Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes special study report entitled : Media art : space. Includes bibliographical references. Also available in print.

Through interrelating the Acoustic Communication concepts of soundscape with contemporary collective memory studies, this research project explores the relationship between commuters and the London Underground (LU) soundscape in order to create an interactive sonic environment on the Internet. The methodology combines fieldwork and artistic work, focusing on commuters’ perceptions of time and space, and on their sonic memories, as elements through which to interpret the space. The objective of the fieldwork is to investigate commuters’ aural memories of the LU soundscape, including the feelings and sensations that it stimulates. The artistic objective is to facilitate the interaction between the soundscape and its users through an interface that allows a creative combination of sounds to assemble aural memories into a sound-driven multimedia experience. Twenty-four commuters participated in the ethnographic study during the three phases of the research; they followed the researcher’s model, which combines the processes of listening and remembering. The researcher thus developed an interactive sonic environment where commuters can experience a non-linear virtual journey through the soundscape of LU, then apply this as a means of reflecting on the original commuting experience. The interactive nature of the process makes it possible for individual memories to be linked in a creative shared experience; it fosters the development of on-line sound-driven narratives.

This research aims to delineate various modes and means of communication in the field of multimedia theatre and to relate this field of practice to contemporary debates in both theatre and media studies. This thesis defines 'multimedia theatre' in two ways: firstly to include performance where media technologies are brought into the theatrical frame as a feature of the mise en scene, and secondly to refer to the area of new media performance, where a live performer may not be present but a high degree of performativity and liveness are achieved. Discourse in the field of digital aesthetics and new media theory is applied to examples and case studies of contemporary multimedia theatre practice to highlight the formal structures and modes of audience engagement operating within such work. Multimedia theatre may be characterised by the qualities of intermediality, immersion, interactivity, and postnarratvity, and these characteristics are used in this thesis as focal points to structure analysis and investigation. The thesis also argues that recent developments in the field of multimedia theatre and performance may be viewed as related to a larger cultural shift predicated on the dissolution of the separation of the real and the virtual. It is further argued that multimedia theatre is acting as a forum for the exploration of the contemporary human experience, an experience shaped by the ubiquity of digital media and the development of a 'posthuman' perspective.

This research aims to delineate various modes and means of communication in the field of multimedia theatre and to relate this field of practice to contemporary debates in both theatre and media studies. This thesis defines 'multimedia theatre' in two ways: firstly to include performance where media technologies are brought into the theatrical frame as a feature of the mise en scene, and secondly to refer to the area of new media performance, where a live performer may not be present but a high degree of performativity and liveness are achieved. Discourse in the field of digital aesthetics and new media theory is applied to examples and case studies of contemporary multimedia theatre practice to highlight the formal structures and modes of audience engagement operating within such work. Multimedia theatre may be characterised by the qualities of intermediality, immersion, interactivity, and postnarratvity, and these characteristics are used in this thesis as focal points to structure analysis and investigation. The thesis also argues that recent developments in the field of multimedia theatre and performance may be viewed as related to a larger cultural shift predicated on the dissolution of the separation of the real and the virtual. It is further argued that multimedia theatre is acting as a forum for the exploration of the contemporary human experience, an experience shaped by the ubiquity of digital media and the development of a 'posthuman' perspective.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 139-150). Also available in electronic format on the Internet.

Thesis (BA (Hons)--Art and Design) -- AUT University, 2005. / Print copy accompanied by CD. Includes bibliographical references. Also held in print (iii, 26 leaves : ill. ; 30 cm. + CD (4 3/4)) in City Campus Theses Collection (T 776.7 YEU)

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. [59]-63. Document électronique également accessible en format PDF. CaQCU

Includes bibliographical references (p. 74-82). / Growing up, I used to have a book called The Unexplained, and inside it was a picture of the Garden of Earthly Delights by Hieronymus Bosch. Bosch's paintings were full of weird and wonderful animals coupled with hundreds of naked men and women in what looked like a garden party of the most exotic kind. To imagine such a place was arousing; to imagine a place full of fruit and naked people should turn everyone on, regardless of sexual preference.

This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Desiring Machinations of Matertekhnologi is an Individualized Multidisciplinary thesis that synthesizes feminist frameworks with new media art to investigate the mediated body in relation to communications technology. The thesis illustrates contemporary, twenty-first century artists working with feminist strategies, the body, performance and technological media. Theoretical discussions are developed that imagine or suggest new forms of subjectivity that could be experienced through artistic appropriation of communicative, networked and technological media. These discussions include my studio investigations and unfold around the following themes: corporeal feminism, body-based philosophy, a subversion or manipulation of consumer technologies through intervention, appropriation and performance, the politics of space and location through networked interaction, and the mediated body in relation to communication technologies through a valorization of embodiment and the senses. / vii, 161 leaves : ill. ; 29 cm. --