This paper explores how both sound and image of a documentary under production footage can serve as a narrative tool for a sound-oriented video art piece (‘Folkofolk’), and at the same time communicate the ideas of the final documentary itself. It discusses possible uses of existing footage derived from an ethnographic documentary in production, which maps and records the existence of German-speaking folk dancing groups. The information of the gathered original footage seeks to understand how the notion of place is interpreted through the folk dancing soundscape as a whole, and wishes to highlight the everyday sound’s social character. The footage of ‘Folkofolk’ features recordings of assorted Germanspeaking folk dancing groups in Berlin and Vienna. Based on the social properties of place, ‘Folkofolk’ seeks to explore, in a wider level, an alternative narrative of how folk dancing soundscapes potentially create a sense of place and community through creative film editing practices that are close to video art.
{"title":"Folk Dancing Documentation as a Creative Tool for Video Art","authors":"Yiannis Christidis, Nicos Synnos","doi":"10.34632/JSTA.2020.8533","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8533","url":null,"abstract":"This paper explores how both sound and image of a documentary under production footage can serve as a narrative tool for a sound-oriented video art piece (‘Folkofolk’), and at the same time communicate the ideas of the final documentary itself. It discusses possible uses of existing footage derived from an ethnographic documentary in production, which maps and records the existence of German-speaking folk dancing groups. The information of the gathered original footage seeks to understand how the notion of place is interpreted through the folk dancing soundscape as a whole, and wishes to highlight the everyday sound’s social character. The footage of ‘Folkofolk’ features recordings of assorted Germanspeaking folk dancing groups in Berlin and Vienna. Based on the social properties of place, ‘Folkofolk’ seeks to explore, in a wider level, an alternative narrative of how folk dancing soundscapes potentially create a sense of place and community through creative film editing practices that are close to video art.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41755692","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":"Hallucinating Gonçalo M. Tavares’ \"Short Movies\"","authors":"Pedro Eiras","doi":"10.34632/JSTA.2020.8530","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8530","url":null,"abstract":"","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41766681","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}
Today, most people spend their lives online: browsing social media, watching cat videos, etc. Some consider this a parallel activity—not part of their ‘real’ life. But the truth is that today those whose brains have been rewired through their interaction with these technologies are in fact constructing their reality through these systems of representation. One could argue that they seem so intimately attached to those images that even their reality seems post-produced (Steyerl, 2017). On the other hand, this new collective subjectivity offers new possibilities, as they promote the idea that today—as Joseph Beuys predicted—everyone can be an artist (2004), thus assigning a new role to internet shared images and their producers. The challenges that arise from these scenarios are: Can we embrace the creative potential of these apparently meaningless daily activities as the rich material for new collaborative narratives? Can we benefit from these collective productions to promote new bioethical discourses, or might this perhaps add another footstep towards a new becoming media? This paper will develop these arguments and present the results of the author’s formal artistic research based on open-source network technologies as the material-discursive tool for the articulation, promotion and distribution of collective singular intimate interspecies explorations in a 'new aesthetic' paradigm.
{"title":"Interspecies Artistic Research Strategies: Biosemiotic Methods and Open-Source Network Technologies","authors":"Fabricio Lamoncha","doi":"10.34632/JSTA.2020.8205","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8205","url":null,"abstract":"Today, most people spend their lives online: browsing social media, watching cat videos, etc. Some consider this a parallel activity—not part of their ‘real’ life. But the truth is that today those whose brains have been rewired through their interaction with these technologies are in fact constructing their reality through these systems of representation. One could argue that they seem so intimately attached to those images that even their reality seems post-produced (Steyerl, 2017). On the other hand, this new collective subjectivity offers new possibilities, as they promote the idea that today—as Joseph Beuys predicted—everyone can be an artist (2004), thus assigning a new role to internet shared images and their producers. The challenges that arise from these scenarios are: Can we embrace the creative potential of these apparently meaningless daily activities as the rich material for new collaborative narratives? Can we benefit from these collective productions to promote new bioethical discourses, or might this perhaps add another footstep towards a new becoming media? This paper will develop these arguments and present the results of the author’s formal artistic research based on open-source network technologies as the material-discursive tool for the articulation, promotion and distribution of collective singular intimate interspecies explorations in a 'new aesthetic' paradigm.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"27-32"},"PeriodicalIF":0.2,"publicationDate":"2020-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45841316","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}
Camila Mangueira, Fabrício Fava, Miguel Carvalhais
In the context of the computational and algorithmic revolution, the digital image more than ever elevates the status of representations to the sphere of processes and operations. In a more general context, images can be seen as cultural agents, progressively developing new habits by promoting mediations between multiple subjects, whether human or nonhuman. From this perspective, we may question what characterizes the dynamics of those images. Can we consider digital images to be semiotic agents? Admitting this premise implies highlighting images not only as results or instruments but as integrated participants in processes. In light of this, we explore the digital image as a semiotic agent, from a Peircean semiotic perspective, from which the digital image can be seen as a sign, a dialogical being inserted in a network of relations.
