My thesis body of work developed from a desire to examine my nonrepresentational artwork in relation to the concept of entropy - the law of thermodynamics that measures the gradual, steady disintegration in a system such as our world. Experimenting with a range of approaches and mediums, I resolved to radically manipulate the inkjet printing of my digital photography files to introduce chance and provoke decay. The resulting prints operate as an orchestrated chaos alluding to environmental decline and collapse, and by extension, potential social degeneration. My art reflects my perceptions of our times as well as adds to the problem. I continue to produce waste through the consumption of materials. I contaminate through inks. I add to landfills with failures. My artwork points out the inevitable end. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

This practice-based research project investigates the production, distribution and reception of network art practice before and after globalisation. It does so to engage with the Internet as 'the most material and visible sign of globalisation' (Manovich 2001) whose emergence as the pre-eminent network technology arrives concurrently with the disappearance of its utopian promise. Taking Robert Filliou's 1968 conception of The Eternal Network as a starting point, the research seeks to understand the opportunities and limitations of network art practice through identifying and developing a range of curatorial and artistic methods in practice. Methodologically, it presents the researcher as an artist-curator-performer. Doing so enables 'inhabitation' (rather than 're-enactment') of the concepts and principles of Filliou's work. Filliou thus becomes a medium of research for the development of network art practice after the Net and vice versa. Curating only the second edition of The Art-of-Peace Biennale becomes the primary output of the research. Filliou conceived of the Biennale in 1970, proposed it in 1982 and René Block organised the first edition at the Kunstverein, Hamburg, Germany, in 1985. The contemporary edition, The Next Art-of-Peace Biennale 2015-17, occurred mainly but not exclusively through the online platform, www.peacebiennale.info. It did so to respond to the radical shift in modes of online production, distribution and reception since the first edition. The research describes, contextualises and reflects on the emergence of The Next Art-of-Peace Biennale 2015-2017 and describes a final exhibition, What is Peace? (Answer Here), held in 2018. It presents a contribution to knowledge through artistic and curatorial practice exploring online and offline exhibition-making, video, performance, correspondence art and writing. Through developing an ontology of 'curatorial behaviour' exploring the 'locations', 'durations', 'materialities' and 'interactions' of network art practice, the research identifies artistic and curatorial principles able to withstand the 'high-tech gloom' (Thompson 2011, p. 49) of mendacious globalisation in a late Web 2.0, postmedium condition.

Made available in DSpace on 2016-04-26T18:10:52Z (GMT). No. of bitstreams: 1 Carolina Guerra Liberio.pdf: 1815326 bytes, checksum: 539ae9e252ce5e117c3bc8d0a7aba701 (MD5) Previous issue date: 2011-05-23 / Fundação de Amparo à Pesquisa do Estado do Maranhão / The present study discusses, from the perspective of the photographic dispositif, the changes in the photographic act since the development and popularization of digital photography. The research rescues the historical development of photography during the 20th century as a way to understand the changes in the photographic praxis until nowadays. The conventions and prefigurations of the photographic act were discussed, as also were the relations between those conventions and the actual practice of digital photography. The method utilized in this study was based in the concept of geneology as used by Michel Foucault (2002), in which it is affirmed the need to historically research the fields of force that compose the dispositif. The concept of dispositif is utilized to discuss the characteristics of the photographic equipment, based not only on the works of Foucault, but also on Agamben s (2008). As a technological basis for many processes of image production, photography has a fundamental role in midst the means of social communication. The changes from the analogical to the digital process in photography bring implications that affect not only amateur day-to-day uses, but also the role of photography in the means of mass communication. A example of this is the loss of trust in the longly self alleged objectivity claim of the photographic image, specially present in the context of photojournalism, that has changed the way society perceives the photographic image: more and more, photography is treated as a discourse, and less as a testemony. The hypothesis of this study is that the digital technology in connection to the photographic