Univ., Diss--Bremen, 2006.

李國泉. / "2003年6月". / 附小冊子及光碟"烏有鄉 From somewhere to nowhere". / 論文(藝術碩士)--香港中文大學, 2003. / 參考文獻 (leaves 37-43). / 附中英文摘要. / "2003 nian 6 yue". / Fu xiao ce zi ji guang die "Wu you xiang From somewhere to nowhere". / Li Guoquan. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 37-43). / Fu Zhong Ying wen zhai yao. / 序言 --- p.01 / Chapter 第一章 --- 數位藝術的歷史脈絡與定義 --- p.04 / Chapter (一) --- 空間槪念的轉變 --- p.04 / Chapter (二) --- 數位科技藝術的發展脈絡 --- p.05 / Chapter (三) --- 數位科技藝術的定義 --- p.08 / Chapter 第三章 --- 數位化的藝術語言 --- p.10 / Chapter (一) --- 複合體系的混生兒 --- p.12 / Chapter (二) --- 觀念行爲的借屍還魂 --- p.14 / Chapter (三) --- 人類在科技化下感知的重構 --- p.17 / Chapter (四) --- 大眾媒體的自我演繹者 --- p.20 / Chapter (五) --- 碎形學的混沌宇宙觀 --- p.23 / Chapter 第四章 --- 數位媒體藝術的挑戰與危機 --- p.26 / Chapter (一) --- 影像民主化和階級化 --- p.26 / Chapter (二) --- 真實虛假的模糊化 --- p.29 / Chapter (三) --- 非物質化的文化特質 --- p.32 / 結論 --- p.35 / 參考書目 --- p.37 / 圖版 --- p.44

Thesis (M.S.)--Central Connecticut State University, 2002. / Thesis advisor: Cora Marshall. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art Education." Includes bibliographical references (leaves 106-109). Also available via the World Wide Web.

No description available.

Through three case studies this research report will explore the design and multimodal attributes of interactive installations that feature characteristics comparable to those of musical instruments. It will briefly outline and define data sonification and the five sonification techniques: Audification, Auditory Icons, Earcons, Parameter-mapping sonification and Model-based sonification. Model-based data sonification will be more closely explored, as interactivity and the incorporation of multiple modes are key elements within these types of sonifications. Pre-existing knowledge of musical instruments, their multi-modal attributes and functionality will be analyzed in relation to the case studies. The design analysis will focus on the interaction and interface design while incorporating the three modes, namely: visual guidance, real-time physical/gestural interaction, and instantaneous acoustic feedback. To conclude, this research report will demonstrate, through the case studies, that the function and design of musical instruments can be suggestive in realizing a potential way forward for digital artists and their multi-modal interactive installations.

A thesis submitted to the Faculty of Humanities, in partial fulfilment of the degree of Master of Arts in Digital Arts,University of the Witwatersrand, 2016 / This dissertation explores different but related philosophies of material agency - the idea that all matter, human or non-human, carries some kind of agency: a capacity to affect and to be affected, the potential sociopolitical implications of such a viewpoint and the potential of sound art to explore these ideas in an experiential way. I discuss and draw connections between three materialist philosophies: the New Materialism of Gilles Deleuze, Felix Guatarri, Brian Massumi and others, the Vibrant Materialism of Jane Bennett and the Sonic Materialism of Christoph Cox, Steve Goodman, Salomé Voegelin and others. These materialist philosophies understand bodies not as static or complete, but in a constant state of flux, never fully formed but continuously form-ing; always in relation to and affected by the ongoing formation of other material bodies. Advocating the decentralisation of human experience, Vibrant Materialism takes into account material processes beyond the intentions or interventions of humans. Sonic Materialism understands sound as an exemplary illustration of affective matter in flux: always present, always moving, always in flux and always affecting and affected by everything it comes into contact with. As a case study, the collected works of a sound artist named Eleh show how these ideas can be implemented in practice. The research finally culminated in an exhibition of installations exploring the potential of sound to move, to act, to change, to affect and to be affected, towards a definition of sound as vibrant matter. / MT2017

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains x, 322 p. Includes abstract and vita. Advisor: Vesta A.H. Daniel, Dept. of Art Education. Includes bibliographical references (p. 297-310).

Accompanying materials housed with archival copy. / Using an animation program on a Macintosh computer, I have animated poems, song lyrics and expressions in an experimental way to investigate alternatives to the restrictive poetics of the static medium of paper. Animated Writing is thus the process of enacting, in a visually rich and compelling fashion, the various semantic possibilities of text presented on a screen. While a CD-ROM or Web site would flawlessly display the pristine digital content of the animations which comprise the Creative Writing Master's Thesis, for ease of distribution the thesis is presented on analog VHS videotape. An animated text offers many subtle nuances, doubling of meaning and delicate complexity which are wholly impossible to achieve on paper. This technique of animating words provides for an exciting and intriguing enrichment of both original poetry created specifically for the form, and prose, lyrics or other found text adapted for use.

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaves 29-32).

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 161-178).