東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The Subjects Of Subjective Mapping: ...

Prutzer, Edward S., III.

FindBook

Google Book

Amazon

博客來

The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems./
作者:	Prutzer, Edward S., III.
面頁冊數:	120 p.
附註:	Source: Masters Abstracts International, Volume: 51-06.
Contained By:	Masters Abstracts International51-06(E).
標題:	Speech Communication. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1536464
ISBN:	9781303048319

The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems.
Prutzer, Edward S., III.

The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems. - 120 p.

Source: Masters Abstracts International, Volume: 51-06.

Thesis (M.A.)--Georgetown University, 2013.

What ideologies are constituted in the practices of locative art? What effect do the creative systems supporting locative art projects have on the circulation of these ideologies? How do developers and academics frame locative art projects, and how do their remarks concur or differ with the ideologies apparent in locative art projects? What does it mean to artistically represent contemporary social relations as data, and how do developers and academics address this? To address these questions, this thesis performs an ideological critique of four locative art projects -- Iain Mott's Sound Mapping, Christian Nold's San Francisco Emotion Map, Mushon Zer-Aviv's You Are Not Here: A Dislocative Tourism Agency, and Paolo Cirio's Street Ghosts -- and supplements these findings by investigating each project's creative system. This thesis analyzes the sign systems of each project, applies relevant critical theory, traces the effect of competing discourses within each project, and contextualizes these findings by presenting each project's creative system. In doing so, the thesis emphasizes two key findings. The first is that each project reflects the market ideologies of capitalism and the commodification of place through interpellative activities that reveal the importance of technological infrastructure in mediating one's sense of place. The second is that the dislocative tension becomes a telling site of contradiction within the pieces, one that reveals more about the commodity and technological fetishes of each project than their purported content.

ISBN: 9781303048319Subjects--Topical Terms:

1017408
Speech Communication.

The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems.
LDR:02451nam a2200289 4500 001 1959927
005 20140520124939.5
008 150210s2013 ||||||||||||||||| ||eng d
020 $a 9781303048319
035 $a (MiAaPQ)AAI1536464
035 $a AAI1536464
040 $a MiAaPQ $c MiAaPQ
100 1 $a Prutzer, Edward S., III. $3 2095475
245 1 4 $a The Subjects Of Subjective Mapping: Locative Art, Critical Theory, And Creative Systems.
300 $a 120 p.
500 $a Source: Masters Abstracts International, Volume: 51-06.
500 $a Adviser: Matthew Tinkcom.
502 $a Thesis (M.A.)--Georgetown University, 2013.
520 $a What ideologies are constituted in the practices of locative art? What effect do the creative systems supporting locative art projects have on the circulation of these ideologies? How do developers and academics frame locative art projects, and how do their remarks concur or differ with the ideologies apparent in locative art projects? What does it mean to artistically represent contemporary social relations as data, and how do developers and academics address this? To address these questions, this thesis performs an ideological critique of four locative art projects -- Iain Mott's Sound Mapping, Christian Nold's San Francisco Emotion Map, Mushon Zer-Aviv's You Are Not Here: A Dislocative Tourism Agency, and Paolo Cirio's Street Ghosts -- and supplements these findings by investigating each project's creative system. This thesis analyzes the sign systems of each project, applies relevant critical theory, traces the effect of competing discourses within each project, and contextualizes these findings by presenting each project's creative system. In doing so, the thesis emphasizes two key findings. The first is that each project reflects the market ideologies of capitalism and the commodification of place through interpellative activities that reveal the importance of technological infrastructure in mediating one's sense of place. The second is that the dislocative tension becomes a telling site of contradiction within the pieces, one that reveals more about the commodity and technological fetishes of each project than their purported content.
590 $a School code: 0076.
650 4 $a Speech Communication. $3 1017408
650 4 $a Web Studies. $3 1026830
650 4 $a Aesthetics. $3 523036
690 $a 0459
690 $a 0646
690 $a 0650
710 2 $a Georgetown University. $b Communication, Culture & Technology. $3 1026672
773 0 $t Masters Abstracts International $g 51-06(E).
790 $a 0076
791 $a M.A.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1536464