Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaves 51-55).

Εφαρμογή σε PHP και MySQL που αναλαμβάνει την ανάρτηση, αρχειοθέτηση και διαδραστική παρουσίαση διπλωματικών εργασιών στο διαδίκτυο. / Application writen in PHP and MySQL for filing and interactive presentation of dissertations on the Internet.

Orientador: Agnus Valente / Banca: José Paiani Spaniol / Banca: Antônio Busnardo Filho / Acompanha caixa com folhetos / Resumo: Esta dissertação apresenta o estudo e a problematização da produção plástica deste artista-pesquisador, oferecendo ao leitor, um fio condutor que percorre o caminho entre as origens e os desdobramentos do que se convencionou chamar de arte ativista, engajada, ou arte política. A reflexão sobre este processo e sua trajetória, são fatores determinantes para entender a configuração de sua poética como a de um artista ativista, evidenciando os aspectos relacionais às questões materiais e processuais. Consideramos neste sentido, a interação entre suas obras anteriores, que transitam entre o universo da arte postal e do livro de artista, até o seu ingresso na academia e a transformação daí ocorrida através da potencialização de sua metodologia de trabalho. A interação proporcionada pela pesquisa modificou a hipótese inicial, a tal ponto, de gerar mudanças significativas na estrutura deste trabalho. A partir das ações vivenciadas, foi possível identificar poéticas que fazem uso de sistemas híbridos de produção. A construção de trabalhos sob estas premissas corroboraram e direcionaram para que tenhamos como perspectiva, o aprofundamento de questões relativas às metodologias colaborativas, onde os problemas relacionados à matéria sugerem procedimentos autônomos e independentes; ora individuais, ora colaborativos; de interação e não lineares; envolvidos por fatores não necessariamente pertencentes ao universo plástico, constituindo-se em processos essencialmente híbridos, múltiplos, tanto sob a ótica do cruzamento de sistemas, quanto da relação de produção material entre diferentes áreas de conhecimento. / Abstract: This work presents the study and the questioning of plastic production of this artistresearcher, offering the reader, a common thread that runs through the path between the origins and developments of the so-called activist art, engaged, or political art. Reflection on this process and its history, are key factors to understand the configuration of his poetic as that of an activist artist, showing the relational aspects to substantive and procedural issues. We consider in this regard, the interaction between his earlier works, traveling through the world of mail art and the artist book, until his admission to the academy and the transformation that took place there through the enhancement of its working methods. The interaction provided by the research changed the initial hypothesis, to the point of generating significant changes in the structure of this work. From the experienced actions, were identified poetic that make use of hybrid production systems. The construction work under these corroborated and directed premises so that we have as perspective, the deepening of issues related to collaborative methodologies, where problems related to the matter suggest autonomous and independent procedures; sometimes individual, sometimes collaborative; and nonlinear interaction; surrounded by factors not necessarily belonging to the plastic universe, thus becoming essentially hybrid processes, multiple, both from the perspective of systems crossing, as the ratio of production material between different areas of knowledge / Mestre

Com o crescente aumento do número de dispositivos móveis no mercado, surge a possibilidade dos usuários carregarem consigo diversos livros em formato digital. Estes livros, originalmente desenvolvidos para outros formatos, apresentam vícios, e em alguns casos falhas, que prejudicam e confundem o usuário. Por este motivo surgem os livros digitais interativos, que nada mais são do que livros projetados especificamente para estes dispositivos móveis. Mas junto com estes produtos surgem dúvidas a respeito de quais embasamentos devem ser utilizados. Neste contexto, a presente pesquisa analisa se os conhecimentos relacionados a experiência do usuário, ao design de interação, ao design de informação, e ao design de interface, vinculados as bases teóricas utilizadas para o desenvolvimento de livros impressos, jornais/revistas digitais e aplicativos, podem orientar o processo de projeto e desenvolvimento de livros digitais interativos. O resultado desta analise permite realizar um levantamento, e consequentemente criar um guia de diretrizes que servirá como embasamento para o futuros desenvolvimento de livros digitais interativos. / The increasing number of mobile devices on the market, arises the possibility for users to carry several books in a digital format. These books, originally developed for other formats, have addictions, and in some cases failures, that hinder and confuse the user. In this scenario arise the interactive digital books, which are nothing more than books designed specifically for these mobile devices. But along with these products new doubts show up. In this context, the present study examines whether the knowledge related to the user experience, the interaction design, the information design, and interface design, tied the theoretical bases used for the development of printed books, newspapers / magazines and digital applications can guide the process of design and development of interactive digital books. The result of this analysis allows to conduct this work, and thus create guidelines that will serve as basis for the future development of interactive digital books.

