The article explores new ways of written language aided by AI technologies, like GPT-2 and GPT-3. The question that is stated in the paper is not about whether these novel technologies will eventually replace authored books, but how to relate to and contextualize such publications and what kind of new tools, processes, and ideas are behind them. For that purpose, a new concept of synthetic books is introduced in the article. It stands for the publications created by deploying AI technology, more precisely autoregressive language models that are able to generate human-like text. Supported by the case studies, the value and reasoning of the synthetic books are discussed. The paper emphasizes that artistic quality is an issue when it comes to AI-generated content. The article introduces projects that demonstrate an interactive input by an artist and/or audience combined with the deep-learning-based language models. In the end, the paper focuses on understanding the neural aesthetics of written language in the art context.
{"title":"Synthetic Books","authors":"Varvara Guljajeva","doi":"10.1145/3483529.3483663","DOIUrl":"https://doi.org/10.1145/3483529.3483663","url":null,"abstract":"The article explores new ways of written language aided by AI technologies, like GPT-2 and GPT-3. The question that is stated in the paper is not about whether these novel technologies will eventually replace authored books, but how to relate to and contextualize such publications and what kind of new tools, processes, and ideas are behind them. For that purpose, a new concept of synthetic books is introduced in the article. It stands for the publications created by deploying AI technology, more precisely autoregressive language models that are able to generate human-like text. Supported by the case studies, the value and reasoning of the synthetic books are discussed. The paper emphasizes that artistic quality is an issue when it comes to AI-generated content. The article introduces projects that demonstrate an interactive input by an artist and/or audience combined with the deep-learning-based language models. In the end, the paper focuses on understanding the neural aesthetics of written language in the art context.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132328202","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, the authors introduce the new educational curricula for Computing and Robotics in Andalusia [1], that will be offered as an optional subject for more than three hundred thousand students during 2021/2022 academic year and so on. This curriculum offers young students, aged 12-15 years old, with the opportunity to gain a better understanding on how our digital world works, as well as, developing a set of skills known as computational thinking. This term refers to a way of understanding and solving problems, in any discipline, with the help of computers.ç
{"title":"STEAM for all: New Computational Thinking Curricula in Spanish Formal Secondary Education","authors":"R. Robles, Santiago Fernández-Cabaleiro","doi":"10.1145/3483529.3483662","DOIUrl":"https://doi.org/10.1145/3483529.3483662","url":null,"abstract":"In this article, the authors introduce the new educational curricula for Computing and Robotics in Andalusia [1], that will be offered as an optional subject for more than three hundred thousand students during 2021/2022 academic year and so on. This curriculum offers young students, aged 12-15 years old, with the opportunity to gain a better understanding on how our digital world works, as well as, developing a set of skills known as computational thinking. This term refers to a way of understanding and solving problems, in any discipline, with the help of computers.ç","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"13 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":"129205228","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 aims to discuss extensively the system of relationships among several types of art and branches of science, under a political perspective discarding any theological/capitalist stance. Once established a quasi-equivalence between creativity and curiosity, a number of features of the creative process are examined, focused firstly on the mind of one individual, and lastly, on the web of interactions anchored in a group of people. Then, mainstream statistics – equated with some sort of commercial numerology – is criticized on the grounds of the unrealistic and unverifiable assumptions it relies upon. As opposed to this, Correspondence Analysis as a method for assumption-free data treatment is put forward, allowing to explore the qualitative variables that are dominant in the fuzzy areas of art and of science of complexity. Two examples of fresh artistic experiences are given, one in the realm of writing, the other, of painting, both demonstrating the concept of practical poetry. The first epitomizes the ways how self-imposed rules that preside over the creation of a literary text may be a source of joyful gratification, based on a cooperation involving the writer and reader. The second demonstrates a process for visual artwork production drew on the collective labor of a set of robots, each one of which can only communicate with the others across the canvas where they evolve. Specific examples of the recombination of science, art, architecture, and urbanism are presented, under a radical perspective that rejects all forms of capitalist power, as it appears in current crisis. Table of Contents Introduction Biological, anthropological, and social features of the creative process Numerology vs. exploratory data analysis Writing under constraints Unmanned paintings Science, art, architecture, and urbanism Contemporary political/sanitary issues Conclusions
