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Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.

<p> The use of augmented reality and mobile applications offers a unique and applicable presentation experience for digital historians. This is a case study of such a presentation using Mound 72 at Cahokia Mounds.</p>

Evoking his early personal experiences, computer art pioneer Paul Brown wrote in the mid-1990s that to work with computers was akin to a ‘kiss of death’. According to him, as a result of sheer prejudice, the majority of people in the art world did not acknowledge such artworks as interesting, valid or important. Although recurrent in the literature concerned with such art, Brown’s claims must be confronted with the relative success of artistic practices interchangeably labelled as computer, new media, cybernetic, electronic or simply digital art. However, as attested by this proliferation of labels as well as by the development of numerous dedicated awards, degrees, galleries, museums, awards and publications, the success of such practices cannot be explained by artistic merit alone. Since many in the art world do not accept these artworks, as Brown and others suggest, how can we explain the works’ success in securing and developing their own space over the course of fifty years? This thesis investigates the emergence, development and institutionalisation of the field termed here as ‘art, science and technology’ (AST) between 1965 and the mid-1970s in Europe and North America. Also recognised by the aforementioned labels (among others), AST is an umbrella term that arguably designates the artistic practices interested in the adoption, theorisation and dissemination of post-war technologies and, particularly, information technology. Yet, despite this shared interest, here I argue that it is the particular institutional arrangement of AST that best distinguishes it from other artistic practices. A direct consequence of its rejection, AST’s emergence as a separate field is here explained via a revision of its initial social and cultural contexts. Arising from the technophile cultural climate of the long 1950s, and alongside the massive investments in technology made by Western governments in the same period, early AST developed not within traditional artistic spaces but within industries and universities. In the late 1960s, however, with the rise of economic, political and social uncertainties alongside escalating international conflicts, it became increasingly difficult to justify an art produced with the tools and support of the military– industrial complex. If on the one hand artists such as Brown understood these new artworks as central to art and its history, a normative development of a new technological era, on the other hand opponents located at the centre of contemporary art lambasted these new artworks for their supposedly scientific, commercial and aesthetic pretensions. Differently from previous attempts aimed at justifying the artistic worthiness of art produced with post-war technology, this thesis presents the history of such practices from the point of view of its own struggle – that is, its fight for survival. Ultimately, here I explain and describe how AST became detached from art while claiming its status. This is an effort not interested in the merits of these practices per se but, instead, concerned with AST’s development as an autonomous and prosperous field.

This thesis documents and analyses a process whereby practice-based applied knowledge achieved formal legitimacy in British Columbia. The study is a historical case study representing a unique case, the creation of a Bachelor of Technology degree at the British Columbia Institute of Technology (BCIT). The central research question is: What were the external and internal factors that enabled Or constrained the legitimation of applied knowledge to baccalaureate status at BCIT? The study is situated within both a theoretical and comparative context. The theoretical framework recognises the changing base of knowledge through discussion of pure and applied knowledge, knowledge stratification and its overt expression in terms of educational credentials, and the demarcation of knowledge units. A comparative backdrop to the study, traces the legitimation of applied knowledge in the United Kingdom, Germany, Australia and Canada. Methods of investigation included: interviews with stakeholders representing government, the corporate sector, professional associations, and BCIT personnel, past and present; analysis of archival materials and contemporary policy documents; and, participant observation resulting from the author's intimate involvement with the process. The study concludes that this new level of legitimacy conferred on applied knowledge in British Columbia results from the convergence of factors both external and internal to BCIT, the integrative factor being "timing." Practice-based applied knowledge was elevated to baccalaureate status for the following reasons: the proposal for a Bachelor of Technology degree aligned with government's vision; government had confidence in BCIT as a degree granting institution; the political environment was "safe"; and, the approach was cost effective and accountable. Constraining factors pertained primarily to, the effects of degree granting on BCIT's valued diploma programs. Future research could investigate the impact of degree status on the diploma programs and on the overall culture of the institution.

