À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie. / With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular.

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La musique aujourd’hui est régulièrement accompagnée d’environnements visuels. Depuis les propositions en provenance du vidéoclip jusqu’aux œuvres installatives en passant par l’art web ou le cinéma, l’audiovisuel occupe une place considérable dans notre monde médiatisé et constitue un foyer important du développement des pratiques musicales. L’alliage entre son et image est souvent rattachée à l’histoire du cinéma mais les prémisses entourant l’audiovisuel remontent en réalité à l’Antiquité. Les correspondances entre sons et couleurs ont pris racine en premier chez les Pythagoriciens et cet intérêt se poursuit encore aujourd’hui. L’avènement de différentes technologies est venu reformuler au fil des siècles cette recherche qui retourne du décloisonnement artistique. L’arrivée de l’électricité permet au XIXe siècle le développement d’une lutherie expérimentale avec entre autres l’orgue à couleur d’Alexander Rimington. Ces instruments audiovisuels donnent naissance plus tard au Lumia, un art de la couleur et du mouvement se voulant proche de la musique et qui ne donne pourtant rien à entendre. Parallèlement à ces nouvelles propositions artistiques, il se développe dès les tout début du XXe siècle au sein des avant-gardes cinématographiques un corpus d’œuvres qui sera ensuite appelé musique visuelle. Les possibilités offertes par le support filmique vient offrir de nouvelles possibilités quant à l’organisation de la couleur et du mouvement. La pratique de cet art hybride est ensuite reformulée par les artistes associés à l’art vidéo avant de connaitre une vaste phase de démocratisation avec l’avènement des ordinateurs domestiques depuis les années 1990. Je retrace le parcours historique de ces pratiques audiovisuelles qui s’inscrivent résolument sur le terrain du musical. Un parcours appuyé essentiellement sur des œuvres et des ouvrages théoriques tout en étant parsemé de réflexions personnelles. Je traite des enjeux théoriques associés à ces propositions artistiques en les différenciant d’un autre format audiovisuel majeur soit le cinéma. Cet exposé permet de préparer le terrain afin de présenter et contextualiser mon travail de création. Je traite de deux œuvres, Trombe (2011) et Lungta (2012), des propositions qui héritent à la fois des musiques visuelles, de l’art interactif et de l’art cinétique. / Visual environments nowadays regularly accompany music. From the video clip to installations, web-art and cinema, audiovisual occupies a great part of our world and constitutes an important development pole of musical practices. The mixing of sound and image is often attached to the history of cinema but the premises of audio-vision date back to Antiquity. The connections between sound and colors were first encountered with the Pythagoricians and the research surrounding these relationships is still pursued nowadays. Different technologies have paved the way to new formulations of this artistic decompartmentalization. In XIXth century, electricity enables the development of an experimental musical instrument fabrication research with Alexander Rimington’s color organ amongst others. These audiovisual instruments give birth later to Lumia, an art form willingly close to music and that renders nothing to hear. In parallel to these new artistic propositions, a body of work later called Visual Music is emerging from early cinematographic avant-gardes. The possibilities offered by the filmic support opens to new ways of organizing color and movement. This hybrid art is then reformulated by video art practitioners before going through a vast phase of democratization with the advent of domestic computers in the early 1990. I cover the different historic parts of these resolutely musical audiovisual practices. This summary is mainly made of art and theoretical works dotted with personal reflections. I comment the theoretical aspects attached to these artistic propositions by opposing another major audiovisual format: cinema. All this in order to pave the way for a presentation and contextualization of my creative output. I propose Trombe (2011) and Lungta (2012), two propositions that inherit from visual music, interactive art and kinetic art.

