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.

Masinėje kultūroje vaizduojamas žmogaus kūnas dažniausiai atrodo labai įprastas ir fiziškas. Visuomenėje pastebima, kad tik skirtingos mokslo disciplinos tyrinėja tam tikrus kūno vaizdavimo metodus. Kūnas dažniausiai egzistuoja kaip, fiziologinis, anatominis, etnologinis, religinis ir estetinis. Diplominiame darbe „Žvilgsnis į priekį, žingsnis atgal” analizuojama moters, kaip stebimojo objekto raida tradiciniame mene, kine ir videomene. Pagrindinė, kylanti iš moters kaip žiūrimojo meno objekto sampratos problema yra, kaip galima konceptualizuoti realų žiūrovo žvilgsnio mechanizmą ir žiūrėjimo malonumą, kito¬kį, nei tapatinimasis su vyriškojo žvilgsnio objektu. Diplominiame darbe nagrinėjami moters įvaizdžio kaita mene ir naujas požiūris į moterį, kaip vertinamąjį meninį objektą. Normatyvinėje lyčių sistemoje, kurią sergsti heteroseksualumo imperatyvas, paprastas žiūrėjimo situacijos apvertimas neįvyksta (vyrui tapus stebėjimo objektu, moteris automatiškai netampa stebinčiu subjektu). Todėl, siekiant struktūrinių permainų vaizdinėje lyčių reprezentacijoje, teko nagrinėti patį heteroseksualinį imperatyvą. Skaitmeninės tapybos portretų cikle „Žvilgsnis į priekį, žingsnis atgal” bandyta žiūrintįjį ir žiūrimąjį sukeisti vietomis ir paversti moterį iš vertinamojo objekto į vertintoją. / Human flesh for many it seems very normal and physically. In a society noted that only they are capable of different academic disciplines to engage in some physical exploration. The body exists as physiological, anatomical, ethnological, religious and aesthetic. The paper analyzes the woman as object tracking developments in the traditional arts, cinema and video art. The main problem arising from the woman observed an object of art concepts: how to conceptualise the actual mechanism of sight of viewers and viewing pleasure, other than an identification with the object of male gaze. The work deals with women in the art of image change and a new approach to women, as assessed in an art object. Gender-operative system, which is imperative sergsti heterosexuality, a simple viewing situation inversion takes place (the man has become the object of observation, the woman does not become automatically monitor the subject). Therefore, to structural changes in the image of gender representation, had to consider the most heterosexual imperative. Digital portrait painting series "Looking forward, step backward and watching a visible attempt to reverse and transform a woman into an object of the benchmark estimator.

This research aims to delineate various modes and means of communication in the field of multimedia theatre and to relate this field of practice to contemporary debates in both theatre and media studies. This thesis defines 'multimedia theatre' in two ways: firstly to include performance where media technologies are brought into the theatrical frame as a feature of the mise en scene, and secondly to refer to the area of new media performance, where a live performer may not be present but a high degree of performativity and liveness are achieved. Discourse in the field of digital aesthetics and new media theory is applied to examples and case studies of contemporary multimedia theatre practice to highlight the formal structures and modes of audience engagement operating within such work. Multimedia theatre may be characterised by the qualities of intermediality, immersion, interactivity, and postnarratvity, and these characteristics are used in this thesis as focal points to structure analysis and investigation. The thesis also argues that recent developments in the field of multimedia theatre and performance may be viewed as related to a larger cultural shift predicated on the dissolution of the separation of the real and the virtual. It is further argued that multimedia theatre is acting as a forum for the exploration of the contemporary human experience, an experience shaped by the ubiquity of digital media and the development of a 'posthuman' perspective.

Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 139-150). Also available in electronic format on the Internet.

Thesis (BA (Hons)--Art and Design) -- AUT University, 2005. / Print copy accompanied by CD. Includes bibliographical references. Also held in print (iii, 26 leaves : ill. ; 30 cm. + CD (4 3/4)) in City Campus Theses Collection (T 776.7 YEU)

