Many narratives have been established around Aspen Movie Map: about the interdisciplinary research lab where it was created, its pioneering interactive interface, or the concept of user empowerment and virtual travel. A predecessor of Google Street view and other navigation technology, it was one of the first tools where users could navigate freely through a virtual map. The creativity and innovation of this project resulted from artists and engineers working collaboratively. The question of the work practices and co-creative exchange between artists and technologists has not been analyzed in depth. ‘Collaboration’ and ‘innovation’ are often not clearly defined but presumed as positive attributes in themselves. However, this project along with other early art and technology collaborations has been critically reviewed in its emphasis on novel interfaces and disregard of a potential socio-political or cultural impact. An analysis of collaborative practices at this research lab can potentially offer new insights to the interpretation of Aspen Movie Map and, more generally, the overall conception of early art and tech labs. In my paper, I analyze the movie map in its collaborative practices to understand how artistic ideas influenced the project in its creative research outcomes.
{"title":"Creative Technologies and Interdisciplinary Collaboration: A case study on the Aspen Movie Map","authors":"Janina Hoth","doi":"10.1145/3483529.3483697","DOIUrl":"https://doi.org/10.1145/3483529.3483697","url":null,"abstract":"Many narratives have been established around Aspen Movie Map: about the interdisciplinary research lab where it was created, its pioneering interactive interface, or the concept of user empowerment and virtual travel. A predecessor of Google Street view and other navigation technology, it was one of the first tools where users could navigate freely through a virtual map. The creativity and innovation of this project resulted from artists and engineers working collaboratively. The question of the work practices and co-creative exchange between artists and technologists has not been analyzed in depth. ‘Collaboration’ and ‘innovation’ are often not clearly defined but presumed as positive attributes in themselves. However, this project along with other early art and technology collaborations has been critically reviewed in its emphasis on novel interfaces and disregard of a potential socio-political or cultural impact. An analysis of collaborative practices at this research lab can potentially offer new insights to the interpretation of Aspen Movie Map and, more generally, the overall conception of early art and tech labs. In my paper, I analyze the movie map in its collaborative practices to understand how artistic ideas influenced the project in its creative research outcomes.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114035695","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}
We report on a novel use of handmade anamorphoses in connection with Mixed Reality in a classroom setting involving Portuguese 9th grade visual education students. This is based on a conceptual reformulation of anamorphosis that makes it intrinsically immersive and connects it naturally with digital visualizations. We propose that this is a useful device for motivating the study of perspective and descriptive geometry for young students.
{"title":"Applications of anamorphosis and mixed reality in a classroom setting","authors":"Manuel Flores, A. Araújo","doi":"10.1145/3483529.3483532","DOIUrl":"https://doi.org/10.1145/3483529.3483532","url":null,"abstract":"We report on a novel use of handmade anamorphoses in connection with Mixed Reality in a classroom setting involving Portuguese 9th grade visual education students. This is based on a conceptual reformulation of anamorphosis that makes it intrinsically immersive and connects it naturally with digital visualizations. We propose that this is a useful device for motivating the study of perspective and descriptive geometry for young students.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"222 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114587532","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}
Héllen L. dos Anjos, Gabriel Botim, Eduardo Corgos
Fato ou Caô is configured as an interactive video, available to be accessed through the Eko platform1 , which invites people who go through it to reflect on the dissemination of information, calling attention to how a fact or fake news is set up and circulated. This occurs through the construction of 4 narratives, interpreted by actors and composed of collage in video art, around themes that were very present in the year 2020, being: Environment, Health, Politics and Violence. The central objective is to turn attention to the current scenario, inviting the interactors to reflect on the way we communicate, receive, and share information, in times of disinformation.. RESUMO Fato ou Caô se configura como um vídeo interativo, disponível para ser acessado através da plataforma Eko2 , que convida a refletir sobre a difusão de informação chamando atenção para como se configura e circula um fato ou fake news. Isso ocorre por meio da construção de 4 narrativas, interpretadas por atores e composta de colagem em videoarte, em torno de temáticas que estiveram muito presente no ano de 2020, sendo elas: Meio Ambiente, Saúde, Política e Violência. O objetivo central é voltar a atenção para o cenário atual, convidando os interatores a refletirem sobre o modo como nos comunicamos, recebemos e compartilhamos informações, em tempos de desinformação.
