Inspired by Einstein’s special theory of relativity, Sobre a eletrodinâmica dos corpos de trabalho (On the Electrodynamics of Working Bodies) is a stereophonic, fixed-media video artwork presenting a temporally and spatially distorted perspective on a factory set in natural surroundings. It portrays the work of the facility as it echoes off the landscape in compressed time, frozen time, and smeared timelines by modeling sonic mirrors moving at relativistic speeds. It is a reflection on the efforts of man-made forces, the persistence of natural forces over time, and the interfaces between them.
受爱因斯坦狭义相对论的启发，《关于工作物体的电动力学》(Sobre a eletrodin mica dos corpos de trabalho)是一件立体声、固定媒体的视频艺术作品，以一种时空扭曲的视角呈现了一个自然环境中的工厂。它通过模拟以相对论速度运动的声波镜，描绘了该设施在压缩时间、冻结时间和模糊时间线中与景观相呼应的工作。它反映了人为力量的努力，自然力量随着时间的推移而持续存在，以及它们之间的接口。
{"title":"On the Electrodynamics of Working Bodies: Sobre a eletrodinâmica dos corpos de trabalho","authors":"Jeffrey Morris","doi":"10.1145/3483529.3483780","DOIUrl":"https://doi.org/10.1145/3483529.3483780","url":null,"abstract":"Inspired by Einstein’s special theory of relativity, Sobre a eletrodinâmica dos corpos de trabalho (On the Electrodynamics of Working Bodies) is a stereophonic, fixed-media video artwork presenting a temporally and spatially distorted perspective on a factory set in natural surroundings. It portrays the work of the facility as it echoes off the landscape in compressed time, frozen time, and smeared timelines by modeling sonic mirrors moving at relativistic speeds. It is a reflection on the efforts of man-made forces, the persistence of natural forces over time, and the interfaces between them.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"8 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":"129721103","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. Sola, Varvara Guljajeva, Á. Cassinelli, C. Sandor
This paper introduces an art project called “The Beautiful Encounters” that resonates with the surrealist painter Rene Magritte's work and aims to introduce an interactive scenario as a case study that applies AI technology. The article's focus lies on the research process exploring methods to integrate the real-time image of the sky into an interactive artwork. The technical part explains how multiple technologies, like face tracking, its alignment, the AI model of face-parsing, shaders, and web technologies, are combined in the project. In the end, we discuss the importance of contextualizing AI-related artworks in relation to art history.
{"title":"The Beautiful Encounters","authors":"M. Sola, Varvara Guljajeva, Á. Cassinelli, C. Sandor","doi":"10.1145/3483529.3483744","DOIUrl":"https://doi.org/10.1145/3483529.3483744","url":null,"abstract":"This paper introduces an art project called “The Beautiful Encounters” that resonates with the surrealist painter Rene Magritte's work and aims to introduce an interactive scenario as a case study that applies AI technology. The article's focus lies on the research process exploring methods to integrate the real-time image of the sky into an interactive artwork. The technical part explains how multiple technologies, like face tracking, its alignment, the AI model of face-parsing, shaders, and web technologies, are combined in the project. In the end, we discuss the importance of contextualizing AI-related artworks in relation to art history.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"532 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":"133103896","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}
New technology and media platforms are emerging to support communications between Long Distance Relationships (LDRs). But few of them are aiming at a specific emotional expression such as nostalgic feelings. As Svetlana Boym says, nostalgic love can only survive in a Long-Distance Relationship [1]. Nostalgia is a common emotion we feel towards people we loved but living in distance. It has been shown to have benefits for relationship bonding and human well-being [2]. While most nostalgia designs are emphasized on retro style and memory-related uses, nostalgia's aesthetic meanings and reflective attributes are being ignored and lack theoretical exploration. Missing someone who is absent is just like J. D. Salinger's description about love: "a touch and yet not a touch" [3]. The multi-layered emotion is hard to describe and harder to express over distance. Since nostalgic emotion is a perfect bridge for shortening psychological distance and establishing a real lasting, organic relationship bonding, we believe it is timely to create a new language to deliver this subtle emotion. In this paper, we propose an LDR mediated design concept based on nostalgia theory, followed by two design cases: NostosMoon and NostosLamp. Those design cases feature three factors: metaphorical nature-related content, slow and reserved way of interaction, and realized tangible output. We would like to open discussions on how factors that are seemly opposite with closeness actually enhance intimacy and strengthen bonding between LDR groups, thus influence the nostalgia mediated design.
