How do music consumers come into contact with the music they like? How is music consumption patterns developed? Using a phenomenological approach this master's thesis sets out to answer a number of questions regarding the development of music consumption patterns. To do this in-depth interviews has been carried out with eleven respondents who were interviewed about their experi- ences of developing a music consumption pattern. Through this research it is shown how the development of music consumption patterns is a long process which begins with the introduction of the music consumer to an artist or group upon which future consumption will be conditioned and continues through the constant adding of new music and knowledge until the music listener one day stops developing his or her taste further and the music consumption stagnates. This research has also made possible the analysis of how well three influential theoretical models are at explaining music consumption from the perspective of the music consumer.

My research investigates the premise that fear, anxiety and uncertainty in reason, impact on the essence of the desire to believe in structures, our categorisation of ideology, myself, my approach to artwork and creativity in this contemporary era. / This thesis is divided into three different chapters based on the motif “Rational Irregularity”. The first chapter is about the “idea” of antinomy in reason in philosophy and psychoanalysis drawing on Kant, Lacan and neuroscience (nerve science). The second chapter considers the position of art and the artist through Derrida and Danto’s discourses. It further explores the mechanism of art and creativity in the contemporary era using my own interpretation of Lacan’s method of psychoanalysis. The third chapter considers my artworks which are based on the psychological symptom of Sleep Paralysis and the fasting experience through the form of video installation. / The reason I focused on the discourses of contemporary philosophy is that I feel the knowledge of theories in any time affects the mechanism of human civilisation in that era. That in turn influences people, the subject and the phenomena of art. This discourse is fluid and the possibility of further discourse emerges from this understanding. Philosophy influenced my way of perceiving phenomena in the world. The understanding of these ideas and the expressions of my artworks became more complex because of those theories and related readings, I entered a problematic realm through this new knowledge. This paper seeks to extrapolate the chaos of these complex thoughts and ideas so I can better understand the mechanism of my art.

Thesis (Ph. D.)--University of Melbourne, School of Fine Arts, Classics & Archaeology, and Cinema Studies, 1998. / Typescript (photocopy). Includes bibliographical references (leaves 389-436).

My work explores the gray area and the shifting border between "us" and "other." It investigates the helplessness and the submissiveness on both sides of this spectrum and one's passivity that makes the "pain of others" inevitable. Moreover, it examines the individual and collective experiences of guilt and complicity in relation to world events. I am interested in the selective and repressed memories of individuals and nations, the reluctance to look and the ability to forget.

My work focuses on the fantastic and the peculiar. It grows out of an interest in animals, myth, and the human tendency to anthropomorphize.

abstract: This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin), and collective memory theory (especially those of Halbwachs and Pollak), this thesis uses a dual-coding, content analysis to examine the linguistic and visual messages disseminated through news media. Then, interviews with and the work of six immigrant artists are examined for their contribution to the information put forth in the news media. This study finds that news reporting bias falls along a continuum from pro-immigration to extreme anti-immigration (labeled "fearful" reporting). The news media skew strongly toward anti-immigration to fearful in bias, and there is no opposite pro-immigration bias. Through observations of artists' work, the study concludes that artistic representations of the border can fill this strongly pro-immigration void on this bias continuum. / Dissertation/Thesis / M.A. Interdisciplinary Studies 2011