Fato ou Caô是一段互动影片，可透过Eko平台浏览1，邀请浏览者反思资讯的传播，并呼吁关注事实或假新闻是如何编造及传播的。这是通过四种叙事的构建来实现的，这些叙事由演员诠释，并由视频艺术拼贴组成，围绕着2020年非常流行的主题:环境、健康、政治和暴力。中心目标是将注意力转向当前的场景，邀请互动者反思我们在虚假信息时代沟通、接收和分享信息的方式。resume to ou Caô se configura como um vídeo interativo, disponível para ser accessado atravsass数据平台Eko2, que convida和反射器soberi和disfusi de information o chamando aten o para como se configa circula um fafau假新闻。“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，“我的作品是关于创作的”，Saúde, Política e Violência。6 .目的:中央电力和电力通信系统 (para O cenário)、国际通信系统(convidando)、通信系统(bebemo)、通信系统(bebemo)、通信系统(bebemo)、信息系统(tempos de desinformation) 。
{"title":"O consumo e a disseminação de informação: linguagens narrativas da mídia e reflexões sobre fake news em Fato ou Caô: The consumption and dissemination of information: media narrative languages and reflections on fake news in \"Fato ou Caô\"","authors":"Héllen L. dos Anjos, Gabriel Botim, Eduardo Corgos","doi":"10.1145/3483529.3483729","DOIUrl":"https://doi.org/10.1145/3483529.3483729","url":null,"abstract":"Fato ou Caô is configured as an interactive video, available to be accessed through the Eko platform1 , which invites people who go through it to reflect on the dissemination of information, calling attention to how a fact or fake news is set up and circulated. This occurs through the construction of 4 narratives, interpreted by actors and composed of collage in video art, around themes that were very present in the year 2020, being: Environment, Health, Politics and Violence. The central objective is to turn attention to the current scenario, inviting the interactors to reflect on the way we communicate, receive, and share information, in times of disinformation.. RESUMO Fato ou Caô se configura como um vídeo interativo, disponível para ser acessado através da plataforma Eko2 , que convida a refletir sobre a difusão de informação chamando atenção para como se configura e circula um fato ou fake news. Isso ocorre por meio da construção de 4 narrativas, interpretadas por atores e composta de colagem em videoarte, em torno de temáticas que estiveram muito presente no ano de 2020, sendo elas: Meio Ambiente, Saúde, Política e Violência. O objetivo central é voltar a atenção para o cenário atual, convidando os interatores a refletirem sobre o modo como nos comunicamos, recebemos e compartilhamos informações, em tempos de desinformação.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116817430","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 expanded field of Dance with digital technologies, we from the Electric Cyberdance Research Group, have named, since 2015, Digital Dance, thus updating the concept of Mediadance (Schiller, 2003 and Bastos, 2013 and 2015). In this article, continuing the article presented in the last ARTECH (Braga, 2019), we are currently analysing the first notes on the constituents of this new dramaturgy, the Dramaturgy of ImageBody of Dance, specifically in the expanded field (Youngblood, 1970 and Krauss, 1979) of Digital Dance. Here, the aim is to use the concept of ImageBody in Dance (Pimentel, Bittencourt, 2019) which was built from the Bergson / Deleuze (2004) concept of image in motion and conceptually advance in this field, proposing that this category in Dance has their own dramaturgy, constantly updated by the contemporary context, what Sanchez (2007) calls the dramaturgy of the imagination. Resumo: Ao campo expandido da Dança com as tecnologias digitais, nós do Elétrico - Grupo de Pesquisa em Ciberdança, nomeamos, desde 2015, como Dança Digital, atualizando assim o conceito de mediadance (Schiller, 2003 e Bastos, 2013 e 2015). Nesse artigo, em continuidade ao artigo apresentado no último ARTECH (Braga, 2019), estamos interessadas em elaborar os primeiros apontamentos sobre os constituintes dessa nova dramaturgia, a dramaturgia dos CorposImagem da Dança, especificamente no campo expandido (Youngblood, 1970 e Krauss, 1979) da Dança Digital. Trata-se aqui de utilizar o conceito de CorpoImagem na Dança (Pimentel, Bittencourt, 2019) que foi construído a partir do conceito de Imagem em movimento de Bergson/Deleuze (2004) e avançar conceitualmente nesse campo, propondo que essa categoria na Dança possui uma dramaturgia própria, constantemente atualizada pelo contexto contemporâneo, o que Sanchez (2007) nomeia como dramaturgia da imaginação.
