This paper addresses the theoretical, procedural and formal implications of using image-based software as a new type of architectural drawing. Named chromatic cartography, this new category of digital production extends disciplinary knowledge of the drawing by redefining the representational and procedural repertoire of digital design practice. The representational and procedural differences of chromatic cartography rely on the ability of image-based software to capture and reconfigure real-world data. The pixel becomes central to this mode of mapping because it requires the map to represent form through color. In fact, the conversion of form into packets of visual data transforms the image's role in architectural practice, rupturing the longstanding practice of defining form through the line. The computational manipulability of visual data has significant procedural consequences for architectural production. It is not just that the image as visual data recasts the role images play in architectural production without violating digital discourse's core philosophical tenet of superseding semiotic meaning with meaningful production. Rather, computation circumvents past techniques of appropriation and reproduction that had transformed drawing into images of formal likeness and resemblance.
{"title":"Chromatic Cartography: [Re] Drawing Architecture in a Digital Paradigm","authors":"G. Perin, Linda Mathews","doi":"10.1145/3106548.3106597","DOIUrl":"https://doi.org/10.1145/3106548.3106597","url":null,"abstract":"This paper addresses the theoretical, procedural and formal implications of using image-based software as a new type of architectural drawing. Named chromatic cartography, this new category of digital production extends disciplinary knowledge of the drawing by redefining the representational and procedural repertoire of digital design practice. The representational and procedural differences of chromatic cartography rely on the ability of image-based software to capture and reconfigure real-world data. The pixel becomes central to this mode of mapping because it requires the map to represent form through color. In fact, the conversion of form into packets of visual data transforms the image's role in architectural practice, rupturing the longstanding practice of defining form through the line. The computational manipulability of visual data has significant procedural consequences for architectural production. It is not just that the image as visual data recasts the role images play in architectural production without violating digital discourse's core philosophical tenet of superseding semiotic meaning with meaningful production. Rather, computation circumvents past techniques of appropriation and reproduction that had transformed drawing into images of formal likeness and resemblance.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128304903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the use of appropriation in contemporary internet art -- postinternet art -- in terms of internet technology and web content. The paper suggests that postinternet art reflects our cultural reality through the ubiquity and fluidity of internet services. This results to novel artistic practices that draw on the cultural connections made online by appropriating found web content and internet technology. The paper presents a study of 190 artworks from the ArtBase Rhizome's digital archive between 2010-2015 to provide evidence on how and to what extent postinternet art appropriates the internet.
{"title":"It's Just the Internet!: Appropriation in Postinternet Art","authors":"Elisavet Christou, M. Hazas","doi":"10.1145/3106548.3106608","DOIUrl":"https://doi.org/10.1145/3106548.3106608","url":null,"abstract":"This paper examines the use of appropriation in contemporary internet art -- postinternet art -- in terms of internet technology and web content. The paper suggests that postinternet art reflects our cultural reality through the ubiquity and fluidity of internet services. This results to novel artistic practices that draw on the cultural connections made online by appropriating found web content and internet technology. The paper presents a study of 190 artworks from the ArtBase Rhizome's digital archive between 2010-2015 to provide evidence on how and to what extent postinternet art appropriates the internet.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126595365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Valentina Nisi, Mara Dionísio, Paulo Bala, Tom Gross, N. Nunes
The widespread affordability of digital technologies is encouraging artists to experiment and make use of them in their artworks. This paper describes the design and in-the-wild evaluation of DreamScope, a bespoke 360° mobile virtual reality (VR) interface designed for immersive interaction in the Lucid Peninsula physical narrative art installation. We evaluated the VR interface by means of a questionnaire based on the Positive and Negative Affect Scale (PANAS) and individual items related with the interaction within the exhibition. Results extracted from 53 subjects highlight how the interface supported engagement, positive affect and reflections on the narrated scenario of the art installation. The study reported in this paper provides evidence of the positive role of 360° mobile VR in strengthening the narrative and the artist's intent in the Lucid Peninsula artistic installation.
