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In this text, we consider the documentation of festivals of media arts and the relationship between an expanded sense of documentation and the writing of art histories against traditional institutional contexts and discourses. The essay starts by drawing the context in which festivals of media arts are considered historically, their activities, and how they relationship to media arts informs their position in relation to institutional discourses. Secondly, the text maps out the kinds of records of festivals that exist, considering private and public and internal and external documents which serve as artefacts of exhibitions and programmes. Thirdly, it considers how we might value and historicise media arts prior to their entry into institutional space.

Os processos de produção de arte eletrônica contemporânea (pós-anos 1990) são discutidos sob a ótica da cibernética de segunda ordem, cujos princípios consideram o observador durante a observação dos sistemas, analisando como circular a relação entre observador e observado. A metodologia empregada baseia-se na Teoria Fundamentada nos Dados, cujo argumento emerge do entrecruzamento do arcabouço teórico sobre o assunto com as informações coletadas através de observações, conversas e entrevistas. A análise se desenvolve em três capítulos, todos atravessados pela exploração das relações entre acidente e controle no campo da arte eletrônica. No primeiro capítulo levamos em consideração os aspectos conceituais e estruturais da produção artística em questão. No segundo, exploramos as relações que se tecem entre agentes criativos durante o processo, observando tal produção enquanto sistema social pautado em conversações. No terceiro, vislumbramos a experiência criativa coletiva enquanto possibilidade de construção de espaços de conhecimento, e arriscamos uma auto-crítica sobre o que apreendemos sobre o processo de produção da arte eletrônica. Nossas considerações finais trazem nossa apreensão para as relações entre a arte eletrônica e a arquitetura, apontado para o caráter utópico de nossos argumentos. / The production processes on contemporary media art (post-1990\'s) are discussed through the second order cybernetics perspective, whose principles study the observer and observed as a circular motion. The research methodology is based on the Grounded Theory. The argument emerges by blending together the theoretical framework on the subject with the information collected through observations, conversations and interviews. The analysis is developed in three chapters, all interrelated exploring the relationships between accident and control in the media art field. In the first chapter the conceptual structure of this artistic production is analyzed. In the second chapter, we explore the relationships that emerge between creative agents during the process, observing such production as a social system being ruled by conversation. In the third chapter, picturing the collective creative experience as means to the construction of knowledge spaces, we apply to the architectural field what we learned about the production process of media art. Our final conclusions bring our perception to the relations between media art and architecture leading to the utopian character of our arguments.

Οι ψηφιακές μορφές τέχνης είναι ένα είδος που περιλαμβάνει έργα τέχνης που δημιουργήθηκαν με τα νέα μέσα τεχνολογίας, συμπεριλαμβανομένης της ψηφιακής τέχνης, των γραφικών απεικονίσεων, της εικονικής τέχνης, της τέχνης του διαδικτύου, των διαδραστικών τεχνολογιών και άλλων μέσων που διαφοροποιούνται διαρκώς. Για το λόγο αυτό, είναι αναγκαίο, η Τέχνη, ως διδακτικό αντικείμενο να συντονιστεί με τις επιταγές της σύγχρονης τέχνης και να προσφέρει στους μαθητές απαραίτητες γνώσεις και δεξιότητες ώστε να δημιουργήσουν σύγχρονα έργα τέχνης. Είναι όμως το ελληνικό εκπαιδευτικό σύστημα και πιο συγκεκριμένα οι εκπαιδευτικοί της Τέχνης για ένα τέτοιο εγχειρημα... Τι φοβούνται και τι προσδοκούν από τους αρμόδιους φορείς... Μπορούν ατομικές πρωτοβουλίες και πιλοτικά προγράμματα να βρουν ευρύτερη εφαρμογή στη διδασκαλία της εικαστικής αγωγής.. / The digital forms of art are a type that includes work of art that was created with the new means of technology, including the digital art, the graphic depictions, the virual art, the art of internet, the interactive technologies and other means that are differentiated permanently. For this reason, it is necessary, that Art, as instructive object to be coordinated with the demands of modern art and offer to the students the necessary knowledge and dexterities in order that they create modern work of art. Is however the Greek educational system and more concretely the teachers of Art ready for such an undertaking. What they are afraid also what are theyexpecting from the responsible institutions... Can individual initiatives and pilot programms find wider application in the teaching of figurative education...

