Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.

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?

Esta pesquisa propõe uma reflexão sobre minha conduta criadora, apresentando os pressupostos, conceitos, ações, intenções e estratégias que participaram da instauração da proposição artística intitulada Objetos Imaturos. Esta tese explora a possibilidade de existência de uma arte objetual numérica, constituída a partir do deslocamento de procedimentos operacionais do espaço real para o virtual tecnológico, envolvendo ações de apropriação, fragmentação e construções que se aplicam em objetos pré-fabricados, tomados como matéria-prima do mercado de produtos numéricos. A conformação desta produção objetual ocorre sob certas condições vinculadas a um conceito amplo e aberto de objeto, tendo em vista a identificação da realidade virtual numérica como território de trabalho e levando em conta a pesquisa e exploração das características distintivas da imagem numérica, sob o ponto de vista de suas diferenciações, no que diz respeito à materialidade, plasticidade, espacialidade e temporalidade. Junto a esta produção objetual de caráter numérico no contexto da artemídia ― denominada Objetos Imaturos ― é articulada uma reflexão conceitual sobre características distintivas de dispositivos tecnológicos que gerenciam e condicionam formas de percepção e agenciam novos sistemas simbólicos. / This study intends to propose a reflection upon my conduct of creation presenting the presuppositions, concepts, actions, intentions and strategies that played a role in the establishment of the artistic proposition named Immature Objects. This thesis explores the possible existence of a numeric objectual art, established through an operational procedures move from the real space to the technologic virtual, involving acts of appropriation, recycling, fragmentation and constructions that are applied to prefabricated objects taken as raw materials from the market of numeric products. The conformation of this objectual production occurs under some conditions linked to a broader concept of object, focusing the identification of a numeric virtual reality as the field of work and taking into account the research and exploration of different characteristics of numeric image, under the point of view of its differences about the materiality, plasticity, spatiality and temporality. A conceptual reflection about different characteristic of technological devices which manage and determine the perception style and promote new symbolic systems is linked to this objectual production in the media art, named Immature Objects.

Esta pesquisa propõe uma reflexão sobre minha conduta criadora, apresentando os pressupostos, conceitos, ações, intenções e estratégias que participaram da instauração da proposição artística intitulada Objetos Imaturos. Esta tese explora a possibilidade de existência de uma arte objetual numérica, constituída a partir do deslocamento de procedimentos operacionais do espaço real para o virtual tecnológico, envolvendo ações de apropriação, fragmentação e construções que se aplicam em objetos pré-fabricados, tomados como matéria-prima do mercado de produtos numéricos. A conformação desta produção objetual ocorre sob certas condições vinculadas a um conceito amplo e aberto de objeto, tendo em vista a identificação da realidade virtual numérica como território de trabalho e levando em conta a pesquisa e exploração das características distintivas da imagem numérica, sob o ponto de vista de suas diferenciações, no que diz respeito à materialidade, plasticidade, espacialidade e temporalidade. Junto a esta produção objetual de caráter numérico no contexto da artemídia ― denominada Objetos Imaturos ― é articulada uma reflexão conceitual sobre características distintivas de dispositivos tecnológicos que gerenciam e condicionam formas de percepção e agenciam novos sistemas simbólicos. / This study intends to propose a reflection upon my conduct of creation presenting the presuppositions, concepts, actions, intentions and strategies that played a role in the establishment of the artistic proposition named Immature Objects. This thesis explores the possible existence of a numeric objectual art, established through an operational procedures move from the real space to the technologic virtual, involving acts of appropriation, recycling, fragmentation and constructions that are applied to prefabricated objects taken as raw materials from the market of numeric products. The conformation of this objectual production occurs under some conditions linked to a broader concept of object, focusing the identification of a numeric virtual reality as the field of work and taking into account the research and exploration of different characteristics of numeric image, under the point of view of its differences about the materiality, plasticity, spatiality and temporality. A conceptual reflection about different characteristic of technological devices which manage and determine the perception style and promote new symbolic systems is linked to this objectual production in the media art, named Immature Objects.