Thesis (Ph. D.)--Ohio State University, 2007.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research utilizes the manipulation of digital images to link past, present and future, besides pointing out the existing hybridization in ancient architectural blends with your existing urban context . The invention of urban landscapes combines images of cultural heritage ( photographed or painted ) with elements of urban visuality , inferring whether their memories , and memories subjectifications ; instigating the everyday diversity and acceleration has th. The poetic creation produced from this context is a way of suggesting possibilities for different interpretations , reached in the deconstruction of the urban landscape . This study tra -ering plastic creations that were becoming such production began with di - gitais prints and projected images sequences in plants and concluded with the creation of videos that mix footage and scanned images , in building invented landscapes . Later, such landscapes are presented in installations where partially overlapping images with the intention of exploring " instant hybridizations ." This study has two main operational concepts : invention as production of images , and hybridization , as the songwriting process . The various theoretical and practical pursuits resulted in " Inventions of Urban Landscapes " , invented urban spaces that highlight certain ancient architectures and highlight the diversity , indeterminacy , uncertainty , instability and hybridisation of the urban landscape that contains these buildings as a way to update the past. With this visual poetics proposed another way of perceiving and wondering about the old buildings in the city . / A presente pesquisa se utiliza da manipulação de imagens digitais para associar passado, presente e futuro; além de salientar a hibridação existente nas misturas arquitetônicas antigas com seu contexto urbano atual. A invenção de paisagens urbanas combina imagens de patrimônios culturais (fotografadas ou pintadas) com elementos da visualidade urbana, inferindo-se as suas lembranças, memórias e subjetivações; instigando à diversidade cotidiana e à aceleração do tempo. A criação poética produzida a partir desse contexto é um modo de sugerir possibilidades de interpretações diversas, alcançadas na desconstrução da paisagem urbana. O presente estudo trata- se de criações plásticas que foram se transformando, tal produção iniciou-se com gravuras digitais e sequências de imagens projetadas em instalações e concluiu com a criação de vídeos que misturam filmagens e imagens digitalizadas, na construção de paisagens inventadas. Posteriormente, tais paisagens são apresentadas em instalações, onde se sobrepõem parcialmente imagens na intenção de explorar hibridações instantâneas . Esse estudo possui dois principais conceitos operacionais: invenção, como produção de imagens; e hibridação, como processo de composição. As diversas buscas teóricas e práticas resultaram em Invenções de Paisagens Urbanas , espaços urbanos inventados que destacam determinadas arquiteturas antigas e salientam a diversidade, a indeterminação, a incerteza, a instabilidade e a hibridação da paisagem urbana que contém essas edificações, como forma de atualização do passado. Com essa poética visual é proposto outro modo de perceber e questionar acerca das edificações antigas da cidade.

Orientador: Rosangela da Silva Leote / Banca: Luisa Paraguai Donati / Banca: Fernando Luiz Fogliano / Resumo: Esta pesquisa surge da reflexão sobre meu processo artístico em pintura digital. As características desta prática geraram questionamentos sobre o uso de dispositivos tecnológicos na criação artística, sobre arte híbrida e seus paradigmas estéticos e sobre as problemáticas de definição de meio na arte. A partir dessas investigações, senti a necessidade de realizar uma introspecção. Voltei-me, portanto, à prática do autorretrato e criei uma série de pinturas exclusivamente no software Photoshop, procurando compreender de que forma o meu processo criativo pode ser comparado às idéias já existentes sobre esse tipo de produção. Este processo prático gerou novas reflexões em torno da minha poética, da possibilidade de experimentações em mídias digitais, da abertura do processo criativo e de como a percepção que temos sobre nossa identidade é alterada pelo uso das mídias digitais. / This research comes from the reflection on my artistic process in digital painting. The characteristics of this practice have raised questions about the use of technological devices in artistic creation, on hybrid art and its aesthetic paradigms, and on the problem of the definition of medium in art. From these investigations, I felt the need to perform an introspection. I turned, therefore, to the practice of self-portrait and created a series of paintings exclusively in Photoshop, trying to understand how my creative process can be compared to the existing ideas about this kind of production. This practical process generated new reflections on my poetics, on the possibility of experimentation in digital media, on the opening of the creative process and on how our perception of our identity is altered by the use of digital media. / Mestre

Nesta tese parto do princípio de que a arte se instaura pelo contraste que mantém com os esquemas de ação habituais das sociedades. Partindo desse argumento, considero que nas atuais tecnologias digitais, apesar da instabilidade inerente a esses novos meios, também é possível uma diferenciação entre a arte e os esquemas do hábito. Nas técnicas surgidas após o controle da energia elétrica, origem sobre a qual está baseada a tecnologia digital, a fixidez que dominava as estruturas mecânicas foi subvertida e se abriu a possibilidade de conformar mais livremente o modo como desenvolvemos nossas ações. Concomitantemente a essa condição, algumas técnicas passaram a possibilitar o registro de diversos tipos de movimento realizados pelo corpo. Assim, tanto os movimentos subliminares do corpo, como os batimentos cardíacos e a respiração, quanto os mais variados tipos de gestos formadores das ações, tais como o andar e o olhar, se tornaram passíveis de captura, de manipulação e de observação. Busco mostrar que o uso de técnicas de captura de movimento possibilitou aos artistas o deslocamento dos gestos de suas posições internas às estruturas do hábito e, além de demarcar os domínios da arte no território movente da tecnologia digital, os artistas conseguiram expor esquemas de ação até então ocultados pela repetição cotidiana. / In this thesis I assume that art is established through the contrast kept with the habitual action schemes of the societies. Based on this argument on, I consider that in the current digital technologies, despite the inherent instability of these new media, it is also possible to differentiate between art and habit schemes. In the techniques emerged after controlling the electricity, source on which this digital technology is based, the fixity that dominated mechanical structures was overthrown and the possibility of conforming more freely the way we developed our actions was opened. Concurrently with this condition, some techniques began to allow the registration of various types of movement performed by the body. Thus, the subliminal body movements such as heartbeat and breathing as well as the various types of gestures that create those actions, such as walking and looking, became subject to capture, manipulation and observation. I aim at showing that the use of techniques of motion capture enabled the artists the displacement of the gestures of their internal positions to structures of habit and, besides demarcating the domains of art within the moving field of digital technology, the artists managed to express action schemes until then hidden by everyday repetition.