This paper will identify the problems faced by deaf people in terms of social and emotional, and then discuss the research on factors which contribute to the problems. The first section will define deafness, investigate the psychological characteristics of the deaf, and then identify the incidence of mental or emotional problems. The second section will review the literature on factors which contribute to the emotional problems of the deaf. The final section will review the literature on the service system available to the deaf. Throughout this presentation, the writer will summarize with personal conclusions. These summaries will both capsulize the literature and explain the writer’s value stance.

Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.

Master of Visual Arts / This thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?

Master of Visual Arts / This thesis is an exploration into the ether of the digital aesthetic. It attempts to capture a segment of the continually morphing space then deconstruct and analyse it through electronic and new media art. Herein you will find a questioning of technology and control within electronic and new media art as an investigation into better understanding the current media image and visual culture that so powerfully influences the modern social construct. By nature this argument has existed for some years but only now with advancements in technology and more affordable realisation of ideas by media artists, the topic of the digital aesethetic, technology and control has become relevant for popular debate. As war lingers in our minds, terrorism hits headlines, and experiements in cloning human DNA take place, the technology that society demands can only necessarily be seen as a major contributing factor to today's strange times. However, strange or not, the questions I wish to discuss; Does technology determine contemporary society or do we determine technology? Where does the control exist?

RESUMO Este estudo mostra como se deu a relação das artes visuais com a ciência e a tecnologia. Para isso, partiu das idéias lançadas pelos irmãos Naum Gabo e Anton Pevsner, construtivistas russos, através do Manifesto realista, procurando libertar as artes visuais de seu estigma de arte estática. Esta pesquisa acompanhou o trajeto de artistas (Archipenko, Ducahmp, Gabo, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Le Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, Jeffrey Shaw...) que, ao longo do século XX, desenvolveram pesquisas nesta linha. Este trabalho percorreu a história da arte cinética, apontando artistas que exploraram a interatividade (a perceptiva, a espaço/temporal ou a potencial surgida da relação da arte com a tecnologia) além daqueles que buscaram soluções em outras disciplinas, tanto em outras artes como na ciência. Mostra como a complexidade desta interdisciplinaridade criou mudanças de conceitos formais, estruturais e estéticos. Enfoca também como a adesão das artes às novas tecnologias provocou transformações não apenas no mundo dos artistas, mas também no universo institucional que incentiva e promove as artes visuais contemporâneas. / Abstract This study intends to analyze the relationship between visual arts, science and technology. Its initial reference is the idea written by two Russian Constructivist artists, Naum Gabo and Anton Pevsner, in the Realist Manifesto, in 1920. The two artist, that were also brothers, were trying to free visual arts of its static art's stigma. For that, this research followed some artists' itinerary that developed researches with this approach in the 20th century, such as Archipenko, Duchamp, Flatters, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Reads Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, and Jeffrey Shaw. This work went trough the kinetic art history and examined artists that have explored the interaction pointing in their works (the perceptive interaction, the space interaction and the new potential interaction that appeared from the relationship between art and technology), and examined as well as artists that have found solutions in others discipline, such as science. The complexity of this interdisciplinary relationship created formal, structural and aesthetic concepts changes in the art world. Finally, the study also focuses in how the artist’s adhesion to new technologies provoked transformations in the institutions that motivates and promotes the contemporary visual arts.

RESUMO Este estudo mostra como se deu a relação das artes visuais com a ciência e a tecnologia. Para isso, partiu das idéias lançadas pelos irmãos Naum Gabo e Anton Pevsner, construtivistas russos, através do Manifesto realista, procurando libertar as artes visuais de seu estigma de arte estática. Esta pesquisa acompanhou o trajeto de artistas (Archipenko, Ducahmp, Gabo, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Le Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, Jeffrey Shaw...) que, ao longo do século XX, desenvolveram pesquisas nesta linha. Este trabalho percorreu a história da arte cinética, apontando artistas que exploraram a interatividade (a perceptiva, a espaço/temporal ou a potencial surgida da relação da arte com a tecnologia) além daqueles que buscaram soluções em outras disciplinas, tanto em outras artes como na ciência. Mostra como a complexidade desta interdisciplinaridade criou mudanças de conceitos formais, estruturais e estéticos. Enfoca também como a adesão das artes às novas tecnologias provocou transformações não apenas no mundo dos artistas, mas também no universo institucional que incentiva e promove as artes visuais contemporâneas. / Abstract This study intends to analyze the relationship between visual arts, science and technology. Its initial reference is the idea written by two Russian Constructivist artists, Naum Gabo and Anton Pevsner, in the Realist Manifesto, in 1920. The two artist, that were also brothers, were trying to free visual arts of its static art's stigma. For that, this research followed some artists' itinerary that developed researches with this approach in the 20th century, such as Archipenko, Duchamp, Flatters, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Reads Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, and Jeffrey Shaw. This work went trough the kinetic art history and examined artists that have explored the interaction pointing in their works (the perceptive interaction, the space interaction and the new potential interaction that appeared from the relationship between art and technology), and examined as well as artists that have found solutions in others discipline, such as science. The complexity of this interdisciplinary relationship created formal, structural and aesthetic concepts changes in the art world. Finally, the study also focuses in how the artist’s adhesion to new technologies provoked transformations in the institutions that motivates and promotes the contemporary visual arts.