{"title":"Digital Image as a Semiotic Agent","authors":"Camila Mangueira, Fabrício Fava, Miguel Carvalhais","doi":"10.34632/JSTA.2020.8195","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8195","url":null,"abstract":"In the context of the computational and algorithmic revolution, the digital image more than ever elevates the status of representations to the sphere of processes and operations. In a more general context, images can be seen as cultural agents, progressively developing new habits by promoting mediations between multiple subjects, whether human or nonhuman. From this perspective, we may question what characterizes the dynamics of those images. Can we consider digital images to be semiotic agents? Admitting this premise implies highlighting images not only as results or instruments but as integrated participants in processes. In light of this, we explore the digital image as a semiotic agent, from a Peircean semiotic perspective, from which the digital image can be seen as a sign, a dialogical being inserted in a network of relations.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"11-17"},"PeriodicalIF":0.2,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43514021","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: Consciousness Reframed","authors":"Cristina Sá, A. Baltazar, R. Torres","doi":"10.34632/JSTA.2020.8212","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8212","url":null,"abstract":"","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45894687","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}
-----ABSTRACT This paper intends to examine two recent projects Enhancing the Mind’s I and Emerging Self that address notions of self-identity, the desire for freedom of form and the greater cognitive capacities promised by neuro-enhancement technologies. It is a bid on critical evaluation of the production of the artworks; departing from an understanding that the observer is not independent of reality and that observation and experience are constructed. Consciousness is considered as resulting from the organism capacities to understand its emotions and interacting context, thus the research explores the possibilities that memory and knowledge do not reflect a real exterior world, but a concrete interior world attempting to play with possibilities to generate affect and empathy in the audiences. The text reflects on the ethical side of Human Enhancement (i.e. the potentiation of biological characteristics of Human Body) and the technologies, such as Brain Computer Interaction (BCI) or digital tattoos (tattoos that have technological interactive properties), promising a refinement of nature by technology. It raises questions surrounding memory and identity through art installation. It explores whether is it possible to translate one’s emotions directly into matter, as a memory. The result is the opening of a critical gap between the way sciences produce knowledge about the subject and the affect produced by the experience of the viewer on the installation artworks.
{"title":"Bio Mind and Techno Nature in the Performance of Memory: Arts-Based-Research and Human Enhancement","authors":"Maria Manuela Lopes","doi":"10.34632/JSTA.2020.8211","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8211","url":null,"abstract":"-----ABSTRACT This paper intends to examine two recent projects Enhancing the Mind’s I and Emerging Self that address notions of self-identity, the desire for freedom of form and the greater cognitive capacities promised by neuro-enhancement technologies. It is a bid on critical evaluation of the production of the artworks; departing from an understanding that the observer is not independent of reality and that observation and experience are constructed. Consciousness is considered as resulting from the organism capacities to understand its emotions and interacting context, thus the research explores the possibilities that memory and knowledge do not reflect a real exterior world, but a concrete interior world attempting to play with possibilities to generate affect and empathy in the audiences. The text reflects on the ethical side of Human Enhancement (i.e. the potentiation of biological characteristics of Human Body) and the technologies, such as Brain Computer Interaction (BCI) or digital tattoos (tattoos that have technological interactive properties), promising a refinement of nature by technology. It raises questions surrounding memory and identity through art installation. It explores whether is it possible to translate one’s emotions directly into matter, as a memory. The result is the opening of a critical gap between the way sciences produce knowledge about the subject and the affect produced by the experience of the viewer on the installation artworks.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42495722","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.678
André Rangel, Miguel Carvalhais, Luísa Ribas, Mario Verdicchio
xCoAx Special Issue Editorial 2019.
2019年xCoAx特刊社论。
{"title":"CITAR Journal - xCoAx Special Issue 2019 Editorial","authors":"André Rangel, Miguel Carvalhais, Luísa Ribas, Mario Verdicchio","doi":"10.7559/citarj.v11i2.678","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.678","url":null,"abstract":"xCoAx Special Issue Editorial 2019.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"1-2"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46459544","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.665
Sarah Ciston
Artificial intelligence is quietly shaping social structures and private lives. Although it promises parity and efficiency, its computational processes mirror biases of existing power even as often-proprietary data practices and cultural perceptions of computational magic obscure those influences. However, intersectionality—which foregrounds an analysis of institutional power and incorporates queer, feminist, and critical race theories—can help to rethink artificial intelligence. An intersectional framework can be used to analyze the biases and problems built into existing artificial intelligence, as well as to uncover alternative ethics from its counter-histories. This paper calls for the application of intersectional strategies to artificial intelligence at every level, from data to design to implementation, from technologist to user. Drawing on intersectional theories, the research argues these strategies are polyvocal, multimodal, and experimental—suggesting that community-focused and artistic practices can help imagine AI’s intersectional possibilities and help begin to address its biases.
