Sara Mlakar, Thomas Preindl, A. Pointner, Mira Alida Haberfellner, Rainer Danner, Roland Aigner, M. Haller
The Sound of Textile installation consists of seven interactive textile stripes enhanced with sensing capabilities. The expressive textile textures invite visitors to touch them. Every established connection between the visitor and the textile triggers a specific sound serving as an invitation into the imaginative world of stories and emotions. The selection of textiles and sounds has been established from collecting associations that arose in the authors when moving our fingers over specific textures. This introspective journey is the artistic counterpart to our HCI development of smart textiles, concerned with enhancing textiles with sensing capabilities, as well as finding ways to communicate interaction possibilities within the medium. The installation, therefore, serves as an intense sensory experience for the user, but also provides valuable insights on how we could design more meaningful interactions with smart textiles in future applications.
{"title":"The Sound of Textile: An Interactive Tactile-Sonic Installation","authors":"Sara Mlakar, Thomas Preindl, A. Pointner, Mira Alida Haberfellner, Rainer Danner, Roland Aigner, M. Haller","doi":"10.1145/3483529.3483742","DOIUrl":"https://doi.org/10.1145/3483529.3483742","url":null,"abstract":"The Sound of Textile installation consists of seven interactive textile stripes enhanced with sensing capabilities. The expressive textile textures invite visitors to touch them. Every established connection between the visitor and the textile triggers a specific sound serving as an invitation into the imaginative world of stories and emotions. The selection of textiles and sounds has been established from collecting associations that arose in the authors when moving our fingers over specific textures. This introspective journey is the artistic counterpart to our HCI development of smart textiles, concerned with enhancing textiles with sensing capabilities, as well as finding ways to communicate interaction possibilities within the medium. The installation, therefore, serves as an intense sensory experience for the user, but also provides valuable insights on how we could design more meaningful interactions with smart textiles in future applications.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"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":"125270472","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 document refers to a work in progress which takes part on a larger project entitled “The house for a man who wants to die dry”. The aforementioned house has several rooms, each with its own traits and corresponding artistic proposals. The division herein brought forth is the kitchen: “A stone in the stomach – a class as a work of art”. A tale to be told. In general terms, the investigation regards issues such as the symbiosis of human beings with nature, technology and territory. An artistic approach with anthropological dimensions, observing the components of cooperation and interaction between the different players of life: minerals, plants, animals and the not-yet-visible. The proposed work results from the reflection for an interactive artistic installation featuring the kitchen as a magnifying glass for degrowth, which seeks to expose the need for a coexistence agreement between animals of the human species and other species, as well as nature as a whole. An installation which is meant to stand as both a starting point for a performative class and an extended conversation about degrowth. Its materialization implies interaction with local resources (human and natural - existing autochthonous foodsand communities, among others). As an installation, the kitchen will encompass the use of visual elements embodied as diet charts, nutrient value charts for each species and food cartographies for different cuts of animal bodies, as well as infographics, videos, projections and virtual reality elements.
{"title":"A Stone in the Stomach: A class as a work of art","authors":"Gilberto Reis, Sérgio Eliseu","doi":"10.1145/3483529.3483714","DOIUrl":"https://doi.org/10.1145/3483529.3483714","url":null,"abstract":"This document refers to a work in progress which takes part on a larger project entitled “The house for a man who wants to die dry”. The aforementioned house has several rooms, each with its own traits and corresponding artistic proposals. The division herein brought forth is the kitchen: “A stone in the stomach – a class as a work of art”. A tale to be told. In general terms, the investigation regards issues such as the symbiosis of human beings with nature, technology and territory. An artistic approach with anthropological dimensions, observing the components of cooperation and interaction between the different players of life: minerals, plants, animals and the not-yet-visible. The proposed work results from the reflection for an interactive artistic installation featuring the kitchen as a magnifying glass for degrowth, which seeks to expose the need for a coexistence agreement between animals of the human species and other species, as well as nature as a whole. An installation which is meant to stand as both a starting point for a performative class and an extended conversation about degrowth. Its materialization implies interaction with local resources (human and natural - existing autochthonous foodsand communities, among others). As an installation, the kitchen will encompass the use of visual elements embodied as diet charts, nutrient value charts for each species and food cartographies for different cuts of animal bodies, as well as infographics, videos, projections and virtual reality elements.","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":"129285605","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}
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}
Julie Choi, Kamryn Massey, J. Seo, Caleb Kicklighter
Art-integrated education has many positive impacts on various educational disciplines. In addition, teaching STEM in art related courses also benefits students with critical thinking. We present an art-integrated collaborative project for dance science education. This project aims to provide a Virtual Reality-based educational application, Balletic VR that can provide students with simulated 360 views of fundamental movements. It allows students to scrub through movements, rotate the virtual instructor, choose from several different dance options, and change the speed of the currently viewed dance movement. Motion capture was used to provide the initial data for fundamental dance positions, to portray these movements accurately. A “muscle mode” is also provided in the interface, highlighting key muscle groups used in specific dance positions and providing information about how they are being used and how to train such muscles to better enhance their ability. Through the iterative process, we experimented how artists, anatomists, dancers, virtual reality developers collaborate and succeed to create an environment that provides artistic and anatomical contents and experiences.