Esta pesquisa propõe uma reflexão sobre minha conduta criadora, apresentando os pressupostos, conceitos, ações, intenções e estratégias que participaram da instauração da proposição artística intitulada Objetos Imaturos. Esta tese explora a possibilidade de existência de uma arte objetual numérica, constituída a partir do deslocamento de procedimentos operacionais do espaço real para o virtual tecnológico, envolvendo ações de apropriação, fragmentação e construções que se aplicam em objetos pré-fabricados, tomados como matéria-prima do mercado de produtos numéricos. A conformação desta produção objetual ocorre sob certas condições vinculadas a um conceito amplo e aberto de objeto, tendo em vista a identificação da realidade virtual numérica como território de trabalho e levando em conta a pesquisa e exploração das características distintivas da imagem numérica, sob o ponto de vista de suas diferenciações, no que diz respeito à materialidade, plasticidade, espacialidade e temporalidade. Junto a esta produção objetual de caráter numérico no contexto da artemídia ― denominada Objetos Imaturos ― é articulada uma reflexão conceitual sobre características distintivas de dispositivos tecnológicos que gerenciam e condicionam formas de percepção e agenciam novos sistemas simbólicos. / This study intends to propose a reflection upon my conduct of creation presenting the presuppositions, concepts, actions, intentions and strategies that played a role in the establishment of the artistic proposition named Immature Objects. This thesis explores the possible existence of a numeric objectual art, established through an operational procedures move from the real space to the technologic virtual, involving acts of appropriation, recycling, fragmentation and constructions that are applied to prefabricated objects taken as raw materials from the market of numeric products. The conformation of this objectual production occurs under some conditions linked to a broader concept of object, focusing the identification of a numeric virtual reality as the field of work and taking into account the research and exploration of different characteristics of numeric image, under the point of view of its differences about the materiality, plasticity, spatiality and temporality. A conceptual reflection about different characteristic of technological devices which manage and determine the perception style and promote new symbolic systems is linked to this objectual production in the media art, named Immature Objects.

Este trabalho parte da constatação de que existe um lugar em que a música experimental e a arte sonora brasileira se encontram: a gambiarra. Com o objetivo de conhecer as dimensões e fronteiras desse lugar, a jornada desta pesquisa está dividida em três momentos. O primeiro, \"Genealogia da gambiarra\", visa introduzir as características gerais da gambiarra, relacionando-a com aspectos culturais globais e locais. O segundo momento, \"Arte e gambiarra\", aborda a gambiarra por duas perspectivas: \"da arte\" e \"do som\". \"Da arte\" explica como o termo gambiarra deixa de ser uma expressão de uso exclusivo às soluções improvisadas do cotidiano para se tornar presente no fazer e pensar artístico brasileiro, em especial no campo da arte-mídia e midiativismo; \"do som\" ilustra uma série de técnicas e aspectos do experimentalismo sonoro que remetem ao modus opperandi da gambiarra. O terceiro capítulo, \"Artistas do sonoro\", apresenta o repertório que impulsionou a escrita desta tese, o qual torna evidente esse lugar comum entre música experimental e arte sonora brasileira. A jornada termina com a formulação de uma ferramenta de análise que busca evidenciar regimes do sonoro quanto ao uso de materiais e dispositivos técnicos / This work originates from the observation that there is a place in Brazilian society where music and sound art collide: the Gambiarra. In order to trace the dimensions and boundaries of this subject, the journey of this research is divided into three chapters. The first \"Gambiarra\'s genealogy\" introduces the concept and the characteristics of Gambiarra, relating it to global and local cultural aspects. The second \"Art and Gambiarra\" addresses two perspectives: art and sound. The \"art\" perspective explains how the term Gambiarra - which is normally related to the everyday improvisation of solutions from the lack of tools and materials - starts to be a reference in the Brazilian art field, particularly in those of media art and media activism from the beginning of 2000. The \"sound\" perspective illustrates techniques and aspects of experimentation in the field of sound which refers to Gambiarra\'s way. The third chapter, \"Artists\" presents the repertoire that drove the writing of this thesis, which shows the overlap between Brazilian experimental music and sound art. The journey ends by drawing an analytical scheme based on the use of materials and technical devices that allow us to look back at the repertoire from another perspective.

