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This thesis investigates materialization and representation in contemporary architectural design practice. Due to cultural and technological shifts, the act of design is no longer squarely located in the abstract realms of drawings or digital geometries. Computer aided manufacturing, simulation and scanning offer new design opportunities that are located in the transfer between representation and material. This has given rise to a post-digital model of practice and thought, in which ‘real’ and discrete chunks of matter are incorporated at the earliest stages of design. The thesis is practice-based, and spans in scope from design to technology to theory. The design work included explores materialization and representation from a particular point of view. In addition, it suggests a methodological approach to design, and explores the theoretical implications in this approach. These implications are addressed in two connected research questions: How can material processes, whether real or simulated, turn transfers between geometry and materialized objects into productive design opportunities? And how might material simulation alter the ways in which representations are conceptualized and used by architects? In parallel with practice-based work, the thesis suggests a theoretical framework for current issues of representation and materialization in architecture. This framework draws from the recent history of the digital turn in architecture as well as from recent design research work and theory in a post-digital turn. This thesis makes contributions in three main areas. Through the design work Erratic, it makes a visceral case for how the use of material simulation might open up new ways of harnessing material agency. It positions simulation in the field of architecture in-between established polarities such as geometry vs. matter, virtual vs. real and drawing vs. mock-up. It discusses the conceptual difference between design based on geometry and design based on discrete pieces of material. Finally, it proposes that form in architecture increasingly can be conceptualized as ‘chunks,’ as opposed to reduced descriptions of geometry. / <p>QC 20161102</p>

This dissertation theorizes the food blog as an instance of “habitual new media” (Chun, Habitual New Media). A familiar Web 2.0 genre, food blogs have played a prominent role in rendering the Internet as a source of always-available culinary know-how. At the same time, they have long been and continue to be components of a broader “food-related media convergence” (Lofgren), as bloggers engage with other media formats and industries—cookbooks, television, photography, journalism—and rework their content to meet the demands of a “platformized creative economy” (Duffy et al. 1). Engaging with food blogging’s simultaneous persistence and transformation within a post-digital and post-foodie media landscape, I consider how the unfolding relationality of home cooking is “stabilized” (Kember and Zylinska 75) into demonstrable, shareable, and archivable food knowledges—a process I term culinary experience. While digital modalities provide an important “automedial” (Smith and Watson 168) venue for putting home cooking “on the record” (Couser 181), food blogs are never ‘just’ digital but instead speak to the entanglement of digital technologies, platforms, and discourses with legacy media forms, food and plant matter, and the agential ‘stuff’ and spaces of everyday life. I argue that culinary experience is enacted with, and complexified by, these overlapping materialities. My analysis is organized into three substantial chapters, which trace the materialization of culinary experience throughout the photographic practices of the blogging studio-kitchen, the blog-to-(cook)book pipeline of the 2010s, and the everyday soundscapes of short-form recipe videos. Calling for a deeper dialogue between food studies and feminist media studies in the wake of the material turn, I demonstrate that an attention to food blogging assemblages opens up questions about how certain food stories, and certain culinary agencies, come to “matter” (Poletti, Stories 7)—and explore how we might reorient the workings of culinary experience toward more equitable digital food futures. / Dissertation / Doctor of Philosophy (PhD) / First emerging in the early Internet cultures of the new millennium, food blogs have developed into a familiar online genre and a reliable source of culinary knowledge. This dissertation argues that, to understand the food blog’s embeddedness in everyday digital food cultures, we must account for the manifold technical and material agencies with which food stories and recipes are shared, circulated, and stored. Turning my attention to bloggers’ home photography studios, the relationship between blogs and cookbooks, and the soundscapes of recipe videos found across social media platforms, I position food blogs as a key mechanism by which culinary experiences are formed and understood, but also reformed and contested. In their dual function as autobiographical and archival media, food blogs contribute to a culinary public record which, I argue, is as shaped by analogue media and ‘IRL’ kitchens as it is by digital norms and infrastructures.