La question de la conception de médias interactifs s'est posée dès l'apparition d'ordinateurs ayant des capacités audio-visuelles. Un thème récurrent est la question de la spécification temporelle d'objets multimédia interactifs : comment peut-on créer des présentations multimédia dont le déroulé prend en compte des événements extérieurs au système.Ce problème rejoint un autre champ d'application, qui est celui de la musique et plus spécifiquement des partitions interactives : des pièces musicales dont l'interprétation pourra varier dans le temps en fonction d'indications données par la partition.Dans les deux cas, il est nécessaire de spécifier les médias et données musicales qui seront orchestrées par le système. C'est le sujet de la première partie de cette thèse, qui présente un modèle adapté pour la conception d'applications multimédia permettant de répondre à des problématiques d'accès réparti et de contrôle à distance, ainsi que de documentation.Une fois ce modèle défini, on construit en s'inspirant des systèmes à flots de donnée courants dans les environnements adaptés à la musique en temps réel un environnement de calcul permettant de contrôler les paramètres des applications définies précédemment, ainsi que de générer des entrées & sorties sous forme audio-visuelle. En particulier, une notion d'environnement permanent dans ce modèle de données est introduite. Elle simplifie certains cas d'usages courants en informatique musicale, et améliore les performances par rapport à une solution uniquement basée sur de la communication entre nœuds explicites du système.Enfin, une structure de graphe temporel est introduite : elle permet de définir les parties du graphe de données qui vont être actives à un instant donné d'une partition interactive. En particulier, les connections entre objets du graphe de données sont étudiées dans le cadre de déroulements synchrones et différés.Un langage d'édition visuel est introduit pour l'écriture de scénarios dans un modèle graphique réunissant les éléments introduits précédemment.La structure temporelle est par la suite étudiée sous l'axe de la répartition. On montre notamment qu'il est possible d'acquérir un pouvoir expressif supplémentaire en supposant une exécution concurrente de certains objets de la structure temporelle.Enfin, on présente comment le système permet de recréer nombre de systèmes musicaux existants : séquenceurs, live-loopers, et patchers, ainsi que les nouveaux types de comportements multimédias rendus possibles. / Interactive media design is a field which has been researched as soon as computers started showing audio-visual capabilities. A common research theme is the temporal specification of interactive media objects: how is it possible to create multimedia presentations whose schedule takes into account events external to the system.This problem is shared with another research field, which is interactive music and more precisely interactive scores. That is, musical works whose performance will evolve in time according to a given score.In both cases, it is necessary to specify the medias and musical data orchestrated by the system: this is the subject of the first part of this thesis, which presents a model tailored for the design of multimedia applications. This model allows to simplify distributed access and remote control questions, and solves documentation-related problems.Once this model has been defined, we construct by inspiration with well-known data-flow systems used in music programming, a computation structure able to control and orchestrate the applications defined previously, as well as handling audio-visual data input and output.Specifically, a notion of permanent environment is introduced in the data-flow model: it simplifies multiple use cases common when authoring interactive media and music, and improves performance when comparing to a purely node-based approach.Finally, a temporal graph structure is presented: it allows to score parts of the data graph in time. Especially, nodes of the data graph are studied in the context of both synchronous and delayed cases.A visual edition language is introduced to allow for authoring of interactive scores in a graphical model which unites the previously introduced elements.The temporal structure is then studied from the distribution point of view: we show in particular that it is possible to earn an additional expressive power by supposing a concurrent execution of specific objects of the temporal structure.Finally, we expose how the system is able to recreate multiple existing media systems: sequencers, live-loopers, patchers, as well as new multimedia behaviours.