{"title":"Balletic VR: Integrating Art, Science, and Technology for Dance Science Education","authors":"Julie Choi, Kamryn Massey, J. Seo, Caleb Kicklighter","doi":"10.1145/3483529.3483704","DOIUrl":"https://doi.org/10.1145/3483529.3483704","url":null,"abstract":"Art-integrated education has many positive impacts on various educational disciplines. In addition, teaching STEM in art related courses also benefits students with critical thinking. We present an art-integrated collaborative project for dance science education. This project aims to provide a Virtual Reality-based educational application, Balletic VR that can provide students with simulated 360 views of fundamental movements. It allows students to scrub through movements, rotate the virtual instructor, choose from several different dance options, and change the speed of the currently viewed dance movement. Motion capture was used to provide the initial data for fundamental dance positions, to portray these movements accurately. A “muscle mode” is also provided in the interface, highlighting key muscle groups used in specific dance positions and providing information about how they are being used and how to train such muscles to better enhance their ability. Through the iterative process, we experimented how artists, anatomists, dancers, virtual reality developers collaborate and succeed to create an environment that provides artistic and anatomical contents and experiences.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"45 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":"124019568","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}
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}
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}
R. Antunes, Catarina Canelas, Cecília De Lima, Daniel Tércio, Michele Luceac, Sérgio Bordalo e Sá, Sofia Soromenho
TEPe (Technologically Expanded Performance) is a research project that aims at the qualification of urban experiences, through the negotiation of different times in the city, assuming the capacity and deceleration of rhythms; in this way, it seeks to appreciate heritage, assuming the tensions between the material and the immaterial. For Artech, this project proposes a workshop in the format of a sensorial walk. A workshop which helps us to discover the city of Aveiro, to get to know it using the body and technology, and to recognize ourselves through our experience in the city. The aim is to produce a reflection about ourselves-energy, ourselves-movement, in flux, promoting a dialogue between-bodies - within the crowd - and materials - moving and inert -. For that purpose, we will use the act of walking, stopping, listening and feeling, with the help of technology to create a performance/debate. Rooted in the rambling tradition of Surrealism and drifting and psycho-geographic practices of Situationism, this type of walk allows us to rediscover the senses and uncover hidden or disguised dimensions of space, the acoustic environment, and its inhabitants. In synchronous times and departing from different places in the city, several groups of walkers will start sensorial explorations of the city by heading towards the conference venue. During the duration of the walk (one hour), one member of the group (the VJ) will be in a room of the conference space with a video projector. During the walks, the walkers will share their experience to this VJ, who will assist an automated visual and audio performance in real time generated from the elements sent. Once the groups have arrived at the room, they will discuss their experience with the audience.
TEPe (technical Expanded Performance)是一个研究项目，旨在通过城市中不同时间的协商，假设节奏的容量和减速，从而获得城市体验的资格;通过这种方式，它寻求欣赏遗产，假设物质和非物质之间的紧张关系。对于Artech来说，这个项目提出了一个以感官行走形式的工作坊。这个工作坊帮助我们发现阿威罗市，通过身体和技术来了解它，并通过我们在城市的经历来认识自己。其目的是产生一种关于我们自身的反思——能量，我们自身——运动，在流动中，促进人群中的身体和物质之间的对话——运动和惰性。为此，我们将使用行走、停下来、倾听和感受的行为，在技术的帮助下创造一场表演/辩论。根植于超现实主义的漫无边际传统和情境主义的漂泊和心理地理实践，这种类型的行走让我们重新发现感官，揭示隐藏或伪装的空间维度、声音环境和其中的居民。在同步的时间，从城市的不同地方出发，几组步行者将开始对城市的感官探索，走向会场。在步行期间(一小时)，小组中的一名成员(VJ)将在会议空间的一个房间里使用视频投影仪。在步行过程中，步行者将与VJ分享他们的经验，VJ将协助根据发送的元素实时生成自动视觉和音频表演。一旦小组到达房间，他们将与观众讨论他们的经历。
{"title":"Aveiro within us: Sensorial walk with real time live video composition","authors":"R. Antunes, Catarina Canelas, Cecília De Lima, Daniel Tércio, Michele Luceac, Sérgio Bordalo e Sá, Sofia Soromenho","doi":"10.1145/3483529.3483735","DOIUrl":"https://doi.org/10.1145/3483529.3483735","url":null,"abstract":"TEPe (Technologically Expanded Performance) is a research project that aims at the qualification of urban experiences, through the negotiation of different times in the city, assuming the capacity and deceleration of rhythms; in this way, it seeks to appreciate heritage, assuming the tensions between the material and the immaterial. For Artech, this project proposes a workshop in the format of a sensorial walk. A workshop which helps us to discover the city of Aveiro, to get to know it using the body and technology, and to recognize ourselves through our experience in the city. The aim is to produce a reflection about ourselves-energy, ourselves-movement, in flux, promoting a dialogue between-bodies - within the crowd - and materials - moving and inert -. For that purpose, we will use the act of walking, stopping, listening and feeling, with the help of technology to create a performance/debate. Rooted in the rambling tradition of Surrealism and drifting and psycho-geographic practices of Situationism, this type of walk allows us to rediscover the senses and uncover hidden or disguised dimensions of space, the acoustic environment, and its inhabitants. In synchronous times and departing from different places in the city, several groups of walkers will start sensorial explorations of the city by heading towards the conference venue. During the duration of the walk (one hour), one member of the group (the VJ) will be in a room of the conference space with a video projector. During the walks, the walkers will share their experience to this VJ, who will assist an automated visual and audio performance in real time generated from the elements sent. Once the groups have arrived at the room, they will discuss their experience with the audience.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"2017 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":"127556952","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：