Increased consumption of virtual museum content today has fueled the development of new ways of improving the ‘museum experience.’ The sophisticated needs and expectations of the modern visitor in the pursuit of education, leisure, and adventure within museums, can be fulfilled through the application of modern-day solutions. The objective of this study is to improve the experience of paintings through providing audiences three-dimensional immersive virtual experiences. In order to achieve this goal, a case study was created to explore in depth the idea that three-dimensional interventions with interactive elements will improve experience and enhance museum engagement. A practice-based methodology was used to develop a three-dimensional virtual environment of the painting of The Goddess of the Luo by Gu Kazhi. The expertise and knowledge of the researcher concerning photo-editing software and three-dimensional game engine were instrumental in the design and implementation of the virtual environment. The results indicated that through the combination of two-dimensional and three-dimensional elements, the design of instrumental interaction and interpretive materials based on the original painting, various techniques and strategies could be applied to improve the experience of the three-dimensional animated painting. The approach described in this case study could be applied to the physical museums as a supplement to interpret the original painting, as well as being displayed on the official website of the museums.

During WWII, Japan forced women from China, Korea, and other countries in Asia to become military sex slaves. They were called ianfu (慰安婦) in Japanese, or comfort women. The comfort women's history was neglected in post-war society until the early 1990s; with support from scholars, feminist groups, and human rights groups, the public began to know more about comfort women. The shared stories of comfort women's history are constructed in a representation of the past by the relevant testimonies, historical studies, and coverage, where the media narrative has contributed to the public awareness and collective memories of comfort women. This project investigates the interaction between news media coverage and the word "comfort women": how does Mainland China news media cover comfort women? The research corpus developed for this project contains 3173 newspaper articles in Mainland China from 2016 to 2021. This period starts with a Japan–South Korea Comfort Women Agreement announced at the end of 2015, which sparks coverage of this agreement and Japan-South Korea relations in Chinese news media. Building on previous work on the topic of Chinese news media representations of comfort women, this project explores the news in the following six years, points out the changes from the previous years. It also furthers research comparing central state media and local media. The method of this project incorporates content analysis and textual analysis of the corpus, diction, and relevant news events. The technological intervention includes data crawling, data visualization, and web development. The research finds that the coverage uses the word "comfort women" in both political and humanities contexts; the former means that comfort women can refer to the barrier to Japan-South Korea relations and the war crime, and the latter means comfort women are considered the victims in a documentary and the victims themselves. Although Mainland China media in this period had a particular focus on the Japan-South Korea relation, the fundamental goal was to criticize Japan's right-wing stance on the comfort women issue, demonstrating China's national discourse. Meanwhile, the national discourse has also contributed to the widespread dissemination of comfort women's stories and the success of relevant documentaries. Additionally, the lack of humanistic focus in the coverage may be due to the limited social activities about comfort women in China's society. Regarding the comparison between central state media and local media, this study reveals some similarities, but local media tend to focus more on the domestic news that has the potential to attract the public. The study predicts that the political factor may continue to dominate the comfort women topic in future coverage.

This dissertation is a historical examination of the broad and multifaceted role of appropriation in twentieth and twenty-first century American art. It argues for the complementarity of research in legal and art theory with respect to the origins, significance, and future of appropriation and contends that the historical development of appropriation art is indissolubly interconnected with changes in intellectual property laws. This dissertation proposes that a history of contemporary appropriation requires an interdisciplinary approach, employing art historical, legal, and economic theory to examine interrelations between appropriation art, postmodern theory, and the legal doctrine of fair use. Special attention is paid to the development of terms used to describe and define appropriation art. The art historical definition of appropriation is traced through a review of academic criticism and museum exhibitions. The legal understanding of appropriation, which has a direct impact on the creation and dissemination of art that builds on prior works, is explored and clarified. Economic claims about artistic property rights and art markets are also considered and differentiated. Throughout, I question established understandings of appropriation and identify unresolved issues in the scholarly treatment of appropriation art. I draw distinctions between ethical and legal guidelines for reuse of images and suggest that further development of ethical guidelines is more important than further clarification of legal rules. Ultimately, I conclude that transformative use is a valuable framework for understanding appropriation, but conclude that judges cannot be expected to determine whether or not a work is transformative without expert guidance, preferably from artists themselves, and recommend that artists participate actively in the development of an ethical fair use.