学位授与大学：京都大学 ; 取得学位: 博士(工学) ; 学位授与年月日: 2007-09-25 ; 学位の種類: 新制・課程博士 ; 学位記番号: 工博第2855号 ; 請求記号: 新制/工/1420 ; 整理番号: 25540 / Design problem solving behavior refers to the way in which people solve their creative problem of design in their mind. It is one of the basic problems in the area of design methodology, which varies greatly by cases and designers. On the other hand, there are still some general ways or commonness as the core. Because of the complexity of design problem solving behavior, it is still not understood very well. This dissertation dives into the problem of design problem solving behavior too and tried to provide a general view of it, including both the general strategies and the temporary tactics. But differs from many other researches, it employed a confined and well-structured simulation of manual design process by employing the method of interactive evolutionary computation (IEC) to extract design problem solving behavior objectively. The simulated design process provided a comparable and statistically analyzable model for exploring design problem solving behavior of people, and made the findings of this dissertation more reliable. The design problem of interior works of Chinese residents, which need little special knowledge to solve, was selected as the design problem in this dissertation. The method of IEC was applied in interior works design for helping the Chinese residents to solve the practical interior works design problems, and inducing the design problem solving behavior of them. The dissertation contains 6 chapters, including the general introduction (chapter 1), the main body (chapter 2 to 5), and the conclusion (chapter 6). The main body can be further divided into two parts. In the first part (chapter 2 and 3) the IEC interior works (IECIW) design system was developed, and evaluated by a large amount of Chinese residents on its usability and disadvantage. After the preparation of method in the first part, the second part (chapter 4 and 5) presented two parallel researches on participants’ design problem solving behavior in design process using IEC in order to approach the design problem solving behavior in common design processes. Chapter 1 introduces the background and purpose of the research, reviewed related literatures, and the frame work of the dissertation. In chapter 2, IEC method was tentatively applied in the problem of interior works design. 7 color and texture related factors of the living room of a typical apartment in Beijing were selected as design factors in the IEC IW design system. Through 3 experiments, the IEC IW design system was found effective in interior works design and heuristic for the two tested Chinese students. The effect of increasing population size was also found significantly increasing the efficiency of the system. In chapter 3, the developed IEC IW design system was tentatively used by 231 Chinese residents to evaluate its usability and disadvantage in real design problems of interior works. It was concluded that the IEC IW design system is useful for the residents, and it was also found that older participants, and those with lower education and family income levels, gave the system better evaluations. Chapter 4 started to explore problem solving behavior of people in design tasks through simulated design process for interior works using IEC. Data of design process employing IEC of 8 Chinese participants were collected. Through analysis of design problem solving process, it was revealed that people tend to do what they are certain of firstly, and make harder decisions later. It was also found that people did not tend to move their eyes to a faraway image in the interface constantly, which was considered more convenient for them. Chapter 5 continued to explore problem solving behavior of the 8 participants' interior works design process employing IEC. The method of protocol analysis was employed to analyze verbal reports of the participants. It was revealed that different parts of the interior scene have different influence on people's evaluation, and people tended to use same evaluation criterion continuously on several images, then switch to another evaluation criterion. 3 stages of design problem solving behavior along the process were also explained. Chapter 6 summarizes the findings in the dissertation, presents the general discussion and perspective, and proposed some research in the future. / Kyoto University (京都大学) / 0048 / 新制・課程博士 / 博士(工学) / 甲第13384号 / 工博第2855号 / 新制||工||1420(附属図書館) / 25540 / UT51-2007-Q785 / 京都大学大学院工学研究科建築学専攻 / (主査)教授 宗本 順三, 教授 上谷 宏二, 教授 加藤 直樹 / 学位規則第4条第1項該当

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion -1 have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understands, historical human self-understands which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy.

This practice-based thesis undertakes research into the contemporary aesthetic of interactive media art, in order to propose a useful practical model of interactivity founded on a critical approach to both existing theory and practice. It proceeds from the identification of a primary lack in contemporary aesthetics that arises from the predominantly materialistic comprehension of technologically-mediated artworks. The thesis establishes a new model for interactive art that offers an immaterial engagement with technology at a locus where cognition and the aesthetic intertwine. This model is constructed following a revision of both the theory and practice of interactive media art, which identifies a materialistic bias of technology-mediated art production caused by a confused concept of technology as both tool and medium. This investigation confines itself to the last forty years of interactive art and the new model of spectatorship that has accompanied it. The main objective of what follows from this investigation is an account of agency in the artist and spectator interrelationship. In the context of technologically based artworks various approaches to spectatorship have frequently remained within the constraints of the traditional model of art that inherently drew on a separation between body and mind. It is argued in this thesis that neither the technology nor the participation itself, but the cognitive interconnection between 'artist-artwork-spectator' produces the primary aesthetic dimension of interactive media art. In this respect, not the physical object creation but the aestheticisation of this triangle produces the here identified immaterial/cognitive experience of the spectators. This can be achieved when the technology is applied as a transparent medium one of the core concepts introduced in this thesis which can facilitate an aesthetic quality or meaning creation through technology. The 'transparent medium' enables the cognitive-based experience production, which is identified as the immersive flow of the spectator's aesthetic experience. As such, the re-evaluation of the artist- spectator interrelationship proposes a new immaterial model of art which is called the Transparent Act. The introduction of the Transparent Act leads to the main intervention of this thesis which lies in an effort to recover a lost dimension in interactive media art. A recovery of this dimension enables access to a knowledge practice which is not necessarily located in ordinary cognitive experiences but in unfamiliar conscious states that can be compared to accounts of so-called spiritual experiences. The model of the Transparent Act is concurrently applied as a practise-based intervention and proof-of-concept in a major installation, the Mind Cupola. This artistic and technological contextualisation of the original intervention of this thesis is exemplified as an affective environment which aims for an immediate cognitive affection of the spectator by generating mechanical and audio-visual effects in the spectator's 'mind'. The artistic system uses special face analysis techniques to close the feedback loop and affect the spectator through the analysis of her/his reactions. The installation is built upon a 'passive' modality of interaction in which the spectator contributes to the artwork with subtle, cognitive-based interactions which are fed back through a complex open response system. The implementation of cognitive feedback loops, also described as the fractal structure in the spectator's cognition, constitutes the essential transparent medium through which the previously lost immaterial dimension of a spiritual-like aesthetic experience in interactive media art is achieved. The thesis concludes with suggestions of further applications including the evaluation of technologically mediated artworks.