{"title":"Intersectional AI Is Essential","authors":"Sarah Ciston","doi":"10.7559/citarj.v11i2.665","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.665","url":null,"abstract":"Artificial intelligence is quietly shaping social structures and private lives. Although it promises parity and efficiency, its computational processes mirror biases of existing power even as often-proprietary data practices and cultural perceptions of computational magic obscure those influences. However, intersectionality—which foregrounds an analysis of institutional power and incorporates queer, feminist, and critical race theories—can help to rethink artificial intelligence. An intersectional framework can be used to analyze the biases and problems built into existing artificial intelligence, as well as to uncover alternative ethics from its counter-histories. This paper calls for the application of intersectional strategies to artificial intelligence at every level, from data to design to implementation, from technologist to user. Drawing on intersectional theories, the research argues these strategies are polyvocal, multimodal, and experimental—suggesting that community-focused and artistic practices can help imagine AI’s intersectional possibilities and help begin to address its biases.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"3-8"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46546587","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.667
Rodrigo Hernández-Ramírez
In the last years, there has been a surge in AI-powered products. Often marketed as "free", these services operate as hooks to lure unsuspecting users into voluntarily giving up data about every aspect of their life. Their data is the primary fuel of surveillance capitalism, a new economic system that exclusively benefits so-called Big Tech organisations at the expense of personal privacy and freedom of choice. This paper argues the ways these AI-powered products are being imagined and designed is further generalising a kind of, "enframing" that encourages a bureaucratic relationship with the world disguised as (a false sense of) augmented agency. This paper shows that technologically informed philosophical reflections can contribute to getting ourselves back into the feedback loop of technological mediation by helping us recognise our "becoming" with technologies as a design process.
{"title":"On False Augmented Agency and What Surveillance Capitalism and User-Centered Design Have to Do With It","authors":"Rodrigo Hernández-Ramírez","doi":"10.7559/citarj.v11i2.667","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.667","url":null,"abstract":"In the last years, there has been a surge in AI-powered products. Often marketed as \"free\", these services operate as hooks to lure unsuspecting users into voluntarily giving up data about every aspect of their life. Their data is the primary fuel of surveillance capitalism, a new economic system that exclusively benefits so-called Big Tech organisations at the expense of personal privacy and freedom of choice. This paper argues the ways these AI-powered products are being imagined and designed is further generalising a kind of, \"enframing\" that encourages a bureaucratic relationship with the world disguised as (a false sense of) augmented agency. This paper shows that technologically informed philosophical reflections can contribute to getting ourselves back into the feedback loop of technological mediation by helping us recognise our \"becoming\" with technologies as a design process.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"18-27"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059191","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.661
Rosemary Lee
The incorporation of algorithmic procedures into the automation of image production has been gradual, but has reached critical mass over the past century, especially with the advent of photography, the introduction of digital computers and the use of artificial intelligence (AI) and machine learning (ML). Due to the increasingly significant influence algorithmic processes have on visual media, there has been an expansion of the possibilities as to how images may behave, and a consequent struggle to define them. This algorithmic turnhighlights inner tensions within existing notions of the image, namely raising questions regarding the autonomy of machines, author- and viewer- ship, and the veracity of representations. In this sense, algorithmic images hover uncertainly between human and machine as producers and interpreters of visual information, between representational and non-representational, and between visible surface and the processes behind it. This paper gives an introduction to fundamental internal discrepancies which arise within algorithmically produced images, examined through a selection of relevant artistic examples. Focusing on the theme of uncertainty, this investigation considers how algorithmic images contain aspects which conflict with the certitude of computation, and how this contributes to a difficulty in defining images.
{"title":"Uncertainties in the Algorithmic Image, xCoAx Special Issue 2019","authors":"Rosemary Lee","doi":"10.7559/citarj.v11i2.661","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.661","url":null,"abstract":"The incorporation of algorithmic procedures into the automation of image production has been gradual, but has reached critical mass over the past century, especially with the advent of photography, the introduction of digital computers and the use of artificial intelligence (AI) and machine learning (ML). Due to the increasingly significant influence algorithmic processes have on visual media, there has been an expansion of the possibilities as to how images may behave, and a consequent struggle to define them. This algorithmic turnhighlights inner tensions within existing notions of the image, namely raising questions regarding the autonomy of machines, author- and viewer- ship, and the veracity of representations. In this sense, algorithmic images hover uncertainly between human and machine as producers and interpreters of visual information, between representational and non-representational, and between visible surface and the processes behind it. This paper gives an introduction to fundamental internal discrepancies which arise within algorithmically produced images, examined through a selection of relevant artistic examples. Focusing on the theme of uncertainty, this investigation considers how algorithmic images contain aspects which conflict with the certitude of computation, and how this contributes to a difficulty in defining images.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"36-40"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47580888","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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