<?xml version="1.0" encoding="UTF-8"?>
<collection xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.loc.gov/MARC21/slim http://www.loc.gov/standards/marcxml/schema/MARC21slim.xsd" xmlns="http://www.loc.gov/MARC21/slim">
 <record>
  <leader>00000nam a22000004a 4500</leader>
  <controlfield tag="001">UP-8027390931311437160</controlfield>
  <controlfield tag="003">Buklod</controlfield>
  <controlfield tag="005">20241206133635.0</controlfield>
  <controlfield tag="006">m    |o  d |      </controlfield>
  <controlfield tag="007">ta</controlfield>
  <controlfield tag="008">241203s2024    ph      r    |||| u|eng d</controlfield>
  <datafield tag="040" ind1=" " ind2=" ">
   <subfield code="a">DCFA</subfield>
   <subfield code="e">rda</subfield>
  </datafield>
  <datafield tag="041" ind1=" " ind2=" ">
   <subfield code="a">eng</subfield>
  </datafield>
  <datafield tag="090" ind1="0" ind2="0">
   <subfield code="a">LG 993.5 2024 F4 </subfield>
   <subfield code="b">R83</subfield>
  </datafield>
  <datafield tag="100" ind1="1" ind2=" ">
   <subfield code="a">Rubis, Kyle</subfield>
   <subfield code="e">author</subfield>
  </datafield>
  <datafield tag="245" ind1="1" ind2="0">
   <subfield code="a">Heart in hardware</subfield>
   <subfield code="b">a thematic construction of DIY electronics as a studio practice in the Philippines</subfield>
   <subfield code="c">Kyle Rubis ; Dayang Magdalena Nirvana T. Yraola, adviser.</subfield>
  </datafield>
  <datafield tag="264" ind1=" " ind2="0">
   <subfield code="a">Quezon City</subfield>
   <subfield code="b">College of Fine Arts, University of the Philippines Diliman </subfield>
   <subfield code="c">2024</subfield>
  </datafield>
  <datafield tag="300" ind1=" " ind2=" ">
   <subfield code="a">78 leaves</subfield>
   <subfield code="b">illustrations (chiefly color)</subfield>
   <subfield code="c">28 cm</subfield>
  </datafield>
  <datafield tag="336" ind1=" " ind2=" ">
   <subfield code="a">text</subfield>
   <subfield code="2">rdacontent</subfield>
  </datafield>
  <datafield tag="337" ind1=" " ind2=" ">
   <subfield code="a">unmediated</subfield>
   <subfield code="2">rdamedia</subfield>
  </datafield>
  <datafield tag="338" ind1=" " ind2=" ">
   <subfield code="a">volume</subfield>
   <subfield code="2">rdacarrier</subfield>
  </datafield>
  <datafield tag="502" ind1=" " ind2=" ">
   <subfield code="a">Thesis (Bachelor of Fine Arts in Art History)--University of the Philippines Diliman</subfield>
   <subfield code="d">June 2024</subfield>
  </datafield>
  <datafield tag="504" ind1=" " ind2=" ">
   <subfield code="a">Bibliography: leaves 76-78</subfield>
  </datafield>
  <datafield tag="506" ind1="0" ind2=" ">
   <subfield code="a">Thesis Classification: F - This thesis is available to the public.</subfield>
  </datafield>
  <datafield tag="520" ind1="3" ind2=" ">
   <subfield code="a">This research explores the themes and practices of DIY electronics in the creation of electronic art, encompassing objects, performances, and programs that utilize electronics in their production. Artists in this field often adopt DIY approach, integrating diverse areas of knowledge. The study addresses three primary questions: how artists incorporate DIY electronics into their practice, how the DIY approach manifests in the creation and objects of electronic art, and how the DIY ethos influences the discourse surrounding technology and art.&#13;
&#13;
The research examines DIY electronic art at both individual and community levels, positioning it as a transversal practice that transcends traditional boundaries of knowledge and practice. This transversality allows DIY electronics to de-territorialize these structures of knowledge and foster new forms of material relationships and practices through adhocism (improvised solutions), un-blackboxing (demystifying technology), and community collaboration.&#13;
&#13;
Five key themes define DIY electronic art. First, frugality emphasizes cost-effective, improvised approaches to materials and processes. Second, exploration highlights the experimental and investigatory nature of the practice. Third disobedience challenges conventional norms and bodies of knowledge. Fourth, negotiation involves balancing artistic intent with practical form. Finally, community promotes the sharing, exchange, and expansion of knowledge and skills among practitioners.&#13;
&#13;
By articulating DIY electronic art as both a theoretical framework and a practical approach, this study demonstrates its impact on individual artists and the broader community, showcasing its potential to redefine the intersection of technology and art.</subfield>
  </datafield>
  <datafield tag="650" ind1=" " ind2="0">
   <subfield code="a">Do-it-yourself electronics.</subfield>
  </datafield>
  <datafield tag="650" ind1=" " ind2="0">
   <subfield code="a">Video art.</subfield>
  </datafield>
  <datafield tag="650" ind1=" " ind2="0">
   <subfield code="a">Transversality.</subfield>
  </datafield>
  <datafield tag="650" ind1=" " ind2="0">
   <subfield code="a">Art and technology.</subfield>
  </datafield>
  <datafield tag="658" ind1=" " ind2=" ">
   <subfield code="a">Thesis</subfield>
   <subfield code="c">FA (Theory).</subfield>
  </datafield>
  <datafield tag="700" ind1="1" ind2=" ">
   <subfield code="a">Yraola, Dayang Magdalena Nirvana T. </subfield>
   <subfield code="e">thesis adviser.</subfield>
  </datafield>
  <datafield tag="905" ind1=" " ind2=" ">
   <subfield code="a">FI</subfield>
  </datafield>
  <datafield tag="905" ind1=" " ind2=" ">
   <subfield code="a">UP</subfield>
  </datafield>
  <datafield tag="852" ind1="0" ind2=" ">
   <subfield code="a">UPD</subfield>
   <subfield code="b">DCFA</subfield>
   <subfield code="h">LG 993.5 2024 F4</subfield>
   <subfield code="i">R83</subfield>
  </datafield>
  <datafield tag="942" ind1=" " ind2=" ">
   <subfield code="a">Thesis</subfield>
  </datafield>
 </record>
</collection>