Made available in DSpace on 2016-03-15T19:23:20Z (GMT). No. of bitstreams: 1 Matheus Ramos de Godoy Diniz.pdf: 2690919 bytes, checksum: e14e70c0aa395f5a511fe57bfadca501 (MD5) Previous issue date: 2010-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper deals with the selection and analysis of works of art and architecture made in the second half of the twentieth century, involving the use of elements of electronic media or perception altering techniques on the built environment, either in the scale of the building or in the scale of the city, and analyzed their effects on the spatial perception of the user. It was considered that the socio-cultural situation of the studied period, addressing historical events of an economic and cultural nature, would be relevant to the understanding the current situation, which was described in Chapter 2. The central focuses of this dissertation are the concepts and the analyzed works. The studied concepts were elected by their importance and relevance to the studied theme. Surface, imagetic thought and the spatializiation of the body were studied in order to structure the analysis of the selected works. Also discussed is the growing presence of image and electronic media in the urban environment and how this can lead to new social practices and changes in the practice of the disciplines of architecture and urbanism. The concepts of technique and ethics were studied, establishing the strategy of analytic critique that we applied to the selected works. This segment of the dissertation was developed in Chapter 3. The selected works were grouped and analyzed based on their spatial characteristics, mode of perception, image strategy and interactivity in order to provide a representative picture of the use of elements of electronic media or perception altering techniques on the built environment. The works were analyzed in Chapter 4. / Este trabalho trata da seleção e análise de obras de arte e arquitetura realizadas na segunda metade do século XX, envolvendo o uso de elementos de mídia eletrônica ou técnicas de alteração de percepção no espaço construído, tanto na escala do edifício quanto na escala urbana, e seus efeitos na percepção espacial do usuário. Considerou-se que a situação sócio-cultural do período estudado, apontando acontecimentos históricos de teor econômico e cultural, seria relevante para o entendimento da situação atual, o que foi descrito no capítulo 2. O foco central da dissertação são os conceitos e as obras analisadas. Os conceitos tratados foram eleitos a partir de sua importância e pertinência à temática. Superfície, pensamento imagético e espacialização corporal foram estudados com o intuito de estruturar a análise das obras selecionadas. Abordamos também a crescente presença da imagem e mídia eletrônicas no espaço urbano e como esta situação pode levar a novas práticas sociais e a alterações na prática das disciplinas da arquitetura e do urbanismo. Relacionamos, ainda, os conceitos de técnica e ética, que estabelecem a estratégia de análise crítica. Este segmento da dissertação foi desenvolvido no capítulo 3. As obras escolhidas e analisadas foram agrupadas a partir de suas características espaciais, de percepção, de imagem e de interatividade, de forma a constituir um panorama representativo do uso de elementos de mídia eletrônica ou técnicas de alteração de percepção no espaço construído. As obras foram analisadas no capítulo 4.

As an object at the boundary between virtual and physical reality, the screen exists both as a displayer and as a thing displayed, thus functioning as a mediator. The screen's virtual imagery produces a sense of immersion in its viewer, yet at the same time the materiality of the screen produces a sense of rejection from the viewer's complete involvement in the virtual world. The experience of the screen is thus an oscillation between these two states of immersion and rejection. Nowadays, as interactivity becomes a central component of the relationship between viewers and many artworks, the viewer experience of the screen is changing. Unlike the screen experience in non-interactive artworks, such as the traditional static screen of painting or the moving screen of video art in the 1970s, interactive media screen experiences can provide viewers with a more immersive, immediate, and therefore, more intense experience. For example, many digital media artworks provide an interactive experience for viewers by capturing their face or body though real-time computer vision techniques. In this situation, as the camera and the monitor in the artwork encapsulate the interactor's body in an instant feedback loop, the interactor becomes a part of the interface mechanism and responds to the artwork as the system leads or even provokes them. This thesis claims that this kind of direct mirroring in interactive screen-based media artworks does not allow the viewer the critical distance or time needed for self-reflection. The thesis examines the previous aesthetics of spatial and temporal perception, such as presentness and instantaneousness, and the notions of passage and of psychological perception such as reflection, reflexiveness and auratic experience, looking at how these aesthetics can be integrated into new media screen experiences. Based on this theoretical research, the thesis claims that interactive screen spaces can act as a site for expression and representation, both through a doubling effect between the physical and virtual worlds, and through manifold spatial and temporal mappings with the screen experience. These claims are further supported through exploration of screen-based media installations created by the author since 2003.

