The Editorial Board of the Journal of Science and Technology of the Arts (CITARJ) has decided to formally withdraw the article “Avoid Setup: Insights and Implications of Generative Cinema", by Dejan Grba. After investigation, we have concluded that this article is substantially similar to previous publications by the same author: - Grba, D. (2016). AVOID SETUP Insights and Implications of Generative Cinema. Retrieved from http://dejangrba.dyndns.org/lectures/en/2016-avoid-setup.pdf - Grba, D. (2016). Avoid Setup: Insights and Implications of Generative Cinema. In R. Bogdanovic (Ed.), Going Digital: Innovation in Art, Architecture, Science, and Technology - Conference Proceedings. Strand. - Grba, D. (2016). AVOID SETUP: INSIGHTS AND IMPLICATIONS OF GENERATIVE CINEMA. In C. Soddu & E. Colabella (Eds.), Generative Art 2016 - Proceedings of XIX Generative Art conference.
{"title":"Avoid Setup: Insights and Implications of Generative Cinema","authors":"Dejan Grba","doi":"10.7559/citarj.v9i1.202","DOIUrl":"https://doi.org/10.7559/citarj.v9i1.202","url":null,"abstract":"The Editorial Board of the Journal of Science and Technology of the Arts (CITARJ) has decided to formally withdraw the article “Avoid Setup: Insights and Implications of Generative Cinema\", by Dejan Grba. After investigation, we have concluded that this article is substantially similar to previous publications by the same author: - Grba, D. (2016). AVOID SETUP Insights and Implications of Generative Cinema. Retrieved from http://dejangrba.dyndns.org/lectures/en/2016-avoid-setup.pdf - Grba, D. (2016). Avoid Setup: Insights and Implications of Generative Cinema. In R. Bogdanovic (Ed.), Going Digital: Innovation in Art, Architecture, Science, and Technology - Conference Proceedings. Strand. - Grba, D. (2016). AVOID SETUP: INSIGHTS AND IMPLICATIONS OF GENERATIVE CINEMA. In C. Soddu & E. Colabella (Eds.), Generative Art 2016 - Proceedings of XIX Generative Art conference.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"40 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2017-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508133","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 presents a novel characterization of new media art together with an exploration of some key aspects of its practice: I propose that new media art’s defining characteristics are media appropriation and explicitation. With media appropriation I refer to the dialectal inscription into the art practice of the knowledge that allows for some particular technological production. I also propose that new media art’s language is constructed in part via the explicitation of certain aspects of more ‘traditional’ art, and that this explicitation allows for a construction of a new vocabulary. Examples of this are the explicitation of randomness, interaction, programming, or of the role that tools and instruments play, among others.
{"title":"Media appropriation and explicitation","authors":"Tomás Laurenzo","doi":"10.7559/CITARJ.V8I2.181","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.181","url":null,"abstract":"This paper presents a novel characterization of new media art together with an exploration of some key aspects of its practice: I propose that new media art’s defining characteristics are media appropriation and explicitation. With media appropriation I refer to the dialectal inscription into the art practice of the knowledge that allows for some particular technological production. I also propose that new media art’s language is constructed in part via the explicitation of certain aspects of more ‘traditional’ art, and that this explicitation allows for a construction of a new vocabulary. Examples of this are the explicitation of randomness, interaction, programming, or of the role that tools and instruments play, among others.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"27-36"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336622","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}
{"title":"Review for Loompianola CD","authors":"A. Perrotta","doi":"10.7559/CITARJ.V8I2.195","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.195","url":null,"abstract":"","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"53-54"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336678","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}
{"title":"Editorial - CITAR Journal, Volume 8, No. 2","authors":"Jorge C. S. Cardoso","doi":"10.7559/citarj.v8i2.245","DOIUrl":"https://doi.org/10.7559/citarj.v8i2.245","url":null,"abstract":"","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"40 7","pages":"1"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508132","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 this paper, we describe the development and use of PhotoFrac, an application that allows artists and designers to turn digital images into fractal patterns interactively. Fractal equations are a rich source of procedural texture and detail, but controlling the patterns and incorporating traditional media has been difficult. Additionally, the iterative nature of fractal calculations makes implementation of interactive techniques on mobile devices and web apps challenging. We overcome these problems by using an image coordinate based orbit trapping technique that permits a user-selected image to be embedded into the fractal. Performance challenges are addressed by exploiting the processing power of graphic processing unit (GPU) and precomputing some intermediate results for use on mobile devices. This paper presents results and qualitative analyses of the tool by four artists (the authors) who used the PhotoFrac application to create new artworks from original digital images. The final results demonstrate a fusion of traditional media with algorithmic art.