dispositif alters the role of the photographic image in society and that this change is inserted in a wider social-cultral context of modifications in the ways messages are produced and distributed in the digital age / O presente texto aborda, a partir de um estudo do dispositivo fotográfico, as mudanças no ato fotográfico a partir do surgimento e popularização da fotografia digital. A pesquisa partiu de um resgate histórico do desenvolvimento da fotografia ao longo do século XX, como forma de compreender as mudanças na práxis fotográfica. Discutiu-se que convenções e prefigurações estiveram presentes no ato de fotografar ao longo do século XX, e que relação elas tem com as atuais praticas da fotografia digital. A metodologia da pesquisa foi da ordem da genealogia, conforme definida por Michel Foucault (2002), em que se afirma a necessidade de pesquisar historicamente as linhas de força que compõe o campo dos dispositivos. O conceito de dispositivo é utilizado para discutir as características do equipamento fotográfico, com base não somente na obra de Foucault, mas também na de Agamben (2008). Como base técnica de diversos processos de produção de imagens, a fotografia ocupa um lugar fundamental dentro dos meios de comunicação. A mudança do processo analógico para o digital traz implicações que afetam não somente usuários amadores, mas também os grandes veículos de mídia. Um dos exemplos é a perda da tão alegada objetividade ou verdade fotográfica, especialmente no contexto do fotojornalismo, que tem modificado de forma geral a percepção da fotografia em sociedade: cada vez mais, trata-se a foto como um discurso, e não como índice ou testemunho. O estudo parte da hipótese de que a tecnologia digital em conexão com o dispositivo fotográfico altera o estatuto da imagem fotográfica em sociedade e se insere em um contexto sócio-cultural mais amplo de mudanças nas formas de produção e distribuição de mensagens, a partir das recentes tecnologias binárias

Muriel Cooper (1925–94) worked at the Massachusetts Institute of Technology (MIT) for more than four decades as a graphic designer, an educator, and a researcher. Beginning in the early 1950s, she was the first designer in MIT’s Office of Publications, where she visualized the latest scientific research in print. In the late 1960s, she became the first Design and Media Director for the MIT Press, rationalizing its publishing protocols and giving form to some of the period’s most significant texts in the histories of art, design, and architecture, among other fields. In the mid-1970s, Cooper co-founded the Visible Language Workshop in MIT’s Department of Architecture. There she taught experimental printing and explored new imaging technologies in photography and video. And from the 1980s until her death, Cooper was a founding faculty member of the MIT Media Lab, where she turned her attention to the human-computer interface. Cooper helped cultivate a design culture at MIT. And before her premature death, she established some of the metaphors and mentored some of the designers that have shaped our contemporary digital landscape. Few 20th century designers have made significant contributions in both print and digital media, or helped to navigate the epochal transition between the two. Yet Cooper, in designing and redesigning roles for herself within new fields at MIT, did just that. Over her career and across multiple media, Cooper’s concerns remained quite consistent: She focused on developing both design tools and user experiences that would provide greater control and quicker feedback, eventually to be aided by machine intelligence. She sought to create experiences that were dynamic rather than static and simultaneous rather than linear, ones that engaged multiple media and a range of human senses. Cooper applied her knowledge of print design to software, and considered print and the process of its production as a prototype for the experiences that she would seek on screen. She also borrowed freely from media such as photography and film to inspire some of the effects she would later explore in new media. Cooper’s career traced an arc, in her practice and her pedagogy, from a focus on objects to one on systems. And her relationship to the digital evolved from a set of effects to be emulated in other media to seeing the computer at first as a tool, then as an assistant, and finally, as the medium itself. At the same time, she participated in a broader shift during this period from the paradigm of the humanist subject to the digitally augmented, “posthuman” condition of the present. In her interests and her achievements, Cooper exceeded any traditional definition of a graphic designer. At the same time, her work has defined the present state of the field. This dissertation, the first dedicated to Cooper, charts her pathbreaking career at MIT while also shedding new light on vital moments in the history of art, design, architecture, and media in postwar America.