随着数字技术舞蹈领域的扩展，我们电子网络舞蹈研究小组自2015年起将其命名为“数字舞蹈”，从而更新了媒介舞蹈的概念(席勒，2003年;巴斯托斯，2013年和2015年)。在本文中，继续上一篇ARTECH (Braga, 2019)中提出的文章，我们目前正在分析这种新戏剧的组成部分，即舞蹈的图像体戏剧，特别是在数字舞蹈的扩展领域(Youngblood, 1970年和Krauss, 1979年)。在这里，我们的目的是使用ImageBody在舞蹈中的概念(Pimentel, Bittencourt, 2019)，这个概念是在柏格森/德勒兹(2004)的运动图像概念的基础上建立起来的，并在这一领域进行概念推进，提出舞蹈中的这一类别有自己的戏剧，不断被当代语境更新，桑切斯(2007)称之为想象的戏剧。简历:Ao campo expdido da danalada com as tecologias digitais, nós do el- Grupo de Pesquisa em ciberdana, namos, desdes2015, como dana Digital, aturalizando assim to conceptode mediadance (Schiller, 2003; Bastos, 2013和2015)。Nesse artigo, em continuidade ao artigo apresado no último ARTECH(布拉加，2019)，estamos interessadas em detailar os primeiros apontamentos sobre os constitutes dessa nova dramaturgia, a dramaturgia dos CorposImagem da danalada, especificamente no campo expandido (Youngblood, 1970年和Krauss, 1979年)da danalada Digital。Trata-se aqui de use of conceto de Imagem em movimento de Bergson/Deleuze (2004) e avanar conceptualmente nesse campo, posdonessa categoria na dana possui uma dramaturgia própria, constantemente atualizada pelo contexto contemporneo, o que Sanchez (2007) noomeia como dramaturgia da imagina o。
{"title":"Dramaturgy of the BodyImage in Digital Dance: first statements: Dramaturgia do CorpoImagem na Dança Digital: primeiros apontamentos","authors":"Dorotea Bastos, Ludmila Pimentel","doi":"10.1145/3483529.3483712","DOIUrl":"https://doi.org/10.1145/3483529.3483712","url":null,"abstract":"The expanded field of Dance with digital technologies, we from the Electric Cyberdance Research Group, have named, since 2015, Digital Dance, thus updating the concept of Mediadance (Schiller, 2003 and Bastos, 2013 and 2015). In this article, continuing the article presented in the last ARTECH (Braga, 2019), we are currently analysing the first notes on the constituents of this new dramaturgy, the Dramaturgy of ImageBody of Dance, specifically in the expanded field (Youngblood, 1970 and Krauss, 1979) of Digital Dance. Here, the aim is to use the concept of ImageBody in Dance (Pimentel, Bittencourt, 2019) which was built from the Bergson / Deleuze (2004) concept of image in motion and conceptually advance in this field, proposing that this category in Dance has their own dramaturgy, constantly updated by the contemporary context, what Sanchez (2007) calls the dramaturgy of the imagination. Resumo: Ao campo expandido da Dança com as tecnologias digitais, nós do Elétrico - Grupo de Pesquisa em Ciberdança, nomeamos, desde 2015, como Dança Digital, atualizando assim o conceito de mediadance (Schiller, 2003 e Bastos, 2013 e 2015). Nesse artigo, em continuidade ao artigo apresentado no último ARTECH (Braga, 2019), estamos interessadas em elaborar os primeiros apontamentos sobre os constituintes dessa nova dramaturgia, a dramaturgia dos CorposImagem da Dança, especificamente no campo expandido (Youngblood, 1970 e Krauss, 1979) da Dança Digital. Trata-se aqui de utilizar o conceito de CorpoImagem na Dança (Pimentel, Bittencourt, 2019) que foi construído a partir do conceito de Imagem em movimento de Bergson/Deleuze (2004) e avançar conceitualmente nesse campo, propondo que essa categoria na Dança possui uma dramaturgia própria, constantemente atualizada pelo contexto contemporâneo, o que Sanchez (2007) nomeia como dramaturgia da imaginação.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129027954","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 pandemic caused by the new coronavirus Covd-19 has suddenly and unpredictably changed the running of schools and their communities’ dynamics. In response to an emergency state marked by long periods of confinement, of children and young people at home, often of indefinite duration and sometimes intermittent, logistic and pedagogic adaptations were required. In a school for early childhood and basic education, where the arts strongly influence the educational project, both at the conceptual and methodological level and at the level of interdisciplinary practice itself, the challenge went on in several fronts: the ways of regular contact with children and young people for teaching interaction, the creation of projects that develop skills related to knowledge, expression and communication and, finally, the moments of sharing, in which the work carried out becomes public and is reflected and debated collectively. This article describes the adaptation of visual and performing arts to remote online learning, as well as results obtained by the creative application of computer and image technologies, between March 2020 and March 2021. For an educational project of proximity and creativity, how could we defend the fundamental value of arts in education through digital mediation? What processes, artistic objects and sharing models resulted from