{"title":"Fractal Image Editing with PhotoFrac","authors":"T. McGraw, E. Bravo, J. Mcgraw, Lisa Parker","doi":"10.7559/CITARJ.V8I2.175","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.175","url":null,"abstract":"In this paper, we describe the development and use of PhotoFrac, an application that allows artists and designers to turn digital images into fractal patterns interactively. Fractal equations are a rich source of procedural texture and detail, but controlling the patterns and incorporating traditional media has been difficult. Additionally, the iterative nature of fractal calculations makes implementation of interactive techniques on mobile devices and web apps challenging. We overcome these problems by using an image coordinate based orbit trapping technique that permits a user-selected image to be embedded into the fractal. Performance challenges are addressed by exploiting the processing power of graphic processing unit (GPU) and precomputing some intermediate results for use on mobile devices. This paper presents results and qualitative analyses of the tool by four artists (the authors) who used the PhotoFrac application to create new artworks from original digital images. The final results demonstrate a fusion of traditional media with algorithmic art.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"07-17"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336568","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 emerges from the assumption that representing reality in documentary raises specific complex ethical issues. This is due to the fact that documenting an event partly results from the filmmaker’s mediation with the historical world. The choices involved in this process are subjective, biased and creative. In fact, representing reality results from a particular tension established between that which I represent and how I represent it. From this tension several ethical issues with regard to the filmmaker’s mediation with reality may emerge. This paper aims to revise and confront key literature on this subject to discuss and deconstruct the process of mediation and the ethical issues involved in this process. The key questions to answer are: What role does mediation plays in representing reality? What ethical issues may emerge from this process? Do filmmakers explore “others” to satisfy their own personal needs as artists? Is it possible to control or regulate filmmakers’ mediation with reality? Can we develop a set of parameters or strategies that can be considered ethically more appropriate for representing the world?
{"title":"The Ethical Tension Between Artistic Expression and Historical Representation in Documentary Making: The Filmmaker’s Mediation with Reality","authors":"Carlos Ruiz Carmona","doi":"10.7559/CITARJ.V8I2.176","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.176","url":null,"abstract":"This article emerges from the assumption that representing reality in documentary raises specific complex ethical issues. This is due to the fact that documenting an event partly results from the filmmaker’s mediation with the historical world. The choices involved in this process are subjective, biased and creative. In fact, representing reality results from a particular tension established between that which I represent and how I represent it. From this tension several ethical issues with regard to the filmmaker’s mediation with reality may emerge. This paper aims to revise and confront key literature on this subject to discuss and deconstruct the process of mediation and the ethical issues involved in this process. The key questions to answer are: What role does mediation plays in representing reality? What ethical issues may emerge from this process? Do filmmakers explore “others” to satisfy their own personal needs as artists? Is it possible to control or regulate filmmakers’ mediation with reality? Can we develop a set of parameters or strategies that can be considered ethically more appropriate for representing the world?","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"19-26"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336610","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}
Digital technologies have become our privileged method of interacting with information. With their ubiquity, and focus on personalisation, optimisation and functionality, chance and accidental interactions in the Digital Medium are being replaced with filtered, predictable and known ones, limiting the scope of possible user experiences. In order to promote the design of richer experiences that go beyond the functionally-driven paradigm, we propose that digital systems be designed in order to favour serendipity. Through a literature-based analysis of serendipity, we explore the distinct meanings of value that are possible with serendipitous systems, offering examples of the current state of the art, observing the methods used to do so, and proposing a possible typology, while highlighting unexplored fields, experiences and interactions.
{"title":"Regarding Value in Digital Serendipitous Interactions","authors":"Ricardo Melo, Miguel Carvalhais","doi":"10.7559/CITARJ.V8I2.182","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.182","url":null,"abstract":"Digital technologies have become our privileged method of interacting with information. With their ubiquity, and focus on personalisation, optimisation and functionality, chance and accidental interactions in the Digital Medium are being replaced with filtered, predictable and known ones, limiting the scope of possible user experiences. In order to promote the design of richer experiences that go beyond the functionally-driven paradigm, we propose that digital systems be designed in order to favour serendipity. Through a literature-based analysis of serendipity, we explore the distinct meanings of value that are possible with serendipitous systems, offering examples of the current state of the art, observing the methods used to do so, and proposing a possible typology, while highlighting unexplored fields, experiences and interactions.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"37-44"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336671","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 videos made through mobile phones are probably changing the way we think of videos created to tell or show something, both imaginary tales or private movies, or even chronicles of events to spread rapidly through the web. A change has already occurred in the use, as the new digital portable devices allowed to concentrate on a single medium a variety of media with various functions. Therefore, a tool like the telephone has been enhanced with new features typically designed for other media.In this process of appropriation, new mobile devices changed the way these new features are being used, due, of course, to new conditions. Other than multiplying the production of images that one would call "dirty" due to the presence of rough movements, continuous zoom in and zoom out and, of course, broadcast sub-standard video quality, the new tools introduced the practice of vertical shooting, so inducing a habit.In the history of photography, however, the two formats, landscape and portrait, have always lived together. This paper aims to analyze, briefly, a situation in rapid and continuous evolution, also characterized by the presence of new paradigms responding to visual aesthetic rules that are gradually being defined.