Les foules sont de plus en plus présentes dans les médias grands publics, comme le cinéma ou les jeux vidéo. Elles permettent de renforcer l'immersion du sujet dans l'environnement qui lui est présenté. Or, la création de mouvement de foule est la plus part du temps basé sur des modèles dures à prendre en main et qui n'offrent pas un contrôle direct sur le mouvement de foule que l'on souhaite créer. Dans cette thèse nous proposons des contributions sous forme de méthodes pour concevoir des mouvements de foules par le biais d'outils interactifs et intuitifs. Dans un premier temps, nous présentons une méthode interactive permettant de concevoir des foules en les déformant comme de l'argile. L'utilisateur peut tirer, compresser et torde la forme global de des foules pour leurs donner la forme qu'il ou elle souhaite. Les personnages qui composent la foule s'adaptent automatiquement à la nouvelle forme imposée par l'utilisateur. Dans un second temps, nous présentons une méthode permettant de peindre les mouvements et la densité de la foule pour la créer. Nous offrons la possibilité à l'utilisateur de créer des foules en peignant une carte de densité en niveau de gris, et une carte de mouvement via des dégradés. Ses cartes de couleurs sont utilisées par notre système pour le transformer en un mouvement de foule, via un algorithme itératif cherchant à optimiser les différentes valeurs des cartes de couleurs. Les foules obtenues par ces méthodes peuvent occupées un espace très large, et sont animées indéfiniment. Contrairement aux méthodes classiques de création de foules qui se basent sur l'ajustement de paramètres de modèles, nos méthodes permettent de concevoir les mouvements de foules en se basant sur des caractéristiques plus hauts niveaux de la foule, comme sa forme globale, ses mouvements internes ou sa densité. Ce qui offre la possibilité de créer du contenu de foule animée de manière simple, rapide et intuitif. / Crowds are increasingly present in audio-visual media, such as movies or video games. They help to strengthen the immersion of the subject in the virtual environment. However, creating crowds is most of the time based on models hard to master and which do not offer a direct control on the motion that you want to create. In this thesis we propose contributions for designing crowd motions through interactive and intuitive tools. Firstly, we present an interactive method for designing the crowds by distorting it like clay. The user can stretch, compress and twist the overall shape of the crowd to give it the shape he or she wishes. The inner characters of the crowd automatically adapt to the new shape imposed by the user. Secondly, we present a method to paint the motion and the density of the crowd to create it. We offer the opportunity to the user to create crowds by painting a grayscale density map and a motion map by gradients. Its colored maps are transformed by our system to crowds, thanks to our iterative algorithm seeking to optimize the different values of colored maps. Crowds obtained by these methods can occupy a very large space and are animated indefinitely. Unlike conventional methods of creating crowds, that are based on the adjustment of model parameters, our methods allow to design crowd motions based on higher level features of the crowd, as its overall shape, its internal movement or density. This offers the possibility to simply, quickly and intuitively create animated crowd contents.

The creation and development of educational hypermedia by teachers and educational staff is often limited by their lack of computing skills, time and support from the educational institutions. Especially the lack of computing skills is a hinderance to most of today’s educational experts. The problem is to find out how those educational experts could be supported by computer based tools which are tailored especially to their needs without having any technical limitations. In this study the separation of technical and educational content in educational hypermedia is examined as a solution to this problem. The main hypothesis of this study is that the separation of technical and educational content is possible if it is based on a fine-grained structure of different teaching and learning strategies and their conversion into an authoring tool. Such an authoring tool would make the creation of educational hypermedia very easy for teachers and therefore enable them to overcome the existing obstacles. The development of a new model, the creation of a new XML language and the implementation of a new authoring tool form the basis for a detailed investigation. The investigation was done by undertaking several research tasks like the evaluation of the XML language and the authoring tool by a group of educational experts of different knowledge domains, the practical usage of the authoring tool for the creation of real-life based educational material and the analysis of the gained research results. The analysis of the qualitative data showed that the separation of educational and technical content in educational hypermedia is possible and that it can be applied by educational experts with low computing skills as well as by technical experts with no educational background. Furthermore, the analysis allowed some additional insights into the creation of educational material by teachers and how it can be improved. The main conclusion of this study is that authoring tools in educational hypermedia should use the separation of educational and technical content based on different teaching and learning strategies which allows educational experts with low computing skills to create educational content for delivery via the World Wide Web.