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This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand. These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).

This thesis analyzes contemporary participatory installation art, play theory, especially Johan Huizingas seminal Homo Ludens, and the aesthetic theories of Nicolas Bourriauds Relational Aesthetics and Jacques Rancires Politics of Aesthetics. Ping Pond Table 1998 by Gabriel Orozco and Test Site 2006 by Cartsen Hller are studied to illustrate how play and the aesthetic can become political by repositioning the contemporary viewer as an active and playing participant in the artwork, prompting an awareness of the matrix of power between audience, artwork and institution, and by creating the possibility for dynamic social roles. This thesis, like the artworks it examines, invokes a conception of play as a vital construct of culture rather than simply the domain of childhood imagination. Overturning the dominant concept of play and reinstating play in adult life becomes a political act because it engages adults in liberated, creative thinking that challenges traditional, consumer-driven, practical and thus constructive behaviours.

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.

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.

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.

A digitalização das mídias e a influência da tecnologia ocasionaram a difusão de um novo modelo de cinema, conjunto complexo de mudanças pautadas na lógica econômica e em um processo de cognição específico. Nesse contexto, na nova disposição do cinema, observa-se uma transformação no processo narrativo fílmico para além de novos formatos e conteúdos audiovisuais. Para investigar o fenômeno da polidimensionalidade do conceito da narrativa no cinema contemporâneo, a presente dissertação realiza uma análise qualitativa de exemplos significativos do cinema comercial, considerando a não-linearidade, a transnacionalização, a transmídia, além de destacar a vertente da multiplicidade narrativa, da polidimensionalidade, no cinema experimental e nas instalações artísticas. Como recorte do objeto de pesquisa, optou-se pela análise do filme Slumdog Millionaire (2008), nos itens transnacionalização e não-linearidade; dos filmes Watchmen (2009) e Batman (The Dark Knight, 2008), como franquias de transmídia; além da multiplicidade do cinema experimental What we will e instalações. O critério de seleção dos filmes foi o destaque que obtiveram nas respectivas categorias nos últimos dois anos, nas grandes bilheterias do cinema comercial pelos sites Filme B e The Internet Movie Database / The digitalization of media and the influence of technology lead to the difusion of a new type of cinema, a complex set of changes related to specific logics of economics and to specific processes of cognition. In this context, in the new organization of cinema, it is possible to behold the process of filmic narrative changing into new formats and new audiovisual content. In order to investigate the phenomenon of the poly-dimensionality of the concept of narrative in the contemporary cinema, the present thesis performs a qualitative analysis of significative examples of the commercial cinema, taking into consideration the concepts of nonlinearity, transnationalization and transmedia. It also highlights the aspects of narrative multiplicity and poly-dimensionality in experimental cinema and installation art. In order to exemplify the research object, the thesis analyzes the movie Slumdog Millionaire (2008), in which concerns transnationalization and nonlinearity; both the movies Watchmen (2008) and Batman (The Dark Knight, 2008), as transmedia franchises; besides approaching the multiplicity of the experimental cinema piece What we will and some installation art pieces. The criterion for the selection of the movies was their good results in theaters for their respective categories in the last two years, according to the websites Filme B and The Internet Movie Database.

A digitalização das mídias e a influência da tecnologia ocasionaram a difusão de um novo modelo de cinema, conjunto complexo de mudanças pautadas na lógica econômica e em um processo de cognição específico. Nesse contexto, na nova disposição do cinema, observa-se uma transformação no processo narrativo fílmico para além de novos formatos e conteúdos audiovisuais. Para investigar o fenômeno da polidimensionalidade do conceito da narrativa no cinema contemporâneo, a presente dissertação realiza uma análise qualitativa de exemplos significativos do cinema comercial, considerando a não-linearidade, a transnacionalização, a transmídia, além de destacar a vertente da multiplicidade narrativa, da polidimensionalidade, no cinema experimental e nas instalações artísticas. Como recorte do objeto de pesquisa, optou-se pela análise do filme Slumdog Millionaire (2008), nos itens transnacionalização e não-linearidade; dos filmes Watchmen (2009) e Batman (The Dark Knight, 2008), como franquias de transmídia; além da multiplicidade do cinema experimental What we will e instalações. O critério de seleção dos filmes foi o destaque que obtiveram nas respectivas categorias nos últimos dois anos, nas grandes bilheterias do cinema comercial pelos sites Filme B e The Internet Movie Database / The digitalization of media and the influence of technology lead to the difusion of a new type of cinema, a complex set of changes related to specific logics of economics and to specific processes of cognition. In this context, in the new organization of cinema, it is possible to behold the process of filmic narrative changing into new formats and new audiovisual content. In order to investigate the phenomenon of the poly-dimensionality of the concept of narrative in the contemporary cinema, the present thesis performs a qualitative analysis of significative examples of the commercial cinema, taking into consideration the concepts of nonlinearity, transnationalization and transmedia. It also highlights the aspects of narrative multiplicity and poly-dimensionality in experimental cinema and installation art. In order to exemplify the research object, the thesis analyzes the movie Slumdog Millionaire (2008), in which concerns transnationalization and nonlinearity; both the movies Watchmen (2008) and Batman (The Dark Knight, 2008), as transmedia franchises; besides approaching the multiplicity of the experimental cinema piece What we will and some installation art pieces. The criterion for the selection of the movies was their good results in theaters for their respective categories in the last two years, according to the websites Filme B and The Internet Movie Database.

Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. / This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.

This thesis forms a valuable tool of analysis, as well as an important reference guide to anyone interested in communicating, expressing, representing, simulating and or imagining what it is like to experience psychotic phenomena. Understanding what it is like to experience psychotic phenomena is difficult. Those who have experience with it find it hard to describe, and those who do not have that experience find it hard to envision. Yet, the ability to understand is crucial to the interaction with a person struggling with psychotic experiences, and for this help is needed. In recent years, the psychosis simulation projects Mindstorm, Paved with Fear, Virtual Hallucinations and Living With Schizophrenia have been developed as teaching and awareness tools for mental health workers, police, students and family members, so that they can better understand psychotic phenomena. These multimedia projects aim to improve understanding of what a person in psychosis is going through. This thesis represents a journey into taking a closer look at their designs and comparing them to biographical and professional literature. In doing so, throughout the chapters, a set of considerations and design challenges have been created that need to be taken into account when simulating psychosis. After a series of artistic case study labyrinths, Suicide Pigeon, Intruder, and Intruder 2.0, two final ‘do-it-yourself-psychosis’ projects have been created that have taken the aspects collected into account: The Labyrinth and The Wearable. Together these two projects form experiences that may be considered analogous to psychotic experiences. My original contribution to knowledge lies, on the one hand, within the function that both The Labyrinth and The Wearable have on a person’s ability to gain a better understanding of what it feels like to be in psychosis, and on the other hand within the background information provided on the context and urgency of psychosis simulation, how the existing simulations may be improved, and how labyrinthine installation art may contribute to these improvements.