{"title":"The “Mobile Effect” on Screen Format: the Case of Vertical Videos","authors":"M. Napoli","doi":"10.7559/CITARJ.V8I2.169","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I2.169","url":null,"abstract":"The videos made through mobile phones are probably changing the way we think of videos created to tell or show something, both imaginary tales or private movies, or even chronicles of events to spread rapidly through the web. A change has already occurred in the use, as the new digital portable devices allowed to concentrate on a single medium a variety of media with various functions. Therefore, a tool like the telephone has been enhanced with new features typically designed for other media.In this process of appropriation, new mobile devices changed the way these new features are being used, due, of course, to new conditions. Other than multiplying the production of images that one would call \"dirty\" due to the presence of rough movements, continuous zoom in and zoom out and, of course, broadcast sub-standard video quality, the new tools introduced the practice of vertical shooting, so inducing a habit.In the history of photography, however, the two formats, landscape and portrait, have always lived together. This paper aims to analyze, briefly, a situation in rapid and continuous evolution, also characterized by the presence of new paradigms responding to visual aesthetic rules that are gradually being defined.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"45-49"},"PeriodicalIF":0.2,"publicationDate":"2016-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336559","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}
Although the concept of algorithms has been established a long time ago, their current topicality indicates a shift in the discourse. Classical definitions based on logic seem to be inadequate to describe their aesthetic capabilities. New approaches stress their involvement in material practices as well as their incompleteness. Algorithmic aesthetics can no longer be tied to the static analysis of programs, but must take into account the dynamic and experimental nature of coding practices. It is suggested that the aesthetic objects thus produced articulate something that could be called algorithmicity or the space of algorithmic agency. This is the space or the medium – following Luhmann’s form/medium distinction – where human and machine undergo mutual incursions. In the resulting coupled “extimate” writing process, human initiative and algorithmic speculation cannot be clearly divided out any longer. An observation is attempted of defining aspects of such a medium by drawing a trajectory across a number of sound pieces. The operation of exchange between form and medium I call reconfiguration and it is indicated by this trajectory.
{"title":"Agency and Algorithms","authors":"Hanns Holger Rutz","doi":"10.7559/CITARJ.V8I1.223","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I1.223","url":null,"abstract":"Although the concept of algorithms has been established a long time ago, their current topicality indicates a shift in the discourse. Classical definitions based on logic seem to be inadequate to describe their aesthetic capabilities. New approaches stress their involvement in material practices as well as their incompleteness. Algorithmic aesthetics can no longer be tied to the static analysis of programs, but must take into account the dynamic and experimental nature of coding practices. It is suggested that the aesthetic objects thus produced articulate something that could be called algorithmicity or the space of algorithmic agency. This is the space or the medium – following Luhmann’s form/medium distinction – where human and machine undergo mutual incursions. In the resulting coupled “extimate” writing process, human initiative and algorithmic speculation cannot be clearly divided out any longer. An observation is attempted of defining aspects of such a medium by drawing a trajectory across a number of sound pieces. The operation of exchange between form and medium I call reconfiguration and it is indicated by this trajectory.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"73-83"},"PeriodicalIF":0.2,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336549","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 aims to discuss algorithmic art (also known as computer-generated or generative art) in a comparative perspective with artistic practices generated by means of non-computer-based methods. More precisely, it seeks to trace art-historical relationships between algorithmic art and certain examples from modern art movements. The artist whose works are chosen as the starting point for this investigation is the German artist Manfred Mohr. The investigation will firstly attempt to identify key features of algorithmic art based on its formal visual properties as well as production techniques involved. In the second step, it will discuss these observed characteristics in a comparative perspective with historical precedents and contemporary practices from non-computer art. By comparing aesthetic principles and techniques used by selected artists, the paper seeks to contribute towards a growing awareness that it is necessary to consider algorithmic art within the broader historical context of its relationships with non-digital art forms.
{"title":"Algorithmic Art and Its Art-Historical Relationships","authors":"Anna Daudrich","doi":"10.7559/CITARJ.V8I1.220","DOIUrl":"https://doi.org/10.7559/CITARJ.V8I1.220","url":null,"abstract":"This paper aims to discuss algorithmic art (also known as computer-generated or generative art) in a comparative perspective with artistic practices generated by means of non-computer-based methods. More precisely, it seeks to trace art-historical relationships between algorithmic art and certain examples from modern art movements. The artist whose works are chosen as the starting point for this investigation is the German artist Manfred Mohr. The investigation will firstly attempt to identify key features of algorithmic art based on its formal visual properties as well as production techniques involved. In the second step, it will discuss these observed characteristics in a comparative perspective with historical precedents and contemporary practices from non-computer art. By comparing aesthetic principles and techniques used by selected artists, the paper seeks to contribute towards a growing awareness that it is necessary to consider algorithmic art within the broader historical context of its relationships with non-digital art forms.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"8 1","pages":"37-44"},"PeriodicalIF":0.2,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71336951","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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