Thesis (Ph. D.)--Ohio State University, 2005. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2004. / Document formatted into pages; contains 207 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2010 March 2.

In this thesis project, it is analyzed if compressing a video stream differently, depending on the importance of certain features would decrease the data that need to be sent, without decreasing the information perceived by the operator in teleoperations. This is done by using both a static and dynamic selection of features that gets more or less compressed depending on how important they are to the operator. It shows that the bandwidth used is reduced and most information is kept, but because of the hardware used for teleoperations are limited the usability of this method is also limited.

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This thesis considers the links between identity and landscape in key works by American artist Roni Horn, focusing on a selection of her photo-installations and books. In particular it argues that Horn approaches landscape as a performative category through which to address the performativity of identity, and that in doing so her work privileges the viewer as an embodied participant. Drawing on a feminist approach grounded in phenomenology, the thesis locates androgyny as a key structuring principle in the artist’s work. Identifying herself as neither male nor female, Horn employs the notion of in-between-ness to negotiate gender binaries of male/female and to describe the indeterminate and contingent nature of androgynous being. Importantly, the thesis argues that Horn addresses these issues of identity by staging experiences in her work that invite the viewer to perform the very processes by which identity is defined and played out. This strategy is examined through concepts of doubling, the sublime, horizons and dwelling, each of which in their own way involve a sense of orientation and disorientation that gestures toward the in-between-ness of androgyny. The thesis also considers the tensions between visuality and embodiment in Horn’s work. Her use of photographic images within an installation practice is one that establishes a complex set of relations between the opticality of the photograph and the actuality of ‘real’ space. It is argued that the experiential potential of Horn’s photo-installations and books is only realised through the dialectical relation between visuality and embodiment in which both are equally privileged. / Full thesis with illustrations can be requested via Inter-Library Loan.

Thesis (Ph.D.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University.

Thesis (Ph.D.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University.