The aim of this thesis is to look closer at the phenomena Snapchat dysmorphia and the underlying aspects of what it involves. I have done this by using Karen Barads concept of intra-action, agency and discourse together with glitch theory. Through a materialistic influenced discourse analysis of several videos of young people discussing the phenomena I have seen how discourses on femininity play a crucial part in the making and taking of selfies. I have found that young women taking lots of selfies do this as a part of a selfie making practice that is a part of a selfie culture. By deconstructing the phenomena and what parts that play a part in it I could see what the underlying features was for example discourses on femininity and ideals but also the normalization of plastic surgery and image editing on social media.

A pesquisa aborda o desenvolvimento de competências e estratégias necessárias à apreensão crítica de produções audiovisuais contemporâneas em contextos escolares. Dados divulgados por pesquisas do IBOPE e da TIC KIDS ONLINE confirmam que crianças e adolescentes com idades entre 9 e 17 anos passam muito tempo em frente à televisão e/ou navegando na internet, através de diferentes dispositivos, assistindo vídeos, programas, filmes ou séries online. Considerar e contemplar no contexto escolar, parte das produções audiovisuais que essa parcela da população consome, explorando-as através de atividades pedagogicamente elaboradas, pode contribuir com a formação visual e audiovisual deste público. Nesta perspectiva, a da leitura e interpretação dessas produções, que se ampliaram, enquanto desafios contemporâneos do ensino de artes visuais, as abordagens envolvendo não apenas as produções de arte, mas toda e qualquer produção visual e audiovisual. Desta forma, a pergunta de pesquisa que norteia este estudo visa perceber e analisar como os professores de artes visuais podem proporcionar aos seus estudantes o desenvolvimento de competências que os tornem aptos para apreender produções visuais e audiovisuais contemporâneas de uma forma crítica Para tanto, os objetivos buscaram fomentar reflexões acerca do desenvolvimento de competências e estratégias para a apreensão de produtos audiovisuais; problematizar a apreensão visual e audiovisual no ensino da arte através da abordagem teórica e metodológica da semiótica discursiva greimasiana ampliada pelos estudos sociossemióticos de Landowski. Também, analisar os efeitos de sentido decorrentes da inter-relação entre uma produção cultural, o episódio O Sinal, da animação O Incrível Mundo de Gumball, e uma produção artística contemporânea, a videoinstalação Cinema Lascado, de Giselle Beiguelman e compreender os regimes de interação envolvidos. Observamos que, no âmbito do regime do acidente, as oscilações entre apreensão e suspensão da produção de efeitos de sentido relacionam-se com os conceitos de fraturas e as escapatórias desenvolvidos por Greimas. Por fim, entende-se que transitar entre diferentes regimes contribui para tornar a apreensão de sentidos mais sofisticada. / This study deals with the development of necessary competencies and strategies to develop critical apprehension of contemporary audiovisual productions in school contexts. Data released by IBOPE and TIC KIDS ONLINE surveys confirm that children and adolescents between the ages of 9 and 17 spend a lot of time watching TV and/or surfing the net through different devices, watching videos, programs, movies or online series. Considering and contemplating school context, part of the audiovisual productions which population consumes, can be explored through pedagogically elaborated activities, and may contribute to visual and audiovisual concepts of this public. In this perspective, reading and interpreting these productions, which have expanded throughout the years, seem to be contemporary challenges of visual arts teaching. Not only involving art productions, but any visual and audiovisual production. Thus, the research question that guides this study aims to perceive and analyze how visual arts teachers can provide their students the development of competencies that enable them to apprehend contemporary visual and audiovisual productions in a critical way To this end, the objectives sought to foster reflection on the competencies and strategies development for audiovisual products understanding; to problematize visual and audiovisual apprehension in the teaching of arts through the theoretical and methodological approach discursive semiotics of A. J. Greimas, enlarged by the sociossemiotics studies of E. Landowski. Also, to analyze the sense effects arising from the interrelationship between a cultural production, the episode The Sign, from the animation The Amazing World of Gumball, and a contemporary artistic production, the video installation of Cinema Lascado, by Giselle Beiguelman and to understand the interaction regimes involved. We observe that, in the context of the accident regime, the oscillations between apprehension and suspension in sense effects production are related to the concepts of fractures and the loopholes developed by Greimas. Finally, it is understood that being able to commute between different regimes contributes to make sense apprehension more sophisticated.