this reality? Resumo. A pandemia provocada pelo novo coronavírus Covid-19 veio alterar súbita e imprevisivelmente o funcionamento das escolas e a dinâmica das suas comunidades. Exigiram-se adaptações logísticas e pedagógicas em resposta a um estado de emergência marcado por longos períodos de confinamento de crianças e jovens em casa, muitas vezes de duração indeterminada no ano lectivo, definitivos ou intermitentes. Numa escola de ensino da primeira infância e ensino básico, onde as artes têm uma forte influência no projeto educativo, tanto ao nível conceptual e metodológico como ao nível da própria prática interdisciplinar, o desafio percorreu várias frentes: a forma de contacto regular com as crianças e jovens e interação letiva, a criação de projetos que desenvolvem competências do foro do conhecimento, da expressão criativa e da comunicação e, finalmente, os momentos de partilha em que se torna público o trabalho realizado e se reflete e debate sobre ele. Este artigo descreve a adaptação das artes visuais e performativas ao ensino à distância, bem como resultados obtidos pela aplicação criativa das tenologias de informática e imagem, entre março 2020 e março 2021. Para um projeto educativo de proximidade e criatividade, como concretizar o valor fundamental das artes na educação através da mediação digital? Que processos, objetos artísticos e modos de partilha resultaram desta realidade?
由新型冠状病毒covid -19引起的大流行突然和不可预测地改变了学校的运行及其社区的动态。为应对儿童和青年长期被关在家中(往往是无限期的，有时是间歇性的)的紧急状态，需要对后勤和教学进行调整。在一所幼儿教育和基础教育学校，艺术在概念和方法层面以及跨学科实践本身层面对教育项目产生了强烈的影响，在几个方面面临着挑战:与儿童和青少年定期接触，进行教学互动，创建项目，培养与知识、表达和沟通相关的技能，最后是分享的时刻，在这个时刻，所开展的工作变得公开，并得到集体反思和辩论。本文描述了2020年3月至2021年3月期间视觉和表演艺术对远程在线学习的适应，以及计算机和图像技术的创造性应用所取得的成果。对于一个亲近性和创造性的教育项目，我们如何通过数字媒介来捍卫艺术在教育中的基本价值?这种现实产生了什么样的过程、艺术对象和共享模式?Resumo。新冠肺炎疫情爆发coronavírus新冠肺炎疫情爆发súbita疫情爆发前，我们对疫情防控工作进行了深入研究，我们对疫情防控工作进行了深入研究。Exigiram-se adaptações logísticas e pedagógicas em resposta a um estado de emergência marcado pordo longos períodos de confinamento de crianas e jovens em casa, muitas vezes de durao interminada no no elecectivo, definitivos ou interentes。Numa escola de ensino da primeira infincia e ensino básico, onde as artes têm uma forte influência no project to education, tanto ao nível conceptual e metodológico como ao nível da própria prática跨学科，o desafio percorreu várias frentes:1 .定期联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式为:相互联系的形式;Este artigo设计了一种适应性的视觉艺术与表演艺术之间的关系，同时也设计了一种适应性的艺术与视觉艺术之间的关系，并设计了一种适应性的艺术与视觉艺术之间的关系，并设计了一种适应性的艺术与视觉艺术之间的关系。Para - project to education de proximidade(近处的教育项目)是一项评估，是一项价值基本数据的具体体现，是一项教育数据的基本数据，是一项数据的基本数据，是一项数据的基本数据，是一项数据的基本数据，是一项数据的基本数据。请求进程、对象artísticos和特定结果的模式，以实现目标。
{"title":"Modos de partilhar a criação numa escola em confinamento: Modes of sharing creative outputs in a school during confinement","authors":"Paula Varanda","doi":"10.1145/3483529.3483674","DOIUrl":"https://doi.org/10.1145/3483529.3483674","url":null,"abstract":"The pandemic caused by the new coronavirus Covd-19 has suddenly and unpredictably changed the running of schools and their communities’ dynamics. In response to an emergency state marked by long periods of confinement, of children and young people at home, often of indefinite duration and sometimes intermittent, logistic and pedagogic adaptations were required. In a school for early childhood and basic education, where the arts strongly influence the educational project, both at the conceptual and methodological level and at the level of interdisciplinary practice itself, the challenge went on in several fronts: the ways of regular contact with children and young people for teaching interaction, the creation of projects that develop skills related to knowledge, expression and communication and, finally, the moments of sharing, in which the work carried out becomes public and is reflected and debated collectively. This article describes the adaptation of visual and performing arts to remote online learning, as well as results obtained by the creative application of computer and image technologies, between March 2020 and March 2021. For an educational project of proximity and creativity, how could we defend the fundamental value of arts in education through digital mediation? What processes, artistic objects and sharing models resulted from this reality? Resumo. A pandemia provocada pelo novo coronavírus Covid-19 veio alterar súbita e imprevisivelmente o funcionamento das escolas e a dinâmica das suas comunidades. Exigiram-se adaptações logísticas e pedagógicas em resposta a um estado de emergência marcado por longos períodos de confinamento de crianças e jovens em casa, muitas vezes de duração indeterminada no ano lectivo, definitivos ou intermitentes. Numa escola de ensino da primeira infância e ensino básico, onde as artes têm uma forte