This thesis examines how designs based on a conjunction between craft and digital techniques may offer new possibilities for an architect or designer in contemporary practice. How is it relevant that what initially appear to be two distinct approaches to designing and making can be introduced to each other and coalesce to form a constructive attitude of mutually borrowed logic? The thesis champions the crafting of innovative design and the incorporation of digitally derived procedures that allow for globally efficient dissemination and malleability. Such procedures have occupied the practice of architecture and design for some time, giving rise to the current sobriquet of a 'post-digital age'. I propose that at this point in time we can usefully speculate on the relationship between physical making and computer-based production. Too often the stylistic overtures popularly attached to the terms 'digital' and 'craft' narrow our perception of what each term may encompass and how they are likely to manifest. Traditionally, digitally derived design practice is attributed the efficiency of a mathematically precise mode of operation - an oscillation between zeroes and ones that produces a universal logic of smoothly rendered forms. By contrast, 'craft' is often cast into the realm of amateurish making, complete with mistakes, dropped stitches, fingerprints or other traces of human fault that are understood as being charming in the context of handmade human endeavour yet fall short when measured against 'serious' artistic categories that include architecture, design and fine art. This thesis seeks to move beyond such accepted and somewhat polarised positions. First, the thesis offers clearer and more dynamic definitions of the terms 'craft' and 'digital', seeking the ability for each to hold fast to the inherent merits of their particular logic while also finding productive opportunities to integrate with each other. Second, the thesis examines how crafted production can combine with digital tools to offer a useful direction for contemporary design practice. Case studies of contemporary architects' and designers' works are drawn on to illustrate and make observations on the different relationships that the selected practitioners have discovered in their projects, all of which conjoin the conception and manifestation of digital craft. The case studies vary in scale from fabric and furniture production to large-scale installations of significant spatial effect, to entire architectural projects. The range is useful in discussing how the concept of digital craft in architecture can be re ad from various perspectives. This reflects the numerous ways in which digitally created design is used to realise crafted results and is mindful of the fact that architectural processes often follow technological innovation first practiced at more intimate scales such as in industrial design. It is also interesting to compare the idea of the more intimately scaled relationship that craft has traditionally held with architectural practice. Finally, the thesis will speculate upon future developments for the conjunction of digital craft in architecture and design, and will pose several questions for further discussion.

This study examines the culture and values surrounding the analogue camera and the analogue photography today. The aim is to answer the questions of how the field of analogue photography look like? Why it still exist? And what the role of analogue photography in a digital context is? Through qualitive interviews with six persons who practices analogue photography the study examines their field, and reasons for choosing it over digital. Based on theories by Pierre Bourdieu the analysis shows the fields positions of power, and identifies the capitals that are valued and why they are valued. The interviewees describes the benefits of the analogue in relation to digital photography as more valuable and more esthetic. They say that the randomness and imperfections of the analogue has artistic and esthetic qualities and advantages. The study connects this with analogue nostalgia, and Hartmut Rosas theory of resonance. With a theoretical framework based on Zygmunt Bauman and Christopher Lasch the study analyzes analogue photography in a digital context. The study finds that analogue photography is nostalgic in the sense that it is practiced in relation to the digital, and in some cases as a way to escape and oppose digital society. Further the study suggests that when the interviewees uses analogue photography to oppose the digital in favor of the wellbeing of oneself, it could on the other hand be a practice in conformity with modern society despite the interviewees efforts to oppose it.

L'émergence d'un nouveau médium ne laisse jamais intacts les médias qui l'ont précédé (McLuhan, Debray). Cette logique n'échappe pas au paradigme actuel, théâtre d'un bousculement majeur depuis l'apparition des technologies numériques. C'est ainsi qu'à l'heure du post-lnternet, le médium imprimé demeure telle une épave échouée sur la rive du progrès. Du fait de cet état, les mécanismes de ce médium s'offrent dans leur plus simple appareil à l'imagination des artistes contemporains qui, par l'usage de stratégies diverses, en développent de singuliers emplois - réveillant ce médium à l'instar d'un zombie (Parikka & Hertz). Cette thèse entreprend de présenter quelques-unes de ces nouvelles affordances (Norman) du médium imprimé développées depuis les années 2000 par une sélection d'artistes internationaux et par l'auteur, en solo et en collectif, à partir desquelles il s'agira de répondre à la question suivante : pourquoi imprimons-nous (nous, les artistes) encore ? Pour ce faire, l'auteur a forgé trois concepts : « ur-imprimo », « nouvel impressionnisme » et « exo-digital ». Au contact de ces derniers, l'auteur entend déplacer le centre de gravité des analyses médiatiques du médium imprimé en art des questions de reproductibilité (Benjamin), de mécanisation, d'uniformité et de fixité (McLuhan), vers les notions d'empreinte (Didi-Huberman), de trace (Derrida), de pratique vivante et de bricolage (Lévi-Strauss). Subséquemment à cette reprogrammation, l'estampe fait place au « printwork » (Cramer) et la figure du graveur à celle de l'artiste-imprimeur. / The emergence of a new medium never leaves intact the media which preceded it (McLuhan, Debray). Being the scene of a radical shift since the advent of new technologies, the actual paradigm is obviously not immune to this logic. That is why, in these limes of post-digital printed matter remains like a wreck on the shores of progress. As a result, the medium's mechanisms are offered to contemporary artists' imagination who, through the use of various strategies, develop singular new functions within it - awakening this medium like a zombie (Parikka & Hertz). This essay undertakes to present some of the new affordances (Norman) of the printed medium developed since the 2000's by a selection of international artists and by the author, alone or as a collective, from which the intent will be to answer the following question: why do we (artists) still print? ln order to do so, the author has forged three concepts: "ur-imprimo", "nouvel impressionnisme" and "exo-digital". With these concepts, the author thus intends to shift the center of gravity of the mediatic analysis of the printed medium in art from the question of replication (Benjamin), mechanization, uniformity and steadiness (McLuhan) towards the notions of imprint (Didi-Huberman), trace (Derrida), living artistic practice and do-it-yourself (Lévi-Strauss). Subsequently to this reprogramming, etching makes room for "printwork" (Cramer) and the printmaker becomes the artist-printer.