Studiens syfte var att skriva tre låtar inom EDM-genren med fokus på arrangering och mixning av baselement inom spannet 30–260 Hz. Metod: Med hjälp av olika analystekniker begrundades tre stycken referenslåtar i genrerna Drum and Bass, Glitch Hop och Progressiv house. Utifrån analyserna av dessa utformades tre stycken arrangeringsmodeller, vilka utgjorde grunden för mina tre produktioner. En jämförelse mellan referenslåtarna och produktionerna gjordes för att belysa skillnader och likheter. För att uppnå mina ideal av ett väl mixat basregister framkom det att det är av extra stor vikt att ta hänsyn till arrangering av baselement gentemot mixning av dessa. I mixstadiet visade det sig att verktyg såsom equalizer, kompressorer, expanders, distar och gaters m.m. hade stor betydelse för basregistrets kvalitet. Diskussion/slutsats: Då låtarna är i olika genrer och tempon kan riktlinjer underlätta mixstadiet såsom att snabba tempon inte är att föredra i kombination med en bastrumma med mycket subbas. Likaså att låtar med lägre tempo kan gynnas av att använda sidechain-kompression som ett rytmiskt verktyg. Att använda dynamiska verktyg såsom expanders kan skapa luft i mixen och motverka att den blir platt. Dist kan vara en bra metod för att ge basfrekvenser attityd och framhäva dem i mixen.

Master of Music / The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.

C'est en tant qu'artiste et praticien des technologies numériques que nous abordons cette recherche. C'est en effet par l'utilisation des outils de traitement informatique et de certains principes qui lui sont associés (interactivité, générativité), mais également par une nécessité artistique qui déborde la seule donne technologique, que les problématiques soulevées sont approchées. Deux hypothèses seront formulées par le présent travail. La première s'appuie sur le constat de l'émergence, dans le domaine de l'art contemporain, de nouvelles formes de mise en relation entre le son et l'image portées par une dynamique de fusion, autant sensorielle que structurelle. En partant de l'idée d'un croisement progressif des recherches effectuées dans le champ des arts musicaux et des arts visuels, tout au long du XXe siècle, nous supposons la possibilité d'extraire un outil d'analyse pouvant servir à la description d'objets artistiques, personnels ou non, se situant à la frontière des deux domaines. Nous en proposons le terme d'objet imago-sonore. Par la mise à disposition d'un langage partagé, celui du code numérique, l'informatique jouera un rôle capital dans la mise en œuvre de ce processus de synthétisation et de fusion. Une deuxième hypothèse tend à montrer que le mouvement d'objectivation, d'isolement, voir de séquençage parallèle du son et de l'image, rend compte également de pratiques contemporaines axées sur le " temps-court ". Par ces principes de synchronisation et de simultanéité, l'objet imago-sonore participe à cette réduction des durées sonores et visuelles au stade d'un inframince événementiel, ou micro-événementialité (on parlera alors de glitch imago-sonore). Dans le champ particulier de la représentation du corps en mouvement, cela participera d'une esthétique du micro-mouvement.