influência no projeto educativo, tanto ao nível conceptual e metodológico como ao nível da própria prática interdisciplinar, o desafio percorreu várias frentes: a forma de contacto regular com as crianças e jovens e interação letiva, a criação de projetos que desenvolvem competências do foro do conhecimento, da expressão criativa e da comunicação e, finalmente, os momentos de partilha em que se torna público o trabalho realizado e se reflete e debate sobre ele. Este artigo descreve a adaptação das artes visuais e performativas ao ensino à distância, bem como resultados obtidos pela aplicação criativa das tenologias de informática e imagem, entre março 2020 e março 2021. Para um projeto educativo de proximidade e criatividade, como concretizar o valor fundamental das artes na educação através da mediação digital? Que processos, objetos artísticos e modos de partilha resultaram desta realidade?","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123865956","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}
Julie de Araujo Pires, Marcelo Gonçalves Ribeiro, Francisco Freitas Neto
This artwork proposal focuses on the relationship between design, art and Deaf Culture. We expect Augmented Reality (AR) and poetry can approach hearing and deaf people, expanding the space to both apart from the utility ways to apply AR in the daily of deaf people. DeafSpace is an architectural concept about extending sensory reach to deaf people who perceive and interacts with other people and the environment. By technology, image and poetry, we will try to create a space notion from a view of the AR elements on the smartphone camera.
{"title":"Augmented Reality – writing expanded: Blurring the lines between Design and Art in contact with deafness and hearing people","authors":"Julie de Araujo Pires, Marcelo Gonçalves Ribeiro, Francisco Freitas Neto","doi":"10.1145/3483529.3483792","DOIUrl":"https://doi.org/10.1145/3483529.3483792","url":null,"abstract":"This artwork proposal focuses on the relationship between design, art and Deaf Culture. We expect Augmented Reality (AR) and poetry can approach hearing and deaf people, expanding the space to both apart from the utility ways to apply AR in the daily of deaf people. DeafSpace is an architectural concept about extending sensory reach to deaf people who perceive and interacts with other people and the environment. By technology, image and poetry, we will try to create a space notion from a view of the AR elements on the smartphone camera.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126295708","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 multimedia performance “Represent(action) of the female body: mythologies” develops from the relationship between the female body in action and the image (and moving images), as well as the study of consciousness and spirituality of the performative body of myth and ritual — where video plays a preponderant role in the construction of narratives of actions. It results from an ongoing theoretical/practical research about transpersonal body, as a receptacle for the experience of the numinous and archetypes, for the representation of the feminine spiritual universe, in the context of contemporary art. Namely, the crossing of the performative body, with the image (video in real time) and digital technology, for the creation of a new iconography of the feminine. With implications for a more expanded notion od represent(action) of the body and Painting; and how new technologies permeate female empowerment. We will try to demonstrate how these new devices can contribute to a deeper experience of the symbolic dimension and the symbiosis between Art, Technology and Spirituality. RESUMO A performance multimédia “Represent(ação) do corpo feminino: mitologias” desenvolve-se a partir da relação entre o corpo feminino em ação e a imagem (e imagens em movimento), bem como, do estudo da consciência e da espiritualidade do corpo performativo do mito e do ritual — onde o vídeo tem um papel preponderante na construção das narrativas das ações. Resulta de uma pesquisa teórico/prática em curso, sobre o corpo transpessoal, como recetáculo da experiência do numinoso e dos arquétipos, para a represent(ação) do universo espiritual feminino, no contexto da arte contemporânea. Nomeadamente, do cruzamento do corpo performativo, com a imagem (vídeo em tempo real) e a tecnologia digital, para a criação de uma nova iconografia do feminino. Com implicações numa noção mais expandida de represent(ação) do corpo e da Pintura; e de como as novas tecnologias permeiam o empoderamento feminino. Procuraremos demonstrar como estes novos dispositivos podem contribuir para uma experiência mais profunda da dimensão simbólica e para a simbiose entre Arte, Tecnologia e Espiritualidade.
