The work is a reflection of my opinions and criticism of society and the world as I see it. The absurd behavior of individuals in my environment provided the basis for my research. The seven woodcut prints that were completed, attempted to examine universal and personally significant themes.I utilized visual techniques to convey personal feelings and ideas about relationships with other people. Technical as well as conceptual abilities were drawn upon to produce a series of prints that depicted specific experiences I have had in life. / Department of Art

A case study of collaborative storyboarding in an animation studio grounded this investigation of visual discourse---discourse about and with visual displays. The focus was on a problem occurring during a 40-minute task between the head storyboard artist and his junior colleague in reviewing a rough, conceptual storyboard. The research investigated the role of different semiotic modalities produced by the artists', i.e., speech, gesture, and drawing, in mediating spatial (frames of reference) and motion (action and path) representations and inferences from the storyboard. One aim was to determine if particular modalities were used to represent particular spatial and motion ideas. / Both qualitative discourse and quantitative analyses were undertaken to associate the individual discourse modality in co-occurring external representations (speech, gesture, or drawing), with spatial and motion ideas required to understand the storyboard. The results showed that (a) most modalities did not consistently or uniquely represent specific types of spatial and motion ideas, (b) representations frequently demonstrated a mismatching between spoken and gestured or drawn ideas, (c) spatial representation in particular required the artists to represent specific goal domains as contexts that determined the frame of reference and local sense of the representation, and (d) a more complex drawing style was used at the beginning of the problem than in the latter solution stages. / These findings are discussed in terms of the artists' (a) flexibility needed to traverse between 2-D and 3-D imagined worlds requiring the representation of different spatial coordinate systems, (b) handling of the modalities in visual discourse as supporting this flexibility, and (c) strategic use of drawing styles to assist inferring 3-D dynamic action from an incomplete, 2-D, static storyboard. The study demonstrates the importance of considering activity goals and interacting semiotic modalities as contributing to the knowledge needed to represent and infer space and motion. These findings are significant to research on the knowledge and tools used to infer space and motion from static visual displays in authentic collaborative design activities, and have implication for research on technologies and environments supporting collaborative visual thinking in design settings.

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This thesis argues that contemporary visual media culture is characterised by unique forms that enable and increasingly demand qualitatively distinct viewing relations. I offer historical and theoretical explorations of various media technologies and genres, and propose that todays visual culture may be described as participatory, primarily in the sense that its modes of address function to blur the line between the production and consumption of imagery. Furthermore, I suggest that these participatory relations, underpinned by real time media, are productive of performative subjects composed, under the prevailing media imaginary, of increasingly individualised exchanges. Thus, I argue that the phenomenon of media participation must be considered in relation to defining characteristics of contemporary capitalism namely its user-focused, customised and individuated orientation. Organised in terms of historical, theoretical and generic sections, two opening chapters establish, respectively, the technological and theoretical context of the inquiry, preparing for four subsequent chapters concerned with media genres. Chapter 1 argues that contemporary media are home to new image forms that are, as a result of their participatory and networked character, more performative than merely representational. Chapter 2 introduces the concept of indivisualisation referring to participatory visual environments in which the performance of the individual viewing subject is crucial to the nature of the viewing relationship. Drawing on a wide range of media theorists including Jonathan Crary, Margaret Morse, Lev Manovich and Manuel Castells, as well as contemporary sociologists Ulrich Beck and Zygmunt Bauman, I make a connection between the personalised address and coextensive temporal performances characteristic of participatory media and a pervasive social demand for compulsory, ongoing self-transformation. Performative subjectivity, I argue, is the logical counterpart to real-time screens, and its prevailing mode is individualised. The remaining four chapters seek to elaborate and substantiate the dynamics of participation and indivisualisation by exploring a series of exemplary real-time media genres,news media, reality entertainment media (reality television and webcams), computer games, and media art. As these chapters demonstrate by a breadth of example, what is at stake in contemporary realtime media may be nothing less than our relation to mortality and otherness.

Thesis (Ph.D.)--University of Melbourne, Dept. of English with Cultural Studies, 2004. / Typescript (photocopy). Includes bibliographical references (leaves 208-228).

Thesis (Ph.D.)--University of Wollongong, 2005. / Typescript. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves 58-59).

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves 24-28).

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 104-106).

Thesis (M.A.)--Ohio University, November, 2007. / Title from PDF t.p. Includes bibliographical references.