Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

Οι ψηφιακές μορφές τέχνης είναι ένα είδος που περιλαμβάνει έργα τέχνης που δημιουργήθηκαν με τα νέα μέσα τεχνολογίας, συμπεριλαμβανομένης της ψηφιακής τέχνης, των γραφικών απεικονίσεων, της εικονικής τέχνης, της τέχνης του διαδικτύου, των διαδραστικών τεχνολογιών και άλλων μέσων που διαφοροποιούνται διαρκώς. Για το λόγο αυτό, είναι αναγκαίο, η Τέχνη, ως διδακτικό αντικείμενο να συντονιστεί με τις επιταγές της σύγχρονης τέχνης και να προσφέρει στους μαθητές απαραίτητες γνώσεις και δεξιότητες ώστε να δημιουργήσουν σύγχρονα έργα τέχνης. Είναι όμως το ελληνικό εκπαιδευτικό σύστημα και πιο συγκεκριμένα οι εκπαιδευτικοί της Τέχνης για ένα τέτοιο εγχειρημα... Τι φοβούνται και τι προσδοκούν από τους αρμόδιους φορείς... Μπορούν ατομικές πρωτοβουλίες και πιλοτικά προγράμματα να βρουν ευρύτερη εφαρμογή στη διδασκαλία της εικαστικής αγωγής.. / The digital forms of art are a type that includes work of art that was created with the new means of technology, including the digital art, the graphic depictions, the virual art, the art of internet, the interactive technologies and other means that are differentiated permanently. For this reason, it is necessary, that Art, as instructive object to be coordinated with the demands of modern art and offer to the students the necessary knowledge and dexterities in order that they create modern work of art. Is however the Greek educational system and more concretely the teachers of Art ready for such an undertaking. What they are afraid also what are theyexpecting from the responsible institutions... Can individual initiatives and pilot programms find wider application in the teaching of figurative education...