{"title":"Aesthetic Nostalgia Mediated Design for Long Distance Relationship","authors":"Xu Yu, M. Inakage, Atsuro Ueki","doi":"10.1145/3483529.3483745","DOIUrl":"https://doi.org/10.1145/3483529.3483745","url":null,"abstract":"New technology and media platforms are emerging to support communications between Long Distance Relationships (LDRs). But few of them are aiming at a specific emotional expression such as nostalgic feelings. As Svetlana Boym says, nostalgic love can only survive in a Long-Distance Relationship [1]. Nostalgia is a common emotion we feel towards people we loved but living in distance. It has been shown to have benefits for relationship bonding and human well-being [2]. While most nostalgia designs are emphasized on retro style and memory-related uses, nostalgia's aesthetic meanings and reflective attributes are being ignored and lack theoretical exploration. Missing someone who is absent is just like J. D. Salinger's description about love: \"a touch and yet not a touch\" [3]. The multi-layered emotion is hard to describe and harder to express over distance. Since nostalgic emotion is a perfect bridge for shortening psychological distance and establishing a real lasting, organic relationship bonding, we believe it is timely to create a new language to deliver this subtle emotion. In this paper, we propose an LDR mediated design concept based on nostalgia theory, followed by two design cases: NostosMoon and NostosLamp. Those design cases feature three factors: metaphorical nature-related content, slow and reserved way of interaction, and realized tangible output. We would like to open discussions on how factors that are seemly opposite with closeness actually enhance intimacy and strengthen bonding between LDR groups, thus influence the nostalgia mediated design.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"1 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":"130546555","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 an overview of the interactive natural history museum exhibit entitled The Legacy of a Lifetime of Collecting: The Carl & Marian Rettenmeyer Story. The exhibit uses digital animation and touch-interactive experiences to engage visitors in a hitherto under-recognized biological system and the life stories of the scientists who studied it. The late Carl and Marian Rettenmeyer devoted their lives to the study of the complex biological system formed by army ants and their hundreds of associated species known as “guests.” Over the course of fifty years of scientific field research in Central and South America they amassed the Army Ant Guest Collection, a world-class natural history collection consisting of over 2,000,000 specimens of army ants and their guests and accompanying field card documentation. A multidisciplinary team of scientists, artists, and museum exhibit designers with expertise in interactive technology, animation, and entomology came together to create an interactive exhibit inspired by the Army Ant Guest Collection. The exhibit illuminates the process of scientific research and discovery and the value of natural history collections by highlighting the biology of army ants and their guests alongside the life story of Carl and Marian Rettenmeyer. The exhibit's interactive experiences allow visitors to journey from field research in the jungle to the study of specimens in a natural history collection. This paper describes the background of the exhibit and the creative team that made it and details the exhibit design.