{"title":"Immanent Curiosity/Creativity in Science, Art, and Politics","authors":"J. Ribeiro, H. Pereira, Leonel Moura","doi":"10.1145/3483529.3483690","DOIUrl":"https://doi.org/10.1145/3483529.3483690","url":null,"abstract":"This paper aims to discuss extensively the system of relationships among several types of art and branches of science, under a political perspective discarding any theological/capitalist stance. Once established a quasi-equivalence between creativity and curiosity, a number of features of the creative process are examined, focused firstly on the mind of one individual, and lastly, on the web of interactions anchored in a group of people. Then, mainstream statistics – equated with some sort of commercial numerology – is criticized on the grounds of the unrealistic and unverifiable assumptions it relies upon. As opposed to this, Correspondence Analysis as a method for assumption-free data treatment is put forward, allowing to explore the qualitative variables that are dominant in the fuzzy areas of art and of science of complexity. Two examples of fresh artistic experiences are given, one in the realm of writing, the other, of painting, both demonstrating the concept of practical poetry. The first epitomizes the ways how self-imposed rules that preside over the creation of a literary text may be a source of joyful gratification, based on a cooperation involving the writer and reader. The second demonstrates a process for visual artwork production drew on the collective labor of a set of robots, each one of which can only communicate with the others across the canvas where they evolve. Specific examples of the recombination of science, art, architecture, and urbanism are presented, under a radical perspective that rejects all forms of capitalist power, as it appears in current crisis. Table of Contents Introduction Biological, anthropological, and social features of the creative process Numerology vs. exploratory data analysis Writing under constraints Unmanned paintings Science, art, architecture, and urbanism Contemporary political/sanitary issues Conclusions","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":"123141470","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 is a proposal for an exhibition of an artistic work to be assembled in this edition of ARTECH (2021). The work is called “Lux Cortina”. It is an interactive sculpture. Some considerations are made about the technologies and materials used in the production of sculptures and installations by this author. They are notes of methods to printing in 3D, with a minimum of commitment to the environment. Also is demonstrating the difficulties of moving away from the use products critical for the nature, when is used computer technologies. However, some options for reducing the impact for the environment are presented. The focus is printing with PLA thermoplastic (Polylactic Acid), which is made from plants, is biodegradable and fully recyclable, being in the category of bioplastics. The second focus is the use of materials that have a certain scale of friendliness, in certain contexts, such as silicon. To contextualize, is pointed out some uses those artists are making of 3D printing technologies, trying to indicate potentialities that collaboration between artists, architects and engineers can have, in terms of social, ecological, and global benefits for humanity, both for life on earth, as well as on other planets, like Mars.
{"title":"Printing Art with plastic from plants: Printing Art with plastic from plants","authors":"Rosangella Leote","doi":"10.1145/3483529.3483772","DOIUrl":"https://doi.org/10.1145/3483529.3483772","url":null,"abstract":"This is a proposal for an exhibition of an artistic work to be assembled in this edition of ARTECH (2021). The work is called “Lux Cortina”. It is an interactive sculpture. Some considerations are made about the technologies and materials used in the production of sculptures and installations by this author. They are notes of methods to printing in 3D, with a minimum of commitment to the environment. Also is demonstrating the difficulties of moving away from the use products critical for the nature, when is used computer technologies. However, some options for reducing the impact for the environment are presented. The focus is printing with PLA thermoplastic (Polylactic Acid), which is made from plants, is biodegradable and fully recyclable, being in the category of bioplastics. The second focus is the use of materials that have a certain scale of friendliness, in certain contexts, such as silicon. To contextualize, is pointed out some uses those artists are making of 3D printing technologies, trying to indicate potentialities that collaboration between artists, architects and engineers can have, in terms of social, ecological, and global benefits for humanity, both for life on earth, as well as on other planets, like Mars.","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":"122388187","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 proposes itself to investigate the sustainable environmental and energetic development and, with the aid of game design strategies, search for effective ways to communicate this knowledge. Trough game studies, the importance of the matters addressed in the text is revealed. It is investigated how the relation between the game itself and the player can generate positive actions in the real world. There is variety of titles que propose themselves to approach sustainable energetic production, education, and environmental awareness available in the market today. Trough the analysis of said products I aim to better understand success and failures elements of the pieces.
