No description available.

International Telemetering Conference Proceedings / October 28-31, 1985 / Riviera Hotel, Las Vegas, Nevada / The creative process of the visual artist is an untapped source of knowledge-based systems which can extend the capabilities of AI in understanding how to develop new algorithms for space perception, pattern recognition, and data compression. This report focuses on the artist’s analysis of the multi-dimensional levels of unconscious, visual ideation which precede the conscious level of symbolic coding. interaction of all the senses is examined, as are the functions of gravity and time as the fundamental reference points for pattern recognition. An exercise in ‘Image Evoking’ is described. Recommendations are given for applications to future research in AI.

This thesis looks at the function of signatures in visual art using the theory of Jacques Derrida and a series of paradigmatic historical examples. Specifically, it departs from ‘Signature Event Context’ (SEC) to establish signature outside the idiom of visual art as a social process. Having established signature as process designed to guarantee presence, it suggests that signature should be considered a method of production. As a method of production, signature has a significant contemporary relevance for dematerialised and Relational Art practices which are frequently held to be ‘unsigned’. This thesis suggests grounds for questioning the unsigned quality of Relational Art, and looks at what signatory production means for it. Until the 1990s, signature was mostly ignored as a subject for serious art historical scholarship. It is still rarely indexed as a subject even when it warrants a mention in the body of a text. Although a clutch of recent studies have addressed its occurrence in the work of individual artists, or within the boundaries of narrowly defined eras, there is little work - if any - which attempts to connect these pockets of knowledge with a conceptual grounding of what signature does in order to develop a connected narrative and broad understanding for its place. As a result, there is little interrogation of signature’s mechanism alongside historical examples, and scholarship is instead focused on its appearance. This thesis attempts a broad, conceptually informed, historical survey, using examples that date as far back as the sixth century BC. The aim is to unpack the signature-form ‘R. Mutt’ which appears on Marcel Duchamp’s Readymade, Fountain (1917), a work with great conceptual importance for contemporary dematerialised and Relational Art practices. In bringing SEC into close 3 proximity to Fountain, the thesis establishes potential grounds for reading a significant theoretical relationship between Derrida and Duchamp, a pairing which has been neglected by scholars despite conceptual sympathies between them.

This project considers the potential impact of learning relations between hobby craft makers and formally educated makers. It questions how the craft based relationship of a formally educated artist and a self taught/amatuer maker can be renegotiated and implemented in a broader learning context. The artistic research aims to propose that a facet of ‘new knowledge’ in the field and future of contemporary art and craft production is one of togetherness; by embracing discomfort and the unfamiliar to affirm and reveal the knowns and unknowns of one's own practice and field. The question is considered in discussion with social/relational art practices, amatuer craft theory and gift theory. The project culminates both in this paper and an exhibition piece as part of Konstfack University College of Arts, Crafts and Design Spring Exhibition 2016.

My thesis considers the distinctive characteristics of contemporary artistic production and display in Scotland from the 1960s to the present. The main objective is to make manifest the diversification of global sites of contemporary art away from traditional centres by examining less exposed aspects of art practice in Scotland. My methodology is driven by a set of case studies of artist-run initiatives (ARIs), which provide models of enquiry into alternative methods of production and display of contemporary art and that demonstrate the role of ARIs in producing art scenes, and not merely representing those that already exist. I focus on counter-histories of self-organised ARIs and their legacies, and adopt a genealogical approach to examine how recent praxis and infrastructures came into existence and how their initial impetus intersected with their historical conditions. Anthony Giddens’ structuration theory is employed to examine local forms of power and infrastructure, as well as the wider, global structures of the art world. The emphasis is on how ARIs and established institutions can and do negotiate with each other and in recognising the interpenetration of different scales of art institutions. I apply a bifurcated approach in order to bring Scotland into dialogue with anthropological discussions of cultural globalisation. I ask how locality, nationalism and globalisation are configured in (visual) culture generally and as applied specifically to a Scottish context. This is underpinned by a consideration of Scottish Devolution as a disintegration of hierarchical domination, which correlates to the ideologies of artist-run practice. Finally, I propose the eradication of top-down delivery in favour of horizontal distributions of knowledge and practice via self-organisation.

published_or_final_version / abstract / toc / Fine Arts / Master / Master of Philosophy

This M. F. A. thesis exhibition consists of painting, sculpture, and video completed over the last five months. In support of the exhibition, an artist's statement outlines my exploration of the interaction between artist and audience, stylization and mass production of image.

This thesis investigates the development of the biography of the Baroque portrait painter, Mary Beale (1633-1699), through historiography. The conventional gendered construction of Mary, primarily as a wife and mother, and secondarily as an artist, will be traced and examined, from the earliest art historical references to her, to the most recent. / Graduate

Är det möjligt att göra en kvalitativ musikvideo med en liten budget? Flera hävdar att detta är möjligt om man planerar detaljrikt och använder sig av olika knep, som bland annat att inte använda sig av för många miljöer utan istället använda sig av färre miljöer, men från flera olika vinklar och perspektiv för att få till en bra variation. Mitt projekt grundar sig i att undersöka detta närmare. En utmaning blev det att göra allt på egen hand, men resultatet växer fram till en musikvideo som dels innehåller klipp från skogmiljöer till en animation som knyter samman det hela till låtens kärna. Kärnan i detta är att dela med mig av min process, så att andra som också vill göra en musikvideo kan se vad som går att göra med enkla medel och förhoppningsvis inspireras.

This thesis challenges the sedentary nature of living vicariously through the television, whether it be watching sports or playing video games. Since the advent of professional sports spectators have become accustomed to stadiums stuffed with people cheering on their favorite teams. The television substitutes for this visceral experience and allows viewers to live surrogate lives without leaving the living room. Ultimately, I see this thesis as a social commentary on the impact of sports and media in our society. This project highlights the sociological implications of the loss of interpersonal contact perpetuated by media.