Os processos de produção de arte eletrônica contemporânea (pós-anos 1990) são discutidos sob a ótica da cibernética de segunda ordem, cujos princípios consideram o observador durante a observação dos sistemas, analisando como circular a relação entre observador e observado. A metodologia empregada baseia-se na Teoria Fundamentada nos Dados, cujo argumento emerge do entrecruzamento do arcabouço teórico sobre o assunto com as informações coletadas através de observações, conversas e entrevistas. A análise se desenvolve em três capítulos, todos atravessados pela exploração das relações entre acidente e controle no campo da arte eletrônica. No primeiro capítulo levamos em consideração os aspectos conceituais e estruturais da produção artística em questão. No segundo, exploramos as relações que se tecem entre agentes criativos durante o processo, observando tal produção enquanto sistema social pautado em conversações. No terceiro, vislumbramos a experiência criativa coletiva enquanto possibilidade de construção de espaços de conhecimento, e arriscamos uma auto-crítica sobre o que apreendemos sobre o processo de produção da arte eletrônica. Nossas considerações finais trazem nossa apreensão para as relações entre a arte eletrônica e a arquitetura, apontado para o caráter utópico de nossos argumentos. / The production processes on contemporary media art (post-1990\'s) are discussed through the second order cybernetics perspective, whose principles study the observer and observed as a circular motion. The research methodology is based on the Grounded Theory. The argument emerges by blending together the theoretical framework on the subject with the information collected through observations, conversations and interviews. The analysis is developed in three chapters, all interrelated exploring the relationships between accident and control in the media art field. In the first chapter the conceptual structure of this artistic production is analyzed. In the second chapter, we explore the relationships that emerge between creative agents during the process, observing such production as a social system being ruled by conversation. In the third chapter, picturing the collective creative experience as means to the construction of knowledge spaces, we apply to the architectural field what we learned about the production process of media art. Our final conclusions bring our perception to the relations between media art and architecture leading to the utopian character of our arguments.

The artist discusses her Master of Fine Arts exhibition Momentary Lapses, held at Tipton Gallery, February 25-March 8, 2019. The mixed media works and video examine the intersections between digital, somatic and societal decay through the mediation of the digital image by physical anthropogenic efforts. Themes in the work include glitch art and theory, entropy, memory, decay, and loss. Contemporary American society’s desensitization associated with the oversaturation of digital imagery is discussed, as well as Guy Debord’s theory of the Spectacle, and the artistic practices of Kurt Schwitters and Robert Rauschenberg.

The aim of this diploma thesis is Bioart, new media art discipline, which is represented by a narrow group of authors. Bioart is often referred to by variety of names and the term itself is not uniformly defined. The work offers a comprehensive definition of the term as an art area that creates space for social reflection of scientific knowledge through its reflection of modern science. The thesis also describes respective artistic, philosophical and historical context of the term. At the same time, the thesis examines aspects of contemporary bioart from the perspective of the artists working in this field of art by interviewing them. The thesis is divided into three main chapters. The first chapter deals with Bioart as a term on theoretical level and introduces the interviewed artists. The second chapter summarizes the historical background of Bioart. The third chapter introduces the overlap of Bioart on ethics, safety and engagement of artists and the public in science. Powered by TCPDF (www.tcpdf.org)

The Aesthetic Dimension of playing Videogames Abstract The Thesis is divided into two main parts. The first part follows the beginning of the discussion which considers computer games as Art. Selected theories are analyzed and critically reviewed. Specifically, these are theories considering the emotional potential of games, their narativity, or their cluster definition. In the second part are computer games seen as aesthetic experiences. In a short diversion the similarities between computer games and sport are shown. Also the role of winning and rules is contemplated. Subsequently, John Dewey's theory is used to interpret the phenomenon. The text is interwoven with examples of old and current computer games. Key words: Videogames, Aesthetics of Everyday life, New Media Art, an Experience, Pragmatism, John Dewey

This dissertation speculates on culture, social spheres, and programming to gain insight into how computer platforms can be (re)thought and (re)designed around the consciousness and struggles of Latin American communities. This dissertation uses an interdisciplinary methodology emphasizing approaches to live-coding performance, platform design and software development, participatory action research, and interpretive and semiotic analysis. The research in this dissertation starts with the argument that computer languages are influenced by social spheres (e.g., science and arts), economic models (e.g., knowledge economy), communication systems (e.g., natural language), and infrastructures (e.g., software collaboration protocols and institutions). Next, it is discussed how I deployed this argument by ideating and coding a computer language based on specific social spheres (i.e., live coding practice and popular music), communication systems (i.e., Spanish), and infrastructures (i.e., cultural centers and online spaces) of Hispanoamerica. Finally, this computer-music language is compared and contrasted against collective reflections and uses by this dissertation’s author and members of the general public through a series of conversation circles and live coding performances. This research results in developing Seis8s, a computer-music language inflected by Spanish constructs borrowed from Latin dance music. Seis8s blends Latin American music sensibilities and live coding techno-politics to promote critical reflection. Seis8s emphasizes resistance to asymmetric types of computer-music abstraction by bringing Afro-Latin instruments and rhythms to the center of the technology and the performance. Results of this research also include ten public presentations using Seis8s involving individual and collective live coding performances and conference presentations. These public presentations showcased Seis8s and promoted reflection toward universal understandings of bodies, culture, politics, and economies of these technological and artistic milieus. This research also gives insight into mestizaje and latinidad as concepts still present in the belief systems and ways of knowing Spanish speakers in Latin America and, consequently, in the software they develop. Mestizaje and latinidad are challenged collectively by positioning the white-mestizo ideology as a shared problem that could be resisted through reflection on the irreducibility of the Latin American identity and its potential to coexist with other identities. / Dissertation / Doctor of Philosophy (PhD)

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