This practice-based thesis undertakes research into the contemporary aesthetic of interactive media art, in order to propose a useful practical model of interactivity founded on a critical approach to both existing theory and practice. It proceeds from the identification of a primary lack in contemporary aesthetics that arises from the predominantly materialistic comprehension of technologically-mediated artworks. The thesis establishes a new model for interactive art that offers an immaterial engagement with technology at a locus where cognition and the aesthetic intertwine. This model is constructed following a revision of both the theory and practice of interactive media art, which identifies a materialistic bias of technology-mediated art production caused by a confused concept of technology as both tool and medium. This investigation confines itself to the last forty years of interactive art and the new model of spectatorship that has accompanied it. The main objective of what follows from this investigation is an account of agency in the artist and spectator interrelationship. In the context of technologically based artworks various approaches to spectatorship have frequently remained within the constraints of the traditional model of art that inherently drew on a separation between body and mind. It is argued in this thesis that neither the technology nor the participation itself, but the cognitive interconnection between 'artist-artwork-spectator' produces the primary aesthetic dimension of interactive media art. In this respect, not the physical object creation but the aestheticisation of this triangle produces the here identified immaterial/cognitive experience of the spectators. This can be achieved when the technology is applied as a transparent medium one of the core concepts introduced in this thesis which can facilitate an aesthetic quality or meaning creation through technology. The 'transparent medium' enables the cognitive-based experience production, which is identified as the immersive flow of the spectator's aesthetic experience. As such, the re-evaluation of the artist- spectator interrelationship proposes a new immaterial model of art which is called the Transparent Act. The introduction of the Transparent Act leads to the main intervention of this thesis which lies in an effort to recover a lost dimension in interactive media art. A recovery of this dimension enables access to a knowledge practice which is not necessarily located in ordinary cognitive experiences but in unfamiliar conscious states that can be compared to accounts of so-called spiritual experiences. The model of the Transparent Act is concurrently applied as a practise-based intervention and proof-of-concept in a major installation, the Mind Cupola. This artistic and technological contextualisation of the original intervention of this thesis is exemplified as an affective environment which aims for an immediate cognitive affection of the spectator by generating mechanical and audio-visual effects in the spectator's 'mind'. The artistic system uses special face analysis techniques to close the feedback loop and affect the spectator through the analysis of her/his reactions. The installation is built upon a 'passive' modality of interaction in which the spectator contributes to the artwork with subtle, cognitive-based interactions which are fed back through a complex open response system. The implementation of cognitive feedback loops, also described as the fractal structure in the spectator's cognition, constitutes the essential transparent medium through which the previously lost immaterial dimension of a spiritual-like aesthetic experience in interactive media art is achieved. The thesis concludes with suggestions of further applications including the evaluation of technologically mediated artworks.

This practice-based research examines the developments in site-specific art since 1960's. Its purpose is to critically explore the influence of patronage and the role of the artist on practices within this field and it has been achieved by adopting a binary strategy, which combines "research into art" with "research through art." (Frayling 1993:5). This has involved the construction of an individually tailored methodological framework consisting of a textual examination of historical case-studies conducted in conjunction with the organisation and running of practical projects (the BT/Cellnet Farnham Library Garden & Picnic projects). Devised both as site-specific ventures and as case-studies, these projects broadly encompass three distinctive historical modes of site-specific art - Formal/Object-based, Community-based and Performative - which have successively emerged to predominance over the past fifty years or therabouts. The aim was to produce empirical comparisons in order to reflexively investigate the ways in which patronage, coupled with the role played by the artist impacted on the form and content of site-specific art.