{"title":"The Legacy of a Lifetime of Collecting: An Interactive Natural History Museum Exhibit","authors":"Anna Lindemann","doi":"10.1145/3483529.3483665","DOIUrl":"https://doi.org/10.1145/3483529.3483665","url":null,"abstract":"This paper presents an overview of the interactive natural history museum exhibit entitled The Legacy of a Lifetime of Collecting: The Carl & Marian Rettenmeyer Story. The exhibit uses digital animation and touch-interactive experiences to engage visitors in a hitherto under-recognized biological system and the life stories of the scientists who studied it. The late Carl and Marian Rettenmeyer devoted their lives to the study of the complex biological system formed by army ants and their hundreds of associated species known as “guests.” Over the course of fifty years of scientific field research in Central and South America they amassed the Army Ant Guest Collection, a world-class natural history collection consisting of over 2,000,000 specimens of army ants and their guests and accompanying field card documentation. A multidisciplinary team of scientists, artists, and museum exhibit designers with expertise in interactive technology, animation, and entomology came together to create an interactive exhibit inspired by the Army Ant Guest Collection. The exhibit illuminates the process of scientific research and discovery and the value of natural history collections by highlighting the biology of army ants and their guests alongside the life story of Carl and Marian Rettenmeyer. The exhibit's interactive experiences allow visitors to journey from field research in the jungle to the study of specimens in a natural history collection. This paper describes the background of the exhibit and the creative team that made it and details the exhibit design.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"14 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":"114293223","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}
Andrea Mantegna's influence over the Renaissance's naturalistic rendition of the space is fundamental, and his works continued to inspire in the next centuries different schools of painting in Europe. His use of the concept of “Trompe L'oeil,” [1] inaugurates a proto-technological system that expands the architectural space of the fresco's technique to illusionistic dimensions. However, recent studies have discovered that some of his frescos depict a more complex representation inspired by writers from the classical world, seeking to immerse the viewers in a more literary narrative and visual perceptions [2]. Those masterpieces followed an ambitious desire to play with illusion as a device to expand their pictorial narrative beyond their formal physical boundaries. That is the case expressed in the series of frescos located at The Palazzo Ducale di Mantova Italy. These painted images are known as the “Camera Picta,” “Wedding Chamber”, or La Camera degli Sposi. A particular component of these frescos is the application of “di sotto in sù” (seen from below), which represents in a painted vaulted ceiling an opened sky seen through an oculus shape, depicting characters glancing down. Andrea Mantegna playfully organizes this effect and suggests a perception that goes beyond the mere effect of illusion articulating complex and opposed vantage points. The installation described in this paper commits a full and interactive approach to the topics described above.
安德里亚·曼特尼亚对文艺复兴时期自然主义空间表现的影响是根本性的，他的作品在接下来的几个世纪里继续激励着欧洲不同的绘画流派。他对“错视”概念的使用[1]开创了一种原始技术系统，将壁画技术的建筑空间扩展到幻觉维度。然而，最近的研究发现，他的一些壁画描绘了一种更复杂的表现形式，灵感来自古典世界的作家，试图让观众沉浸在更文学的叙事和视觉感知中[2]。这些杰作遵循了一种雄心勃勃的愿望，即利用幻觉作为一种手段，将其图像叙事扩展到正式的物理边界之外。意大利曼托瓦公爵宫(Palazzo Ducale di Mantova)的一系列壁画就是这种情况。这些画被称为“Camera Picta”、“Wedding Chamber”或La Camera degli Sposi。这些壁画的一个特殊组成部分是“di sotto in sù”(从下方看)的应用，它代表了一个彩绘的拱形天花板，通过一个眼状的形状看到一个开放的天空，描绘了向下看的人物。Andrea Mantegna开玩笑地组织了这种效果，并提出了一种超越幻觉效果的感知，表达了复杂和对立的有利位置。本文中描述的安装为上述主题提供了一个完整的交互式方法。
{"title":"Pictorial and Virtual simulation of Andrea Mantegna's fresco The Wedding Chamber through a mixed reality environment installation","authors":"Andres R. Montenegro, A. Ushenko","doi":"10.1145/3483529.3483771","DOIUrl":"https://doi.org/10.1145/3483529.3483771","url":null,"abstract":"Andrea Mantegna's influence over the Renaissance's naturalistic rendition of the space is fundamental, and his works continued to inspire in the next centuries different schools of painting in Europe. His use of the concept of “Trompe L'oeil,” [1] inaugurates a proto-technological system that expands the architectural space of the fresco's technique to illusionistic dimensions. However, recent studies have discovered that some of his frescos depict a more complex representation inspired by writers from the classical world, seeking to immerse the viewers in a more literary narrative and visual perceptions [2]. Those masterpieces followed an ambitious desire to play with illusion as a device to expand their pictorial narrative beyond their formal physical boundaries. That is the case expressed in the series of frescos located at The Palazzo Ducale di Mantova Italy. These painted images are known as the “Camera Picta,” “Wedding Chamber”, or La Camera degli Sposi. A particular component of these frescos is the application of “di sotto in sù” (seen from below), which represents in a painted vaulted ceiling an opened sky seen through an oculus shape, depicting characters glancing down. Andrea Mantegna playfully organizes this effect and suggests a perception that goes beyond the mere effect of illusion articulating complex and opposed vantage points. The installation described in this paper commits a full and interactive approach to the topics described above.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"79 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":"121742743","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 propose an installation that investigates the notion of the anatomical canon and its conceptual and practical role in the artistic modeling of human anatomy. This installation guides the visitor through the synthesis of a digital canon built from standard 3D primitives. Through a model that can be interactively constructed or deconstructed step-by-step, using simple controls, the visitor is invited to study, and draw, the human surface anatomy and its main features as interpreted through the natural tools of digital modeling.
