The thesis presents an analytic work of the MDA-framework and the promotional art of Halo 4 and Mass Effect 2 and how the two areas correlate with each other. The aim for the thesis is to investigate how the art style of the promotional art uses the elements of art to communicate the different gameplay of Halo 4 and Mass Effect 2, both set in a science fiction world, to their respective audiences in order to find how the elements of art can help to emphasize communication of gameplay information to the audience. This is reached by analyzing the gameplay of both games with the help of the MDA-framework by Hunicke, LeBlanc and Zubek enabling the analyses to reach a more comprehensive breakdown of the games. The analyses of the promotional artwork for both games are weighed against categories in the elements of art, the reason to find a more comprehensive breakdown of the promotional art. The data from both analyses are later compared with each other to find how the elements of art communicate information of the gameplay to the audience. In addition, it presents what categories of the elements of art in this analysis seems to be the most common for communicating gameplay information of the chosen promotional artworks. The conclusion is that the use of elements of art in promotional art in Halo 4 and Mass Effect 2 seems to carry more information that communicates to the audience than what might be the first to meet the eye. This leads to an understanding that the analysis of a broader sample size of promotional art from the games can open an opportunity of a better understanding how the use of elements of art in promotional art can communicate gameplay to the audience. Additionally this could also be applied to a larger range of games in order to find how different genres use the elements of art to communicate to their respective audience.

I am fascinated by the men who visit the strip clubs of Hindley Street in Adelaide. In other words, I observe male spectators who look at naked women performing an alluring act for their pleasure. Such a scene represents sexual difference at an extreme level particularly as the night progresses and the men get drunker becoming themselves a part of the performance. Strippers manipulate mens desires and fantasies and parody, through their routine, the male in the act of sex. And as men watch men watching women perform, I suggest men are actually sharing their sexual experiences with each other, raising questions about assumptions of ???heterosexual??? desire associated with why men go to strip clubs, as gender boundaries blur and become ambiguous. / The focus of my research has involved positioning myself as a member of the audience in three strip clubs along Hindley Street a clothed woman in a male dominated space dedicated to the representation of nudity and sex. In conducting my research, I have relied upon a methodological approach loosely based both on ethnographic and the action research models with the aim of using the understandings gained through this to inform my visual art practice, which includes photographic images, staged settings and installation. I consider my artwork to be a form of experimentation through which I explore issues of sexuality, power, sexual transgression and gender difference within strip clubs creating provocative scenes which position viewers as voyeurs. / My thesis as the totality of the artefacts and exegesis which form the outcomes of this research draws on critical and cultural theory concerned to explore pornography, with particular reference to masculine fantasy and desire. I also make reference to a number of contemporary visual artists who question these same issues through their works. / My project questions why men go to strip clubs, and involves speculation as to whether this choice actually entails a rejection by such men of aspects of their own masculine identity, or reflects a need to detach themselves from the physical act of sex with women, or perhaps simply reveals their reliance upon fantasy, titillation and suspense as a form of sexual pleasure. Using a play of gender roles based on a reversal of performative aspects of the scenario of the strip club, I hope the artefacts created in the course of this research will provoke viewers into exploring unsettling questions and issues and reflect an image of men as being both complex and vulnerable, rather than dominant and in control. Through constructed installation spaces involving photographic images of empty strip clubs, men and women, along with smell, lighting and sound I attempt to set the stage for a performance upon and about sexual desire and difference. / Thesis (MVisualArts)--University of South Australia, n.d.

