{"id":{"repo_id":"plymouth","oai_identifier":"oai:pearl.plymouth.ac.uk:foahb-theses-other-1415"},"canonical_url":"https://search.dev.ndltd.org/etd/plymouth/oai:pearl.plymouth.ac.uk:foahb-theses-other-1415","repository":{"repo_id":"plymouth","name":"University of Plymouth","base_url":"https://pearl.plymouth.ac.uk/do/oai"},"display":{"title":"Montage As A Participatory System: Interactions with the Moving Image","abstract":"Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts.","abstract_html":"Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts.","abstract_has_math":false,"creators":["Moore, James"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Roy Ascott, Mike Phillips"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-01-01T08:00:00Z","date_published":"2014-01-01T08:00:00Z","updated_at":"2026-07-24T03:48:09Z","subjects":["Montage","Interaction Design","Participation","Digital Cinema"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://pearl.plymouth.ac.uk/foahb-theses-other/416","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Roy Ascott, Mike Phillips"]},{"key":"dc:creator","label":"Author","values":["Moore, James"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2014-01-01T08:00:00Z"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Montage","Interaction Design","Participation","Digital Cinema"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://pearl.plymouth.ac.uk/foahb-theses-other/416"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts."]},{"key":"dc:title","label":"Title","values":["Montage As A Participatory System: Interactions with the Moving Image"]}]}],"canonical_facts":{"dc:contributor":["Roy Ascott, Mike Phillips"],"dc:creator":["Moore, James"],"dc:date.issued":["2014-01-01T08:00:00Z"],"dc:description.abstract":["Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts."],"dc:identifier":["https://pearl.plymouth.ac.uk/foahb-theses-other/416"],"dc:language":["eng"],"dc:subject":["Montage","Interaction Design","Participation","Digital Cinema"],"dc:title":["Montage As A Participatory System: Interactions with the Moving Image"],"dc:type":["Thesis"]},"updated_at":"2026-07-24T03:48:09Z"}