{"title":"Anatomy Primitives","authors":"Hugo Azevedo, A. Araújo","doi":"10.1145/3483529.3483760","DOIUrl":"https://doi.org/10.1145/3483529.3483760","url":null,"abstract":"We propose an installation that investigates the notion of the anatomical canon and its conceptual and practical role in the artistic modeling of human anatomy. This installation guides the visitor through the synthesis of a digital canon built from standard 3D primitives. Through a model that can be interactively constructed or deconstructed step-by-step, using simple controls, the visitor is invited to study, and draw, the human surface anatomy and its main features as interpreted through the natural tools of digital modeling.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"15 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":"125336758","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 Incorpórea is intended to present the process of artistic construction of a self-portrait-as-installation, using the body as a matrix and means of expression. From the description of the movements of this body, immersed in a context-territory of political and social conflict, and its artistic results, a possible and partial analysis will be carried out, seeking a guiding thread, and still engaged in its ends: a process of realization of artistic works and self-construction. The works cited in this essay seek to raise reflections in the relations that later are established: the body and the media, the mobile identities, the territories of conflicts and the memory. The relationships discussed through the works of artists, filmmakers and theorists are attempts to inter locution with "Incorporeal", whose trajectory allow us to find points of recognition, to enhance the construction here analyzed and it points to an incorporeal and conclusive installation. Resumo. Incorpórea pretende-se apresentar o processo de construção artística de um autorretrato-como-instalação, utilizando o corpo como matriz e meio de expressão. A partir da descrição dos movimentos desse corpo, imerso em um contexto-território de conflito político e social, e seus resultados artísticos, será realizada uma análise possível, buscando um fio condutor, e ainda engajado em seus fins: a processo de realização de obras artísticas e autoconstrução. Os trabalhos citados neste ensaio buscam suscitar reflexões nas relações que posteriormente se estabelecem: o corpo e a mídia, as identidades móveis, os territórios de conflitos e a memória. As relações discutidas nas obras de artistas, cineastas e teóricos são tentativas de interlocução com "Incorpórea", cuja trajetória nos permite encontrar pontos de reconhecimento, a fim de valorizar a construção aqui analisada e aponta para uma instalação incorpórea e conclusiva.
