Thesis (Ph. D.)--UCLA, 2005. / Vita. Illustrations not reproduced. Description based on print version record. Includes bibliographical references (leaves 185-206).

Thesis (M.F. A.)--Washington State University, May 2007. / Includes bibliographical references (p. 10).

Mémoire (M.A.)--Univesité du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf 55).

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript.

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaves 21-22).

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. 87-90. Document électronique également accessible en format PDF. CaQCU

Thèse (M.A.Plas.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. 70-73. Document électronique également accessible en format PDF. CaQCU

In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.

This study proposes new, interdisciplinary performance practices for music, and critiques reception strategies for existing inter-arts performance. The first section of the study examines the ways in which music performance practice intersects with questions of authorship and adaptation, and formulates methods of interdisciplinary performance practices by drawing on the literature of Critical Theory and post-structuralism. The second part of the study proposes methods of reception that critique the necessity for pure contemplation and conceptualizes how distracted reception offers an important alternative for interdisciplinary, and conceptually polysemic, performance work. The principal motivation behind both of these proposals for the re-contextualization of performance practice and reception is based upon a critique of transparent and monosemic communication. Thus. the study critiques structures of evaluation and presentation that have at their core an objectivist approach that strives for transparency at the cost of acknowledging polysemic complexity and difficulty. The study concludes that several alternatives to the objectivist traditions of criticism. in this study represented by the concepts of interpretive violence, distracted reception and conceptual polysemy, can indeed be used to promote heightened conceptual awareness.