We present the latest developments of the art-tech research project Senses Places, a somatic-technological (soma-tech) mixed-reality participatory performance installation/environment, engaging expanded modes of embodied physical-virtual interaction. This ongoing somatic-technological dance/performance collaborative trans-disciplinary approach gathers artists and developer researchers, working remotely and physically in analogical-digital intermedia interfaces and their expanded experience design and choreography. The sensorial expansion and integration sought through human-computer interaction links participants, avatars, images and physical-virtual environments. They constitute different organic-artificial sensorial-expressive channels of visual, audio, tactile, and somatic/kinesthetic shared tuning/engagement/experience. At the core of this long-term intervention lies the common urging desire for more encompassing and empathic embodied interactivity among physical and remote subjects and places. With a cross-cultural somatic and dance practices, Senses Places critically experiments with different informational, communicational and biomedical technologies available, wishing to contribute to understand the world's and humans becoming through what we have been conceiving as posthuman corporealities [1] within a posthuman condition and emerging somatic epistemology [2].
{"title":"Senses Places: soma-tech mixed-reality participatory performance installation/environment","authors":"Isabel Valverde, T. Cochrane","doi":"10.1145/3106548.3106613","DOIUrl":"https://doi.org/10.1145/3106548.3106613","url":null,"abstract":"We present the latest developments of the art-tech research project Senses Places, a somatic-technological (soma-tech) mixed-reality participatory performance installation/environment, engaging expanded modes of embodied physical-virtual interaction. This ongoing somatic-technological dance/performance collaborative trans-disciplinary approach gathers artists and developer researchers, working remotely and physically in analogical-digital intermedia interfaces and their expanded experience design and choreography. The sensorial expansion and integration sought through human-computer interaction links participants, avatars, images and physical-virtual environments. They constitute different organic-artificial sensorial-expressive channels of visual, audio, tactile, and somatic/kinesthetic shared tuning/engagement/experience. At the core of this long-term intervention lies the common urging desire for more encompassing and empathic embodied interactivity among physical and remote subjects and places. With a cross-cultural somatic and dance practices, Senses Places critically experiments with different informational, communicational and biomedical technologies available, wishing to contribute to understand the world's and humans becoming through what we have been conceiving as posthuman corporealities [1] within a posthuman condition and emerging somatic epistemology [2].","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"49 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":"121173710","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}
Oussama Mubarak, David Bihanic, P. Cubaud, Samuel Bianchini
Art installations designed for co-located collective interactions rarely call the execution of a task or a preannounced goal as a guideline for the activity. If this new configuration, which differs from those of traditional HCI, is revealed, from the perspective of aesthetic experience, to be one of the richest and most 'engaging' ones, it is by no means less complex to apprehend for both the artist and the end-user. Through a case study (with concrete examples of artistic installations), we propose in this present article to examine the topological configurations of existing co-located collective interactions by analyzing the scope of action of the systems' agents and the relations between them. To achieve this, we lay the foundations of a new graphical language (used here to describe the relations between interfaces), which we foresee to dedicate, in the near future, to the modeling, visual representation and taxonomic analysis of topologies of interaction.
{"title":"Art installations: a study of the topology of collective co-located interactions","authors":"Oussama Mubarak, David Bihanic, P. Cubaud, Samuel Bianchini","doi":"10.1145/3106548.3106593","DOIUrl":"https://doi.org/10.1145/3106548.3106593","url":null,"abstract":"Art installations designed for co-located collective interactions rarely call the execution of a task or a preannounced goal as a guideline for the activity. If this new configuration, which differs from those of traditional HCI, is revealed, from the perspective of aesthetic experience, to be one of the richest and most 'engaging' ones, it is by no means less complex to apprehend for both the artist and the end-user. Through a case study (with concrete examples of artistic installations), we propose in this present article to examine the topological configurations of existing co-located collective interactions by analyzing the scope of action of the systems' agents and the relations between them. To achieve this, we lay the foundations of a new graphical language (used here to describe the relations between interfaces), which we foresee to dedicate, in the near future, to the modeling, visual representation and taxonomic analysis of topologies of interaction.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"23 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":"121850418","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 introduces a new methodology for converting sleep Electroencephalogram (EEG) signals into sound. The main goal is to investigate the possibility of encoding sleep events into sequences of notes and breaks, generating musical sound that is consistent and audible, while allowing a global appraisal of sleep dynamics.