Este estudo tem como objetivo mostrar como Nietzsche, ao engendrar a sua metafísica do artista, realiza uma crítica à cultura moderna alemã. Para isto, realizaremos uma genealogia do conceito de descarga (Entladung), no qual Nietzsche caracteriza sua noção de trágico. Inicialmente, mostraremos que nas conferências O Drama Musical Grego e Sócrates e a Tragédia a noção de trágico em Nietzsche se apresenta no termo êxtase (ecstase). Esta concepção muda com o amadurecimento conceitual da metafísica do artista de Nietzsche a partir do distanciamento do pensamento de Schopenhauer. Assim, em A Visão Dionisíaca do Mundo, o termo Entladung já é empregado, no lugar da noção ecstase. Por sua vez, em O Nascimento da Tragédia, o jovem filólogo associa o termo Entladung ao conceito de Uno Primordial, apresentando de maneira mais acabada sua metafísica. Neste percurso genealógico, pretendemos mostrar que o desenvolvimento da metafísica do artista está atrelado a uma crítica à cultura moderna alemã através de uma associação de sua concepção de trágico ao conceito de catarse (katharsis) aristotélico. / This study aims to show how Nietzsche, engendering his metaphysics of the artist, performs a critique of modern German culture. For this purpose, we will execute a genealogy of the concept of discharge (Entladung), in which Nietzsche characterizes his tragic notion. Initially, we will show that in the conferences \"The Greek Music Drama\" and \"Socrates and Tragedy\" the tragic notion in Nietzsche is presented in the term ecstasy (ecstase). This notion changes with the conceptual maturity of Nietzsches metaphysics of the artist due to his distancing from Schopenhauer\'s thought. Thus, in \"Dionysian Vision of the World\" the term Entladung is already employed replacing the notion of ecstase. In turn, in \"The Birth of Tragedy,\" the young philologist associates the term Entladung to the concept of Primordial One, presenting his metaphysics in a most complete way. In this genealogical journey, we intend to show that the development of the metaphysics of the artist is linked to a critique of modern German culture through a combination of his tragic notion with the concept of Aristotelian catharsis (katharsis).

Orientador: Márcia Maria Strazzacappa Hernandez / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-23T22:29:42Z (GMT). No. of bitstreams: 1 Macaneiro_ScheilaMara_D.pdf: 4566778 bytes, checksum: 87add999cd67da5dd938b68d86c42968 (MD5) Previous issue date: 2013 / Resumo: Foi movendo cadeiras que trabalhei nessa investigação em Dança. Por meio da metodologia de Pesquisa Educacional Baseada em Arte encontrei na prática pedagógica A/r/tografia um entrelugar educacional que proporciona aos artistas/pesquisadores/professores existirem em contigüidade, num híbrido despertar da mestiçagem texto-corpo. Proposta por professores pesquisadores da Universidade da Columbia Britânica em Vancouver, no Canadá, a A/r/tografia é uma linguagem de fronteiras, um terreno fértil para investigações e vivências artísticas que pelo referencial metafórico do rizoma, proposto por Deleuze e Guattari, são entremeadas pela pesquisa e pelo ensino. A necessidade de auto questionamento instiga a/r/tógrafos a uma prática viva de pesquisa, estimulando relacionamentos que se constituem por comunidades de indivíduos compromissados com um modo de ser/estar no mundo. Pela possibilidade de um estado de entrelaçamento teoria-prática de maneira reflexiva, responsiva e relacional, a A/r/tografia provocou-me um lugar próprio dentro da pesquisa que reverberou por meio da proposição de meus modos de organização (renderings) para as práticas de ensino e supervisão de estágios da Licenciatura em Dança da Faculdade de Artes do Paraná (FAP). Um ambiente de redescobertas permeadas por negociações, em que ensinar dança se constitui como conhecimento, quando imbricado por investigações e construções artísticas. / Abstract: It was by moving chairs that I worked on this research in Dance. Through the methodology of Arts-Based Educational Research, I found in the pedagogical practice A/r/tography, an in-between place in education which enables artists/researchers/teachers to exist in contiguity, a hybrid awakening of a text-body métissage. Proposed by Rita Irwin, along with research professors at the University of British Columbia in Vancouver, Canada, A/r/tography is a boundaries language, a fertile ground for research and artistic experiences, which in reference to the rhizome metaphor, proposed by Deleuze and Guattari, are interwoven through research and teaching. The need for self-questioning instigates A/r/tographers a living inquiry practice research, fostering relationships that constitute a community of individuals committed to a way of being/living in the world. Because of the possibility of a state of entanglement theory-practice in such a reflective, responsive and relational manner, A/r/tography offered a proper place within the research that reverberated through the proposition of my modes of organization (renderings) for teaching practices and supervision of internships in the undergraduate program in Dance at the Faculty of Arts of Parana (FAP). A rediscovered environment permeated by negotiations, in which teaching dance constitutes as knowledge when nested for investigations and artistic development. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutora em Educação