@phdthesis{Neupert,
  author    = {Neupert, Max},
  title     = {Audiovisuelles Cut-Up},
  doi       = {10.25643/bauhaus-universitaet.4896},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230123-48968},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {129},
  abstract  = {This research identifies and examines the aesthetic phenomenon of extremely fast cut audiovisual media works. The term 'audiovisual cut-up' is proposed. The literary form of cut-up is described and compared to the characteristics of the reviewed phenomenon. A wide range of audiovisual works across different contexts is analyzed; all of which are sharing the same formal criteria of extremely short edits, including the authors contributions to the field. The technological tools facilitating the novel aesthetic are often crafted by the artists themselves because ready made solutions did not preexist. Audiovisual cut-ups are classified according to their contexts and mediums. Some observations are made regarding how audio and video essentially differ in their character, what the smallest perceivable unit is, and which role latencies and anticipation play in the perception of audiovisual media. Three main theses are made: 1. Audiovisual cut-up has the power to amplify small, previously hidden details and may be used to distort and deride the source material. 2. Technological advances have led to the development of audiovisual cut-up. 3. The aesthetic possibilities of cut-ups have become an integral part in the spectrum of possible audio-visual techniques.},
  subject      = {Medienkunst},
  language  = {de}
}
@phdthesis{Gapševičius,
  author    = {Gapševičius, Mindaugas},
  title     = {Aesthetics of Maker Culture: the Active Role of the Audience},
  doi       = {10.25643/bauhaus-universitaet.4939},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230313-49396},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {206},
  abstract  = {In this work, practice-based research is conducted to rethink the understanding of aesthetics, especially in relation to current media art. Granted, we live in times when technologies merge with living organisms, but we also live in times that provide unlimited resources of knowledge and maker tools. I raise the question: In what way does the hybridization of living organisms and non-living technologies affect art audiences in the culture that may be defined as Maker culture? My hypothesis is that active participation of an audience in an artwork is inevitable for experiencing the artwork itself, while also suggesting that the impact of the umwelt changes the perception of an artwork. I emphasize artistic projects that unfold through mutual interaction among diverse peers, including humans, non-human organisms, and machines. In my thesis, I pursue collaborative scenarios that lead to the realization of artistic ideas: (1) the development of ideas by others influenced by me and (2) the materialization of my own ideas influenced by others. By developing the scenarios of collaborative work as an artistic experience, I conclude that the role of an artist in Maker culture is to mediate different types of knowledge and different positions, whereas the role of the audience is to actively engage in the artwork itself. At the same time, aesthetics as experience is triggered by the other, including living and non-living actors. It is intended that the developed methodologies could be further adapted in artistic practices, philosophy, anthropology, and environmental studies.},
  subject      = {Medienkunst},
  language  = {en}
}