{"title":"Sonification of Sleep EEG","authors":"C. Fernandes, D. Migotina, A. Rosa","doi":"10.1145/3106548.3106614","DOIUrl":"https://doi.org/10.1145/3106548.3106614","url":null,"abstract":"This paper introduces a new methodology for converting sleep Electroencephalogram (EEG) signals into sound. The main goal is to investigate the possibility of encoding sleep events into sequences of notes and breaks, generating musical sound that is consistent and audible, while allowing a global appraisal of sleep dynamics.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"85 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":"126588385","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 provides technical and conceptual information on the swarm art project called Abstracting the Abstract.
本文提供了关于群体艺术项目“抽象抽象”的技术和概念信息。
{"title":"Abstracting the Abstract: a Swarm Art Project","authors":"C. Fernandes","doi":"10.1145/3106548.3106589","DOIUrl":"https://doi.org/10.1145/3106548.3106589","url":null,"abstract":"This paper provides technical and conceptual information on the swarm art project called Abstracting the Abstract.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"109 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":"122409947","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}
With the work introduced in this artistic research, the author proposes the implementation of additional layers to our captured visible reality in an artwork. The aim is to enhance traditional imaging techniques with further information, but also to trigger certain emotions and relate to specific contexts without verbalisation. Presented as still images and video, the potential prospects, assets and drawbacks will be discussed with a range of media based on the video installation Venomenon and a preliminary stage projection related to the same narration.
{"title":"Scientific Images as Reality Augmentation and Perception Enhancement in Contemporary Artistic Imagery","authors":"E. Reinhuber","doi":"10.1145/3106548.3106612","DOIUrl":"https://doi.org/10.1145/3106548.3106612","url":null,"abstract":"With the work introduced in this artistic research, the author proposes the implementation of additional layers to our captured visible reality in an artwork. The aim is to enhance traditional imaging techniques with further information, but also to trigger certain emotions and relate to specific contexts without verbalisation. Presented as still images and video, the potential prospects, assets and drawbacks will be discussed with a range of media based on the video installation Venomenon and a preliminary stage projection related to the same narration.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"13 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":"121248459","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}
Mimo Steim presents himself as a young technological artist. This artist decides to suspend all "direct" personal contact through the proposition of a "teleperformance" in which he would stay uninterruptedly online chatting with interlocutors through a chat room present on his personal website, called The artist is telepresent (2013). Mimo, in fact, is a chatbot who pretends to be an artist. This is a proposal to exhibit the fake "teleperformance" as an installation with digital projection.
Mimo Steim将自己呈现为一个年轻的技术艺术家。这位艺术家决定暂停所有“直接”的个人接触，通过“远程表演”的提议，他将通过他个人网站上的聊天室不间断地与对话者在线聊天，名为“艺术家是远程呈现”(2013)。事实上，Mimo是一个伪装成艺术家的聊天机器人。这是一个将假的“远程表演”作为数字投影装置来展示的提议。
{"title":"Mimo Steim: the artist is telepresent","authors":"F. Nunes","doi":"10.1145/3106548.3106609","DOIUrl":"https://doi.org/10.1145/3106548.3106609","url":null,"abstract":"Mimo Steim presents himself as a young technological artist. This artist decides to suspend all \"direct\" personal contact through the proposition of a \"teleperformance\" in which he would stay uninterruptedly online chatting with interlocutors through a chat room present on his personal website, called The artist is telepresent (2013). Mimo, in fact, is a chatbot who pretends to be an artist. This is a proposal to exhibit the fake \"teleperformance\" as an installation with digital projection.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"66 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":"130583161","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}
Alchimia is an interactive installation that relies on a single spectator/interactor standing in front of a screen/webcam. It has been coded in Processing 3 and is calculation intensive, using the webcam to perform facial detection, while simultaneously processing pre-prepared images and sounds, thus creating a virtual space of constant audio-visual movement to deliberately interfere with real-time self-perception and self-recognition. Alchimia questions and changes our relationship with our own representation through the (ever present) camera and screen by focusing on the spectator's face, altering the expression, gender, assigning masks, making the facial traits diffuse, mixed, funny or scary, always mysterious, in a search for another "self", oblivious of the "selfie" pose and atitude, while allowing for self discovery and playfulness -- or intimidation. Trough the interaction the spectator/interactor is absorbed in the transmutation process, unaware of the fact that they also have become part of a performance: unique, unrepeatable, transformed.