O consumo das tecnologias da nova mídia – entre elas, a internet e suas aplicações, o telefone celular e os jogos online – possui um papel especialmente relevante para os jovens. Pode-se dizer que a geração adolescente atual não “adotou” a nova mídia, mas sim que ela sempre foi parte de suas vidas. Estas tecnologias oferecem amplas possibilidades de comunicação e expressão e são mais interativas e imersivas que a mídia “tradicional” – como a televisão, o rádio e o jornal, por exemplo. Além disso, os jovens têm se valido destas novas tecnologias em seus processos de aprendizagem e socialização. Eles se preocupam bastante em cultivar suas relações sociais e em construir sua identidade e, assim, a possibilidade de as novas tecnologias aprimorarem a sua socialização pode ser sua a grande atratividade. Frente a isso, este trabalho se propôs a investigar que papéis a nova mídia desempenha na socialização dos adolescentes. Esta investigação é realizada considerando o amplo domínio tecnológico da nova mídia, e não apenas uma tecnologia específica, a fim de explorar as relações gerais que existem entre elas e as motivações dos adolescentes. Estes, por sua vez, são considerados por seu papel ativo na apropriação da mídia, e não como figuras passivas sujeitas à ação determinista de influências externas. O consumo das tecnologias da nova mídia – entre elas, a internet e suas aplicações, o telefone celular e os jogos online – possui um papel especialmente relevante para os jovens. Pode-se dizer que a geração adolescente atual não “adotou” a nova mídia, mas sim que ela sempre foi parte de suas vidas. Estas tecnologias oferecem amplas possibilidades de comunicação e expressão e são mais interativas e imersivas que a mídia “tradicional” – como a televisão, o rádio e o jornal, por exemplo. Além disso, os jovens têm se valido destas novas tecnologias em seus processos de aprendizagem e socialização. Eles se preocupam bastante em cultivar suas relações sociais e em construir sua identidade e, assim, a possibilidade de as novas tecnologias aprimorarem a sua socialização pode ser sua a grande atratividade. Frente a isso, este trabalho se propôs a investigar que papéis a nova mídia desempenha na socialização dos adolescentes. Esta investigação é realizada considerando o amplo domínio tecnológico da nova mídia, e não apenas uma tecnologia específica, a fim de explorar as relações gerais que existem entre elas e as motivações dos adolescentes. Estes, por sua vez, são considerados por seu papel ativo na apropriação da mídia, e não como figuras passivas sujeitas à ação determinista de influências externas. Por outro lado, ela pode provocar um distanciamento em certos contextos e preocupações quanto à privacidade, além de uma possível dependência da mídia para a socialização. Estes resultados buscam contribuir com o conhecimento na área ao enfatizar o contexto social dos adolescentes e ao promover um entendimento mais holístico sobre o tema. / The consumption of new media technologies – including internet and its applications, mobile phones and online games – has an important role for young people. It is possible to say that the current teen generation has not “adopted” the new media, they were always part of their lives. The main features of these technologies are their wide possibilities of communication and expression, which are more interactive and immersive than “traditional” media’s – such as television, newspapers or radio. Moreover, young people have taken advantage of these new technologies in their learning and socialization processes. Teenagers are very concerned about their social relationships and the development of their self-identity, thus the possibilities offered by new media to achieve these purposes may be their greatest attractiveness. In face of these considerations, the aim of this study is to investigate the roles of new media in the socialization of adolescents. This research is undertaken over the wide technological dominium of new media, not only over a specific isolated technology in order to explore the generic relationships between them and teenagers’ motivations. Young people are considered for their active role in media appropriation, not just as passive individuals under deterministic external influences. This study proposed an exploratory qualitative research under interpretative approach. In first place, it was conducted a review of the literature about adolescents’ consumption behavior and the uses of new media. In second place, it was undertaken a combination of focus groups and depth interviews with 45 adolescents of both genders, between 13-17 years old. As results, the research has indicated connectedness, entertainment, self-expression and image construction as the main motivations involved in new media appropriation. Peers appear to be the most important sources of consumption influences, so as the family, in certain situations. The research has also identified a number of factors guiding teenagers’ selection of specific new media technologies, such as the desired or required immediacy, the use of the medium by interest groups, the communication costs, the presence of aggregated features and the intimacy level of the relationship. Finally, this study also evaluated the advantages and disadvantages of teenagers’ communication through new media and the meanings of this communication in their socialization. More specifically, the new technologies are essential to relationships’ maintenance and intensification and useful for networking expansion and interaction with the opposite gender. In the other hand, communication through new media may induce detachment between young people and concerns about privacy in certain cases, besides the possibility of media dependency for their socialization. The results of this study aim to contribute with the knowledge in the field by the emphasis in the social context of young people and the advancement in a more holistic understanding about this subject.