多媒体表演“女性身体的代表(行动):神话”从女性行动中的身体与影像(和运动影像)的关系，以及对神话和仪式的表演身体的意识和精神性的研究中发展而来，其中视频在行动叙事的建构中发挥了主导作用。它源于一项正在进行的关于超个人身体的理论/实践研究，在当代艺术的背景下，作为精神和原型体验的容器，用于女性精神宇宙的表现。也就是说，表演身体与图像(实时视频)和数字技术的交叉，创造了一种新的女性形象。暗示了一个更广泛的概念，即身体和绘画的表现(行动);以及新技术如何渗透到女性赋权中。我们将尝试展示这些新设备如何有助于更深层次的符号维度体验以及艺术，技术和精神之间的共生关系。resume A performance多媒体“代表(a)做女性团体:mitologias”desenvolve-se A partite da relativea ”，“代表(a)代表女性团体:mitologias”，“代表一个团体:imagens em movimento”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”，“代表”结果:人类pesquisa teórico/prática em curso, sobre o corpo transpesal, como recetáculo da experiência do numinoso e do arqusamtipos, para a represent(a ā) do universso spirit feminino, no context to da arte contempornea。noomeadamente, do cruzamento do corpo perativo, com a imagem (vídeo em tempo real) ea tecologia digital, para a criapar o de uma nova iconografia do feminino。Com implicações numa noo mais expanded da de representation (o) do corpo e da Pintura;新技术的发展是对女性发展的一种渗透。在此，我们将从以下几个方面进行讨论:首先，我们将从以下几个方面进行讨论:首先，我们将从以下几个方面进行讨论:首先，我们将从艺术、技术和精神三个方面进行讨论。
{"title":"Represent(ação) do corpo feminino: mitologias","authors":"Sónia Carvalho, P. Bastos","doi":"10.1145/3483529.3483788","DOIUrl":"https://doi.org/10.1145/3483529.3483788","url":null,"abstract":"The multimedia performance “Represent(action) of the female body: mythologies” develops from the relationship between the female body in action and the image (and moving images), as well as the study of consciousness and spirituality of the performative body of myth and ritual — where video plays a preponderant role in the construction of narratives of actions. It results from an ongoing theoretical/practical research about transpersonal body, as a receptacle for the experience of the numinous and archetypes, for the representation of the feminine spiritual universe, in the context of contemporary art. Namely, the crossing of the performative body, with the image (video in real time) and digital technology, for the creation of a new iconography of the feminine. With implications for a more expanded notion od represent(action) of the body and Painting; and how new technologies permeate female empowerment. We will try to demonstrate how these new devices can contribute to a deeper experience of the symbolic dimension and the symbiosis between Art, Technology and Spirituality. RESUMO A performance multimédia “Represent(ação) do corpo feminino: mitologias” desenvolve-se a partir da relação entre o corpo feminino em ação e a imagem (e imagens em movimento), bem como, do estudo da consciência e da espiritualidade do corpo performativo do mito e do ritual — onde o vídeo tem um papel preponderante na construção das narrativas das ações. Resulta de uma pesquisa teórico/prática em curso, sobre o corpo transpessoal, como recetáculo da experiência do numinoso e dos arquétipos, para a represent(ação) do universo espiritual feminino, no contexto da arte contemporânea. Nomeadamente, do cruzamento do corpo performativo, com a imagem (vídeo em tempo real) e a tecnologia digital, para a criação de uma nova iconografia do feminino. Com implicações numa noção mais expandida de represent(ação) do corpo e da Pintura; e de como as novas tecnologias permeiam o empoderamento feminino. Procuraremos demonstrar como estes novos dispositivos podem contribuir para uma experiência mais profunda da dimensão simbólica e para a simbiose entre Arte, Tecnologia e Espiritualidade.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"72 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128022102","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}
Renda-se ao Alto das Mercês is an artistic installation that toke place in São João del-Rei. The title is based on the latin term reddere (re + dare) wich means to return. It is inspired by the collection of lace from Fortim dos Emboabas and the remarkable historical event known as “Capão da Traição” - massacre in which paulistas were surrendered during the Emboabas War. Also, the name stablishes an ambiguous meaning as in Portuguese Render-se means to surrender and Rendar means to do a lace. The project aims to promote the participation of the local population by means a collective artistic event based on laces - a product of the local culture - which are produced physically and digitally. The interface consists of a mobile application that digitally reproduces the hand loom using SVG images. Each user interacts with a digital loom, creating a lace with colors that represent different desires. The data generated is displayed in an interactive environment through projections: 1) A mosaic containing the information entered by the users (color, text and lace design); 2) Projection containing an animation of the last lace sent; 3) A video explaining how to produce the physical lace.
