The substantial growth of the video game industry in the last decades has turned video games a common medium in a myriad of contexts, from education to health, sports, cultural activities, and tourism, covering all ages, gender, and social status. Current immersive technologies and apps aim to link the real world to the virtual world, especially at a time when people rely on technology and on digital communication to almost everything. Making a journey around storytelling in videogames, this paper introduces AVARUM Lands, a digital immersive game that makes use of the local culture as the basis of the game storyline, and its physical space as the game's exploration spatial area, involving visitors and inhabitants in the same plot.
{"title":"Dig in Aveiro with AVARUM Lands: An Immersive Game to Promote Cultural Heritage","authors":"Valérie Duarte, J. Rocha, Ana Barata","doi":"10.1145/3483529.3483668","DOIUrl":"https://doi.org/10.1145/3483529.3483668","url":null,"abstract":"The substantial growth of the video game industry in the last decades has turned video games a common medium in a myriad of contexts, from education to health, sports, cultural activities, and tourism, covering all ages, gender, and social status. Current immersive technologies and apps aim to link the real world to the virtual world, especially at a time when people rely on technology and on digital communication to almost everything. Making a journey around storytelling in videogames, this paper introduces AVARUM Lands, a digital immersive game that makes use of the local culture as the basis of the game storyline, and its physical space as the game's exploration spatial area, involving visitors and inhabitants in the same plot.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"49 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":"133275884","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 project "Play Your Role: Gamification against Hate Speech", funded by the "Rights, Equality and Citizenship" programme, proposes the creation of spaces for dialogue, debate and awareness-raising on hate speech through games. Video games and entertainment play a fundamental role in the daily lives of young people. The influence of games and the idea of gamification proves to be unavoidable in the construction of values, standards, and behaviours, being, therefore, an indispensable and valuable tool in the fight against hate speech. This article contextualises and presents a set of tools developed by the project. Namely: a pervasive game, around the social awareness of the problem of hate speech online transforming the urban space of the cities of Rimini, Italy; Munich, Germany; Warsaw, Poland, and Siauliai, Lithuania, in playful interfaces; and four serious online games developed following an international Hackathon – “Divide Et Impera”, “Youtuber Simulator”, “Social Threads” and “Deplataforming”.
“发挥你的作用:游戏化反对仇恨言论”项目由“权利、平等和公民身份”项目资助，该项目建议通过游戏创造对话、辩论和提高对仇恨言论的认识的空间。电子游戏和娱乐在年轻人的日常生活中扮演着重要的角色。事实证明，在价值观、标准和行为的建构中，游戏的影响和游戏化的理念是不可避免的，因此，它们是打击仇恨言论不可或缺的、有价值的工具。本文介绍了该项目开发的一组工具。即:一个无处不在的游戏，围绕着社会对网络仇恨言论问题的认识，改变了意大利里米尼城市的城市空间;德国慕尼黑;波兰的华沙和立陶宛的Siauliai，在有趣的界面中;以及在国际黑客马拉松之后开发的四款严肃的在线游戏——“Divide Et Impera”、“Youtuber Simulator”、“Social Threads”和“Deplataforming”。
{"title":"Video games and gamification against online hate speech?","authors":"Susana Costa, B. Silva, M. Tavares","doi":"10.1145/3483529.3483679","DOIUrl":"https://doi.org/10.1145/3483529.3483679","url":null,"abstract":"The project \"Play Your Role: Gamification against Hate Speech\", funded by the \"Rights, Equality and Citizenship\" programme, proposes the creation of spaces for dialogue, debate and awareness-raising on hate speech through games. Video games and entertainment play a fundamental role in the daily lives of young people. The influence of games and the idea of gamification proves to be unavoidable in the construction of values, standards, and behaviours, being, therefore, an indispensable and valuable tool in the fight against hate speech. This article contextualises and presents a set of tools developed by the project. Namely: a pervasive game, around the social awareness of the problem of hate speech online transforming the urban space of the cities of Rimini, Italy; Munich, Germany; Warsaw, Poland, and Siauliai, Lithuania, in playful interfaces; and four serious online games developed following an international Hackathon – “Divide Et Impera”, “Youtuber Simulator”, “Social Threads” and “Deplataforming”.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"134 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":"133664809","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}