Taking as its starting point the anti-monumental stance of much Post-minimalist sculpture, my research investigates alternative paradigms for sculptural practice, drawing on the decorative traditions of provisional and temporary objects made for ceremonies and celebrations (including bunting, balloons, tablecloths, banners etc.) / In order to find a way of creating sculptural works that are formally flexible and mutable, but that also connect with the symbolism emanating from such vernacular celebrations; I have turned to studying objects that are separate to, yet which 'surround', those located within the 'fine art' sculptural tradition. The pageant, feast, religious occasion and personal celebration are examples of symbolic events which necessitate the manufacture of decorations, costumes and props. Often these objects are ephemeral, in being made from materials such as flowers, textiles, or food, and are meant to be discarded or consumed. Sometimes they have a cyclical or 'seasonal' aspect - in terms of their temporality - in being able to be repeatedly used and then packed away. The characteristics of such deployment, and the emphasis on the manner in which these objects transform an environment tie them to many key aspects within both modernist and postmodernist visual art practice (whether within Minimalism, Arte Povera, for Neo-concretism). / Special occasions have a shared symbolic language that is intimately understood by most people across a wide diversity of cultures; while in requiring the production of objects as 'accessories', decorations or props, they also share many basic elements of what might be called a 'formal vocabulary' or language. / This research focuses on the formal conventions and structures of the material culture of special occasions; the sculptural language of the streamer, pageant float, tinsel, birthday cake, and balloon. With the 'expansion of the sculptural field' and the loss of confidence in the signifying capacity of the tradition of the monumental within public art, artists have increasingly turned to exploring other forms and types of symbolic language, as a way of engaging anew with communal commemoration and celebration - whether on large or domestic scale (illustrated ephemeral, performative and domestic materials and processes in contemporary art. / Also of interest is the tradition of display and spectacle inherent in protest marches and rallies. Very often the formal elements of trade union parades, suffragette marches and mass demonstrations utilise a similar formal language to parties and pageants. The ability of such festive structures to carry and even advance an ideological cause is intriguing, and provides a point from which to begin to speculate on how 'personal ideologies', obsessions, and intense psychological and emotional affects might be drawn upon to create a visual language (or formal system) that can operate in non-literal, highly associative ways - whilst providing a meaningful point of reference for viewers. / A selection of artists included in this research: Thomas Hirschhorn, Eva Hesse, Robert Morris, Matthew Barney, Jeff Koons, Helio Oticica, Polly Apfelbaum, Lygia Clark and Tracy Emin. / The research has been conducted within several overlapping fields - art history, contemporary cultural theory, visual art practice and literature, and cultural anthropology - which have provided useful points of critical reference, source material and interpretive paradigms. Nevertheless, the focus has been upon 'special occasion objects' within the western tradition (with Australia viewed as a post-colonial European nation), with particular reference to positions within the Minimalist and Post-minimalist contemporary visual art practice. / This research utilises an Action Research methodology which provides a useful paradigm for understanding and developing the relation between artistic experimentation and production, critical analysis and personal reflection characteristic of studio-based research. The thesis will take the form of an exhibition of art work and an accompanying ten thousand work exegesis. / Thesis (MVisualArts)--University of South Australia, 2006.

I am fascinated by the men who visit the strip clubs of Hindley Street in Adelaide. In other words, I observe male spectators who look at naked women performing an alluring act for their pleasure. Such a scene represents sexual difference at an extreme level particularly as the night progresses and the men get drunker becoming themselves a part of the performance. Strippers manipulate mens desires and fantasies and parody, through their routine, the male in the act of sex. And as men watch men watching women perform, I suggest men are actually sharing their sexual experiences with each other, raising questions about assumptions of ???heterosexual??? desire associated with why men go to strip clubs, as gender boundaries blur and become ambiguous. / The focus of my research has involved positioning myself as a member of the audience in three strip clubs along Hindley Street a clothed woman in a male dominated space dedicated to the representation of nudity and sex. In conducting my research, I have relied upon a methodological approach loosely based both on ethnographic and the action research models with the aim of using the understandings gained through this to inform my visual art practice, which includes photographic images, staged settings and installation. I consider my artwork to be a form of experimentation through which I explore issues of sexuality, power, sexual transgression and gender difference within strip clubs creating provocative scenes which position viewers as voyeurs. / My thesis as the totality of the artefacts and exegesis which form the outcomes of this research draws on critical and cultural theory concerned to explore pornography, with particular reference to masculine fantasy and desire. I also make reference to a number of contemporary visual artists who question these same issues through their works. / My project questions why men go to strip clubs, and involves speculation as to whether this choice actually entails a rejection by such men of aspects of their own masculine identity, or reflects a need to detach themselves from the physical act of sex with women, or perhaps simply reveals their reliance upon fantasy, titillation and suspense as a form of sexual pleasure. Using a play of gender roles based on a reversal of performative aspects of the scenario of the strip club, I hope the artefacts created in the course of this research will provoke viewers into exploring unsettling questions and issues and reflect an image of men as being both complex and vulnerable, rather than dominant and in control. Through constructed installation spaces involving photographic images of empty strip clubs, men and women, along with smell, lighting and sound I attempt to set the stage for a performance upon and about sexual desire and difference. / Thesis (MVisualArts)--University of South Australia, n.d.

Thesis (M.A.)--York University, 2006. Graduate Programme in Psychology. / Typescript. Includes bibliographical references (leaves 56-58). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19679

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Supplemental DVD+R contains a PDF version of the thesis. Includes bibliographical references (leaves 149-152).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 144-146).

Thesis (Ph. D.)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 395-417).

Thesis (M.A.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

Thesis (M.S.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 40-43).