Les rapports que l’homme entretient avec son environnement semblent évoluer au fil des nombreuses découvertes scientifiques et technologiques. En effet, ces dernières engendrent de nouvelles manières d’intervenir sur le monde qui nous entoure. À l’ère des biotechnologies, des nanotechnologies, du numérique, des réseaux et des nouveaux systèmes audiovisuels, nos possibilités d’interactions avec le monde sont en mutation. Il semblerait bien qu’en explorant ces nouveaux médias pour réaliser des œuvres, de nombreux artistes interrogent la complexité des systèmes écologiques et technologiques qui nous environnent. Lorsqu’ils posent un regard critique sur ces technologies, ou inventent de nouveaux modèles systémiques, cela ne serait-il pas souvent des manières de nous inciter à nous réapproprier nos milieux de vie ? Le travail d’écriture mené au long de cette thèse entreprend d’étudier comment, dans les pratiques artistiques contemporaines, la notion d'écologie peut être revisitée au regard des technologies et des nouveaux médias. Nous avançons l’hypothèse qu’une étude des relations entre l’art et son (ou ses) environnement(s) en articulation avec les nouveaux médias puisse nous aider à repenser nos manières humaines d’habiter le monde. Nous proposons d’employer le terme « écopoïèse » pour désigner de manière générale les processus de création qui ont des enjeux écologiques. Il s’agit alors d’élaborer une pensée qui tient compte des relations complexes et systémiques que les créateurs, les œuvres et les spectateurs entretiennent avec leur environnement. / Man's relationship with his environment seems to evolve following a pattern similar to that of the discoveries of science and technology, which bring about new ways to interact with the world. Now in the age of biotechnology and nanotechnology, of digital networks and new audiovisual media, our capacity to act in the world mutates accordingly. In their practice of new media in order to produce their works, many artists question the complexity of the ecological and technological systems that surround us. When they seem to criticize these technologies or try to create new systemic models, is it not often their way of encouraging us to claim ownership of our very habitats? This dissertation studies the ways in which ecology may be revisited through the use of new media and technologies in contemporary artistic works. Our hypothesis is that a study of the relation between art, the environment(s) where it is displayed and the new media it uses may help us rethink the way we inhabit the world. Tentatively, we suggest the word « ecopoiesis » to qualify the creative processes in which ecology is at stake. The goal is to come up with a notion of the complex and systemic relations that the artists, the works of art and the audience have with their environment.

O advento das tecnologias digitais e a difusão da "world wide web" (www) expandiram as atividades de comunicação pública em direção a um amplo leque de novos agentes publicadores, muito além do setor midiático tradicional. Nesse contexto, embora exista uma literatura numerosa e recente de estudos diagnosticando o uso dos recursos da nova mídia pelo setor midiático tradicional, tais estudos ainda inexistem para os novos agentes publicadores recém-surgidos, entre os quais o setor bancário brasileiro ocupa uma posição de destaque proporcionada por sua vocação, historicamente demonstrada, para o uso de tecnologia. Dessa forma, a dissertação se propõe a estudar como os bancos no Brasil – e em especial os que operam no mercado de varejo – se desempenham enquanto agentes publicadores de conteúdos na nova mídia. / The advent of digital technologies and the diffusion of the world wide web (www) have expanded the boundaries of massive communication activities towards a wide range of new players, much beyond the traditional media sector. Within this context, despite the existence of a recent, prolific literature diagnosing the use of new media resources by the traditional media sector, such analyses have not been developed yet for the range of newly appeared players, among which the Brazilian banking sector occupies a position of prominence due to its historically demonstrated technological vocation. Therefore, the dissertation is focused on studying how the banking institutions in Brazil, and especially those operating in the retail banking segment, perform their tasks as new media publishers.