{"title":"Videogames as a tool for energetic and environmental awareness: state of the art and possible strategies","authors":"Daniel Prieto, Sérgio Nesteriuk","doi":"10.1145/3483529.3483657","DOIUrl":"https://doi.org/10.1145/3483529.3483657","url":null,"abstract":"This paper proposes itself to investigate the sustainable environmental and energetic development and, with the aid of game design strategies, search for effective ways to communicate this knowledge. Trough game studies, the importance of the matters addressed in the text is revealed. It is investigated how the relation between the game itself and the player can generate positive actions in the real world. There is variety of titles que propose themselves to approach sustainable energetic production, education, and environmental awareness available in the market today. Trough the analysis of said products I aim to better understand success and failures elements of the pieces.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122868349","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 music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It`s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialog with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.
{"title":"Orbital Eccentricity. Sound performance, using commercial and military satellites with real time tracking data","authors":"H. Paquete, Paulo Bernardino Bastos, A. Marcos","doi":"10.1145/3483529.3483748","DOIUrl":"https://doi.org/10.1145/3483529.3483748","url":null,"abstract":"This music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It`s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialog with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"35 6 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":"116527271","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}
"Unreachable" is an artwork that explores the feelings caused by the absence of human closeness and social gathering, and the forced distancing imposed by the spread of the highly contagious virus COVID-19. Digital technologies allowed the continuity of some activities adapted to this new reality. Nevertheless, although we can see and hear through them, they do not fulfill the human need for touch nor replace the sensations of being physically close to other people and of live cultural and leisure moments. Through the display of images and videos that avoid the participants when they cross the minimum safety distance, this artwork addresses the feelings of the impossibility of physically reaching something important and meaningful through digital devices, even though these may simulate a sense of closeness.
{"title":"Unreachable: The physical impossibility of digital displays","authors":"Bruna Sousa, Nuno Coelho, Penousal Machado","doi":"10.1145/3483529.3483759","DOIUrl":"https://doi.org/10.1145/3483529.3483759","url":null,"abstract":"\"Unreachable\" is an artwork that explores the feelings caused by the absence of human closeness and social gathering, and the forced distancing imposed by the spread of the highly contagious virus COVID-19. Digital technologies allowed the continuity of some activities adapted to this new reality. Nevertheless, although we can see and hear through them, they do not fulfill the human need for touch nor replace the sensations of being physically close to other people and of live cultural and leisure moments. Through the display of images and videos that avoid the participants when they cross the minimum safety distance, this artwork addresses the feelings of the impossibility of physically reaching something important and meaningful through digital devices, even though these may simulate a sense of closeness.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"516 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":"133304724","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}
Eman Al-Zubeidi, J. Seo, Julia DeLaney, Dominic Nguyen, Jonathan Konderla, Jaime Díaz
A Walk Alone is a virtual reality experience that simulates what it feels like to walk alone at night as a woman. The concept is inspired by recent events regarding the kidnapping and murder of Sarah Everard, a 33-year-old woman who went missing during her walk home from her friend's apartment in South London. It is one thing to discuss this universal issue and highlight the precautions women take when walking alone, but it is another thing to experience it. A Walk Alone focuses on displaying the vulnerability of the user by triggering multiple senses in the virtual reality environment. The experience is centered around a linear story involving (1) one night-city environment, (2) the user in first person point-of-view, (3) eerie sound design, and (4) dim street lighting.
