This paper presents Blendwave, an online sound design application inspired by the ease of use of samplers and the "sfxr family" of sound creation software. Starting from the hypothesis where current software tools have made the creation of sound inaccessible for non-specialist users, we analyze the problems with the musical bias ingrained in DAWs and Patchers, the standard sound design tools. After identifying the Web Audio API as an appropriate technological backbone for an accessible tool, recent online applications are surveyed, followed by popular software used in a rapid prototyping scenario. By acknowledging the merits and shortcomings of these sound creators, we present Blendwave, the by product of a practice-based research and development effort towards democratizing sound design as a rapid prototyping activity for audiovisual authors. The idea of a sampler architecture is proposed as a way to augment the sound possibilities of sfxr-based tools while keeping their simplicity. Finally, we report on the current state of development and outline the next steps.
{"title":"Blendwave: A sound design tool for audiovisual authors","authors":"Werther Azevedo, J. Bidarra","doi":"10.1145/3106548.3106596","DOIUrl":"https://doi.org/10.1145/3106548.3106596","url":null,"abstract":"This paper presents Blendwave, an online sound design application inspired by the ease of use of samplers and the \"sfxr family\" of sound creation software. Starting from the hypothesis where current software tools have made the creation of sound inaccessible for non-specialist users, we analyze the problems with the musical bias ingrained in DAWs and Patchers, the standard sound design tools. After identifying the Web Audio API as an appropriate technological backbone for an accessible tool, recent online applications are surveyed, followed by popular software used in a rapid prototyping scenario. By acknowledging the merits and shortcomings of these sound creators, we present Blendwave, the by product of a practice-based research and development effort towards democratizing sound design as a rapid prototyping activity for audiovisual authors. The idea of a sampler architecture is proposed as a way to augment the sound possibilities of sfxr-based tools while keeping their simplicity. Finally, we report on the current state of development and outline the next steps.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"11 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":"126355713","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}
Scent has a long history of being treated as the medium for art. Its aesthetic, affective and evocative aspects enrich the art experience. Yet when it comes to the digital era, it seems to become the minority among the artworks. As digital olfaction is getting advanced in recent years, could it open up the opportunity to consider scent as the interface of tomorrow for digital art? This paper reviews how scent was treated as art in the past, examines its recent role in digital media, and discusses the possibilities it lays ahead for digital art in the future.
{"title":"The Scent of Digital Art: Yesterday, Today, and Tomorrow","authors":"Mei-Kei Lai","doi":"10.1145/3106548.3106616","DOIUrl":"https://doi.org/10.1145/3106548.3106616","url":null,"abstract":"Scent has a long history of being treated as the medium for art. Its aesthetic, affective and evocative aspects enrich the art experience. Yet when it comes to the digital era, it seems to become the minority among the artworks. As digital olfaction is getting advanced in recent years, could it open up the opportunity to consider scent as the interface of tomorrow for digital art? This paper reviews how scent was treated as art in the past, examines its recent role in digital media, and discusses the possibilities it lays ahead for digital art in the future.","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":"123304526","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 article deals with how a thought acquired from experience in the exploration of a new technology, transforms the worldview, which is embodied in the production procedures with traditional materials and previous technologies, revealing possibilities not yet perceived. Digital thinking acquired in the stage of the digital revolution, period of shaking as an earthquake, is present in the post-digital era, period of incorporation and normalization of digital in daily life. This presence is pointed through art-technology and design products, which dont use digital technology, but which reveal aspects emphasized by the digital.
{"title":"Digital thinking in art and design","authors":"M. Sogabe","doi":"10.1145/3106548.3106610","DOIUrl":"https://doi.org/10.1145/3106548.3106610","url":null,"abstract":"The article deals with how a thought acquired from experience in the exploration of a new technology, transforms the worldview, which is embodied in the production procedures with traditional materials and previous technologies, revealing possibilities not yet perceived. Digital thinking acquired in the stage of the digital revolution, period of shaking as an earthquake, is present in the post-digital era, period of incorporation and normalization of digital in daily life. This presence is pointed through art-technology and design products, which dont use digital technology, but which reveal aspects emphasized by the digital.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"34 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":"130882735","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}
João Cordeiro, Filipa Martins de Abreu, Gerald Estadieu
Interactive Art deals with audience participation (visitor-made-interactor), something that the artist devises and incorporates into the piece since its conception. This research deals with the challenges of audience engagement that such endeavor represents. In particular, we address the use of instructional signage as a way to increase visitors' participation, through a field experiment research approach (taking place on a natural occurring environment) combining practice-based research, observation and a questionnaire. An interactive art piece using QR Code technology was created as part of the experimental procedure. Results showed that the interaction using smartdevices and QR Codes was successfully accomplished and audience engagement significantly improved when instructional signage was used.