This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state's hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists' aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.

Vernacular architectural studies are an integral part of the world’s cultural heritage research. Compared with other tangible or intangible cultural heritage, the physical properties of vernacular architecture and its site-specific nature make it difficult to be physically exhibited in museums, thus limiting the dissemination of vernacular culture and impeding the potential conservation awareness of its audiences. The development of new media technology in the 21st century, represented by virtual reality in particular, has helped to alleviate this cultural communication deadlock. This thesis focuses on the traditional architecture of Huizhou, and consists of a written paper and a digital project. The written paper explores the origins of Huizhou culture and discusses how long-term developments in ethnography, social history, and the natural environment have influenced the unique appearance and design concepts of Huizhou architecture. Moreover, based on the spatial affordances of digital media, the paper discusses how virtual reality (VR) technology can enhance the experience of, accessibility to, and interactivity with Huizhou architecture as represented through 3D reconstruction. The digital part of the thesis is a VR application called “Virtual Huizhou,” and was developed in Unreal Engine 5. This application is a 3D reconstruction of Yin Yu Tang. It will also demonstrate the role of VR in enhancing visitors’ interests and evoking cultural and emotional experiences through the following aspects: 3D models, interface design, and user experience functionalities.

In 2018-2019, over 1 million international students from all over the world come to the United States to seek higher education. Along with their hope for quality education, they bring their own cultures. The clash of the United States (US) culture and the foreign culture produces “culture shock”, the progress of learning and adjusting to new environments. This process of working through culture shock, which can take from days to months, exposes the foreign students to loneliness, depression, and lack of belonging. International students also face challenges from language barriers, identity crises, and mental distress. To cope with the stress, they might choose to remain in their comfort zone and isolate themselves from other cultures, but this prevents them from taking full advantage of their new environment and communities. Many institutions offer programs to help students from different backgrounds to embrace diversity by hosting student groups, culture fest, and seminars. They have tried to solve this problem, but for many individuals, it is still difficult to encounter culture shock.This thesis analyzes the effects of culture shocks, the usage of games in empathy building, and aid in the understanding of cultural barriers. It first explores the challenges international students face and their coping strategies. It then surveys research into existing empathy-building games that have shown a positive impact on the targeted audience. Finally, the thesis introduces a digital card game, Cultivated, which was developed to act upon these research findings and to create an experience that helps to address the issue of cultural shock. The game is designed for domestic students to discover cultural differences. The players are asked to develop a new culture of communication together, to experience “culture shock”, and most importantly learn about each other’s culture in real life by exploring the following five aspects of the phenomenon: language, value, symbol, norm, and ritual. The paper argues that a gamified approach to the problem, a digital card game thematized around addressing culture shock, can help tell the story of international students to others and themselves and that playing the game can help break down cultural barriers.

Before the rise of the ubiquitous MOCA (museum of contemporary) there was the Musée national du Luxembourg that since its foundation in 1818, served as the first museum anywhere dedicated to contemporary art. Yet the Luxembourg has been left to lurk in the shadows of art history. Best remembered for its mismanagement of the Caillebotte Bequest (1894-1897) that left the French state as the beneficiary of several dozen Impressionist canvases, the Luxembourg has been dismissed as epitomizing official support for an exhausted academicism.

This dissertation has sought to correct these misconceptions of the museum and the Third Republic Fine Arts administration. It provides an institutional history of the museum under the early Third Republic (1871-1914) that reconsiders how different interpretations of republicanism informed its curators' policies and practices. Information culled from archives, official publications, art criticism, and even tourist brochures, has revealed that in the 1890s and especially the 1900s, the museum's curators embraced the politics of solidarism. Applying solidarist principles such as eclecticism, tolerance, and commitment to public education, its curators defended their acquisition of both avant-garde and academic works of art. These principles further spurred curators to trace the spectrum of contemporary painterly styles to French artist tradition. In so doing, the Luxembourg's administrators implicitly upheld republicanism as a characteristically, even classically, French ideology that, in its translation into paint and institutional policies, testified to the nation's continued cultural, artistic, and political supremacy.