{"title":"Alchimia: an Inexplicable or Mysterious Transmutation, a Seemingly Magical Process of Transformation, Creation, or Combination","authors":"P. Veiga","doi":"10.1145/3106548.3106590","DOIUrl":"https://doi.org/10.1145/3106548.3106590","url":null,"abstract":"Alchimia is an interactive installation that relies on a single spectator/interactor standing in front of a screen/webcam. It has been coded in Processing 3 and is calculation intensive, using the webcam to perform facial detection, while simultaneously processing pre-prepared images and sounds, thus creating a virtual space of constant audio-visual movement to deliberately interfere with real-time self-perception and self-recognition. Alchimia questions and changes our relationship with our own representation through the (ever present) camera and screen by focusing on the spectator's face, altering the expression, gender, assigning masks, making the facial traits diffuse, mixed, funny or scary, always mysterious, in a search for another \"self\", oblivious of the \"selfie\" pose and atitude, while allowing for self discovery and playfulness -- or intimidation. Trough the interaction the spectator/interactor is absorbed in the transmutation process, unaware of the fact that they also have become part of a performance: unique, unrepeatable, transformed.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"50 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":"122491124","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}
Gerald Estadieu, Filipa Martins de Abreu, Á. Barbosa
3D printing technologies have been known for several decades and have been already used in arts, most often as accessories rather than as core material of a tangible installation art. We describe "Standing Humanity: 3D Yan Character" a collaborative and participative installation art based on 3D printing objects and we are analyzing participants' engagement and the playability of the installation. We analyze different types of interaction and conclude that 3D printing objects have a high potential to engage curiosity and open to interactions between visitors and the objects themselves. We finally suggest further investigations to explore 3D printing within the context of collaborative and interactive installation.
{"title":"3D Printing Objects as Installation Art: Standing Humanity: 3D Yan Character","authors":"Gerald Estadieu, Filipa Martins de Abreu, Á. Barbosa","doi":"10.1145/3106548.3106588","DOIUrl":"https://doi.org/10.1145/3106548.3106588","url":null,"abstract":"3D printing technologies have been known for several decades and have been already used in arts, most often as accessories rather than as core material of a tangible installation art. We describe \"Standing Humanity: 3D Yan Character\" a collaborative and participative installation art based on 3D printing objects and we are analyzing participants' engagement and the playability of the installation. We analyze different types of interaction and conclude that 3D printing objects have a high potential to engage curiosity and open to interactions between visitors and the objects themselves. We finally suggest further investigations to explore 3D printing within the context of collaborative and interactive installation.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"3 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":"126000730","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, Daniel Malva
The work of art "Toque" (2017), from the research group cAt, works with a poetic around issues such as sustainability and generation of clean energy, through the use of "simple" technical devices that generate the necessary electric energy for the interactive dynamics of the work. In this proposal, the heat of the hands of the public when in contact with peltier pellets produce an electric current capable of activating vibrating engines that vivify the work.
{"title":"Toque (Touch)","authors":"M. Sogabe, F. Fogliano, Carolina Peres, Cleber Gazana, F. Nunes, Mirian Steinberg, Rodrigo Dorta Marques, S. B. Nunes, Daniel Malva","doi":"10.1145/3106548.3106619","DOIUrl":"https://doi.org/10.1145/3106548.3106619","url":null,"abstract":"The work of art \"Toque\" (2017), from the research group cAt, works with a poetic around issues such as sustainability and generation of clean energy, through the use of \"simple\" technical devices that generate the necessary electric energy for the interactive dynamics of the work. In this proposal, the heat of the hands of the public when in contact with peltier pellets produce an electric current capable of activating vibrating engines that vivify the work.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"16 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":"125715873","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}
In the recent years, face detection technologies have been widely used by artists to create digital art. Face detection provides new forms of interaction, and allows digital artefacts to detect the presence of human beings, through video capture and facial detection, in real-time. In this paper we explore the algorithm proposed by Paul Viola and Michael Jones, presented in 2001, in order to generate imagined faces from visual randomness.
{"title":"Generative Face from Random Data, on 'How Computers Imagine Humans'","authors":"J. M. Moura, Paulo Ferreira-Lopes","doi":"10.1145/3106548.3106605","DOIUrl":"https://doi.org/10.1145/3106548.3106605","url":null,"abstract":"In the recent years, face detection technologies have been widely used by artists to create digital art. Face detection provides new forms of interaction, and allows digital artefacts to detect the presence of human beings, through video capture and facial detection, in real-time. In this paper we explore the algorithm proposed by Paul Viola and Michael Jones, presented in 2001, in order to generate imagined faces from visual randomness.","PeriodicalId":141342,"journal":{"name":"Proceedings of the 8th International Conference on Digital Arts","volume":"45 3 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":"133870243","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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