Cette thèse, traitant la problématique du tissage et de son propre univers, cherche à élargir l’espace commun et restreint de la pratique du tissage et ses manifestations. Nous étudions, d’emblée, la technique de tissage traditionnelle, sa structure et sa composition. Les tapis berbères tunisiens sont pour tout chercheur des instruments de déchiffrage d’espaces plastiques porteurs de tant de significations. Ils sont un élément de mémoire culturelle, explicitant notamment le sens et les signes des motifs et des couleurs. Item pour les vêtements, leurs tissus sont un moyen d’identification et un support de communication. Le vêtement devient aussi «langage» à l’instar de la calligraphie. Le point, la ligne et la surface s’expriment en s’entrelaçant autrement. Ces éléments se structurent et se composent par le biais «d’autres chaines» et «d’autres trames», afin de nous proposer une autre facette de «tissu». Celui-ci devient tantôt numérique tantôt métaphorique. L’image numérique est donc le produit de cette nouvelle facette générée par l’usage de l’informatique. La science et la technologie ont procuré à l’art (participatif/hybride) de nouveaux outils plus complexes et plus variés afin de perpétuer l’interprétation des mondes et susciter les interrogations. Elles nous permettent d’accueillir et d’intégrer de nouvelles approches et médiums dans l’univers artistique tels que le mouvement, le son, la vidéo, etc., en créant un nouveau rapport du public à l’œuvre. L’espace public et urbain devient alors une matrice propice pour s’exprimer artistiquement. / This thesis, treating the problematic of weaving and its proper universe looks for widening the common restricted space of the practice of weaving and its manifestations. At first, we studied the traditional weaving technique, its structure and composition. The Tunisian berber carpets are for all researchers an instrument of decoding plastic spaces, which carry many significations. They are an element of cultural memory, notably highlighting the sense and the signs of motifs and colors. Item for the clothes, their tissues are a medium of identification and a mean of communication. The piece of cloth also becomes a “language” just likecalligraphy. The point, the line and the surface entwine to bring out different expressions. These elements are structured and composed through “other channels” and “other wefts” in order to suggest another facet of “tissue”. This latter becomes digital sometimes and metaphorical for other times.Thus, the digital picture is the product of this new facet generated by the use of computer science. Science and Technology have provided to Art (whether participative of hybrid) new tools that are more complex and various aiming at perpetuating the interpretation of worlds and popping up interrogations. They allow us to receive and integrate new approaches and media within the artistic universe such as ; the motion, the sound, the video etc. while creating a new relationship between the audience and the artwork itself. Therefore, the public and urban space becomes a prosperous matrix to thrive artistically.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of this research is to discuss the expositive circuit of digital art in contemporaneity, verifying how digital art is articulated, what its particularities are and how it fits in the art circuit. This route is based on the experiences in FILE (Electronic Language International Festival), in the São Paulo 2010 and Porto Alegre 2011 editions, in addition to visits to its virtual environment. This is the most representative event of its kind in Brazil and Latin America, a festival with international projection, which allows discussing the matter. To develop a research about art, it is used a qualitative approach. This is established from a literature survey; field research on spaces in loco and virtual environments of the FILE; interviews with one of the idealizers of the event, Paula Perissinotto, and some artists who have excelled in the course of the festival, among them, Anna Barros, Guto Nobrega and Yara Guasque; in addition to a research by the virtual environments of other spaces and festivals that move the exposition circuit of digital art. Are also conducted visits to some of the major events that discuss the production in Brazil, observing their dissemination strategies and analyzing how they debate, disseminate, exhibit, preserve and commercialize digital art. All these instruments allows to think the digital art in the exposition circuit, reflecting on the observations analyzed around FILE. Thus, the proposal of this dissertation is intended to bring a contribution to the field of history, theory and critical of contemporary art through a study based on recent changes in society, provided by communication, science and technology, which reflects in the relationship between the public, work, artists, institutions and expositive circuits. / O objetivo desta pesquisa é discutir o circuito expositivo da arte digital na contemporaneidade, verificando como se articula a arte digital, quais são suas particularidades e como se insere no circuito da arte. Este percurso tem como base as experiências vivenciadas no FILE (Festival Internacional de Linguagem Eletrônica), nas edições São Paulo 2010 e Porto Alegre 2011, além das visitas realizadas ao seu ambiente virtual. Este é o evento mais representativo do gênero, no Brasil e na América Latina, um festival com projeção internacional. Ao tecer uma pesquisa sobre arte, utiliza-se uma abordagem qualitativa. Isto se estabelece a partir de um levantamento bibliográfico; da pesquisa de campo aos espaços in loco e ambientes virtuais do FILE; de entrevistas, com uma das idealizadoras do evento, Paula Perissinotto, e alguns artistas que se destacaram no percurso do festival, entre eles, Anna Barros, Guto Nóbrega e Yara Guasque; além de uma pesquisa pelos ambientes virtuais de outros espaços e festivais que movimentam o circuito expositivo da arte digital. Também são realizadas visitas a alguns dos principais eventos que discutem a produção no Brasil, observando suas estratégias de disseminação e analisando como debatem, expõem, preservam e comercializam a arte digital. Todos estes instrumentos permitem pensar a arte digital no circuito expositivo em torno do FILE. Assim, a proposta desta dissertação tem a intenção de trazer uma contribuição para o campo da história, teoria e crítica da arte contemporânea, por meio de um estudo baseado nas mudanças recentes na sociedade, proporcionadas pela comunicação, ciência e tecnologia, as quais refletem nas relações entre público, obras, artistas, instituições e circuitos de exposição.

Les illusions surprennent, amusent et émerveillent. Si parmi les intentions esthétiques du créateur, se trouve l’objectif de provoquer chez le spectateur des interrogations face à sa perception de la réalité quotidienne, alors les illusions peuvent devenir un atout essentiel dans la création artistique.Par ailleurs, le domaine de la réalité virtuelle et mixte, avec ses technologies numériques d’immersion et d’interaction, offre de nouvelles possibilités pour « transporter » le spectateur dans des mondes inhabituels, imaginés par les artistes.Ainsi, à partir de mon double intérêt pour les illusions et la réalité virtuelle et mixte, j’ai été amenée à développer une recherche-création sur les nouvelles formes artistiques d’illusion. Inspirée de la méthodologie complexe d’Edgard Morin, j’ai exploré théoriquement et pratiquement l’espace des illusions entre le réel et le virtuel (IRV), afin d’identifier et de créer ces nouvelles formes artistiques émergeant de la synergie des relations entre le spectateur, l’œuvre et l’artiste. J’ai composé ma propre palette de création d’IRV, qui parcourt les trois frontières : celle entre le réel et le virtuel, celle entre le réel et l’illusion, et enfin celle entre le virtuel et l’illusion. Et j’ai clarifié ma démarche artistique émergeant de cette recherche : viser à l’exploration de nouvelles expériences d’illusions entre le réel et le virtuel, afin d’atteindre de plus grandes profondeurs d’illusion et de présence dans l’expérience proposée au spectateur. Je me rapproche alors de ce que je nomme la survirtualité, le virtuel étant un merveilleux moyen pour imaginer, rêver des mondes d’illusions imbriquées. / Illusions surprise, amuse and amaze. If among the aesthetic intentions of the creator is the objective of raising questions in the spectator's mind about her own perception of everyday reality, then illusions can become an essential asset of artistic creation. Furthermore, we observe that the field of virtual and mixed reality, with its digital technologies of immersion and interaction, provides new possibilities to "transport" the spectator in unusual worlds, imagined by the artists. Thus, from my double interest in illusions and virtual and mixed reality, I was led to develop a research-creation on new artistic forms of illusion. Inspired from Edgard Morin's method of complexity, I theoretically and practically explored the space of illusions between the real and the virtual (IRV), to identify and create these new art forms emerging from the synergy of the relationship between the spectator, the artistic work and the artist. I composed my own palette for the creation of IRV, which covers the three borders: the one between the real and the virtual, the one between the virtual ant the illusion, and finally the one between the virtual and the illusion. I thus clarified my artistic approach emerging from this research: aiming at the development of experiments nesting several levels of illusions of reality, with the help of real and virtual apparatuses, and striving to explore illusions unique to the virtual, to achieve deeper illusion and presence in the experience offered to the spectator. I can then go closer to what I call the survirtuality, the virtual being a wonderful way to imagine, to dream worlds of nested illusions.