The Granville Bridge, Vancouver, Canada is an unsafe, uncomfortable and uninteresting crossing for pedestrians. Neither does it possess an identifiable or memorable image. Although the City of Vancouver has identified poor crossing conditions for pedestrians as an issue that requires addressing, the current design for the City's preferred solution - a suspended crossing attached to the side of the Granville Bridge - the current design for this structure does not address how to make the bridge an imageable element in the city landscape. Using the Black Rock Arts Festival - commonly know as Burning Man - as a case study, the potential for an interactive landscape design to create an identity for the Granville Bridge is examined. Although Burning Man fails to create a community that integrates with its contextual landscape, its use of interactive art is successful in creating community among participants. Through the contextual use of interactive art in conjunction with the proposed suspended pedestrian crossing, a design is proposed that celebrates the Granville Bridge as a conduit of motion by revealing the presence of pedestrians. The proposed design includes design components under the north and south ends of the bridge to conceptually ground the image on the north and south side of False Creek, and unifies the total design with the metaphorical and literal use of dance. The design shows that interactive art can be used to make the Granville Bridge an imageable element in the landscape, thereby making it an integral part of the Vancouver landscape. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée d'un document visuel. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / L'action interactive avec le numérique est quotidienne. Toutefois, peu de réflexions sur le sujet mettent en avant l'importance de la trace dans cette relation qui nous lie à la machine. Une expérience interactive engendre souvent une trace et c'est à partir de cet élément capital que nous réfléchissons, dans ce mémoire, sur la relation entretenue avec notre environnement numérique interactif. La trace est alors comprise comme une nouvelle approche épistémologique des arts numériques interactifs. Penser le numérique comme immatériel suppose une quasi-inexistence de la trace présente au sein d'une oeuvre numérique, impliquant une mystification. Tout au long de cette recherche, notre objectif est donc de redonner une matérialité à la trace, afin qu'elle puisse s'intégrer dans notre paysage que l'on dit matériel. C'est l’oeuvre Pulse Room (2006) de Rafael Lozano-Hemmer qui va nous permettre de constater les ambivalences et les convergences qui existent dans l'approche d'une société informatisée face à la machine numérique, et de saisir la manière dont nous évaluons la trace qui est laissée dernière chacune de nos prestations numériques. C'est uniquement au moment où la trace numérique intégrera une certaine matérialité que nous serons capables de nous considérer en tant qu'objet de réflexion, de distinguer la manière dont nous nous comportons face à cet environnement et d'apprendre à être critiques. / The interactive action with the digital is daily. However, few thoughts on the subject highlight the importance of the trace in this relationship which links us to the machine. Often, an interactive experience generates a trace and it is from this important element that we are thinking, in this master’s thesis, on the relationship with our interactive digital environment. The trace is then understood as a new epistemological approach to interactive digital arts. To think the digital as immaterial generates an almost non-existent of the trace within a digital work, involving a mystification. Throughout this research, our goal is to give back materiality to this trace, so that it can fit into our landscape called material. The work Pulse Room (2006) by Rafael Lozano-Hemmer will enable us to reflect on the ambivalences and convergences that exists in the approach of a computerized society in front of the digital machine, and understand how we evaluate the trace that is left behind each of our digital performances. It's only when the digital trace will incorporate a certain materiality, that we will be able to see ourselves as an object of reflection, to discern how we behave facing this environment and learn to be critical.

Text in English, with abstracts and keywords in English, Zulu and Xhosa / Link to the dataset (catalogue): https://doi.org/10.25399/UnisaData.14101913.v1 / Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media. This study employed a literature review of selected discourses related to new media studies. Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective. These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality. The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist, a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery. / Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili kwezokuxhumana nezendabuko ezintsha. Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe. Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya. Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari. / Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso yale mihla neyakudala. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla, kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso) ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari). / https://doi.org/10.25399/UnisaData.14101913.v1 / Arts and Music / M.A. (Visual Arts)