Orientador: Marcos Tognon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T12:08:22Z (GMT). No. of bitstreams: 1 Andrade_FranciscodeCarvalhoDiasde_M.pdf: 13149465 bytes, checksum: 7b146f2cab6769272a5dc2fb6a5844ef (MD5) Previous issue date: 2011 / Resumo: A proposta deste estudo é revisitar alguns temas da história da técnica em São Paulo, procurando, por meio do recurso às mais diversas fontes históricas e pelo diálogo com diferentes áreas do conhecimento, ressaltar a riqueza das contribuições que o estudo desse tema pode trazer para o entendimento de nosso passado histórico. Ao mesmo tempo, procurou-se direcionar a presente dissertação para uma análise dos fenômenos técnicos aqui abordados enquanto elementos constituintes do patrimônio cultural brasileiro. Assim, tanto por meio de uma análise das características que assumiram entre nós - e dos contextos que pautaram seu desenvolvimento - como pela problematização de alguns conceitos comumente associados a essas manifestações da técnica, intentou-se contribuir com sua valorização enquanto bens culturais dignos de preservação / Abstract: This study tries to discuss some aspects of the history of technique in São Paulo. To attempt this purpose it will use a great variety of historical sources in dialogue with some areas of knowledge. The main goal of this work is to prove that this kind of research can improve the understanding of our own historical past. The analysis of the technical phenomena studied in these pages has the intention to see them as important elements of the Brazilian cultural heritage too. Through the description of their characteristics in our country, and of their development in a specific context, this work wants, finally, to criticize some vulgar opinions about these technical facts / Mestrado / Politica, Memoria e Cidade / Mestre em História

Orientador: Carlos Roberto Fernandes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T16:56:53Z (GMT). No. of bitstreams: 1 Rodrigues_AdrianoBatista_M.pdf: 12190106 bytes, checksum: 86808393bad41cdaaa712a149562349c (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa tem como objetivo investigar as relações entre os processos de composição gráfica e a tecnologia computacional na feitura de anúncios impressos brasileiros. Para o desenvolvimento desta pesquisa analisamos anúncios impressos catalogados no Clube de Criação de São Paulo a partir de 1976 até o ano de 2009. A escolha do corpus justifica-se pela sua relevância no cenário publicitário. A escolha do período deve-se à implantação do sistema Desktop Publishing no Brasil no início dos anos 90 até os dias de hoje. A pesquisa foi desenvolvida em cinco capítulos. No primeiro, fizemos relatos históricos sobre anúncios impressos da publicidade brasileira e sobre o Clube de Criação de São Paulo. No segundo, foram bordados assuntos referentes à evolução da indústria gráfica. Abordados a evolução dos processos de impressão gráfica e a definição da imagem por McLuhan. No terceiro, fizemos abordagens que passam por níveis técnicos na composição dos anúncios publicitários, mostramos a transição dos processos de confecção manual até a confecção informatizada. No quarto capítulo, abordamos cada etapa da confecção do anúncio publicitário, partindo da montagem do briefing até chegarmos à finalização desta peça publicitária. No quinto e último capítulo, fizemos análises de cinco anúncios em diferentes períodos. Começamos em 1976, ano de surgimento do Clube de Criação de São Paulo, passamos por 1984, período em as peças gráficas eram confeccionadas manualmente, chegamos a 1990, período de implantação do sistema Desktop Publishing. Analisamos, então, um anúncio publicado em 2000, ano em que se dá a consolidação do sistema Desktop e, finalmente, trabalhamos com um anúncio de 2009, ano de término desta pesquisa. As análises das composições dos anúncios publicitários levam-nos à conclusão de que o uso de novas tecnologias mudou a forma de execução de tarefas, proporcionou facilidades na execução de projetos gráficos e melhorou a qualidade final dos anúncios. Para o desenvolvimento desta pesquisa, fizemos um enorme levantamento bibliográfico sobre os assuntos abordados / Abstract: The main objective of this search is to investigate the relationship between the graphical composition process and the computational technology in Brazilian printed advertisements catalogued by Clube de Criação de São Paulo from 1976 to 2009. The corpus selection is justified by these advertisements relevance on advertising scenery and also by the period they took place - from the Desktop Publishing System implantation in Brazil, at the beginning of 90's, until the present. This search was developed in five chapters. The first one is an overview of Brazilian printed advertisements and Clube de Criação de São Paulo history. The second one is about the graphical industry. It explains the evolution of the graphical impression processes and also analyses Marchall McLuhan's image definition. The third chapter shows the technical levels in advertisements composition, explaining the transition from the handmade processes to the computerized way of production. The fourth chapter makes it easier to understand each stage of the printed advertisement execution, from the briefing to its finalization. The fifth and last chapter analyses five printed advertisements from different periods, It starts in 1976" year of Clube de Criação de São Paulo foundation, and goes to 1984, when printed advertisements were still handmade. The next piece of work is from 1990, period of Desktop Publishing System implantation. We analyze, then, an advertisement published in 2000, year of Desktop Publishing System consolidation and, finally, we work at a 2009 advertisement, to show de most advanced computerized way of production. The analyses of the advertisements' graphic composition bring us to the conclusion that new technologies have changed the way jobs were executed in advertising agencies, making things easier and improving the advertisements quality. This search is developed based on bibliographical references / Mestrado / Mestre em Artes