Com o intuito de mapear o território e os limites éticos e morais numa indústria da comunicação que passa por mudanças estruturais, o estudo recupera dilemas capazes de nortear a atuação do comunicador e aprofunda a discussão da moralidade na mídia, por conta de um vácuo na formação do comunicador em relação à ética e à moral na perspectiva da história do conhecimento. Com o uso de exemplos clássicos da literatura, da dramaturgia ou da própria comunicação, o resultado é um itinerário que perpassa momentos relevantes para a mídia com o objetivo de revelar diferenças entre conceitos sólidos da modernidade e a fluidez que estes mesmos conceitos encontram tanto na modernidade quanto no que se convencionou chamar de pós-modernismo. Ao mesmo tempo, detalha como se edifica uma nova mídia enquanto se delineia a concentração global da indústria da comunicação, assentada na dispersão dos indivíduos. O trabalho também pretende endereçar a questão do futuro das comunicações, qual a importância do jornalista no momento em que qualquer indivíduo, cidadão ou instituição tem facilmente às mãos os meios tecnológicos capazes de lhe dar poder para fazer comunicação local ou de massa além de analisar como ética e moral se inserem neste contexto. / In order to draw up the ethical and moral boundaries of a communication industry that goes through structural changes, the study gets back to dilemmas that both drives the communicators behavior and deepens the discussion of morality in the media space due to the a void in the formation of the communicator with respect to ethics and morality in the context of the history of knowledge. With examples of classic literature, dramaturgy or communication, the study is a journey that passes through relevant moments for the media industry in order to reveal differences between solid concepts of modernity and fluidity that these same concepts come across on modernity and even what it was designated as post-modernism. At the same time, it details the build up of the new media while it outlines the global concentration of the communications industry, founded in the dispersion of individuals. The work also intends to answer the question about the future of communications: what is the importance of the journalist at a time that any individual, citizen or institution has easily in his hands the technological resources appropriate to provide power to make local or mass communication, in addition to analyze how ethics and moral fit in this context.

Made available in DSpace on 2016-03-15T19:42:48Z (GMT). No. of bitstreams: 1 Bruno Carvalho dos Santos.pdf: 7538342 bytes, checksum: 6224b1c80f21e175ad4a52884f84246b (MD5) Previous issue date: 2014-08-08 / This research is a study on structures of the codes in digital games, presented here as syntax of a Game Language. This work is divided into three phases that begins with the concept of game being contextualized in a contemporary form in digital culture and characterizing it in two instances: object and activity. Then to present the structures features a digital game is a brief presentation of World of Warcraft, object of study that will serve as a reference during the stages of analysis of the basic elements that make up a game found in the concepts of game design. Thus, a triadic reorganization syntactic dimensions is proposed to accommodate the elements based on the technologies utilized flexibly and always keeping the characteristic of game. Finally, a study on the concept of language applied to digital games is presented with the intention to indicate the beginning of a path of the study of games as language. This research reserves pointing organized structures of the codes contained in the digital games, called here the syntax of the Game Language. / A presente pesquisa faz um estudo sobre estruturas dos códigos nos jogos digitais, apresentadas aqui como sintaxes de uma Game Linguagem. Assim, este trabalho divide-se em três momentos que inicia-se com o conceito de jogo sendo contextualizado de forma contemporânea na cultura digital e caracterizando-o em duas instâncias: objeto e atividade. Em seguida, para apresentar as características estruturas de um jogo digital é feita uma breve apresentação de World of Warcraft, objeto de estudo que servirá de referência durante as etapas de analise dos elementos básicos que compõem um jogo encontrados nos conceitos de game design. Dessa forma, uma reorganização triádica em dimensões sintáticas é proposta para acomodar os elementos baseados nas tecnologias utilizadas de maneira flexível e mantendo sempre a característica de jogo. Por fim, um estudo sobre o conceito de linguagem aplicado aos jogos digitais é apresentado com a intenção de indicar o início de um caminho do estudo dos games como linguagem. Esta pesquisa reserva-se a apontar estruturas organizadas dos códigos contidos nos jogos digitais, chamadas aqui de sintaxes da Game Linguagem.