ABSTRACT

My dissertation studies the intersection of popular entertainment and the visual arts in Paris during the first decades of the twentieth century and the dialogue that formed between this subculture and the avant-garde factions of Paris and Italy. While this project will focus on the Italian Futurist Gino Severini (1883-1966), it is not conceived of as a monograph. Instead I will use Severini as a case study to help make sense of a complicated world in which the boundaries between bohemia and the bourgeoisie, masculinity and femininity, and art and popular culture are transgressed and blurred. Severini is particularly well suited to this discussion because nearly all of the 170 paintings, sketches, and pastels that he produced between the time that he arrived in Paris and the outbreak of the First World War take as their subject a prime example of Parisian popular culture--Montmartre's dance-halls. My study will address how form and content interrelate in these works, analyzing the ongoing evolution of his style and the manner in which he developed his imagery to cater to both commercial and avant-garde audiences. It will also seek to make sense of the reception of Severini's work both in France and elsewhere. In order to make sense of his artistic career and to divine the importance of his life and work to the greater political and cultural environment of early twentieth-century Europe, I will also explore Severini's actual participation in dance-hall culture, his self-fashioning as a dandy and a foreigner, and his attempt to find a niche for himself in Paris while still maintaining a foothold in the Italian avant-garde. Gino Severini's unique posturing within the culture of Bohemian Paris and the rich visual record that he left behind provide a perfect platform from which to deepen our understanding of the multitude of factors influencing the Parisian avant-garde and its subsequent impact on avant-gardes throughout the rest of the Western world.

As the largest cave of Buddhist art with thousands of murals spanning ten dynasties, the Dunhuang Mogao cave has been described as a “peerless cave” because of its fabulous frescos and handcrafted delicate sculptures. However, tourism and in-cave human activities had damaged the frescos; only a few caves are now open with limited accessibility for global visitors and the public. In addition, Dunhuang Cave authorities set strict rules to exclude some people, such as people in wheelchairs, to protect the murals and sculptures from possible damage. This thesis project aims to address this problem by modeling how digital environments might provide universal access to the cave by marginalized and excluded groups. The thesis project includes two separate digital sections: a Unity VR (Virtual Reality) immersive experience and a web-based Story Map with a three-dimensional view of selected murals. The thesis project not only provides an immersive experience for worldwide visitors but also unlocks the door for the possibilities of preserving cultural heritage by using innovative digital methods. Through the use of Maya and Steam, the Unity game engine can be used to curate a virtual space by placing the audience into well-textured 3D cave models, while the web-based story map can be used to contextualize basic background knowledge and provides a comprehensive text explanation of the Silk Road and Buddhist culture to inform the user’s understanding of what they are seeing. Overall, this thesis demonstrates endeavors to discover more possibilities and opportunities for historical and cultural heritage protection while not losing access.

Aftermarket, a Game Design Philosophy documents the community histories and material practices of players who, over the last decade, have transformed videogames from “entertainment systems” into instruments, equipment, tools, and toys for playing, thinking, and making in the aftermarket of the videogame industry. Through a close investigation of the hardware, software, and code enabling tool-assisted speedruns, real time attacks, and ROM hacks, Aftermarket explores how play can become a form of game design located between human experience and the speeds and scales of digital media. Beyond documenting how these different groups convert packaged products into open platforms for critical making, Aftermarket both argues for and enacts a model of game design as a critical practice in which playing, making, and thinking about videogames occurs within the same act—a true game design philosophy. Focusing on the material properties, technical capacities, and social play around a single game, Nintendo’s Super Mario Bros., this “close playing” and “platformer study” does not seek to reify Miyamoto, Tezuka, Kondo, and Nagako’s game, but appropriates, manipulates, duplicates, perforates, aggregates, and dissipates Super Mario Bros. into a different kind of “Mario Paint”—a medium for making art.