在Incorpórea中，旨在呈现一幅自画像作为装置的艺术建构过程，以身体为母体和表现手段。从这个身体在政治和社会冲突的语境领域中的运动及其艺术结果的描述中，将进行一种可能的和局部的分析，寻求一条指导线索，并仍然从事其目的:艺术作品的实现和自我建构的过程。本文中引用的作品试图引起对后来建立的关系的反思:身体和媒体，流动的身份，冲突的领土和记忆。通过艺术家、电影人、理论家的作品所讨论的关系，是对“无形”的对话，它的轨迹让我们找到了认识的点，强化了这里所分析的建构，它指向了一个无形的、结论性的装置。Resumo。Incorpórea假装是process de construction的代表artística de um autorretrato-como- install - apral的代表，公司como matrix的代表，表达的代表。A partipartida description dos movimentos desse corpo、imerso em em contexto-território de conflito político e social、seseus resultados artísticos、serserrealizada uma análise possível、buscando um fio导体、eainda engajado em seusfins: A processso de realizao de obras artísticas e autoconstruction o o。Os trabalhos citados neste ensaio buscamsuscitar reflexões as relações que posteriormente se established: o corpo e a mídia, as identiades móveis, Os territórios de conflitos e a memória。作为relacoes discutidas nas obra为de artistas cineastas e teoricos圣tentativas de interlocucao com“Incorporea”,行政罚款trajetoria nos permite encontrar pontos de此一个鳍de valorizar construcao aqui analisada e aponta对位乌玛instalacao Incorporea e conclusiva。
{"title":"Incorporeal: introspection and memories of a creative process: Incorpórea: introspeções e memórias de um processo criativo","authors":"Verena Kael","doi":"10.1145/3483529.3483536","DOIUrl":"https://doi.org/10.1145/3483529.3483536","url":null,"abstract":"In Incorpórea is intended to present the process of artistic construction of a self-portrait-as-installation, using the body as a matrix and means of expression. From the description of the movements of this body, immersed in a context-territory of political and social conflict, and its artistic results, a possible and partial analysis will be carried out, seeking a guiding thread, and still engaged in its ends: a process of realization of artistic works and self-construction. The works cited in this essay seek to raise reflections in the relations that later are established: the body and the media, the mobile identities, the territories of conflicts and the memory. The relationships discussed through the works of artists, filmmakers and theorists are attempts to inter locution with \"Incorporeal\", whose trajectory allow us to find points of recognition, to enhance the construction here analyzed and it points to an incorporeal and conclusive installation. Resumo. Incorpórea pretende-se apresentar o processo de construção artística de um autorretrato-como-instalação, utilizando o corpo como matriz e meio de expressão. A partir da descrição dos movimentos desse corpo, imerso em um contexto-território de conflito político e social, e seus resultados artísticos, será realizada uma análise possível, buscando um fio condutor, e ainda engajado em seus fins: a processo de realização de obras artísticas e autoconstrução. Os trabalhos citados neste ensaio buscam suscitar reflexões nas relações que posteriormente se estabelecem: o corpo e a mídia, as identidades móveis, os territórios de conflitos e a memória. As relações discutidas nas obras de artistas, cineastas e teóricos são tentativas de interlocução com \"Incorpórea\", cuja trajetória nos permite encontrar pontos de reconhecimento, a fim de valorizar a construção aqui analisada e aponta para uma instalação incorpórea e conclusiva.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"17 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":"130688550","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 described here concepts and technical information concerning the installation Jardim das Cartas which brings together video, dance, poetry, voice, and soundscape to express a Presence Ecology. The visitors will be immersed in digital media rhizomes to stimulate their imagination with multimodal sensations.
我们在这里描述了关于装置Jardim das Cartas的概念和技术信息，它将视频，舞蹈，诗歌，声音和音景结合在一起来表达存在生态。参观者将沉浸在数字媒体的根茎中，以多模态的感觉激发他们的想象力。
{"title":"Jardim das Cartas: an installation as a Presence Ecology","authors":"J. Manzolli, Mariana Baruco Machado Andraus","doi":"10.1145/3483529.3483770","DOIUrl":"https://doi.org/10.1145/3483529.3483770","url":null,"abstract":"We described here concepts and technical information concerning the installation Jardim das Cartas which brings together video, dance, poetry, voice, and soundscape to express a Presence Ecology. The visitors will be immersed in digital media rhizomes to stimulate their imagination with multimodal sensations.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"26 3 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":"130755968","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 explores the cognitive relationship between human and technology and reexamines conscious/nonconscious mind from a cultural, philosophical, and artistic perspective. Also, this paper challenges the human-nonhuman binary by discussing human cognition in technological society. Human cognition is inseparable from digital data and operating systems, and a huge portion of the cognitive system we live in is comprised of digital information – and Katherine Hayles refers it as Cognisphere. This paper investigates what is outside of/beyond/beneath/beside conscious cognition – such as nonconscious cognition and affects – to overcome human-centric views and pursue sustainable coevolution of humans and technology by truly understanding their cognitive relationship and cultural implications of their coevolution. This paper also argues that art practices could be an alternative and effective research method to investigate such nonlinguistic and intangible cognitive phenomena.
