This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.

Zugl.: Potsdam, Universiẗat, Diss., 2009. / Online-Ausg. im Internet.

Techn. Universiẗat, Diss., 2004--Berlin.

Image of Jason Strickler's MFA exhibition at Claremont Graduate Institute's East Gallery or Peggy Phelps Gallery.

Made available in DSpace on 2016-08-29T15:32:56Z (GMT). No. of bitstreams: 1 tese_5744_Dissertation_MartinsRS20131108-144619.pdf: 9401224 bytes, checksum: 3db21435dc365ec6e0dd83f6c3b5e644 (MD5) Previous issue date: 2012-05-23 / A indústria de petróleo e gás requer medições de vazão com baixa incerteza, uma vez que são estabelecidas por lei. Contudo, curvas e outros obstáculos são comumente encontrados nesse cenário, o que pode afetar a qualidade da medição de vazão em função de perturbações no escoamento, tais como swirl e assimetrias no peril de velocidades. Medidores de vazão por ultrassom de um canal são frequentemente utilizados em instalações de gás de queimadores, apesar de serem sensíveis a tais perturbações. O presente trabalho usa códigos comerciais de CFD para obter o escoamento à jusante de instalações com uma curva e duas curvas, visando a investigar a magnitude e o comportamento de tais efeitos na medição de vazão. Integração numérica é utilizada para diversos arranjos de caminho acústico, simulando medidores de vazão por ultrassom de um canal em várias condições para avaliar o desvio do fator de correção em escoamentos perturbados. Números de Reynolds de 1 x 104 a 2 x 106 são considerados. Ângulos de montagem dos transdutores de 0° a 180° são testados e posições axiais até 80D à jusante do obstáculo são avaliadas. Os resultados indicam que medidores de vazão por ultrassom são sensíveis aos efeitos de acidente de linha. O desvio do fator de correção mostra-se, em geral, consideravelmente maior que 2% em distâncias menores que 20D, conforme recomendado por alguns fabricantes e por leis. Não obstante, tais desvios podem atingir 0,01% em algumas configurações específicas, o que sugere que a medição de vazão por ultrassom pode ser melhorada pelo rearranjo do aparato em posição angular favorável e, principalmente, pela implementação de funções específicas para fatores de correção em condições perturbadas.

This paper examines the history of installation art and explains the concept and themes within my installation component of the studio art major. It details how readymades, site-specificity, and an emphasis on experiential work all contributed to the creation of installation art as a medium. Next, I turn to my own work, exploring the theme of representing time and altering the perceptions of the viewer. Through a web of fishing line and tempered glass, the installation visually imitates a single, frozen moment of an explosion that the viewer can walk into and explore. The paper continues with a discussion of relevant themes in the work by contemporary artists Ori Gerst, Heide Fasnacht, Cornelia Parker, E.V. Day, Lee Bontecou, and James Turrell, and concludes with ideas for the continuation of the project in the spring 2014 semester.

In this research I explore my Obsessive Compulsive Disorder (OCD) and make manifest equivalent experiences of it through art practice. I investigate my OCD through artistic enactments and test my equivalence of the framework obsessioncompulsion using installation art – an equivalence, which I suggest is a relationship between my embodied perception and my memory. My interpretation of equivalence contains characteristics that arguably align with common emotions of control and doubt, inflated sense of responsibility and fear of disaster, which, I suggest are accessible to an audience other than myself. As such, my artwork proposes that a viewer can experience my equivalence to some degree. I refer to writer David Batchelor's (1997) definition of equivalence as a starting point for this research, and question how my OCD reveals itself through memory and perception, by referring to Richard Shusterman's ideas regarding somaesthetic reflection (2008), Bergson's description of the structure of memory (2004), Paul Ricouer's link between memory and imagination (2006) and Gilles Deleuze's ideas regarding difference and repetition (2013). I also refer to theoretician Estelle Barrett and her ideas regarding “situated knowledge” (2010: 4-5) as a way to frame the subjective and personal nature of my artistic enquiry, regarding my equivalence of OCD. Within this thesis I place emphasis on art practice as a method of research and describe the processes I have used to explore my OCD and make manifest my equivalence. I refer to Clare Bishop’s (2005) phenomenological description of installation art and mimetic engulfment within this process as I consider them methods to reveal my equivalence, by making manifest the relationship between my memory and my perception, both of which are embodied experiences within my OCD. I discuss Ross G. Menzies and Padmal de Silva’s (2004) clinical definitions and descriptions of obsession, compulsion, memory deficit and checking, in addition to phenomenological and pragmatic ideas, regarding memory and perception, as a way to articulate my proposition that equivalence of my OCD is constructed of a interdependent relationship between two embodied experiences, which can be revealed through art practice. My research contributes to new knowledge as it suggests a new way of understanding OCD by employing a multi-disciplined approach to practice-led research.

This thesis deals with the use of videomapping projections in the advertising industry. The subject of this thesis is videomapping, use of videomapng currently and the reflection of using in the future. The partial aim is to introduce the concept of videomapping process and the creation of individual projections. The benefit of this work is to compare videomappings advertisement and static advertisement on a concrete example, in the campaign Štědrá dovolená 2016. Work is supplemented by examples of videomapping´s screenings, which were held in various places, projected on different subjects and for different purposes. The conclusion presented arguments supporting the use videomapping ads in the future.

The topic of the diploma thesis is fear, the form is an audiovisual installation with social overlap. Audio created from recordings of interviews on a given topic and spatial installations. It is therefore a matter of creating several elements that will put together a complete installation. One of the elements is conversations with people about their feelings, fears and fears - work also has a social overlap. The second element is the installation and use of sound recordings of the requested persons. The end result is a room where the voices of people are played, the walls are formed of reflective surfaces so that the visitor can see himself in the spacious darkness. Reflective material is not mirrors, I want to create a blurred image of faces.

My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amplification of the final sound of strings is done purely acoustically, with help of the wall on wich the piece is installed. This piece is in its nature concerned with spirituality in music, not necessarily in sense of evoking a spiritual experience, but rather demonstrating metaphors and parallels, that exists between physical aspects of tonal music and different religious ideas. The symmetrical shape of installation refer to religious and occult visuality, built f.e. in cabal on Fibonacci numbers, that is present not only in nature ( for example, the veins of the leaves grow by these numbers), but also in tonal music system (ancient philosophers were working with this concept, see Plato's Music of the Spheres). Strings in this piece produce drone sound, that is naturally evoking spirituality (most visible in buddhist monk meditation). This sound in the piece demonstrates immutability and constancy, the fact that all the chromatic tones are playing demonstrates wholeness (this fact may produce interesting resonances emerging between chromatic steps), so to speak, the unchangeable laws of physics, or to put it in religious lingo, the god law. The symbol of loop also refers to religion, like the eternal return of the same, the periodicity of history. Strings can be viewed as astrophysical symbol. Everything stated is nothing but my recourse, that should not ultimately determine the perception of the piece by viewer. The goal of the work is to offer experience without need to be put into context