Renda-se ao Alto das Mercês是一个艺术装置，发生在 o jo o del-Rei。标题是基于拉丁术语reddere (re + dare)，意思是返回。它的灵感来自Fortim dos Emboabas的蕾丝系列和著名的历史事件“capo da trai o”——在Emboabas战争期间保利斯投降的大屠杀。此外，这个名字有一个模棱两可的含义，因为在葡萄牙语中，Render-se的意思是投降，而Rendar的意思是做一个花边。该项目旨在通过基于地方的集体艺术活动促进当地居民的参与，这是当地文化的产物，通过物理和数字方式制作。该界面由一个移动应用程序组成，该应用程序使用SVG图像以数字方式再现手工织机。每个用户与数字织布机交互，创造出代表不同愿望的颜色的花边。生成的数据通过投影在交互环境中显示:1)包含用户输入信息(颜色、文字、蕾丝设计)的马赛克;2)投影，包含最后发送的花边动画;3)讲解如何制作实体蕾丝的视频。
{"title":"RENDA-SE AO ALTO DAS MERCÊS","authors":"Igino Silva Junior, F. Schiavoni, M. Almeida","doi":"10.1145/3483529.3483732","DOIUrl":"https://doi.org/10.1145/3483529.3483732","url":null,"abstract":"Renda-se ao Alto das Mercês is an artistic installation that toke place in São João del-Rei. The title is based on the latin term reddere (re + dare) wich means to return. It is inspired by the collection of lace from Fortim dos Emboabas and the remarkable historical event known as “Capão da Traição” - massacre in which paulistas were surrendered during the Emboabas War. Also, the name stablishes an ambiguous meaning as in Portuguese Render-se means to surrender and Rendar means to do a lace. The project aims to promote the participation of the local population by means a collective artistic event based on laces - a product of the local culture - which are produced physically and digitally. The interface consists of a mobile application that digitally reproduces the hand loom using SVG images. Each user interacts with a digital loom, creating a lace with colors that represent different desires. The data generated is displayed in an interactive environment through projections: 1) A mosaic containing the information entered by the users (color, text and lace design); 2) Projection containing an animation of the last lace sent; 3) A video explaining how to produce the physical lace.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125966426","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, Bárbara Milano, Caio Netto dos Santos, Cleber Gazana, Danilo Crispim de Alencar, F. Nunes, F. Fogliano, Hermes Renato HIldebrandt, Mirian Steinberg, Roberta Carvalho, Rodrigo Dorta Marques, Soraya Braz, Tiago Rubini
The article discusses art-technology productions related to concepts such as the Anthropocene, Chthulecene and Plantationocene. More specifically, it regards artworks related to sustainability, the use of water and alternative energy. In this sense some artworks from a number of artists are analyzed in the text, discussing the presence of water as a poetic element in the History of Art, to then think about water in the context of sustainability. More importantly, the paper talks about the cAt (science, Art, technology) group working with water in its solid, liquid and gaseous states as poetic forms, respectively, in each of the group’s artworks presented below. The pieces “Sopro”, “Toque” and “Gesto” were idealized as minimalist ways with which the public can interact using common abilities of the human body to generate electric energy. These artworks’ systems are simple, displayed inside transparent structures and do not require computers or electric energy delivered from regular and commercial sources.
