Anhand des Beispiels Lehramtsausbildung erörtert dieser Artikel exemplarisch Bedeutung und Reichweite der innerdeutsch als sehr heterogenen zu beschreibenden Integration digitaler Medien in das formale Bildungswesen. Auf Basis einer Fallstudie werden IKT-bezogene Kompetenzen im Kontext der schul- und hochschulbezogenen Ausbildung mit dem Fokus auf die Lehramtsausbildung thematisiert und diskutiert.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

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.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

The rapid diffusion of digital technologies since the 1970s has produced significant cultural change within industrialised societies and this dissertation examines the particular challenge that digital technologies and a burgeoning digital culture pose to copyright law. The hypothesis is that the international copyright regime, based on the private ownership of intellectual property, is being undermined by the collaborative and sharing dimensions of a networked digital culture. The argument is premised on evidence that digital culture is now so pervasive and so disruptive of traditional social and economic institutions that current copyright laws are no longer capable of managing the production and distribution of the knowledge, information and entertainment products that are fundamental to the operation of the global information economy. Ideological and cultural differences have led to conflict and ‘copyfights’ between the owners of copyright works and the digital creators who produce and share copyright works outside the commercial marketplace, and often, outside the law. Defending their legal rights, the owners have generally adopted a copyright maximalist approach. They have successfully argued for stricter laws to protect their valuable private property rights and have enforced the law against digital pirates and new technologies that they claim threaten their businesses and the orderly operation of the knowledge economy. The digital sharers have adopted a ‘copyleft’ approach. Demonstrating little respect for laws that inhibit digital creativity and innovation, and supportive of a public domain of accessible cultural works, they argue for less stringent legal controls over copyright works and for a new intellectual commons in which knowledge, information and entertainment products are shared, rather than privately owned. Analysis of the culture clash between owners and sharers and between their private and public interests demonstrates that the 21st century copyfights are divisive and expensive. This dissertation, as well as addressing the challenge that digital culture poses to copyright law, suggests possibilities for legal reform and opens up new terrain for further study into the question of who should own and benefit from the knowledge and information that form our cultural heritage. / Doctor of Philosophy (PhD)

Thesis (M.A. (Journalism and Media Studies)) - Rhodes University, 2007 / "Thesis submitted in partial fulfilment for the degree of Master of Arts."

Thesis (doctoral)--Universität, Zürich, 2007. / Includes bibliographical references.

Thesis (M. S.)--Literature, Communication, and Culture, Georgia Institute of Technology, 2008. / Committee Chair: Michael Nitsche, Ph.D.; Committee Member: Celia Pearce, Ph.D.; Committee Member: Eugene Thacker, Ph.D.; Committee Member: T. Hugh Crawford, Ph.D.

Thesis (Ph. D.)--Rutgers University, 2010. / "Graduate Program in Communication, Information and Library Studies." Includes bibliographical references (p. 232-251).