malcolm Miles, Vilém Flusser e pesquisas recentes no campo da arte-mídia como as propostas pelos pesquisadores Cesar Baio, e Fabio Oliveira Nunes. A pesquisa tem como foco a análise destes projetos artísticos e suas dimensões políticas, sociais, econômicas e culturais e suas ramificações. A complexidade e o hibridismo dessas práticas contemporâneas promovem uma investigação sobre os movimentos de transformação nos campos da comunicação

This text is a part of my years long art work. Industrial architecture and mechanical parts, fascination to functions of mechanisms and the aesthetics of industry are for years my hobby. These phenomens became fundamental for my art work. In this work I introduce my creative basis. Their main themes are fundamental changings of human's development. Subsequently I have searched for similar contents used in the artistic world. Particulary I thought about the risks and dangers which the new technical age hides from our site. Technologie from a lot of points of view abbreviates our lives but on the other hand it is also a risk for people who do not esteem the values of our environment, nature and do not think much of their own ephemerality. The didactic part of my work I spent upon playfulness which is for all children natural. Mechanisms, constructions and technologies enable the creation of an abstract world and fantastic beings. The topic of "Industries" offers a rich scale of inspiring ideas for work with children. At the same time we save the concepts of how to combine the cultural and nature's world. It is necessary to educate all in the spirit of living, staying playfull and sensetive at the same time.

This bachelor thesis discusses the conveying power of the audio and visual media in an audiovisual creative process based on the concept of audiovisual dissonance and Circumplex Model of Affect (Russell, 1980) with its key components, valence and arousal. In this design process we use the research key concept of audiovisual dissonance as a design perspective.Dissonance can also be described as a contradiction, with this an audiovisual dissonance can be seen as a contradiction between the audio and visual media. Chion (1994) coined the term audiovisual counterpoint which he describes as when the picture and the sound doesn’t match. In this design process we strived to create dissonance between audio and visual representations of different emotions. To create these dissonances the design process uses the Circumplex Model of Affect (Russell, 1980) which is a way to organize emotions in a two-dimensional coordinate system in relation to each other and their experienced valence-arousal. Valence is the concept that describes if the emotion is positive or negative while arousal is the concept that describes how intense the emotion is. The proximity between each of the emotions is based on their similarities in how they are experienced. This study is based on the idea to get a better understanding of how the audio and visual media affects a person’s emotional experience and how dissonance could be created between these two forms of media. The study resulted in a creative process with a strong connection to previous research in affect and media technology related work procedures. The creation of a matrix based on previous research created a focus and an approach that was beneficial for the creative process. The study deals with questions about effect in cooperation with the audio and the visual medium. New questions have emerged where we question whether it’s the physical properties of the medium or their association in everyday life that determines the experienced affect. / Detta kandidatarbete diskuterar ljud och bilds förmedlande krafter i en audiovisuell skapande process utifrån begreppet audiovisuell dissonans och Circumplex Model of Affect (Russell, 1980) samt dess nyckelbegrepp valence-arousal. Vi har valt att applicera undersökningens centrala begrepp audiovisuell dissonans som designperspektiv. Dissonans kan också beskrivas som motsägelse, en audiovisuell dissonans är då en motsägelse mellan ljud och bild. Chion (1994) myntade begreppet audiovisual counterpoint vilket han beskriver som när det audiella och det visuella mediet inte stämmer överens. Vi har i arbetet strävat efter att skapa dissonans mellan representationer av olika känslor i det audiella samt visuella mediet. För att skapa dessa dissonanser använder sig undersökningen av Circumplex Model of Affect (Russell, 1980) vilket är ett sätt att placera ut känslor i ett tvådimensionellt koordinatsystem i relation till varandra utifrån känslans upplevda valence-arousal. Valence är begreppet som beskriver hur positiv eller negativ en känsla är medan arousal beskriver hur intensiv känslan är. Detta koordinatsystem baseras på att känslor som är placerade nära varandra har mer gemensamt än de känslor som är placerade långt ifrån varandra. Denna undersökning syftar till att kunna få en tydligare bild av hur det audiella och det visuella mediet påverkar en persons emotionella upplevelse samt hur en dissonans kan skapas mellan dessa två medier. Undersökningen resulterade i en skapande process med stark koppling till tidigare forskning kring emotionella stimuli samt medietekniska arbetssätt. Skapandet av en matris genom sammanställning av den tidigare forskningen skapade fokus och ett tillvägagångssätt som lett den skapande processen framåt. Undersökningen hanterar frågor kring emotionella stimuli i samverkan med det audiella och visuella mediet. Nya frågor har framträtt där vi frågar oss om det är de audiella samt visuella mediets fysiska uppbyggnad eller deras association till vardagen som ligger till grund för vilka känslor som framkallas.

This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.

In this dissertation I investigate photographs not only as images of something, or as objects we can hold, but I also investigate how they are acts grounded in place. That is, I consider the photograph as event. The backbone of my research is a hybrid social science and visual art undertaking in which I produce both academic texts and art installations through visual inquiry into the intensely imagined places that are Canadian national parks. I examine how the myth of wilderness is made concrete in visual images of Waterton Lakes National Park, Alberta. I explore the situatedness of photography through ethnographic and archival research into the conditions that produced over four-hundred photographs of Waterton from the late 19th century to the present. This research advances understanding of how specific historical photographic events shape dominant systems of environmental knowledge in Canada. I explore the intertwined histories of place and representation in Waterton over the past 150 years and how they emerge in the present. To unravel the politics of representation in national parks in Canada I address three key questions: First, how do images that portray and represent wilderness in Canada affect not only our imagination about national parks, but our experiences in, and actions in, national parks? In particular, how are photographs not just representations of national parks but how do we form a relationship to space and place through them? Second, I carry out a visual investigation of Waterton Lakes National Park to study the photograph as event, and ask, how photographs, not just as images and objects, are acts grounded in place? Finally, I ask: What new approaches can be deployed to investigate existing visual collections and to bring them to bear on the history and present of the national park space? I describe how visual methods can generate new ways of thinking about photography and place.