Made available in DSpace on 2016-03-15T19:43:41Z (GMT). No. of bitstreams: 1 Fernanda Nardy Bellicieri.pdf: 2132120 bytes, checksum: f8feed4a18e8c5a58dded3c05f4c505d (MD5) Previous issue date: 2006-09-13 / This research aims to analyse, in general terms, the digital environment in its essential technic and cultural aspects, so that, with this panoramic view, we ll be able to try ways to promote new content proposals, related to a powerful use of the media virtually composed. The specific-funtional focus surpasses itself as a metatextual content or just a decoder of processes and conditions that involve the search for a digital language. The focus reaches the pratical object: directing what was identified, apprehended and even speculated (why not?) about New Medias, to the digitalized television media like it´s been considered: an eminent real transformation. With the Digital TV introduction, we ll go into changes in many espheres. At least potentially this seems to be the most revolutionary incoming technology, with consequences in a large number of social aspects. It s not that potential can necessarily operate; the machine is not an end itself, but just a way to produce language. We can t say that potential as just a possibility is applied only to the social realities in development. Although the Digital TV is already in operation in the USA, Europe, japan and Canada, it is still no longer explored, even if compared with other digital medias (that are far from being examples os language investigation). Massive world; what s default here, seems to have its correspondent long distance. Technological collateral effect. The logic of this research is in the search for more questions that we are, in fact, used to. More links and non linear conections, interdisciplinarity and networks that we ve been able to dare with. Paying attention to the comunication treatment in the fluid space: our biggest resistance may be the most greatful indication of this work. Maybe it won t arrive to any solution, but working with doubts seems to be the virtual most compatible to real solutions digital based. / O objetivo da pesquisa é analisar, em termos gerais, o ambiente digital em seus aspectos técnicos e culturais essenciais, para que, a partir de uma vista panorâmica, avaliem-se meios de viabilizar novas propostas de conteúdo, análogas ao uso potencializado da mídia virtualmente configurada. O foco específico-funcional da pesquisa extrapola-se como conteúdo metatextual investigativo, mero decodificador de processos e condicionais que envolvem a busca por uma linguagem digital, e alcança o objeto prático: direcionar o que foi constatado, apreendido e até especulado (por que não?) à mídia televisiva digitalizada em seu caráter de eminente transformação real. Via introdução da TV Digital, transitaremos por fluxos de mudanças em esferas diversas. Ao menos potencialmente, esse parece ser o porvir tecnológico mais revolucionário em termos de abrangência macro-social. Não que potencial necessariamente opere; a máquina não é fim em si mesma, mas meio de produzir linguagem. E potencial como possibilidade não se restringe às realidades sociais em desenvolvimento. Apesar de já implantada nos EUA, Europa, Japão e Canadá, a TV digital é ainda muito pouco explorada, mesmo em relação às demais mídias digitais (que estão longe de ser exemplo investigativo de linguagem). Universalizaram-se os padrões; o que é desfalque aqui, parece ter correspondente a distâncias. Refluxo tecnológico. A lógica da pesquisa reside na busca por mais incógnitas do que, de fato, estamos acostumados a digerir. Mais links e conexões não lineares, interdisciplinaridade e redes de ligação do que se tem dado conta. Prestar contas e atenção ao tratamento da comunicação em espaço fluido: nossa maior resistência parece ser a mais grata indicação da pesquisa. Talvez não chegue a contribuir com soluções, no entanto, operar dúvidas pode ser o caminho virtual mais compatível a soluções reais com base em dígitos.