566 research outputs found
The Artist as Subject in Creative Stasis and Drasis, Explored through Performative Subjectivity in Media Art and Diary Practice
This research began as an investigation of the artist's subjectivity within the process of creating art. The focus of the research was the state of stasis, experienced by the artist as absence of action and nothingness.
Reflexive methodology and autobiography were chosen as the basic epistemological and methodological approaches in order to fulfil the framework, questions and needs of this research. Diaries and Meta-Diaries as tools of the methodological approach were significant in the understanding of the artist's subjectivity and its manifestation in the written document. Diary entries were treated as instances of subjectivity rather than symptoms of the truth of the subject. I referred to diaries as part of a 'diary practice' which is inclusive of the time not writing in the diary. Additionally diaries developed an exchange with the artist's practice, became part of the concerns of this research and finally became part of the practice as much as a way of exploring it.
Stasis was examined through diary practice and artworks and its characteristics were mapped out. These characteristics were uncertainty, frustration and anticipation of action for the subject. The artist's own diaries and works were examined within the contemporary artistic and theoretical context to determine the strategies the artist adopts to escape stasis. These strategies were initially determined as:
Repetition creating a refuge for the subject;
Submission to arkhé as a way of providing continuity and
The creation of a network of complicity as an affirmation of existence.
Drasis, a Greek concept the meaning of which includes both 'act' and the 'performance', was adopted to describe the strategy by which the eventisation of stasis is performed. In drasis the focus of my artwork would become stasis and not action. Through drasis the eventisation of stasis was carried out, marking a strategy of the artist in stasis. Drasis, a strategy for the artist as subject in stasis, is, together with the creative work, my main contribution to knowledge in this research
Suffolk University Academic Catalog, New England School of Art and Design (NESAD)--Summer continuing education programs, 1996
https://dc.suffolk.edu/cassbs-catalogs/1145/thumbnail.jp
Designing instruments towards networked music practices
It is commonly noted in New Interfaces for Musical Expression (NIME) research that
few of these make it to the mainstream and are adopted by the general public. Some
research in Sound and Music Computing (SMC) suggests that the lack of humanistic
research guiding technological development may be one of the causes. Many new
technologies are invented, however without real aim else than for technical
innovation, great products however emphasize the user-friendliness, user involvement
in the design process or User-Centred Design (UCD), that seek to guarantee that
innovation address real, existing needs among users. Such an approach includes not
only traditionally quantifiable usability goals, but also qualitative, psychological,
philosophical and musical such. The latter approach has come to be called experience
design, while the former is referred to as interaction design. Although the Human
Computer Interaction (HCI) community in general has recognized the significance of
qualitative needs and experience design, NIME has been slower to adopt this new
paradigm. This thesis therefore attempts to investigate its relevance in NIME, and
specifically Computer Supported Cooperative Work (CSCW) for music applications
by devising a prototype for group music action based on needs defined from pianists
engaging in piano duets, one of the more common forms of group creation seen in the
western musical tradition. These needs, some which are socio-emotional in nature, are
addressed through our prototype although in the context of computers and global
networks by allowing for composers from all over the world to submit music to a
group concert on a Yamaha Disklavier in location in Porto, Portugal. Although this
prototype is not a new gestural controller per se, and therefore not a traditional NIME,
but rather a platform that interfaces groups of composers with a remote audience, the
aim of this research is on investigating how contextual parameters like venue, audience, joint concert and technologies impact the overall user experience of such a
system. The results of this research has been important not only in understanding the
processes, services, events or environments in which NIME’s operate, but also
understanding reciprocity, creativity, experience design in Networked Music
practices.É de conhecimento generalizado que na área de investigação em novos interfaces para
expressão musical (NIME - New Interfaces for Musical Expression), poucos dos
resultantes dispositivos acabam por ser popularizados e adoptados pelo grande
público. Algum do trabalho em computação sonora e musical (SMC- Sound and
Music Computing) sugere que uma das causas para esta dificuldade, reside
numalacuna ao nível da investigação dos comportamentos humanos como linha
orientadora para os desenvolvimentos tecnológicos. Muitos dos desenvolvimentos
tecnológicos são conduzidos sem um real objectivo, para além da inovação
tecnológica, resultando em excelentes produtos, mas sem qualquer enfâse na
usabilidade humana ou envolvimento do utilizador no processo de Design (UCDUser
Centered Design), no sentido de garantir que a inovação atende a necessidades
reais dos utilizadores finais. Esta estratégia implica, não só objectivos quantitativos
tradicionais de usabilidade, mas também princípios qualitativos, fisiológicos,
psicológicos e musicológicos. Esta ultima abordagem é atualmente reconhecida como
Design de Experiência (Experience Design) enquanto a abordagem tradicional é
vulgarmente reconhecida apenas como Design de Interação (Interaction Design).