Šiame bakalauro darbe siekiama ištirti klaidos raiškos ir patyrimo galimybes skaitmeninėse audiovizualinėse medijose. Klaida analizuojama kaip teorinė ir filosofinė sąvoka. Klaidos ir skaitmeninių medijų patyrimo santykyje iškyla sinestezijos reikšmė, kvestionuojanti skaitmeninių medijų juslinio patyrimo sąlygas. Klaidos apraiškos skaitmeninėse medijose tiriamos ne tik teoriškai, žvelgiama ir į trikties (angl. glitch ) reiškinį kaip į tiesioginę skaitmeninės klaidos apraišką tiek garsinėje, tiek ir vizualinėje terpėse. Taip pat apžvelgiama klaidos kaip idėjos apraiškos muzikoje ir vizualiajame mene. Kūrybiniame video darbe apjungiama vizuali triktis ir muzikinė improvizacija. Audiovizualinis patyrimas sukuria klaidos pojūčio tėkmę, atskleidžia improvizacijos ir medijų ekspresyvumą. / This culminating project seeks to examine error manifestation and experience possibilities in audiovisual media. Error is analyzed as theoretical and philosophical definition. The meaning of synesthesia arises in the relation of error and digital media experience, questioning the way digital media is percieved. Manifestations of error in digital media is examined not only theoretically, glitch is examined as manifestation both in audio and video mediums. Also considered are the ideas of glitch in audio and visual art. Video work seeks to cover visual glitch with musical improvisation. Audiovisual experience creates the flow of glitch experience, uncovers improvisation and expression of media.

The School of Electrical, Electronic and Computer Engineering of the North-West University is conducting research about RFID (radio frequency identification) medium range reader systems for an international company, iPico. The focus area of the present research is the development of a robust tag detection algorithm for noisy environments. During the past three years a digital detection algorithm was developed. This digital detection algorithm delivered significant improvements in detection of RFIDs over its analogue counterpart, especially in noisy environments. However, the digital detection algorithm was found to be very sensitive with regard to data rate deviations. Although the latter algorithm improved the detection of RFIDs, ghost (absent) tags were now also detected. The objectives of this project are, to develop an enhanced detection algorithm which is less sensitive to frequency deviations and to eliminate the appearance of the so called ghost tags. The proposed enhanced algorithm will be implemented on a FPGA (field programmable gate array), more specific the Altera Cyclone EP1CT144C6 FPGA. / Thesis (M.Ing. (Computer and Electronical Engineering))--North-West University, Potchefstroom Campus, 2009.

The School of Electrical, Electronic and Computer Engineering of the North-West University is conducting research about RFID (radio frequency identification) medium range reader systems for an international company, iPico. The focus area of the present research is the development of a robust tag detection algorithm for noisy environments. During the past three years a digital detection algorithm was developed. This digital detection algorithm delivered significant improvements in detection of RFIDs over its analogue counterpart, especially in noisy environments. However, the digital detection algorithm was found to be very sensitive with regard to data rate deviations. Although the latter algorithm improved the detection of RFIDs, ghost (absent) tags were now also detected. The objectives of this project are, to develop an enhanced detection algorithm which is less sensitive to frequency deviations and to eliminate the appearance of the so called ghost tags. The proposed enhanced algorithm will be implemented on a FPGA (field programmable gate array), more specific the Altera Cyclone EP1CT144C6 FPGA. / Thesis (M.Ing. (Computer and Electronical Engineering))--North-West University, Potchefstroom Campus, 2009.

Master of Music / The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.

I det här arbetet ställs prestationsmål mot skicklighetsmål för att hitta motivationer kring fuskande i kompetitiva dataspel. För att definiera fusk så förklaras många aspekter av spel som ofta används för fuskande. Från brytande av regler satta av utvecklare, turneringar, eller andra involverade grupper, till ambiguös utnyttjning av buggar och glitchar. För att undersöka motiveringar till fuskande antas det att om skicklighetsnivån hos en spelare inte når upp till skicklighetskravet i ett spel så ökar chansen för fusk. En 1 mot 1 spelare mod till spelet Starcraft 2 skapades, där 2 testare ställs inför en duell. Under matchen så får den förlorande spelaren valet av att fuska, därefter intervjuas alla testare i par och de får reflektera och motivera. De flesta var emot fuskande, men många valde ändå att fuska i artefakten. Konceptet med prestationsmål och skicklighetsmål kan vidareutvecklas och testas på fler sätt än i detta arbete, vilket uppmuntras.