{"title":"Cognition Beyond Consciousness: Understanding Affective Possibilities in the Cognitive Relationship Between Humans and Technology for Their Sustainable Coevolution","authors":"Sunsook Nam","doi":"10.1145/3483529.3483750","DOIUrl":"https://doi.org/10.1145/3483529.3483750","url":null,"abstract":"This paper explores the cognitive relationship between human and technology and reexamines conscious/nonconscious mind from a cultural, philosophical, and artistic perspective. Also, this paper challenges the human-nonhuman binary by discussing human cognition in technological society. Human cognition is inseparable from digital data and operating systems, and a huge portion of the cognitive system we live in is comprised of digital information – and Katherine Hayles refers it as Cognisphere. This paper investigates what is outside of/beyond/beneath/beside conscious cognition – such as nonconscious cognition and affects – to overcome human-centric views and pursue sustainable coevolution of humans and technology by truly understanding their cognitive relationship and cultural implications of their coevolution. This paper also argues that art practices could be an alternative and effective research method to investigate such nonlinguistic and intangible cognitive phenomena.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"1999 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":"120970544","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}
C. Dias, C. Branquinho, J. Palma-Oliveira, Mónica Mendes
Urban culture has encouraged participatory art practices that focused on human interaction and social contexts. At the same time, urbanization has induced a disconnection between Human-Nature interaction and the development of mental models detached from complex social-ecological systems and their sustainability. This article is part of a PhD research relating Digital and Interactive Arts with Ecology and Psychology. Our aim is to investigate participation in documentary film production and explore it as a participatory artistic medium to foster critical thinking towards Sustainability. Hereof, in this article we set the grassroots from which our research will evolve. We first analyse participation in the process of filmmaking, through the engagement of the subject-participant in documentary creation and production both in linear films and in i-Docs (interactive and immersive documentaries). We then associate the speech of these subject-participants to mental models concept. Next, we introduce the sustainability principles that will guide our investigation in urban social-ecological contexts and set some inspirations raised by previous artistic practices. We then discuss the intersections between aspects of participation in documentary films with mental models and sustainability to finally set out interrogations and possibilities for future artistic explorations that ponder on participation, authorship, technology, cognitive dimensions, social-ecological systems and dissemination towards sustainability.
{"title":"Participation in linear and interactive documentaries towards Human-Nature interaction","authors":"C. Dias, C. Branquinho, J. Palma-Oliveira, Mónica Mendes","doi":"10.1145/3483529.3483664","DOIUrl":"https://doi.org/10.1145/3483529.3483664","url":null,"abstract":"Urban culture has encouraged participatory art practices that focused on human interaction and social contexts. At the same time, urbanization has induced a disconnection between Human-Nature interaction and the development of mental models detached from complex social-ecological systems and their sustainability. This article is part of a PhD research relating Digital and Interactive Arts with Ecology and Psychology. Our aim is to investigate participation in documentary film production and explore it as a participatory artistic medium to foster critical thinking towards Sustainability. Hereof, in this article we set the grassroots from which our research will evolve. We first analyse participation in the process of filmmaking, through the engagement of the subject-participant in documentary creation and production both in linear films and in i-Docs (interactive and immersive documentaries). We then associate the speech of these subject-participants to mental models concept. Next, we introduce the sustainability principles that will guide our investigation in urban social-ecological contexts and set some inspirations raised by previous artistic practices. We then discuss the intersections between aspects of participation in documentary films with mental models and sustainability to finally set out interrogations and possibilities for future artistic explorations that ponder on participation, authorship, technology, cognitive dimensions, social-ecological systems and dissemination towards sustainability.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"55 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":"128864692","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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