{"title":"Water, Sustainability and Poetics in the Works of the cAt Group","authors":"M. Sogabe, Bárbara Milano, Caio Netto dos Santos, Cleber Gazana, Danilo Crispim de Alencar, F. Nunes, F. Fogliano, Hermes Renato HIldebrandt, Mirian Steinberg, Roberta Carvalho, Rodrigo Dorta Marques, Soraya Braz, Tiago Rubini","doi":"10.1145/3483529.3483708","DOIUrl":"https://doi.org/10.1145/3483529.3483708","url":null,"abstract":"The article discusses art-technology productions related to concepts such as the Anthropocene, Chthulecene and Plantationocene. More specifically, it regards artworks related to sustainability, the use of water and alternative energy. In this sense some artworks from a number of artists are analyzed in the text, discussing the presence of water as a poetic element in the History of Art, to then think about water in the context of sustainability. More importantly, the paper talks about the cAt (science, Art, technology) group working with water in its solid, liquid and gaseous states as poetic forms, respectively, in each of the group’s artworks presented below. The pieces “Sopro”, “Toque” and “Gesto” were idealized as minimalist ways with which the public can interact using common abilities of the human body to generate electric energy. These artworks’ systems are simple, displayed inside transparent structures and do not require computers or electric energy delivered from regular and commercial sources.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134115262","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 essay addresses the effects of the advancement of artificial intelligence in the field of artistic creation, as well as the algorithmic-statistical analysis of images in the history of art and in digital culture. It seeks strategies for the appropriation of these technologies as means for creation in the arts and ways of apprehending all the change that operates from these technologies. Currently, artificial intelligence enhances the research of images in the visual arts and presents new tools and modes of production, both in creation and in research in art history. Its presence is ubiquitous in theoretical-critical thinking in the field of digital culture and art. The notion of techno-hybridism seeks to update concepts of hybridism initially proposed by Bruno Latour. Artificial intelligence would be this link for updating the concept initially proposed by Latour. Originally the hybrid for Latorian thought (hole in the ozone layer), if on the one hand it is an effect of human action, on the other hand it moves away and gains a singular existence affecting the sociocultural field and nature negatively, at least in our day. Thus, artificial intelligence here is analyzed as a techno-hybrid actant - it stems from the human and optimizes our productive-cognitive functions. In this context, crypto art emerges as an element that, on the one hand, imposes a radical change in the system and in artistic production, causes a crack in the current system allowing greater freedom for the market allowing instant access for artists - an ultra-contemporary way linked to the production methods of the past. In another sense, it resumes ways of thinking and producing art that in terms of advances achieved in the 20th century was anachronistic and leave something to be desired such as the number of copies, possession, authorship and ownership of works and the repositioning of the human in the center of creation - eliminating creations assisted by or made by artificial intelligence. Thus, a critical reflection on these themes and a creative-methodological appropriation for the field of aesthetics and the theory of digital analytical culture in the arts is necessary.
{"title":"Crypto Art, Aesthetic Techno-Hybridism and Artificial Intelligence","authors":"A. Semeler, Teresinha Barachini","doi":"10.1145/3483529.3483717","DOIUrl":"https://doi.org/10.1145/3483529.3483717","url":null,"abstract":"This essay addresses the effects of the advancement of artificial intelligence in the field of artistic creation, as well as the algorithmic-statistical analysis of images in the history of art and in digital culture. It seeks strategies for the appropriation of these technologies as means for creation in the arts and ways of apprehending all the change that operates from these technologies. Currently, artificial intelligence enhances the research of images in the visual arts and presents new tools and modes of production, both in creation and in research in art history. Its presence is ubiquitous in theoretical-critical thinking in the field of digital culture and art. The notion of techno-hybridism seeks to update concepts of hybridism initially proposed by Bruno Latour. Artificial intelligence would be this link for updating the concept initially proposed by Latour. Originally the hybrid for Latorian thought (hole in the ozone layer), if on the one hand it is an effect of human action, on the other hand it moves away and gains a singular existence affecting the sociocultural field and nature negatively, at least in our day. Thus, artificial intelligence here is analyzed as a techno-hybrid actant - it stems from the human and optimizes our productive-cognitive functions. In this context, crypto art emerges as an element that, on the one hand, imposes a radical change in the system and in artistic production, causes a crack in the current system allowing greater freedom for the market allowing instant access for artists - an ultra-contemporary way linked to the production methods of the past. In another sense, it resumes ways of thinking and producing art that in terms of advances achieved in the 20th century was anachronistic and leave something to be desired such as the number of copies, possession, authorship and ownership of works and the repositioning of the human in the center of creation - eliminating creations assisted by or made by artificial intelligence. Thus, a critical reflection on these themes and a creative-methodological appropriation for the field of aesthetics and the theory of digital analytical culture in the arts is necessary.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133015381","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：