Displaced is a virtual reality narrative that highlights the emotional trauma triggered by immigration. The story revolves around a father and his daughter who are forced to flee their war-torn country, Palestine, in search of a new home. The viewer is swept along a narrative comprising four scenes. Each scene illustrates one of the major milestones of displacement: Fleeing, Journey, Foreign Land, and New Beginning. The viewer plays a passive role in the narrative, all the while bearing the responsibility of shadowing the characters from start to finish. The environments and characters are hyperbolically stylized and abstracted in virtual reality to elevate the sentiment associated with each milestone. The main objective is to create an intimate experience that builds an empathetic relationship between the viewer and the characters in each environment. Displaced is currently a work in progress and will be presented as a 360-degree narrative told through animated digital paintings
{"title":"Displaced: A 360-Degree Virtual Reality Narrative about Immigration-Related Trauma","authors":"Eman Al-Zubeidi, J. Seo","doi":"10.1145/3483529.3483734","DOIUrl":"https://doi.org/10.1145/3483529.3483734","url":null,"abstract":"Displaced is a virtual reality narrative that highlights the emotional trauma triggered by immigration. The story revolves around a father and his daughter who are forced to flee their war-torn country, Palestine, in search of a new home. The viewer is swept along a narrative comprising four scenes. Each scene illustrates one of the major milestones of displacement: Fleeing, Journey, Foreign Land, and New Beginning. The viewer plays a passive role in the narrative, all the while bearing the responsibility of shadowing the characters from start to finish. The environments and characters are hyperbolically stylized and abstracted in virtual reality to elevate the sentiment associated with each milestone. The main objective is to create an intimate experience that builds an empathetic relationship between the viewer and the characters in each environment. Displaced is currently a work in progress and will be presented as a 360-degree narrative told through animated digital paintings","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"33 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":"115092926","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}
Marta Resende, D. Carvalho, A. Branco, Tânia Rocha
Art should be accessible to all, regardless of their conditions, in order to build a more inclusive society. In this context, collage is an art form that is not yet adapted for those who cannot see, such as people with visual impairments or blind people. Indeed, there are Techniques to Support Artistic Development (TADA), already used in other art forms, that can help in this adaptation. The use of these techniques provides a substantial improvement in the response quality of the person with disabilities when in contact with artistic Works. Thus, with the help of TADA, a manual collage was created from a digital collage, in order to make it accessible to blind and / or visually impaired people. Our goal is to consider the means and resources necessary for this specific audience to achieve a correct identification of the representations (forms) present in the collage, as well as the message that is intended to be conveyed. So, in this article, we present the process of creating the digital and manual collage, describing the TADA created and used; and, specifying the reliefs, textures and sounds and other elements considered the most effective for the interpretation of the piece by the target audience. Subsequently, tests were carried out with the target audience (blind and visually impaired people), in order to perceive and assess the accessibility of the collage. From the results obtained, it was found that the applied TADA (reliefs, textures and sounds) in the preparation of this collage proved to be viable for its interpretation and its various elements, through the target audience. Thus, it was concluded that this approach can be a promising path to follow for the future of accessibility in art.