Cette thèse a pour objet le VJing, terme désignant l’activité du VJ (pour Video ou Visual Jockey) consistant à créer et manipuler en direct plusieurs sources visuelles par médiation technologique en direction d’un public et en synchronisation avec la musique, et se propose de mettre cette pratique en perspective en l’envisageant comme un travail spécifique opéré sur l’image, interrogeant son paradigme poïétique fondé sur la synesthésie aussi bien que le contexte performatif dans lequel elle se déploie. Empruntant le concept de re-médiation à Jay David Bolter et Richard Grusin, nous étudions les divers processus par lesquels le VJing se réapproprie, tant par la forme que par le contenu, les propriétés constitutives du DJing et des musiques électroniques, tout comme il prolonge directement ou indirectement certains procédés d’union du visuel et du sonore expérimentés sur ces deux médiums audiovisuels que sont le cinéma et la vidéo. S’appuyant sur un corpus de près d’une centaine de créations VJ (extraits de performances, mix réalisés pour support vidéo), notre approche méthodologique consiste à mener plusieurs analyses comparatives avec des œuvres issues du cinéma d’avant-garde, du cinéma expérimental, de l’Art Vidéo, du vidéo-clip, afin de définir progressivement l’identité spécifique du VJing. En combinant perspective théorique, historique et esthétique, nous examinons par quels biais cette pratique a constitué avec le temps un dispositif technologique et projectif visant à la réalisation en temps réel d’un objet audiovisuel basé sur le dialogue constant entre les images en mouvement et la musique (ou la bande-son) et dans quelle mesure ce type de performance se déployant dans le contexte des nouveaux médias, du remix généralisé et du « cinéma élargi » entre en résonnance avec la tradition issue des avant-gardes et celle, aussi bien picturale, musicale que cinématographique, de la Visual Music. / The subject of this thesis is VJing, a term referring to the work performed by the VJ (Video or Visual Jockey) consisting of creating and manipulating several visual sources in real-time through technological mediation and for an audience, in synchronization to music. This study intends to put this practice in perspective by considering it as a specific work made over the image, questioning its poietic paradigm based on synaesthesia as well as the performative context in which it takes place. Borrowing the concept of Remediation from Jay David Bolter and Richard Grusin, we study the various processes by which VJing re-appropriates, both in form and content, some constitutive properties of DJing and electronic music, as it also extends directly or indirectly some processes of union of the visual and the aural as it has been experimented in cinema and video. Based on a corpus of about a hundred of VJ works (performance extracts, mixes made for video distribution), our methodological approach consists of conducting several comparative analysis with different works taken from avant-garde cinema, experimental cinema, video art and music videos, in order to progressively defining the specific identity of VJing. By combining theoretical, historical and aesthetic perspectives, we analyze the means by which this practice has established a technological and projective device over time to achieve producing audio-visual objects in real-time based on the constant dialogue between moving pictures and music (or soundtrack) and we try to see how this kind of performance, taking place in the context of new media, mainstreamed remix and "expanded cinema", echoes with the avant-garde tradition and the pictorial, musical as well as cinematic legacy of Visual Music.

Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.

