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Sit, Eat, Drink, Talk, Laugh – Dining and Mixed Media, is an exploratory study of qualities in everyday life and challenges people to enjoy the qualities of mundanity. Seeking inspiration in ethnographic studies, field work was conducted in domestic settings, returning an extensive body of material to work from. The study challenges people to absorb the moment, reflect and enjoy, rather than pacing through a lifetime, with a constant focus on the future instead of the present. This work takes a starting point in food and dining as a social activity, where interactive sound and a reference to online social media is explored through two interventions. The results of these are discussed with central findings around food and dining in the area of sociology, the use of sound in ambient computing and on a higher level around the topic of temporality.

Coincidental increases in online instruction at institutions of higher education and in online social networking generally in the U.S. have created opportunities for research into how digital interpersonal connectivity affects online learning. This study examined interactive webcasts, or webcasts plus chat, that were part of an online undergraduate course covering Internet knowledge and skills at a large public university. Symbolic interactionism served as the theoretical framework for explicating interactive webcasts as useful online learning environments by exploring the complex processes that instructional staff employed to manage their actions and interactions as moderators in the webcasts and chats. A constructivist grounded theory approach guided the collection and analysis of empirical data in the form of webcast media and transcripts, chat logs, students‘ reflective writing, and semi-structured, intensive interviews with instructional staff. From the study emerged theoretical categories in three tiers related to a generalized moderator process called minding the verge: moderators minded the verge in three conditions of interaction– converging, attending, and diverging; in three loci of interaction – webcasts, chats, and webcasts+chat; and through six actions of moderating – bonding, orientating, guiding, tending, validating, and branching. The results of this study provide moderators for the course with insights into their actions in the interactive webcasts and with concepts moderators can use to explore how to manage interactive webcasts more effectively. Beyond effecting substantive changes to interactive webcasts for the course, the study may guide others who wish to pursue further studies of webcasts+chat as they occur in the course or elsewhere, or of other mixed-media environments, or who wish to adopt mixed-media environments for instruction. Other potential areas for research that emerged from this study include the affective states of participants in the webcasts+chat and the use of affective devices, such as emoticons and abbreviations, for showing affective states; the effect that format has on the efficacy of webcasts+chat used for computer-mediated instruction; and the processes students employ to manage actions and interactions in the webcasts and chats. / text

Paintings and drawings are the physical representations of my dialogue with the world around me. Art is how I connect to what is too large, or too vague, or too personally meaningful to express in any other way. Space and its transformation by light and color have always been central to this dialogue. I am particularly intrigued by spatial ambiguity. Space exists for us only in how it relates to us and so, space changes. One viewpoint or state of mind might make space seem freeing, while another makes the same space feel confining. Barriers are sometimes delineated, sometimes obscured. At other times, they are broken. This has a political implication which appears in my work as fissures, fences, compression, and collapse.The space of my inner self, the space outside, and the space between the two are relationships that drive what I paint and draw. My art is the place where I acknowledge the cracks in the ice and where I try to keep from falling through when the ground opens up. Shifting planes are where I try to keep my balance while peeking through the cracks and over the edge.

I vacillate between all extremes, beauty vs. ugly, internal vs. external, micro vs. macro. It is these disparate notions that inspire what I make. We cannot ever see ourselves objectively, but does that mean we shouldn’t try? This thesis is my attempt to dissect what I created in my 2 years at Virginia Commonwealth University, my exploration of the illness within and the psychological nature of how we go about hiding our insecurities.

Angel Jones Artist Statement My mixed media collages address issues concerning the outcast, the overlooked, and the underprivileged. My inspirations come from what I experience and perceive around me. My purpose in life is to use my art to address social issues that involve children. For example, I focus my attention on issues ranging from homelessness to mental illness. I am passionate about how vital these concerns are to our success as human beings. To express my ideas, I layer a variety of materials and textiles. The materials include fragments of photographs, drawings, and objects. The textiles include articles of clothing and fabrics. Recurring symbols and imagery link the individual pieces together. The theme of each work determines the materials and media. While doing research for a piece, new social issues often surface and lead to the next piece.

This portfolio of compositions investigates the adaptation of state-space models, frequently used in engineering control theory, to the electroacoustic composition context. These models are mathematical descriptions of physical systems that provide several variables representing the system’s behaviours. The composer adapts a set of state-space models of either abstract, mechanical or electrical systems to a music creation environment. She uses them in eight compositions: five mixed media multi-channel pieces and three mixed media pieces. In the portfolio, the composer investigates multiple ways of meaningfully mapping these system’s behaviours into music parameters. This is done either by exploring and creating timbre in synthetic sound, or by transforming existing sounds. The research also involves the process of incorporating state-space models as a real-time software tool using Max and SuperCollider. As real-time models offer several variables of continuous evolutions, the composer mapped them to different dimensions of sound simultaneously. The composer represented the model’s evolutions with either short/interrupted, long or indefinitely evolving sounds. The evolution implies changes in timbre, length and dynamic range. The composer creates gestures, textures and spaces based on the model’s behaviours. The composer explores how the model’s nature influences the musical language and the integration of these with other music sources such as recordings or musical instruments. As the models represent physical processes, the composer observes that the resulting sounds evolve in organic ways. Moreover, the composer not only sonifies the real-time models, but actually excites them to cause changes. The composer develops a compositional methodology which involves interacting with the models while observing/designing changes in sound. In that sense, the composer regards real-time state-space models as her own instruments to create music. The models are regarded as additional forces and as sound transforming agents in mixed media pieces. In fixed media pieces, the composer additionally exploits their linearity to create space through sound de-correlation.

Abstract Mixed media, as artful assemblages of digital objects and physical artefacts, provide distinctive opportunities for experiential, presentational and representational interaction. In project-based learning of architecture design, participants staged spatial narratives with multiple projections, performed mixed objects and artefacts, and exploited bodily movements in mixed representations. These cases show how physical interfaces in mixed media acquire a spatial dimension, integrate physical artefacts and bodily movements and propose configurability as a central feature. A perspective based on anthropological concepts of performance makes it possible to address these aspects in a coherent way, pointing to sense experience, the individuality and collective emergence of expression and its diachronic and event-like character. From this perspective, interaction is part of expressive events aimed at generating new insights for participants (interchangeable performers and spectators) privileging sense experience. Events are the outcome of configurations of space, artefacts and digital media, and are characterised by a simultaneousness of doing and undergoing, of bodily presence and representation. More importantly, the performance perspective suggests a particular temporal view of interaction, based on the concept of event, addressing a neglected granularity of analysis between the moment-by-moment unfolding of interaction and the longer term co-evolution of technology and practice. Implications of interaction as performance contribute to a wider program of interaction design, thereby providing alternatives to established human-computer interaction tenets: the notion of event is an alternative to the notion of task; perception in Dewey's terms replaces recognition proposing expression as an alternative to accountability and usability. Implications include looking at how space can be configured and staged instead of measured or simulated, and how situations can be staged instead of sensed and recognised, privileging the sensing human over the sensing system.

Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us. / Soft society

Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production.