{"title":"Art & Accessibility: A case study on collage for people with visual disabilities","authors":"Marta Resende, D. Carvalho, A. Branco, Tânia Rocha","doi":"10.1145/3483529.3483676","DOIUrl":"https://doi.org/10.1145/3483529.3483676","url":null,"abstract":"Art should be accessible to all, regardless of their conditions, in order to build a more inclusive society. In this context, collage is an art form that is not yet adapted for those who cannot see, such as people with visual impairments or blind people. Indeed, there are Techniques to Support Artistic Development (TADA), already used in other art forms, that can help in this adaptation. The use of these techniques provides a substantial improvement in the response quality of the person with disabilities when in contact with artistic Works. Thus, with the help of TADA, a manual collage was created from a digital collage, in order to make it accessible to blind and / or visually impaired people. Our goal is to consider the means and resources necessary for this specific audience to achieve a correct identification of the representations (forms) present in the collage, as well as the message that is intended to be conveyed. So, in this article, we present the process of creating the digital and manual collage, describing the TADA created and used; and, specifying the reliefs, textures and sounds and other elements considered the most effective for the interpretation of the piece by the target audience. Subsequently, tests were carried out with the target audience (blind and visually impaired people), in order to perceive and assess the accessibility of the collage. From the results obtained, it was found that the applied TADA (reliefs, textures and sounds) in the preparation of this collage proved to be viable for its interpretation and its various elements, through the target audience. Thus, it was concluded that this approach can be a promising path to follow for the future of accessibility in art.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"77 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":"116308355","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}
Currency is an electronic game and custom game console that play with the idea of uncertainty in our actions and the systems we function within. A console constructed from an obsolete antique Burroughs adding machine monitors the exchange rate of bitcoins to US dollars and uses this data to generate a game level that prints out on the machine's roll of receipt paper. Players use the adding machine's grid of numeric buttons in the attempt to pull two columns of ASCII symbols together while being either aided or impeded by the current Bitcoin value. As Bitcoin's monetary strength increases and decreases, the difficulty of the game mechanics adjusts accordingly. In extreme cases this can even result in certain rounds of the game being unwinnable or unlosable.
{"title":"Currency","authors":"Brian Patrick Franklin, Chris Wille","doi":"10.1145/3483529.3483768","DOIUrl":"https://doi.org/10.1145/3483529.3483768","url":null,"abstract":"Currency is an electronic game and custom game console that play with the idea of uncertainty in our actions and the systems we function within. A console constructed from an obsolete antique Burroughs adding machine monitors the exchange rate of bitcoins to US dollars and uses this data to generate a game level that prints out on the machine's roll of receipt paper. Players use the adding machine's grid of numeric buttons in the attempt to pull two columns of ASCII symbols together while being either aided or impeded by the current Bitcoin value. As Bitcoin's monetary strength increases and decreases, the difficulty of the game mechanics adjusts accordingly. In extreme cases this can even result in certain rounds of the game being unwinnable or unlosable.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"164 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":"116395252","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}
Relation between the timbre of an instrument and tuning system used for said instrument are clear and expected with instruments tuned to just interval ratios such as the case with the sitar and the Indian music tuning systems. This study looks to computationally examine if any relation exists between the timbre of the rebab, a Malaysian traditional stringed instrument and the tuning system used in Makyung (also spelled as Makyong or Mak Yong) performances, a form of traditional musical dance-drama from Malaysia that was proclaimed a “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2005.
{"title":"A Computational Analysis of Timbre and Tuning for the Rebab and Makyung Music Traditions of Malaysia","authors":"Anis Haron, Wong Chee Onn, S. Hew","doi":"10.1145/3483529.3483688","DOIUrl":"https://doi.org/10.1145/3483529.3483688","url":null,"abstract":"Relation between the timbre of an instrument and tuning system used for said instrument are clear and expected with instruments tuned to just interval ratios such as the case with the sitar and the Indian music tuning systems. This study looks to computationally examine if any relation exists between the timbre of the rebab, a Malaysian traditional stringed instrument and the tuning system used in Makyung (also spelled as Makyong or Mak Yong) performances, a form of traditional musical dance-drama from Malaysia that was proclaimed a “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2005.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"108 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":"123531830","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}
Antarctica Tempo is a Live Cinema work of art and science resulting from an almost 60-day expedition to Antarctica. The perception of this place and the pace of the trip mix with scientific research, my subjective vision, and control within the military environment. It is a mixture of codes - software and language - that try to translate the experience lived in this distant place. It is a 10-minutes audiovisual performance manipulating in real-time this mixture of data, sounds and images recreating the narrative and experience lived during the days in Antarctica. Antártica Tempo é uma obra de Live Cinema de arte e ciência resultante de uma expedição de quase 60 dias à Antártica. A percepção desse lugar e o ritmo da viagem se mesclam com a pesquisa cientifica, minha visão subjetiva e o controle dentro do ambiente militar. É uma mistura de códigos - software e linguagem – que tentam traduzir a experiência vivida nesse local distante. São 10 minutos de performance audiovisual manipulando em tempo real essa mistura de dados, sons e imagens recriando a narrativa e experiências vividas durante esses dias na Antártica.