{"title":"DreamScope: Evaluating Interactive 360° Virtual Reality in a Physical Narrative Art Installation","authors":"Valentina Nisi, Mara Dionísio, Paulo Bala, Tom Gross, N. Nunes","doi":"10.1145/3106548.3106601","DOIUrl":"https://doi.org/10.1145/3106548.3106601","url":null,"abstract":"The widespread affordability of digital technologies is encouraging artists to experiment and make use of them in their artworks. This paper describes the design and in-the-wild evaluation of DreamScope, a bespoke 360° mobile virtual reality (VR) interface designed for immersive interaction in the Lucid Peninsula physical narrative art installation. We evaluated the VR interface by means of a questionnaire based on the Positive and Negative Affect Scale (PANAS) and individual items related with the interaction within the exhibition. Results extracted from 53 subjects highlight how the interface supported engagement, positive affect and reflections on the narrated scenario of the art installation. The study reported in this paper provides evidence of the positive role of 360° mobile VR in strengthening the narrative and the artist's intent in the Lucid Peninsula artistic installation.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133099743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the biggest challenges that we have encountered, when trying to encourage digital games in schools, is trying to explain what its benefits are in teaching and learning environments. In this pilot experimental study we explore how multimodal audio and visual games can be used in learning environments for children, specifically by fostering creative behaviors through User-Centered design approaches. To achieve this objective, a framework is being developed with multimodal experiences based on flexible design patterns that exploits basic visual and audio elements, allowing children from three to six years of age to play and learn through fun and subsequently trigger creative behaviors. These studies are making use of tangible objects, digital games and mobile platforms. We are making use of commercial digital games to understand and discuss the affordances of these games in an educational environment and how they support creativity in learning. (Fig.1)
{"title":"Creative Engagement: Multimodal digital games in children's learning environment in Macau S.A.R.","authors":"Filipa Martins de Abreu, Á. Barbosa","doi":"10.1145/3106548.3106599","DOIUrl":"https://doi.org/10.1145/3106548.3106599","url":null,"abstract":"One of the biggest challenges that we have encountered, when trying to encourage digital games in schools, is trying to explain what its benefits are in teaching and learning environments. In this pilot experimental study we explore how multimodal audio and visual games can be used in learning environments for children, specifically by fostering creative behaviors through User-Centered design approaches. To achieve this objective, a framework is being developed with multimodal experiences based on flexible design patterns that exploits basic visual and audio elements, allowing children from three to six years of age to play and learn through fun and subsequently trigger creative behaviors. These studies are making use of tangible objects, digital games and mobile platforms. We are making use of commercial digital games to understand and discuss the affordances of these games in an educational environment and how they support creativity in learning. (Fig.1)","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"85 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134063013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Sogabe, F. Fogliano, Carolina Peres, Cleber Gazana, F. Nunes, Mirian Steinberg, Rodrigo Dorta Marques, S. B. Nunes
This article presents refections on the production and use of audience energy body in interactive installations. Mechanisms and symbolic-narrative meanings of the hand touch as well as the possibility of using the heat of the body as a poetic element and energy source in the work "Toque" are considered.
{"title":"Interactive art and the production of energy from the audience","authors":"M. Sogabe, F. Fogliano, Carolina Peres, Cleber Gazana, F. Nunes, Mirian Steinberg, Rodrigo Dorta Marques, S. B. Nunes","doi":"10.1145/3106548.3106594","DOIUrl":"https://doi.org/10.1145/3106548.3106594","url":null,"abstract":"This article presents refections on the production and use of audience energy body in interactive installations. Mechanisms and symbolic-narrative meanings of the hand touch as well as the possibility of using the heat of the body as a poetic element and energy source in the work \"Toque\" are considered.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114142450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The beginning of the 21st-century in Spain represented a change of paradigm in art's production methods. Digital art not only shaped a new field of aesthetic representation but also meant a lifestyle. This essay tries to make a briefly analyses of the climax that causes such changes. As well as giving visibility to the existence of a new figure of artist commited to the social reality of its surroundings. This shows a reformulation of the term community, so necessary in our days.
{"title":"The Digital Art Community in Spain: From the Radical Aestheticisation of a \"Pure Art\", to an \"Art for the People\"","authors":"Rosario Carril Vigil","doi":"10.1145/3106548.3106615","DOIUrl":"https://doi.org/10.1145/3106548.3106615","url":null,"abstract":"The beginning of the 21st-century in Spain represented a change of paradigm in art's production methods. Digital art not only shaped a new field of aesthetic representation but also meant a lifestyle. This essay tries to make a briefly analyses of the climax that causes such changes. As well as giving visibility to the existence of a new figure of artist commited to the social reality of its surroundings. This shows a reformulation of the term community, so necessary in our days.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122914672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This digital art installation has as main goal to introduce an interface through which the image of the city of Oporto (in Northern Portugal) is designed and activated by the presence of one or more people standing in the exhibition space. It brings up the metaphor of the city as a living organism allowing visitors to explore, at different levels, several features very typical of this city. A diversity of possible routes is embedded in the outfit and activated as visitors move across the exhibition space, revealing experiences by means of projected videos related to the cultural specificity of the city. In this way, as the human body interacts with the space and the screen, uncovering stories, memories, expressions, sounds, colours, textures, new designs and emotions are presented in the form of videos that narrate life fragments of Oporto and its people. Being supported by a mix of audio-visual records, FeelOpo intends to build "the beat of Oporto" through striking visual narratives.