{"title":"Audience Participation in Interactive Art Systems: Is Instructional Signage a Necessary Evil?","authors":"João Cordeiro, Filipa Martins de Abreu, Gerald Estadieu","doi":"10.1145/3106548.3106595","DOIUrl":"https://doi.org/10.1145/3106548.3106595","url":null,"abstract":"Interactive Art deals with audience participation (visitor-made-interactor), something that the artist devises and incorporates into the piece since its conception. This research deals with the challenges of audience engagement that such endeavor represents. In particular, we address the use of instructional signage as a way to increase visitors' participation, through a field experiment research approach (taking place on a natural occurring environment) combining practice-based research, observation and a questionnaire. An interactive art piece using QR Code technology was created as part of the experimental procedure. Results showed that the interaction using smartdevices and QR Codes was successfully accomplished and audience engagement significantly improved when instructional signage was used.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"51 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":"134491161","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 article presents a mixed-media installation titled Ekphrasis, consisting of close--up videos of a heavily scarred body projected onto an elastic screen. The screen has one string attached to its centre, which in turn is attached to a stepper motor. The motor pulls the screen in a controlled random pattern, stretching it and letting go, sometimes carefully, sometimes violently. The piece explores the relationship between the digital representation of the body and its corporeity, recreating the trauma that generated the scars on the medium itself, and proposing a new layer of abstraction that sustains the reflection on the significance of the human body.
{"title":"Ekphrasis","authors":"Tomás Laurenzo","doi":"10.1145/3106548.3106602","DOIUrl":"https://doi.org/10.1145/3106548.3106602","url":null,"abstract":"This article presents a mixed-media installation titled Ekphrasis, consisting of close--up videos of a heavily scarred body projected onto an elastic screen. The screen has one string attached to its centre, which in turn is attached to a stepper motor. The motor pulls the screen in a controlled random pattern, stretching it and letting go, sometimes carefully, sometimes violently. The piece explores the relationship between the digital representation of the body and its corporeity, recreating the trauma that generated the scars on the medium itself, and proposing a new layer of abstraction that sustains the reflection on the significance of the human body.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"106 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":"115829568","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}
Artist lies [21] are artistic incursions that surpass the simulacra of the art to act in the quotidian reality. They imitate to be what they are not. These incursions can be created from an appropriate context, gaming with public expectations, being much more effective when they use technological media in their achievements. In fact, these lying incursions should motivate a critical refection on the need for more attention to deal with other lies.
{"title":"How to create an artist lie?","authors":"F. Nunes","doi":"10.1145/3106548.3106598","DOIUrl":"https://doi.org/10.1145/3106548.3106598","url":null,"abstract":"Artist lies [21] are artistic incursions that surpass the simulacra of the art to act in the quotidian reality. They imitate to be what they are not. These incursions can be created from an appropriate context, gaming with public expectations, being much more effective when they use technological media in their achievements. In fact, these lying incursions should motivate a critical refection on the need for more attention to deal with other lies.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"41 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":"125045147","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 outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long experience of the curator-artist and paying particular attention to playable electronic media (e.g. games and toys) as installation works in an art context. Lessons learned from exhibits organized or co-organized by the author in the United States, Europe and Asia are shared. These events were offered with support from the Smithsonian American Art Museum, Leuphana University, the University of Utah, Abertay University and others. Additional observations are provided as an artist who has exhibited at more than 40 events in the last decade. Formally the paper offers an ontology for defining distinguishing between exhibits, festivals and showcases. It is not the intention of the author to create a compendium of exhibition and curation practice. Instead the aim is to provide context and a starting point for the evolving intellectual examination of curatorial practices around digital games. It is hoped that these assertions support the growth of such work by providing a starting point for other practitioners.
{"title":"Heuristics from Curating and Exhibiting Game Art in the 21st Century","authors":"Lindsay D. Grace","doi":"10.1145/3106548.3106607","DOIUrl":"https://doi.org/10.1145/3106548.3106607","url":null,"abstract":"This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long experience of the curator-artist and paying particular attention to playable electronic media (e.g. games and toys) as installation works in an art context. Lessons learned from exhibits organized or co-organized by the author in the United States, Europe and Asia are shared. These events were offered with support from the Smithsonian American Art Museum, Leuphana University, the University of Utah, Abertay University and others. Additional observations are provided as an artist who has exhibited at more than 40 events in the last decade. Formally the paper offers an ontology for defining distinguishing between exhibits, festivals and showcases. It is not the intention of the author to create a compendium of exhibition and curation practice. Instead the aim is to provide context and a starting point for the evolving intellectual examination of curatorial practices around digital games. It is hoped that these assertions support the growth of such work by providing a starting point for other practitioners.","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":"127643574","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 project combines the (e) materiality of the image on the screen, in Photography and in Augmented Virtual Reality. From Fashion, Theatre and Expanded Media-art, which extrapolate their original formats and (e)materialize on the screen, overcome the ephemerality associated with digital in the printed image and return to their virtualisation with Augmented Virtual Reality. With this installation we propose to explore, through artistic practice, an aesthetic, which values the concept and the critic through art, is a reflection of contemporaneity, of doing, and, above all, of Digital Media Art.