{"title":"Antártica Tempo Live Cinema: Antarctica Tempo Live Cinema","authors":"K. Brunet","doi":"10.1145/3483529.3483753","DOIUrl":"https://doi.org/10.1145/3483529.3483753","url":null,"abstract":"Antarctica Tempo is a Live Cinema work of art and science resulting from an almost 60-day expedition to Antarctica. The perception of this place and the pace of the trip mix with scientific research, my subjective vision, and control within the military environment. It is a mixture of codes - software and language - that try to translate the experience lived in this distant place. It is a 10-minutes audiovisual performance manipulating in real-time this mixture of data, sounds and images recreating the narrative and experience lived during the days in Antarctica. Antártica Tempo é uma obra de Live Cinema de arte e ciência resultante de uma expedição de quase 60 dias à Antártica. A percepção desse lugar e o ritmo da viagem se mesclam com a pesquisa cientifica, minha visão subjetiva e o controle dentro do ambiente militar. É uma mistura de códigos - software e linguagem – que tentam traduzir a experiência vivida nesse local distante. São 10 minutos de performance audiovisual manipulando em tempo real essa mistura de dados, sons e imagens recriando a narrativa e experiências vividas durante esses dias na Antártica.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"280 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":"124488123","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}
Albano Afonso é um artista brasileiro que investiga imagens – enquanto perceptos e ideias – privilegiando a fotografia em apresentações instalativas. Na sua produção artística toma a paisagem como conceito, subsumida em reconfiguração digital, a partir de excertos reorganizados digitalmente. Nas viagens de pesquisa regista organizações de paisagem, de valência patrimonial, tal como o Jardim Botânico do Rio de Janeiro, parte integrante da série Cristalização da Paisagem. Consideram-se as instalações fotográficas “re-compósitas” do Jardim Botânico Rio de Janeiro, em formato wallpaper/site specific - faixas longitudinais impressas aplicadas diretamente na parede. Nas missões estéticas de A. Afonso, os registos proliferam, depois abordados mediante metodologias entrecruzadas, desenvolvidas em fases processuais consecutivas. Identifica os excertos de paisagem, isola-os e recria-os digitalmente. Gera uma composição centrípeta ou centrífuga, subvertendo a iconografia original. Os elementos, retirados das suas fotografias, assumem novas proporcionalidades estéticas. A inventariação dos detalhes é “subvertida” – entre o ínfimo e o maior – sendo compostos em panorâmica ajustada à área expositiva. A. Afonso inventa uma pele de parede/wallpaper que proporciona ao espetador uma vidência imersiva, experienciada sob processo introjetivo-projetivo. A fruição desencadeada por este ambiente construído, fusiona o natural ao paisagístico, a partir de concatenações psicoafectivas e socioculturais, sob égide de circunscrições memoriais. A imersão nesta paisagem que “inexiste”, pode evocar o reconhecimento direto do Jardim Botânico ou através de constructos iconográficos e literários. A carga patrimonial e histórica adquire, por intenção e concretização de A. Afonso, uma vivificação estética que torna a tékné e a poiesis cúmplices diletas para receção imersiva do público. Albano Afonso is a Brazilian artist who investigates images, favoring photography in installation presentations. He understands landscape as a concept, subsumed in a digital reconfiguration, from excerpts digitally reorganized. In his research journeys, he registers landscape organizations, of patrimonial value, such as Rio de Janeiro Botanical Garden, the landscape subject of "Crystallization of Landscape". The “re-composite” photographic installations at the Rio de Janeiro Botanical Garden appear as wallpaper/site specific - printed longitudinal strips applied directly to the wall. In A. Afonso's aesthetic missions, records are approached through intersecting methodologies, developed in consecutive phases. He identifies landscape snippets, isolates and recreates it digitally. He generates a centripetal or centrifugal composition, subverting the original iconography. The selected elements assume new aesthetic proportions and the inventory of details is “subverted” – between the smallest and the largest – in a panoramic configuration adjusted to the exhibition area. A. Afonso creates a wall/wallpaper
