Thesis (M.A. (Hons.))--University of Western Sydney, 1999. / Includes bibliographical references.

Through creative art making practice, research seeks to contribute a body of knowledge to an under researched area by examining how key concepts germane to computer based, interactive, three-dimensional, virtual environment artworks might be explicated, potential compositional issues characterised, and possible production strategies identified and/or proposed. Initial research summarises a range of classifications pertaining to the function of interactivity within virtual space, leading to an identification and analysis of a predominant model for composing virtual environment media, characterised as the "world as model": a methodological approach to devising interactive and spatial contexts employing visual and behavioural modes based on the physical world. Following this alternative forms of environmental organisation are examined through the development of a series of artworks beginning with Bodies and Bethlem, and culminating with Reconnoitre: a networked environment, spatially manifest through performative user input. Theoretical corollaries to the project are identified placing it within a wider critical context concerned with distinguishing between the virtual as a condition of simulation: a representation of something pre-existing, and the virtual as potential structure: a phenomena in itself requiring creative actualisation and orientated toward change. This distinction is further developed through an analysis of some existing typologies of interactive computer based art, and used to generalise two base conditions between which various possibilities for practice might be situated: the "fluid" and "formatted" virtual.

Thesis (M.Ed.)--Victoria University of Wellington, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: David Gussak, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art Education. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains viii, 164 pages. Includes bibliographical references.

Thesis (M.A.)--University of Iowa, 2002. / Typescript. Includes bibliographical references (leaf 11).

Using the hypothesis that interaction with net art can be categorised, the primary purpose of the research was to generate a taxonomy of this interaction. Emphasis is given to interactive web based works that require the user to participate by contributing material to the piece. An initial period of contextualisation was required to position net art within contemporary arts culture this included an examination of previous attempts at categorising interactivity and the exploration of connected historical art practices. Most previous attempts at categorisation either characterise types of interactive work, or detail specific interactive characteristics the work itself may have. This aim of this thesis was to take an alternative approach by focusing on the interaction itself in order to create a taxonomy. To establish this characterisation of interactivity, several practical pieces of internet art were created that doubled as data collection tools. The main outcome of this project resulted in the development of my own Connected, Partially Connected and Unconnected ( C.P.U.) model of interactivity. This in turn necessitated the examination of the interactive process which resulted in defining a loop of interaction . This loop of interaction specifies several separate phases to the interactive process, the C.P.U. model of interactivity occupying one of these phases. This thesis primarily provides a platform with which to further interrogate interaction with net art. An unexplored area of Human Computer Interaction (HCI) that is specific to net art has been identified and is therefore of use to theorists and researchers working in this area. It is also of use to artists enabling them to better understand how interaction is understood within the context of their own practice.

Cette thèse a été menée à bien grâce au soutien financier du Fonds de Recherche du Québec – Société et Culture (FRQSC), de la Faculté des études supérieures et postdoctorales de l’Université de Montréal (FESP) et du Département d’histoire de l’art de l’Université de Montréal. / À la fin des années 1990 et au début des années 2000, les musées cherchent à renouveler leur image de marque afin d’attirer des publics plus diversifiés. Dans la foulée d’un utopisme généralisé qui caractérise Internet comme une force démocratisante pour les sociétés occidentales, les musées voient une occasion de fidéliser de nouvelles clientèles sur la base d’une participation supposée dialogique et émancipatrice. Les institutions muséales font alors l’acquisition d’œuvres d’art internet et certaines, pionnières, en font même la commande. Pour quelles raisons ? Les cas analysés dans cette recherche permettent d’élucider cette question par l’analyse culturelle des œuvres inaugurales de cette pratique artistique et muséale : Ding an sich (The Canon Series) de Piotr Szyhalski, commandée par le Walker Art Center ; Uncomfortable Proximity de Graham Harwood acquise par la Tate ; IdeaLine de Martin Wattenberg présentée par le Whitney Museum of American Art. Nous constatons que, arrimées à des infrastructures en ligne développées en étroite collaboration avec et par l’industrie technologique, ces œuvres se situent à la rencontre d’intérêts convergents des mondes institutionnel et entrepreneurial. L’industrie technologique trouve dans l’espace muséal internet une opportunité de déployer son offre de service à des clientèles favorables – les œuvres sont un attrait ; l’institution discerne dans l’entreprise un partenaire d’affaires expert à même de raffiner son image en ligne auprès de spectateurs à conquérir – les œuvres sont un atout. Les productions qui en découlent s’immiscent dans des espaces hybrides : entre espace expositionnel et page informationnelle ; entre fonction artistique et discours démocratisant autour de l’œuvre ; entre objet de collection et distinction philanthropique. Au carrefour des relations entre institution et industrie, ces œuvres portent un regard acéré sur leurs conditions d’émergence et mettent au jour les dynamiques muséo-entrepreneuriales qui sous-tendent leur arrivée. Face à des ensembles discursifs connotés, elles sont à même de conceptualiser l’industrie technologique non pas comme une autorité commerciale hégémonique, mais comme un appareillage théorique riche de stratégies thématiques et de modes opératoires à même d’être démantelés, détournés, renversés, critiqués. / At the end of the 1990s and the beginning of the 2000s, museums sought to revitalise their image with the aim to attract increasingly diversified audiences. The general view of the Internet as a democratic force in western societies lead institutions to consider it as an opportunity to acquire new audiences through participation which was thought to foster emancipation and dialogue. Enthused, museums thus acquire internet artworks and some even commission them in order to inaugurate newly developed media arts programs. For what reasons? Our case studies provide an answer to this question, along with a cultural analysis of artworks, annual reports, press releases and other pertinent documents: Ding an sich (The Canon Series) by Piotr Szyhalski acquired by the Walker Art Center; Uncomfortable Proximity by Graham Harwood commissioned by the Tate; IdeaLine by Martin Wattenberg presented by the Whitney Museum of American Art. We found that these artworks are at the intersection of converging interests on the part of the institutional and business worlds as they are presented in online infrastructure developed in close collaboration with the technological industry. To this industry artworks are enticing as they offer an opportunity to expose a favourable clientele to its products; to the institution artworks are an asset to attract expert business partners able to enhance the online museum brand in the eyes of audiences. As such, artworks are located in hybrid spaces: between exhibition and information spaces, between artistic purpose and democratising discourse, between collection and philanthropy. At these crossroads, artworks take a sharp look at the conditions and dynamics that underlie their arrival. In the face of connoted discourses, they conceptualise the technological industry not as hegemonic commercial authority but as theoretical apparatus, rich with thematic strategies and operating modes ripe for dismantling, diverting, reversing, and criticising.

The master thesis is focused on recent inosculation of photography and modern information technologies and also on a daptation of photography to current trends in communication. Special emphasis is set on fine-art photography. Besides delimitation of problem the first part of the text is dedicated to foundation and history of photography where the author refers to dramatic changes that had taken place in the early beginnings. The second part is dealing with contemporary phenomenon - social networks and their moving into the virtual space of the Internet during last decade. The author aims on key aspects of social networks which have a significant influence when in combination with photography. The next part shortly deals with problems of copyright that show up in relation to digital photography. Part of text is devoted analysis of several selected systems specialized in fine-art photography publishing and eventually their selling. The author describes their significant attributes, principles on which they are based and mentions differences among each other. The fundamental part of the document is focused on practical view of interconnection between fine-art photography and digital information technologies whereas the ideas relates to pieces of knowledge gained from several selected and interviewed...