2,714 research outputs found

    FLOSSTV Free, Libre, Open Source Software (FLOSS) within participatory 'TV hacking' Media and Arts Practices

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    This research operates in the context of a European political discourse, where the main concern is counter­cultural approaches to non­ mandatory collaboration and contractual agreements. FLOSSTV (Free, Libre, Open Source Software TV) covers a broad range of practices, from television via documentary up to media arts productions. This thesis documents the endeavour to formulate a policy for FLOSS culture. FLOSSTV studies the impact of new intellectual property legislation on media production, as well as conceptions and applications of collective authorship and alternative licensing schemes. FLOSSTV sets out to explore methods that can facilitate media and arts practitioners wishing to engage in collaborative media productions. The thesis sets out to investigate the theories and histories of collaborative media and arts productions in order to set the ground for an exploration of the tools, technologies and aesthetics of such collaborations. The FLOSSTV thesis proposes a set of contracts and policies that allow for such collaborations to develop. It is through practice that this research explores FLOSS culture, including its methods, licensing schemes and technologies. In order to focus the research within the field of FLOSSTV I initiated the practice ­based Deptford.TV pilot project as the central research experiment for the FLOSSTV thesis. DVD ONE contains a series of films produced collaboratively for Deptford.TV that express the characteristics and contractual arrangements of FLOSS culture. Deptford.TV is an online audiovisual database primarily collecting media assets around the Deptford area, in South­East London, UK. Deptford.TV functions as an open, collaborative platform that allows artists, film­makers, researchers and participants of the local workshops in and around Deptford, and also beyond Deptford, to store, share, re­edit and redistribute their footage and projects. The open and collaborative nature of the Deptford.TV project demonstrates a form of shared media practice in two ways: audiences become producers by submitting their own footage, and the database enables the contributors to interact with each other. Through my practice­lead research project Deptford.TV I argue that, by supporting collaborative methods and practices, FLOSS (Free, Libre, Open Source Software) can empower media and arts practitioners to collaborate in production and distribution processes of media and arts practices

    The new aural actuality: an exploration of music, sound and meaning in the composed feature documentary podcast

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    This practice-led thesis explores the creative techniques and philosophies used in composing feature documentary podcasts and how listeners engage with the material and make meaning from it. Podcasting as a medium presents a new and so far unexplored way of interfacing with audio documentary and this study works to demonstrate crucial differences from radio practice in terms of intention and expression,how material is made, consideration for its audience, and how its programmes are distributed. Using post-structural theory, specifically Deleuze and Guattari’s ideas on interconnected networks of affective transmission, podcasting’s relationship to radio is explored, as is how listeners make meaning through their interaction with both the heard material and the devices upon which it is accessed. These theories are then applied to the characteristically open remit of the audio documentary to study how speech, music, sound and silence may be understood to generate meaning, emotion and a sense of immersion in the listener. It is suggested that modes of programme access, listening customs, and interpretational symbolism work together to impart information vital to the ability to connote and denote what is being heard, and that in this way the composed feature can be situated very closely to musical practice and engagement. Taking cues from musical and cinematic analytical practice three podcast programmes are closely scrutinised for an understanding of their constituent material, structural shape, and potential affective transmissions, beforeinterviewswith their producers are presented to discuss conceptual intentions and execution. Six programmes are presented as the practice component of the thesis, each made to experiment with and reflect upon different aspects of creative or listening practice, with conclusions drawn concerning their implications and effectiveness

    Sounding out: performance drawing in response to the outside environment

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    My enquiry focuses on how a drawing, when made in response to the outside environment, might be conditioned by that environment, and in turn how that environment might be influenced by that drawing. Examination of texts by, among others, Bachelard, Merleau-Ponty and Baudelaire have contributed towards understanding ideas about humankind’s physical memory of landscape, phenomenological experience in relation to the outside space, and ideas concerning the interaction between the practitioner and the outside space. Four key issues related to drawing are explored in this research (each is the subject of a chapter in the thesis). Firstly, the practitioner’s stance in the process of drawing is examined, in particular the practitioner’s gesture, which mimics the form of the subject, and performs the subject into being. The practitioner’s position is addressed in relation to how the gaze of the other fashions that position into a performance. Secondly, ‘movement’ is identified as a crucial material component of the process of performance drawing. Movement’s capacity to energise the work, stimulate engagement with the subject, and promote the continual development of ideas is also investigated. Thirdly, a number of interpretations of the outside environment established by individuals who work in different professions are examined. These different readings of place identify ‘signs’ as conditioning the character of place, and as being read by passers-by as directions through place, thereby revealing an interaction between place and humankind. Fourthly, while exploring how to performance draw in direct response to place, the methodology is developed through three stages. The traditional mark-making onto paper was found to keep a distance between the practitioner (observer) and the subject (the environment). The mark-making transferred onto the outside environment was found to retain a distance, held by the tool, between the subject and practitioner. And the practitioner by using her body and voice was found to bridge the space between subject and self. The drawing with sound methodology was found to map, signal, and measure place in direct relation to practitioner, while also revealing an interactive conditioning between place and practitioner, through sonic reflection and resonance. Critical analysis and documentation of findings concerning the practical work are interspersed throughout the written text, and a DVD of audiovisual documentation of practical works is also included as an attachment to the written thesis

    Precarious Practices: Artists, Work and Knowing-in-Practice

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    This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists

    Techniques de mise en scène pour le jeu vidéo et l'animation

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    Eurographics State of the Art Report (STAR).International audienceOver the last forty years, researchers in computer graphics have proposed a large variety of theoretical models and computer implementations of a virtual film director, capable of creating movies from minimal input such as a screenplay or storyboard. The underlying film directing techniques are also in high demand to assist and automate the generation of movies in computer games and animation. The goal of this survey is to characterize the spectrum of applications that require film directing, to present a historical and up-to-date summary of research in algorithmic film directing, and to identify promising avenues and hot topics for future research.Depuis quarante ans, les chercheurs en informatique graphique ont proposé une grande variété de modèles théoriques et d'implémentations de réalisateurs virtuels, capables de créer des films automatiquement à partir de scénarios ou de storyboards. Les techniques de mise en scène sous-jacentes peuvent également être très utiles pour assister et automatiser la création de films dans le jeu vidéo et l'animation. Le but de cet état de l'art est de caractériser le spectre des applications qui peuvent bénéficier des techniques de mise en scène, de donner un compte rendu historique de la recherche en mise en scène algorithmique, et d'identifier les tendances et perspectives du domaine
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