{"title":"FeelOpo: Feel(ing) the beat of Oporto","authors":"I. Carvalho, Carla Porto, J. Bidarra","doi":"10.1145/3106548.3106603","DOIUrl":"https://doi.org/10.1145/3106548.3106603","url":null,"abstract":"This digital art installation has as main goal to introduce an interface through which the image of the city of Oporto (in Northern Portugal) is designed and activated by the presence of one or more people standing in the exhibition space. It brings up the metaphor of the city as a living organism allowing visitors to explore, at different levels, several features very typical of this city. A diversity of possible routes is embedded in the outfit and activated as visitors move across the exhibition space, revealing experiences by means of projected videos related to the cultural specificity of the city. In this way, as the human body interacts with the space and the screen, uncovering stories, memories, expressions, sounds, colours, textures, new designs and emotions are presented in the form of videos that narrate life fragments of Oporto and its people. Being supported by a mix of audio-visual records, FeelOpo intends to build \"the beat of Oporto\" through striking visual narratives.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130583589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'The Time Machine' is a multi-screen, high-performance, generative video art installation based around multiple low cost computer platforms. Using algorithmic selection of palindromic loops of time-lapse video the work contrasts the external, machine perception of time with our internal, phenomenological experience of it. The video feeds, recorded from around the world, tick and tock backward and forward creating a polyrhythmic, 12 screen time-piece. The images loop back and forth on each screen of the installation, creating a large polyrhythmic clock of high definition, full colour motion. Each screen detailing a passage of time from around the world, captured, frozen, forward and reverse. The time-lapse loops slowly switch, selected from over a thousand separate pieces by generative algorithms on each host computer. Creating a Time Machine reflecting the world, gently rocking back and forth with a myriad of sub-cadences, confronting the viewer with the unanswerable challenge of comprehending time.
{"title":"The Time Machine: A Multiscreen Generative Video Artwork","authors":"Daniel Buzzo","doi":"10.1145/3106548.3106617","DOIUrl":"https://doi.org/10.1145/3106548.3106617","url":null,"abstract":"'The Time Machine' is a multi-screen, high-performance, generative video art installation based around multiple low cost computer platforms. Using algorithmic selection of palindromic loops of time-lapse video the work contrasts the external, machine perception of time with our internal, phenomenological experience of it. The video feeds, recorded from around the world, tick and tock backward and forward creating a polyrhythmic, 12 screen time-piece. The images loop back and forth on each screen of the installation, creating a large polyrhythmic clock of high definition, full colour motion. Each screen detailing a passage of time from around the world, captured, frozen, forward and reverse. The time-lapse loops slowly switch, selected from over a thousand separate pieces by generative algorithms on each host computer. Creating a Time Machine reflecting the world, gently rocking back and forth with a myriad of sub-cadences, confronting the viewer with the unanswerable challenge of comprehending time.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"96 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120838837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses a two-layer augmentation strategy applied to a saxophone. Augmented instruments are defined as "acoustic (sometimes electric) musical instruments extended by the addition of several sensors, providing performers the ability to control extra sound or musical parameters". The first layer of augmentation is directly connected to the instrument and is based on several sensors (ribbon, trigger, pressure, accelerometer, gyroscope and keypad). The second layer is associated to the performer, who wears a MYO Armband. The second layer, devised initially to capture gestural data, is used to provide information for musical communication and creation, as performer gestures are perceived by the audience at the same time as they characterise and distinguish performer strategies. This paper also explores how this system can serve for the adaptation of existing pieces using electronics and external devices. Finally, we discuss how notation and composition are affected by this type of instruments.
{"title":"Saxophone Augmentation: An hybrid augmented system of gestual symbiosis","authors":"Henrique Portovedo, P. F. Lopes, Ricardo Mendes","doi":"10.1145/3106548.3106611","DOIUrl":"https://doi.org/10.1145/3106548.3106611","url":null,"abstract":"This paper discusses a two-layer augmentation strategy applied to a saxophone. Augmented instruments are defined as \"acoustic (sometimes electric) musical instruments extended by the addition of several sensors, providing performers the ability to control extra sound or musical parameters\". The first layer of augmentation is directly connected to the instrument and is based on several sensors (ribbon, trigger, pressure, accelerometer, gyroscope and keypad). The second layer is associated to the performer, who wears a MYO Armband. The second layer, devised initially to capture gestural data, is used to provide information for musical communication and creation, as performer gestures are perceived by the audience at the same time as they characterise and distinguish performer strategies. This paper also explores how this system can serve for the adaptation of existing pieces using electronics and external devices. Finally, we discuss how notation and composition are affected by this type of instruments.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126586430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper draws a cartography of digital art in Brazil by focusing on the dialog between pioneer productions of media art and a few recent ones. What changed in the exhibition circuits and in the curatorial strategies of this production in its current context, if we compare it with the context of the beginnings of art and technology in Brazil? For this purpose we will analyze the history of the exhibitions as an interdisciplinary field. That is, we will survey the curatorship of digital art in Brazil, especially those developed in São Paulo, in order to contribute to a critical reflection of these productions in the Brazilian context.
{"title":"Digital Art in Brazil: A look at the history of exhibitions","authors":"P. Arantes","doi":"10.1145/3106548.3106600","DOIUrl":"https://doi.org/10.1145/3106548.3106600","url":null,"abstract":"This paper draws a cartography of digital art in Brazil by focusing on the dialog between pioneer productions of media art and a few recent ones. What changed in the exhibition circuits and in the curatorial strategies of this production in its current context, if we compare it with the context of the beginnings of art and technology in Brazil? For this purpose we will analyze the history of the exhibitions as an interdisciplinary field. That is, we will survey the curatorship of digital art in Brazil, especially those developed in São Paulo, in order to contribute to a critical reflection of these productions in the Brazilian context.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117098374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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