Hilma af Klint, an oft-cited but underresearched Swedish artist, is often included in art historical literature on art and spirituality. And yet, the assumed art world affinity between Swedish artist Hilma af Klint and other leading voices on the topic – above all, the Austrian philosopher and esotericist Rudolf Steiner and Russian artist Wassily Kandinsky – demonstrates an urgency to place af Klint within a framework she doesn’t quite belong. This has subsequently led to a misunderstanding of her complexity as an artist and the broader question of spirituality and art. A lack of thorough visual analysis of her early works in much of the secondary scholarship, in addition to the absence of archival research, allows for these speculative claims. However, attending to a closer analysis of her visual imagery as well as available archival information questions the supposed affiliation of af Klint in particular to the assumed work of Steiner. The accepted narrative of af Klint’s relationship to Steiner claims he negatively impacted her works between the years 1908 and 1912. I employ analog, digital, and historical methods to explore this interesting albeit problematic encounter between af Klint and Steiner. These methods afford the opportunity to consider these connections in new and different ways. Analog, digital, and historical methods establish that the Steiner narrative in much of the secondary literature can only be understood as speculative. In addition, digital methods afford an opportunity to analyze this particular moment anew with the assistance of interactive data visualization software and text analytics systems. These systems not only indicate that there was no shift in her iconography before 1908 and after 1912, but also demonstrate the importance of re-evaluating this particular moment in af Klint’s life.

This dissertation explores the influence of anarchism on the development of modern art in Mexico and the Americas from 1910 to 1950. It argues that art was an integral component of anarchist movements and that the philosophy and politics of anarchism guided major aesthetic debates about modern art in Mexico. Two key figures anchor this study: Ricardo Flores Magón (1874-1922) was an anarchist writer, activist, and head of the Junta Organizadora del Partido Liberal Mexicano, an anarcho-communist group of exiled Mexican anarchists living in the U.S. Dr. Atl (1875-1964) was a landscape painter, early proponent of muralism, and promoter of Mexican folk art. These figures are a starting point for unveiling a wide network of well-known and marginalized artists, writers, and intellectuals who engaged with anarchist philosophies. Using previously unexplored archival sources, correspondence, and unpublished manuscripts, this study examines a range of different artistic works—paintings and murals, cartoons and drawings, correspondence and book illustrations—that ranged in form and style from realism to impressionism and expressionism. By examining the reproduction and translation of these works throughout Mexico, the U.S., and South America, this dissertation also shows how anarchist art production transcended linguistic and cultural divides and furthered efforts to construct a hemispheric network of transborder solidarity.

The field of artificial intelligence (AI) was founded on the conviction that in order to make computers more advanced, it was necessary to build them to be more human. Adopting the human form as the blueprint for computer systems allowed AI researchers to imagine and construct computer systems capable of feats otherwise unimaginable for machines. As the institutions and professional boundaries of the field have evolved over the past 70 years, they have at times obscured the figure of the human at the heart of AI work. However, in moments of heightened optimism, when researchers permit themselves to speculate on the fantastic futures AI technologies will one day enable, it is inevitably to this figure that the field returns, forever striving to resolve that originary question of just what is the nature of this human intelligence the field has so long pursued?

In this dissertation, I trace the emergence of the figure of the human at the center of AI work. I argue that the human at the center of the imaginary of AI is rooted in a deeper impulse---that of envisioning not machines that think, but machines that speak. It is language that most fundamentally defines the original ambition of AI work and the inability to conceptualize language apart from the human that draws the field inevitably back to this figure. With language properly at the center of its project, AI becomes a study not of the physical world but of the narrative universe, not of the biological human being but of literary character, not of machinic intelligence but of machinic personhood.

Drawing on the history of AI's entanglements with language, I argue for a reconceptualization of the project of AI around a vision of language not as an encoding of solitary thought but as a collection of shifting social practices that allow human and non-human intelligences to navigate their shared worlds despite their irreducibly alien cognitive realities. Such a reorientation, I contend, makes room for a broader vision of AI work that joins critical and technical practices in the shared project of grappling with the question of what it means to be human.