The diploma thesis Printed Independent Magazines in Post-Digital Age tries to discover the motivation of editors-in-chief/art directors for creating a printed, independent magazine in Central Europe and at the same time how these magazines are influenced by post-digital trends. It uses a qualitative method of Grounded Theory based on data from semi-structured interviews. In the practical part of the research, nine authors from Austria, Germany, Poland, the Czech Republic, Slovakia, and Hungary were approached. From the total number of respondents, data was obtained from seven of them. In the theoretical part, the work is focused on the history of independent print, in terms of technological changes in the printing field and it defines the term "printed independent magazine". The main contribution of the work is a mapping of the Central European independent magazine scene, which has not been thoroughly examined in any academic work yet. The text puts this scene in the international context, and it points out the certain specifics which are associated with Central Europe.

The diploma thesis Printed Independent Magazines in Post-Digital Age tries to discover the motivation of editors-in-chief/art directors for creating a printed, independent magazine in Central Europe and at the same time how these magazines are influenced by post-digital trends. It uses a qualitative method of Grounded Theory based on data from semi-structured interviews. In the practical part of the research, nine authors from Austria, Germany, Poland, the Czech Republic, Slovakia, and Hungary were approached. From the total number of respondents, data was obtained from seven of them. In the theoretical part, the work is focused on the history of independent print, in terms of technological changes in the printing field and it defines the term "printed independent magazine". The main contribution of the work is a mapping of the Central European independent magazine scene, which has not been thoroughly examined in any academic work yet. The text puts this scene in the international context, and it points out the certain specifics which are associated with Central Europe.

My work attempts to articulate how the format visual information is presented in changes our understanding of the visual information and our relationship to it. I explore analog and digital conversions, the audio and the visual sharing 3 dimensional space, and explore our relationship with screens, information and light. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication. My work is also related to the transformation of technology that has occurred across many platforms throughout my lifetime. The most striking example is the telephone. The telephone has transitioned from an analog device on the wall that we speak into, to the phone we know today; a computer we carry around in our pocket with a screen we communicate through. This transformation of technology has changed our daily lives in ways past generations only dreamt of. We no longer log on or go online. We are always connected to a network of information, individuals and communities by an endless live stream of data. We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. Social media, global positioning systems and on demand services have reached a point where our actions and nearly everything around us is tied to a computational system. My work attemps to bring this computational system into our physical space, where it can be acknowledged in the form of light and sound. / Master of Fine Arts / We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. The format visual information is presented in changes our understanding of the visual information and our relationship to it. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-12T13:37:22Z No. of bitstreams: 1 robertantonydoamaraloliveira.pdf: 1577784 bytes, checksum: f57955865f54475642dacfb0a5a1aa08 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-15T13:35:26Z (GMT) No. of bitstreams: 1 robertantonydoamaraloliveira.pdf: 1577784 bytes, checksum: f57955865f54475642dacfb0a5a1aa08 (MD5) / Made available in DSpace on 2016-08-15T13:35:26Z (GMT). No. of bitstreams: 1 robertantonydoamaraloliveira.pdf: 1577784 bytes, checksum: f57955865f54475642dacfb0a5a1aa08 (MD5) Previous issue date: 2016-03-31 / Este trabalho traz questões relacionadas com a glitch music, gênero ligado à estética do erro que surgiu na década de 1990. Divido em dois pontos: no primeiro, a pesquisa parte de definições iniciais sobre o glitch e a glitch music, buscando delinear um contexto geral que o gênero se desenvolveu. Levantamos também questões conceituais sobre o “erro”, procurando apontar o uso do erro como estética na música. No segundo, mostramos três perspectivas de abordagens distintas do glitch em três compositores diferentes: Yasunao Tone, Oval e Alva Noto. Por último, o trabalho busca abrir novas discussões a respeito do que é o gênero glitch music e o que ele engloba. / This work brings questions related to glitch music, genre linked with the aesthetic of failure that arose in the 1990's. It is divided in two parts. In the first part, the research starts with definitions about glitch and glitch music, trying to outline a general context that the genre has developed. We also bring conceptual questions about "failure" trying to point out the use of error as an aesthetic in music. In the second part, we show three perspectives of different approaches of glitch in three different composers: Yasunao Tone, Oval and Alva Noto. Lastly, this work intends to open new discussions concerning what glitch music genre is, and what it includes.