Global ETD Search

41	Windowlicker / der ästhetische Paradigmenwechsel im Musikvideo durch Electronic Dance Music Röthig, Sabine 11 May 2016 (has links) In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können. / This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes. Popkultur Disco Techno EDM Acid Aphex Twin Chris Cunningham Club Club Visuals DJ Electronic Dance Music elektronische Musik Loop Mix MTV Musikproduktion Musikvideo Popmusik Pop-Persona Popsong Popstar Remix Richard D. James Sampling Song Tanzmusik Track Videoästhetik VJ Warp Records Windowlicker track disco techno EDM acid Aphex Twin Chris Cunningham club club visuals DJ electronic dance music electronic music loop mix MTV music production music video popular culture pop music pop persona pop song pop star remix Richard D. James sampling song dance music video aesthetics VJ Warp Records Windowlicker 780 Musik 48 Musik LR 11370 ddc:780
42	Nevada Fall Corridor : a cultural landscape report Gerdes, Marti M. 08 1900 (has links) xv, 298 p. ; ill. (chiefly col.), maps (chiefly col.) A print copy of this thesis is available through the UO Libraries under the call number: AAA F868.Y6 G47 2004 / This study describes existing conditions, evaluates significance and historic integrity, and recommends treatment strategies to preserve historic elements of the Nevada Fall Corridor cultural landscape in Yosemite National Park. It reports findings from field investigation that examined and inventoried landscape features such as stone retaining walls, treadway material, bridges and causeways, and water features on both current-use and abandoned trail segments. The site was examined numerous times over a three-month period, with a followup visit one year later. Libraries and other archives were consulted for written and photographic historic documentation, which were analyzed against current conditions. The process also involved review of comparison documents as well as national guidelines set forth by the National Park Service. / Adviser: Melnick, Robert Z. Nevada Fall Corridor (Calif.) Yosemite National Park (Calif.) Historic preservation Cultural landscapes Vernal Fall Mist Trail John Muir Trail (Calif.) Rustic architecture Parkitecture Historic stonework Historic masonry Stone masonry Trails Olmsted, Frederick Law, 1822-1903 Muir, John, 1838-1914 Sierra Nevada (Calif. and Nev.) Sovulewski, Gabriel Cunningham, Stephen Conway, John Anderson, George C. Panorama Trail Glacier Point Trail Half Dome Benson, Harry C. Snow, Albert
43	Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities Sharir, Yacov January 2013 (has links) This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike. 700

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