The purpose of this thesis is to visualize the economic system (supply, production, and transportation) and the logistics of the movement of marble in the Roman Empire in an effort to better understand the larger system of material movement in Imperial Rome. This will be accomplished through a digital case study on the largest surviving bath complex in Rome, the Baths of Caracalla, for which we have evidence of the types of materials used in its construction and speculative observations on the quarries from which this material was procured. In order to effectively demonstrate this system and to accurately locate the Baths of Caracalla within the imperial trade network, a detailed visualization of the marble quarries and the web of transportation routes using ArcGIS Pro mapping software was created. Using ArcGIS Pro as a heuristic tool, this map will show the quarry sites and reconstruct the transportation routes by which marble was moved over long distances for the Baths of Caracalla in Rome. While the digital humanities have used the city of Rome as a site for experimental mapping projects on various subjects, this map on the stone quarries in the Roman Empire in relation to the Baths of Caracalla will be the first digital humanities mapping project of its type.

In this dissertation, I present the ways in which architecture was used to perform citizenship in post-colonial Singapore from 1965-2015. During the first fifty years of independence, architects, alongside other artists and activists, contested the restrictions and exclusions of de facto and de iure citizenship through alternative proposals for the urban built environment. I make the case for an alternative architectural history based on those buildings which are excluded from the canon by virtue of their being unbuilt and rejected projects. Through archival research and interviews, I provide an historical narrative and visual analysis of these alternative proposals for architecture and politics. I argue for an understanding of both citizenship and architecture’s agency as performative. I begin with the Singapore Planning and Urban Research (SPUR) Group’s proposals and continue with examples its co-leaders’—Tay Kheng Soon and William Lim—alternative unbuilt projects. The rejection of these architectural projects by the state reveals the rejection of the postcolonial social democratic politics on which they were based. This evidence demonstrates the continuity between British colonial control and one-party planning. I conclude that these architects were the forefront of envisioning and advocating for an alternative democratic ideal. Their contributions paved the way for visual and performing artists as well as civil society organizations to continue contesting the state’s oppressive politics.

In the context of today's global mobility, information, bodies and goods are circulating across the globe, and even further into outer space. However, we face a paradox: the more we move, the more we become sedentary. The modes of transportation that enable our global mobility are working against us, insidiously dwindling our psycho-physical mobility. Globalization is thus not the world becoming bigger (or too big), but the world becoming immobile. Taking the body as the central non-place of political space, Architectures of Aliveness: Building Beyond Gravity interrogates the possibility of inhabiting circulation as a pragmatic form of resistance to the contemporary immobilization of life. In an era in which bodies and goods are ever more constantly in global circulation, architectures of aliveness ask, what would an experience of weightlessness do for us?

Biotechnology serves as the current dominant model for enlivening architecture and the mobility of its inhabitants. Architectures of aliveness invert the inquiry to look instead at outer space's modules of inhabitation. In questioning the possibility of making circulation inhabitable --as opposed to only inhabiting what is stationary--architectures of aliveness problematize architecture as a form of biomedia production in order to examine its capacity to impact psychic and bodily modalities toward an intensification of health. Problematized synchretically within life's mental and physical polarization, health is understood politically as an accretion of our capacity for action instead of essentially as an optimization of the biological body. The inquiry emerges at the intersection of biotechnology, neurosciences, outer space science and technology, and architecture. The analysis oscillates between historical and contemporary case studies toward an articulation that concentrates on contemporary phenomena while maintaining an historical perspective. The methodology combines archival research, interviews, and artistic and literary analysis. The analysis is informed by scientific research. More precisely, the objective is to construct an innovative mode of thinking about the fields of exchangeability between arts and sciences beyond a critique of instrumentality.