{"title":"Cristalização da Paisagem","authors":"Maria de Fátima Lambert","doi":"10.1145/3483529.3483706","DOIUrl":"https://doi.org/10.1145/3483529.3483706","url":null,"abstract":"Albano Afonso é um artista brasileiro que investiga imagens – enquanto perceptos e ideias – privilegiando a fotografia em apresentações instalativas. Na sua produção artística toma a paisagem como conceito, subsumida em reconfiguração digital, a partir de excertos reorganizados digitalmente. Nas viagens de pesquisa regista organizações de paisagem, de valência patrimonial, tal como o Jardim Botânico do Rio de Janeiro, parte integrante da série Cristalização da Paisagem. Consideram-se as instalações fotográficas “re-compósitas” do Jardim Botânico Rio de Janeiro, em formato wallpaper/site specific - faixas longitudinais impressas aplicadas diretamente na parede. Nas missões estéticas de A. Afonso, os registos proliferam, depois abordados mediante metodologias entrecruzadas, desenvolvidas em fases processuais consecutivas. Identifica os excertos de paisagem, isola-os e recria-os digitalmente. Gera uma composição centrípeta ou centrífuga, subvertendo a iconografia original. Os elementos, retirados das suas fotografias, assumem novas proporcionalidades estéticas. A inventariação dos detalhes é “subvertida” – entre o ínfimo e o maior – sendo compostos em panorâmica ajustada à área expositiva. A. Afonso inventa uma pele de parede/wallpaper que proporciona ao espetador uma vidência imersiva, experienciada sob processo introjetivo-projetivo. A fruição desencadeada por este ambiente construído, fusiona o natural ao paisagístico, a partir de concatenações psicoafectivas e socioculturais, sob égide de circunscrições memoriais. A imersão nesta paisagem que “inexiste”, pode evocar o reconhecimento direto do Jardim Botânico ou através de constructos iconográficos e literários. A carga patrimonial e histórica adquire, por intenção e concretização de A. Afonso, uma vivificação estética que torna a tékné e a poiesis cúmplices diletas para receção imersiva do público. Albano Afonso is a Brazilian artist who investigates images, favoring photography in installation presentations. He understands landscape as a concept, subsumed in a digital reconfiguration, from excerpts digitally reorganized. In his research journeys, he registers landscape organizations, of patrimonial value, such as Rio de Janeiro Botanical Garden, the landscape subject of \"Crystallization of Landscape\". The “re-composite” photographic installations at the Rio de Janeiro Botanical Garden appear as wallpaper/site specific - printed longitudinal strips applied directly to the wall. In A. Afonso's aesthetic missions, records are approached through intersecting methodologies, developed in consecutive phases. He identifies landscape snippets, isolates and recreates it digitally. He generates a centripetal or centrifugal composition, subverting the original iconography. The selected elements assume new aesthetic proportions and the inventory of details is “subverted” – between the smallest and the largest – in a panoramic configuration adjusted to the exhibition area. A. Afonso creates a wall/wallpaper ","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"81 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":"129845770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article we present and discuss the ongoing net art project entitled “MIRAGE - The social function of artistic practice as a tool for empowerment. Creative net art projects with Women in Shelters”. The main objective of this research project is to analyse if the artistic practice of net art can have the function of awareness and expression of a certain human and social condition by an individual or group, to become a tool for empowerment and self-determination, namely in the specific situation of women victims of domestic violence. This research will be done through a case study, with an empirical base, which is the Shelter Houses for Women victims of domestic violence.