This thesis documents and analyses a process whereby practice-based applied knowledge achieved formal legitimacy in British Columbia. The study is a historical case study representing a unique case, the creation of a Bachelor of Technology degree at the British Columbia Institute of Technology (BCIT). The central research question is: What were the external and internal factors that enabled Or constrained the legitimation of applied knowledge to baccalaureate status at BCIT? The study is situated within both a theoretical and comparative context. The theoretical framework recognises the changing base of knowledge through discussion of pure and applied knowledge, knowledge stratification and its overt expression in terms of educational credentials, and the demarcation of knowledge units. A comparative backdrop to the study, traces the legitimation of applied knowledge in the United Kingdom, Germany, Australia and Canada. Methods of investigation included: interviews with stakeholders representing government, the corporate sector, professional associations, and BCIT personnel, past and present; analysis of archival materials and contemporary policy documents; and, participant observation resulting from the author's intimate involvement with the process. The study concludes that this new level of legitimacy conferred on applied knowledge in British Columbia results from the convergence of factors both external and internal to BCIT, the integrative factor being "timing." Practice-based applied knowledge was elevated to baccalaureate status for the following reasons: the proposal for a Bachelor of Technology degree aligned with government's vision; government had confidence in BCIT as a degree granting institution; the political environment was "safe"; and, the approach was cost effective and accountable. Constraining factors pertained primarily to, the effects of degree granting on BCIT's valued diploma programs. Future research could investigate the impact of degree status on the diploma programs and on the overall culture of the institution. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

A thesis presented for the Degree of Master of Arts, Department of History, The University of Adelaide. Bibliography: leaves 292-298.

Over the past 60 years, India has undergone immense political, economic, and social changes, which have led to its emergence as a global economic power and regional military power. During this period, the population has surged, growing from 233 million to 1.2 billion people, making India the second most populous nation in the world. In the course of this change, there have been key indicators of medical progress, such as rising life expectancy and a falling infant mortality rate. Another striking indicator, specifically in the area of medical technology, is the fact that India in 2006 was a net exporter of HIV medications to dozens of countries around the globe, earning a reputation as the pharmacist of the developing world. Although many books and papers have been written about the emergence of the country's economy and military, little has been written on how it has been able to achieve its leadership in medical technology. This thesis, 'A History of Medical Technology in Postcolonial India: 1947-1991', is the first major study examining the development of medical technology in India in the period directly following colonial rule. The period covered in this research is crucial because it highlights the evolution and impact of medical technology in postcolonial India, leading up to, but excluding, the free-market reforms enacted by the Indian government in 1991. This thesis will also illustrate the impact diffusion had on the evolution of medical technology. Most importantly, this thesis introduces a new concept appropriate to understanding India's trajectory in this period: the medical technology complex. It will be shown that this complex consists of different groups working toward an aligned objective. It is not the point of this thesis to characterize the medical technology complex in a positive light or a negative one. Its primary concern is to demonstrate through historical evidence that this construct grew throughout the twentieth century and still exists today.