Apesar de na área Interação Homem-Computador (HCI – Human Computer
Interaction) as necessidades qualitativas no design de experiência ser amplamente
reconhecido em termos do seu significado e aplicabilidade, a comunidade NIME tem
sido mais lenta em adoptar este novo paradigma. Neste sentido, esta Tese procura
investigar a relevância em NIME, especificamente nu subtópico do trabalho
cooperativo suportado por Computadores (CSCW – Computer Supported Cooperative
Work), para aplicações musicais, através do desenvolvimento de um protótipo de um
sistema que suporta ações musicais coletivas, baseado nas necessidades especificas de Pianistas em duetos de Piano, uma das formas mais comuns de criação musical em
grupo popularizada na tradição musical ocidental. Estes requisitos, alguns sócioemocionais
na sua natureza, são atendidos através do protótipo, neste caso aplicado ao
contexto informático e da rede de comunicações global, permitindo a compositores de
todo o mundo submeterem a sua música para um concerto de piano em grupo num
piano acústico Yamaha Disklavier, localizado fisicamente na cidade do Porto,
Portugal. Este protótipo não introduz um novo controlador em si mesmo, e
consequentemente não está alinhado com as típicas propostas de NIME. Trata-se sim,
de uma nova plataforma de interface em grupo para compositores com uma audiência
remota, enquadrado com objectivos de experimentação e investigação sobre o
impacto de diversos parâmetros, tais como o espaço performativo, as audiências,
concertos colaborativos e tecnologias em termos do sistema global. O resultado deste
processo de investigação foi relevante, não só para compreender os processos,
serviços, eventos ou ambiente em que os NIME podem operar, mas também para
melhor perceber a reciprocidade, criatividade e design de experiencia nas práticas
musicais em rede
Dance performance in cyberspace - transfer and transformation
The aim of this research undertaking is to understand the potential development of dance performance in the context of cyberculture, by examining the way practitioners use new media to create artworks that include audience participation, and by endeavouring in their theorization. With specific reference to cyberspace as a concept of electronic, networked and navigable space, the enquiry traces the connections such practices have with conventions of the medium of dance, which operate in its widely known condition as a live performing art. But acknowledgement that new media and new contexts of production and reception inform the characteristics of these artworks and their discursive articulation, in terms of the way people and digital technologies interact in contemporary culture, is a major principle to their analysis and evaluation. This qualitative research is based on case-study design as a means of finding pragmatic evidence in particulars, to illustrate abstract concepts, technological processes and aesthetic values that are underway in a new area of knowledge. The field where this research operates within is located by a mapping of published literature that informs a theoretical interdisciplinary framework, which contextualizes the interpretation of artworks. The selected case studies have been subject to a process of systematic and detailed analysis, entailed with a model devised for the purpose of this enquiry. From this undertaking it can be claimed that while an extensive array of technologies, media and interactive models is available in this field, the artists pursue a commitment to demonstrate their worth for specifically developing (new media) dance performance, and for dance performance to articulate technological and critical issues for cyberculture studies. The results of this enquiry also contribute to conceptual understanding of what dance can be, today, in the light of technological changes
Preserving and sharing born-digital and hybrid objects from and across the National Collection
This report is one of a set of outputs from the Arts and Humanities
Research Council funded project ‘Preserving and sharing born-digital and hybrid objects from and across the National Collection’. It has been designed to provide an extensive account of the project
research activities and findings, to be useful to museum, heritage,
and preservation professionals, as well as to scholars interested in
born-digital materials.
The aims of the project were to instigate a conversation and build confidence across the museum sector to support the collecting of born-digital objects, and to lay the foundations for future research in the field. The research gathers the expertise of professionals from different backgrounds, and has an international ambition; however, institutions addressing this type of collections tend to be concentrated in a few countries across Europe, Australia and North America.
The research’s methodology includes: desk-based research, the focused investigation of four case studies, interviews and workshops. The analysis of the data collected has supported the articulation of a set of themes and key ideas that provide the grounding for the expression of policy, research and practice-related recommendations.
The report understands the challenges of collecting born-digital objects as going beyond the mere technical realm of obsolescence and broken dependencies, to address issues of legality, visibility and accountability. It discusses the multi-layered and complex authorship of many born-digital objects associated with communities or corporate ownership, and expands
on the potential of collaborative approaches to collection stewardship
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