The outcomes suggest that architectures of aliveness are architectures that invite modes of inhabitation that deviate from habitualized everyday spatial engagements. It also finds that the feeling of aliveness emerges out of the production of analog or continuous space where the body is in relation with space as opposed to be represented in it. The analysis concludes that the impact of architecture on our sense of wellbeing is conditioned by proprioceptive experiences that are at once between vision and movement and yet at the same time in neither mode, suggesting an aesthetic of inhabitation based on our sense of weightedness and weightlessness.

These outcomes are thus transduced to the field of media studies to enchant biomediatic inquiry. Proposing a renewed definition of biomedia that interprets life as a form of aesthetic relation, architectures of aliveness also formulate a critique of the contemporary imperialism of visualization techniques. Architectures of aliveness conclude by questioning the political implications of its own method to suggest opacity and agonistic spaces as the biomediatic forms of political space.

This dissertation examines a corpus of 486 satirical images of artistic life in Paris. The Parisian art-world was regularly the subject of a form of satirical criticism conducted in visual media. More significantly, this satirical criticism was produced in the medium of print, and in its reproducibility, could broadcast its satire to large audiences. By doing so in the amusing and subversive tone of satire, it constituted a visual counterpart to art criticism. I examine what these images reveal to us collectively over time as they overlap with representations of the art world disseminated in other equally understudied popular media, namely popular theater (vaudeville and opéra comique) and panoramic fiction (physiologies, short fiction, and so on).

This project sits at the intersection of the study of graphic satire and visual culture, and several strains of the social history of art, namely institutional histories of Paris’ art world, and the study of the representation of the artist and of artistic sociability. I also employed Digital Humanities Methodologies, namely Qualitative Data Analysis using NVivo, to produce distant and close readings of this corpus of images.

Late eighteenth- and early nineteenth-century art-world caricature was preoccupied with the art world and its actors, such as artists, connoisseurs, art critics, Salon juries, art audiences, dealers and sellers, and patrons and buyers. Further still, art-world caricature was overwhelmingly attentive to the relationship among different types of actors as mediated by an invisible system of structural relations, made visible via graphic satire’s representational language. These objects thus collectively mounted a coherent critique of the shifting structural relations within Paris’ art world. This dissertation argues that satirical images of artistic life in Paris presented a social type designed to contradict images of the artist as exceptional and as genius. Instead, art-world caricature proposed the “inglorious artist,” or the mediocre, common, and ordinary artist who toils, struggles, and ultimately fails to succeed in an increasingly liberalized art world.

This thesis explores the integration of User Experience (UX) Design in digital humanities, with a focus on Augmented Reality (AR) at Bennett Place. It draws on Brennan's public digital humanity concept, emphasizing the need for public-oriented approaches in digital humanities. The research employs UX design methods, adhering to a workflow comprising research, ideation, design, and user testing.In the research stage, Bennett Place's historical context and visitor personas are analyzed to inform design objectives and user expectations. The ideation stage addresses content design and AR technology selection, aiming for effective information delivery and inclusive user experiences. The design stage details the digital project's implementation. The final delivery of this thesis is an iOS AR app the final stage involves user testing to evaluate the application of AR in enhancing on-site visiting experience at Bennett Place. Although the testing results are not definitive, they provide valuable insights for future digital humanities projects, particularly in public engagement. This thesis demonstrates the effectiveness of AR in enhancing on-site visiting experience at Bennett Place and highlights the potential for incorporating UX methodologies in digital humanities, advocating for more user-focused, engaging, and informative experiences.

Many installation art projects have appeared from the 20th to the 21st century. There are diverse types of installation art. Due to the development and implementation of technology, installation art is divided into physical installation art that is entirely physical, without any digital application. On the other hand, virtual installation art implements virtual elements to physical installation art or is a complete virtual experience. This article discusses the relationship between these two art forms, from their definitions to the examples of different artists and works that have become famous in the field. It also explores how different digital platforms can serve as a medium for the completion of installation artists' work. A collaborative project is introduced at the end to deeply explore the relationship between physical installation art and virtual installation art. The project led to the conclusion that one can find elements and characteristics of physical installation art applications in a completely virtual installation artwork. However, with the development and usage of technology and digital tools, artists can flexibly create the installation art space they want to complete.