{"title":"(e) Materialities","authors":"Acácio de Carvalho, S. Pereira, A. Marcos","doi":"10.1145/3106548.3106587","DOIUrl":"https://doi.org/10.1145/3106548.3106587","url":null,"abstract":"This project combines the (e) materiality of the image on the screen, in Photography and in Augmented Virtual Reality. From Fashion, Theatre and Expanded Media-art, which extrapolate their original formats and (e)materialize on the screen, overcome the ephemerality associated with digital in the printed image and return to their virtualisation with Augmented Virtual Reality. With this installation we propose to explore, through artistic practice, an aesthetic, which values the concept and the critic through art, is a reflection of contemporaneity, of doing, and, above all, of Digital Media Art.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"106 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":"115741842","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}
As the motto of the Conference ARTECH 2017, the interface is really now the way in which communication takes place. This is seen both in the way in which technology affects the artistic creation in all fields of the arts for new creation, and also when we try to recreate a message contained in works from the recent past. In this poster, I try to show the results of a new interpretation with an interactive interface of a music piece composed using experimental analogic technologies. The piece is SOLO for a melodic instrument and feedback, composed in 1966 by Karlheinz Stockhausen, a pioneer of electronic music. At that time the realisation of this work needed the collaboration of three or four sound engineers. The piece was then proposed in the following years by the author itself in a digital version, when that becomes possible through technological evolution. In the last years the evolution of technology allows us to re create and perform the piece using an interactive interface. The performer can play itself the whole composition (instrumental and electronic part) and reach even an improvisation. The latter step of this evolution is made possible by a new application, consisting in an interactive interface to reproduce the same patterns of the composer's conception but in an interactive way. The application has been tested by single performers and also by a group of performers creating an improvisation.
{"title":"An example of reinterpretation of musical works using interactive interfaces: Solo by Karlheinz Stockhausen between performance and improvisation","authors":"Simonetta Sargenti","doi":"10.1145/3106548.3106591","DOIUrl":"https://doi.org/10.1145/3106548.3106591","url":null,"abstract":"As the motto of the Conference ARTECH 2017, the interface is really now the way in which communication takes place. This is seen both in the way in which technology affects the artistic creation in all fields of the arts for new creation, and also when we try to recreate a message contained in works from the recent past. In this poster, I try to show the results of a new interpretation with an interactive interface of a music piece composed using experimental analogic technologies. The piece is SOLO for a melodic instrument and feedback, composed in 1966 by Karlheinz Stockhausen, a pioneer of electronic music. At that time the realisation of this work needed the collaboration of three or four sound engineers. The piece was then proposed in the following years by the author itself in a digital version, when that becomes possible through technological evolution. In the last years the evolution of technology allows us to re create and perform the piece using an interactive interface. The performer can play itself the whole composition (instrumental and electronic part) and reach even an improvisation. The latter step of this evolution is made possible by a new application, consisting in an interactive interface to reproduce the same patterns of the composer's conception but in an interactive way. The application has been tested by single performers and also by a group of performers creating an improvisation.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"42 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":"127119933","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}
Virtual Reality (VR) Panoramas work by interactively creating immersive anamorphoses from spherical perspectives. These panoramas are usually photographic but a growing number of artists are making hand-drawn equirectangular perspectives in order to visualize them as VR panoramas. This is a practice with both artistic and didactic interest. However, these drawings are usually done by trial-and-error, with ad-hoc measurements and interpolation of pre-computed grids, a process with considerable limitations. We develop in this work the analytic tools for plotting great circles, straight line images and their vanishing points, and then provide guidelines for achieving these constructions in good approximation without computer calculations, through descriptive geometry diagrams that can be executed using only ruler, compass, and protractor.
{"title":"Guidelines for Drawing Immersive Panoramas in Equirectangular Perspective","authors":"A. Araújo","doi":"10.1145/3106548.3106606","DOIUrl":"https://doi.org/10.1145/3106548.3106606","url":null,"abstract":"Virtual Reality (VR) Panoramas work by interactively creating immersive anamorphoses from spherical perspectives. These panoramas are usually photographic but a growing number of artists are making hand-drawn equirectangular perspectives in order to visualize them as VR panoramas. This is a practice with both artistic and didactic interest. However, these drawings are usually done by trial-and-error, with ad-hoc measurements and interpolation of pre-computed grids, a process with considerable limitations. We develop in this work the analytic tools for plotting great circles, straight line images and their vanishing points, and then provide guidelines for achieving these constructions in good approximation without computer calculations, through descriptive geometry diagrams that can be executed using only ruler, compass, and protractor.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"11 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":"134048606","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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