Este trabalho é uma reflexão sobre a produção artística em artemídia em que o contexto em suas diversas esferas social, público, tecnológico ou econômico é parte fundamental de sua proposta. Interessa-nos investigar em quais circunstâncias a arte tecnológica poderá atuar em questionamentos do cotidiano e da própria tecnologia. Para tanto, este percurso apóia-se inicialmente na teoria da Estética Relacional de Nicolas Bourriaud, aproximandose de diversas estratégias artísticas de intervenção ou desvio contra o uso homogêneo dos meios. A pesquisa contempla também a análise de diversos trabalhos artísticos de autores nacionais e estrangeiros, dentro do escopo assinalado, e resultou igualmente na elaboração de dois projetos poéticos em desenvolvimento conjunto com o artista Edgar Franco, o site Freakpedia e o Projeto Vislumbres Pós-humanos. / This work is a reflection about a new media art production which the context in different forms social, public, technological or economic is elemental part proposition. Interest us to explore what situations the technological art will act in quotidian questions and technology. Therefore, this way is supported initially in Nicolas Bourriauds theory Relational Aesthetics and also, in second moment, in several artistic strategies of intervention or transgression against homogeneous media use. The research contemplate analysis of national and foreign artworks, inside of scope marked, and resulted also in elaboration of two practical projects in development with the artist Edgar Franco, the web site Freakpedia e o Project Vislumbres Pós-humanos.

Your New Best Friends: An Exploration of Furby, Siri and Other Sociable Electronics is focused around interactive electronic systems and the effect these systems can have on our human psyches. My work focuses on two particular periods of development: the late 80’s to early 90’s, and the 2010’s to present. One period represents my childhood and the other my early adulthood. By comparing the two I can examine trends in the ways we engage with robotics and can better understand the ubiquity of electronically mediated interactions today. I utilize these new understandings to manipulate the capabilities of devices from both periods to create pieces that communicate care in a new way, sparking a moment of joy for the viewer while also increasing the awareness of the failings of devices when compared with true human interaction.

This thesis introduces the use of technological failure in visual arts, described as glitch art in the Anglo-American literature, and reveals its specific qualities. The author examines creative exploration of glitch both in image compression formats, and in the user interface of web sites, computer games or operating systems. In addition, the research presents arguments that advocate glitch art in a broader artistic discourse. It does so firstly by analogy, when it compares glitch art manifestations to conceptual and visual qualities of the paradigmatic works of art and artistic movements, and secondly by Dickie's institutional classification, when it analyzes glitch art communities and appreciation by the curatorial, critical and academic public. The central argument of this thesis is that glitch art next to a purely aesthetic experience provides an insight into the heart of technology, which exposes its functionality. Thus it contributes to a deeper understanding of its physical, structural and ideological fundamentals, that have become in everyday life almost invisible due to the logic of immediacy. Given the highly relative nature of the term glitch the thesis does not seek a hard definition of its specifics, but rather asks the cause of this naming (designation) that is why we perceive a...

With the recent emergence of copious and diverse scholarship that considers the discursive valence of the term "human", posthumanism has emerged as a timely and powerful interdisciplinary discourse. This study is a critical analysis of three dominant strains of the technologically oriented segment of this discourse; namely "scientific" (Ollivier Dyens), "humanist" (N. Katherine Hayles), and "organismic" (Mark B. N. Hansen) constructions of technological posthumanism. In each case, the study desublimates (and often deconstructs) the particular ideological claims that underwrite a given perspective, emphasizing the specific elements that such presumptions enable or foreclose. To this end, particular emphasis is given throughout the essay to the critical capacity of performativity, a perspective that is enacted through analyses of selected new media artworks. / 10000-01-01