{"title":"MIRAGE - The social function of artistic practice as a tool for empowerment. Creative net art projects with women in shelters.","authors":"T. Furtado, Aida Rechena","doi":"10.1145/3483529.3483689","DOIUrl":"https://doi.org/10.1145/3483529.3483689","url":null,"abstract":"In this article we present and discuss the ongoing net art project entitled “MIRAGE - The social function of artistic practice as a tool for empowerment. Creative net art projects with Women in Shelters”. The main objective of this research project is to analyse if the artistic practice of net art can have the function of awareness and expression of a certain human and social condition by an individual or group, to become a tool for empowerment and self-determination, namely in the specific situation of women victims of domestic violence. This research will be done through a case study, with an empirical base, which is the Shelter Houses for Women victims of domestic violence.","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":"131035561","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 context of social isolation promoted a repositioning of the performing arts in terms of the aspect of presence as a definition of the art du vivant. Confined and having network technologies as the only allowed social space, it was necessary to create new possibilities for performing arts - dance, theater, performance, etc. It is questioned how these languages are inserted in the videoconference systems. They are not using the potential for interaction and immersion that the advent of the internet has provided. The use of the network as a place for displaying a product ends up disregarding aspects of the effect of the presence existing in the art of living (art du vivant). Immersion dramaturgy is defined as a format created by the articulation between performers, audiences and technology that seeks to guarantee technological mediation whose process challenges new corporealities, while - and precisely for that reason - promoting a greater relationship of interaction and immersion. Resumo. O contexto do isolamento social promoveu um reposicionamento das artes da cena quanto ao aspecto da presença como definição para a arte do vivo. Confinados e tendo as tecnologias de rede como único espaço social permitido, foi necessário criar novas possibilidades para a apresentação das artes cênicas - dança, teatro, performance etc. Questiona-se a forma como essas linguagens são colocadas nos sistemas de videoconferência que acabam não utilizando o potencial de interação e imersão que o advento da internet propiciou. O uso da rede como um local para a exibição de um produto acaba por desconsiderar aspectos do efeito da presença existente na arte do vivo (art du vivant). A Dramaturgia de Imersão é indicada como um formato criado pela articulação entre performers, público e tecnologia que busca garantir a mediação tecnológica cujo processo desafia novas corporalidades, ao mesmo tempo que - e justamente por isso - promove uma relação maior de interação e imersão.
{"title":"The dramaturgy of Immersion. Challenges and Powers of Network Technology for the Performing Arts: Dramaturgia de imersão. Desafios e potências da tecnologia de rede para as artes da cena","authors":"Ivani Santana","doi":"10.1145/3483529.3483693","DOIUrl":"https://doi.org/10.1145/3483529.3483693","url":null,"abstract":"The context of social isolation promoted a repositioning of the performing arts in terms of the aspect of presence as a definition of the art du vivant. Confined and having network technologies as the only allowed social space, it was necessary to create new possibilities for performing arts - dance, theater, performance, etc. It is questioned how these languages are inserted in the videoconference systems. They are not using the potential for interaction and immersion that the advent of the internet has provided. The use of the network as a place for displaying a product ends up disregarding aspects of the effect of the presence existing in the art of living (art du vivant). Immersion dramaturgy is defined as a format created by the articulation between performers, audiences and technology that seeks to guarantee technological mediation whose process challenges new corporealities, while - and precisely for that reason - promoting a greater relationship of interaction and immersion. Resumo. O contexto do isolamento social promoveu um reposicionamento das artes da cena quanto ao aspecto da presença como definição para a arte do vivo. Confinados e tendo as tecnologias de rede como único espaço social permitido, foi necessário criar novas possibilidades para a apresentação das artes cênicas - dança, teatro, performance etc. Questiona-se a forma como essas linguagens são colocadas nos sistemas de videoconferência que acabam não utilizando o potencial de interação e imersão que o advento da internet propiciou. O uso da rede como um local para a exibição de um produto acaba por desconsiderar aspectos do efeito da presença existente na arte do vivo (art du vivant). A Dramaturgia de Imersão é indicada como um formato criado pela articulação entre performers, público e tecnologia que busca garantir a mediação tecnológica cujo processo desafia novas corporalidades, ao mesmo tempo que - e justamente por isso - promove uma relação maior de interação e imersão.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"43 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":"131940577","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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