“独自行走”是一种虚拟现实体验，它模拟了女性在夜间独自行走的感觉。这个概念的灵感来自于最近发生的关于Sarah Everard被绑架和谋杀的事件，这名33岁的女子在从伦敦南部朋友家回家的路上失踪了。讨论这个普遍的问题并强调女性在独自行走时采取的预防措施是一回事，但体验它是另一回事。A Walk Alone侧重于在虚拟现实环境中通过触发多种感官来展示用户的脆弱性。游戏体验围绕线性故事展开，包括(1)夜城环境，(2)用户第一人称视角，(3)怪异的音效设计，(4)昏暗的街灯。
{"title":"A Walk Alone: A Virtual Reality Simulation about the Dangers Women Face When Walking Alone at Night","authors":"Eman Al-Zubeidi, J. Seo, Julia DeLaney, Dominic Nguyen, Jonathan Konderla, Jaime Díaz","doi":"10.1145/3483529.3483733","DOIUrl":"https://doi.org/10.1145/3483529.3483733","url":null,"abstract":"A Walk Alone is a virtual reality experience that simulates what it feels like to walk alone at night as a woman. The concept is inspired by recent events regarding the kidnapping and murder of Sarah Everard, a 33-year-old woman who went missing during her walk home from her friend's apartment in South London. It is one thing to discuss this universal issue and highlight the precautions women take when walking alone, but it is another thing to experience it. A Walk Alone focuses on displaying the vulnerability of the user by triggering multiple senses in the virtual reality environment. The experience is centered around a linear story involving (1) one night-city environment, (2) the user in first person point-of-view, (3) eerie sound design, and (4) dim street lighting.","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":"115868792","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}
Inês Regina Barbosa de Argôlo, B. Silva, G. Borges
“Rejeitorio” is an interactive video installation mediated by digital technologu that alert to the urgency of preserving São Francisco River, especially after the rupture of the dam in the city of Brumadinho (Brazil), which resulted in the contamination of one of its tributaries with toxic waste. The video installation features 2D animations that alternate according to the presence or absence of the audience within the demarcated space. Resumo. Rejeitorio é uma videoinstalação interativa mediada pela tecnologia digital que aponta para a urgência da preservação do rio São Francisco, sobretudo após o rompimento da barragem na cidade de Brumadinho (Brasil), que resultou na contaminação de um de seus afluentes com rejeitos tóxicos. A videoinstalação apresenta animações 2D que se alternam conforme a presença ou ausência do público dentro do espaço demarcado.
{"title":"“Rejeitorio”: An interactive video installation focusing on human impact on the São Francisco River: Rejeitorio: Uma videoinstalação interativa enfocando o impacto humano sobre o rio São Francisco","authors":"Inês Regina Barbosa de Argôlo, B. Silva, G. Borges","doi":"10.1145/3483529.3483791","DOIUrl":"https://doi.org/10.1145/3483529.3483791","url":null,"abstract":"“Rejeitorio” is an interactive video installation mediated by digital technologu that alert to the urgency of preserving São Francisco River, especially after the rupture of the dam in the city of Brumadinho (Brazil), which resulted in the contamination of one of its tributaries with toxic waste. The video installation features 2D animations that alternate according to the presence or absence of the audience within the demarcated space. Resumo. Rejeitorio é uma videoinstalação interativa mediada pela tecnologia digital que aponta para a urgência da preservação do rio São Francisco, sobretudo após o rompimento da barragem na cidade de Brumadinho (Brasil), que resultou na contaminação de um de seus afluentes com rejeitos tóxicos. A videoinstalação apresenta animações 2D que se alternam conforme a presença ou ausência do público dentro do espaço demarcado.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"42 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":"115959053","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}
Denise Bandeira, Luiz A. Salgado, Bianca C. Orsso, Mateus F. L. Pelanda
This paper comments the process of creating a hybrid art installation, whose version, with the creative coding and interactive video, resulted in the artwork Tela Transeunte (2020). Therefore, it presents a brief reflection about the new media art and the hybrid art. Likewise, stands out the interdisciplinary, collaborative and shared mode of investigation, in addition to the use of open processes and codes, repositories and databases. Practices that operate between art, science and technology, also contributing to rupture the institutionalized systems and for reflection on artistic production.
{"title":"Poetics in hybrid art: Artistic practices, collaborative exchanges","authors":"Denise Bandeira, Luiz A. Salgado, Bianca C. Orsso, Mateus F. L. Pelanda","doi":"10.1145/3483529.3483752","DOIUrl":"https://doi.org/10.1145/3483529.3483752","url":null,"abstract":"This paper comments the process of creating a hybrid art installation, whose version, with the creative coding and interactive video, resulted in the artwork Tela Transeunte (2020). Therefore, it presents a brief reflection about the new media art and the hybrid art. Likewise, stands out the interdisciplinary, collaborative and shared mode of investigation, in addition to the use of open processes and codes, repositories and databases. Practices that operate between art, science and technology, also contributing to rupture the institutionalized systems and for reflection on artistic production.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"19 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":"121551370","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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