Thesis (M. Arch.)--University of Hong Kong, 2002. / Includes special study report entitled: Media art : space. Includes bibliographical references.

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes special study report entitled : Media art : space. Includes bibliographical references. Also available in print.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

My work is not about making big declamatory statements. It's about looking around within my home environment and noticing something and thinking about it. At times (it) is noticed by me as I am passing by a storefront window or browsing through a second-hand store. I never have a clue to what I am looking for until I see it and buy it. Many times I will live with the object for years before deciding to use it as part of my art. Yet when I decide to use the object(s) I find it important to understand how they have been used, under used and why they are tossed away and given little notice in our day-to-day lives. In September, I was given Studio 244. Located in Shattuck Hall, Studio 244 was a former women's dressing room for the Theater Department. As soon as I saw it I realized this was "home" to my installation. The opportunity to work in this studio for nine months and to create an environment that would alter the look of the original space was extremely exciting and challenging. I divided the studio into three separate rooms. I built a long, narrow corridor, a tall windowed room (Domestic Goddess Room) and another room which was windowless but bright and cheery (Dressed For Success Room). These three rooms contained objects and texts which gave information to the way many women have lived and continue to live in the institution of home. Life is predicated on change. Many objects and concepts that we once took for granted as part of everyday life either have vanished or now seem destined to disappear. Others should have disappeared but keep popping up in each new generation disguised in new words and new packaging. I am a carrier and conservator of my culture, the good and the bad. As a visual artist I have the opportunity to tell my point of view, my passions and my story within the confines of a space which I have built and created for the sole purpose of saying, "Look at this. Please."

This paper explores the relationship between place in installation art and its relevance to the practice of placemaking in a hospital setting. The discussion draws on phenomenology, psychodynamic theory and contemporary art, in particular the author's art experience of places, their formal qualities and potential meanings, along with, an examination of what creates an embodied sense of being contained at home ( emotionally and physically). Some of the questions posed for discussion include; what is it about places that becomes inherent to memory and shapes its form? How do places impact on what we do there and who we are? Is place more significant in memory for a young child or someone in a vulnerable state of being (as in the hospital setting)? Process issues, along with physical outcomes, in installations and in the hospital projects are discussed. / Master of Arts (Hons)

Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY / Doctor of Philosophy (PhD)

Reproduction de : Thèse de doctorat : Etudes anglophones : Lyon 2 : 2006. / Titre provenant de l'écran-titre. Bibliogr. Index.

This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work. The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion. / vi, 56 leaves : col. ill. ; 29 cm

This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.