The artist discusses her Master of Fine Arts exhibition Momentary Lapses, held at Tipton Gallery, February 25-March 8, 2019. The mixed media works and video examine the intersections between digital, somatic and societal decay through the mediation of the digital image by physical anthropogenic efforts. Themes in the work include glitch art and theory, entropy, memory, decay, and loss. Contemporary American society’s desensitization associated with the oversaturation of digital imagery is discussed, as well as Guy Debord’s theory of the Spectacle, and the artistic practices of Kurt Schwitters and Robert Rauschenberg.

Detta kandidatarbete undersöker om värdesättningen av digitalt måleri idag i jämförelse medtraditionellt målande. Vi författare av denna artikel är båda aspirerande digitala konstnäreroch har upplevt att det finns en väldigt aktiv konversation som kan verka väldigt negativ ochnedlåtande, riktad mot digitalt måleri och dess värde. Då allt idag blir mer och mer digitaltifrågasätter vi varför konstens värdesättning verkar ha haft svårt att följa med i samma fartsom digitaliseringen av konst och måleri. För att undersöka detta använde vi oss avdesignmetoden Research Through Design där vi gestaltade varsin digital målning, där vianvänt oss av digitala tekniker för att måla i samma stil, samt med liknande tillvägagångssättsom traditionella oljemålningar för att skapa en artefakt som förmedlar vissa av de aspektersom värdesätts i de mer traditionella och fysiska medierna. Detta gjordes för att undersökavad som kan krävas av digitala medier för att kunna värdesättas på ett liknande sätt som detraditionella medierna.Gestaltningarna användes i intervjuer med konstnärer insatta i både den traditionella samtdigitala konstvärlden för att skapa en diskussion kring det digitala målandets värde samtuppfattningInspirationen för artikeln kom främst från Benjamin, W. (1936) konstverket ireproduktionsåldern och deras begrepp och teori om “aura” som ger ett historie baseratperspektiv på värdesättningen av nyare medier. Vi kommer även ifrågasätta hans teori medhjälp av våra intervjuer och Nick Peim’s nyare text Rereading of ‘The Work of Art in the Ageof Mechanical Reproduction (2007) om aura och dess relevans. Där skriver han om hurpolitik och skillnader på tidsperioder kan ha förändrat attityden till konst och aura.Jämförelsen mellan dessa medium var något som visade sig vara ganska svår där det visar sigatt digitala medier kan behöva fortsätta utvecklas tillsammans med tekniker som NonFungible Tokens (NFT) eller dagens typiska prenumerationer för att försörja konstnärer.Slutsatsen blev att i fallet av jämförandet av digitalt mot traditionellt måleri så behövs detstörre grad av förståelse för det digitala måleriet, För att det ska kunna värdesättas på ettjämlikt sätt som det traditionella måleriet. Då för tillfället så kan det inte jämföras på sammaeller på likvärdiga kriterier. / This bachelors candidacy article is about the valuation of digital painting today incomparison to traditional painting. Us writers of this article are both aspiring digital artistswho have experienced that people can have a very critical and condescending attitudetowards digital painting and its value. As everything today becomes more and more digital,we question how and why art seems to have a hard time keeping up with the digitization of itsmedium as a whole.To investigate this, we used the design methodology of Research Through Design and eachcreated a digital painting where we use digital techniques to try to paint in a similar style, andapproach very much like traditional oil paintings to create an artifact that attempts to mediatewhat gives traditional and physical mediums its values.This was done to research what digital mediums can do to reach a similar value as thesetraditional mediums. We will also question his theory with help from our interviews and NickPeims newer text Rereading of ‘The Work of Art in the Age of Mechanical Reproduction(2007) about aura and its relevance. He writes about how politics and changes in time periodscan have changed the attitude to art and aura.We used these paintings in interviews with artists who are familiar with the digital andtraditional art world to create a discussion about the value and perception of digital painting.We took much inspiration from Benjamin, W. The Work of Art in the Age of MechanicalReproduction (1936) and its concept of “aura” to give an historical comparison to thevaluation of new mediums.The comparison between these mediums was something that turned out to be quite difficultwhere it turns out that digital media may need to continue to be developed together withtechnologies such as Non Fungible Tokens (NFT) or today's typical subscriptions to supportartists.The conclusion was that in the case of the comparison of digital vs traditional painting, is thata greater degree of understanding of digital painting is needed, in order for it to be valued inan equal way as traditional painting. At the moment we concluded that it can not becompared with the same or equivalent criterias.

No description available.