Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:635335 |
| Date | January 2014 |
| Creators | Moore, James |
| Contributors | Ascott, Roy |
| Publisher | University of Plymouth |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://hdl.handle.net/10026.1/3228 |
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