Our essay considers the relevance of language studies to the theory and practice of Visual Design and art. The first section discusses the relationship between Design and Art when technologies exchange the utility notion to poetics meanings. Then we reflect on the occidental language and writing culture by many contributions from Deaf culture also Brazilian Sign Language (Libras). This approach belongs to the research group Imagem(i)matéria, which has developed since 2017 many analogical and technological artifacts considering the wealth of observing cultural-linguistic differences and similarities on the hearing and deaf people. Supported by Gilles Deleuze, Roland Barthes, Jacques Derrida, Oliver Sacks, Anne Sauvagnargues, and examining Christine Sun Kim works.
我们的文章考虑了语言研究与视觉设计和艺术的理论和实践的相关性。第一部分论述了技术将功利观念转换为诗学意义时设计与艺术的关系。然后，我们通过聋人文化和巴西手语(天秤座)的许多贡献来反思西方语言和书写文化。这种方法属于Imagem(i) matria研究小组，该小组自2017年以来开发了许多类比和技术人工制品，考虑到观察听力和聋人文化语言差异和相似之处的丰富。支持Gilles Deleuze, Roland Barthes, Jacques Derrida, Oliver Sacks, Anne Sauvagnargues，并研究Christine Sun Kim的作品。
{"title":"The writing expanded by gesture: The Design and Art's approaches in contact with Deaf culture and sign languages","authors":"Julie de Araujo Pires, Marcelo Gonçalves Ribeiro","doi":"10.1145/3483529.3483723","DOIUrl":"https://doi.org/10.1145/3483529.3483723","url":null,"abstract":"Our essay considers the relevance of language studies to the theory and practice of Visual Design and art. The first section discusses the relationship between Design and Art when technologies exchange the utility notion to poetics meanings. Then we reflect on the occidental language and writing culture by many contributions from Deaf culture also Brazilian Sign Language (Libras). This approach belongs to the research group Imagem(i)matéria, which has developed since 2017 many analogical and technological artifacts considering the wealth of observing cultural-linguistic differences and similarities on the hearing and deaf people. Supported by Gilles Deleuze, Roland Barthes, Jacques Derrida, Oliver Sacks, Anne Sauvagnargues, and examining Christine Sun Kim works.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123467580","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 introduces a new method to achieve remote distributed performances using a virtual shadow theater and real time motion capture. It was used during the lockdowns in France in 2020-21 to reach remote scholar audiences with The Wizard without Shadow performance. After a review of remote distributed virtual experiments in performing arts, the paper details the creation-as-research process that leads to two versions of the same story. It shows how the quality of the theatrical bond between the actor and the audience of the first face-to-face version is maintained in the second remote version combining a video conference platform and live motion capture in a video game engine to bring actors performances to two remote distributed audiences.
{"title":"Keeping the living bond between actors and remote audiences in distributed virtual theater","authors":"Georges Gagneré, Anastasiia Ternova","doi":"10.1145/3483529.3483683","DOIUrl":"https://doi.org/10.1145/3483529.3483683","url":null,"abstract":"This paper introduces a new method to achieve remote distributed performances using a virtual shadow theater and real time motion capture. It was used during the lockdowns in France in 2020-21 to reach remote scholar audiences with The Wizard without Shadow performance. After a review of remote distributed virtual experiments in performing arts, the paper details the creation-as-research process that leads to two versions of the same story. It shows how the quality of the theatrical bond between the actor and the audience of the first face-to-face version is maintained in the second remote version combining a video conference platform and live motion capture in a video game engine to bring actors performances to two remote distributed audiences.","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":"123200995","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}
‘With Every Fibre’ is a digital intervention and postmedia artwork that begins by subverting job listings websites and advertising formats, then redirect participants to the decentralised web via peer-to-peer browser Beaker. Drawing upon the aesthetics of the deepsea fibreoptics that funnel our online communications, the work takes the format of a spoof job advert to recruit for the fictional role of ‘Connections Manager’. This advert then directs ‘applicants’ to a page on the decentralised internet, a structure that in itself challenges the centralised power of the mainstream web and its role in perpetuating social inequalities and consolidating existing hierarchies. The core topics that ‘With Every Fibre’ explores include the monetisation and commodification of social interactions, how these interactions are a form of digital labour that often goes unrecognised, and how the need for care, empathy and dialogue is increasingly needed to counter a dominant infrastructure that thrives off polarisation, social tensions and an economy of outrage.
{"title":"With Every Fibre: Postmedia art and subverting job listings platforms","authors":"Cultura Plasmic INC","doi":"10.1145/3483529.3483782","DOIUrl":"https://doi.org/10.1145/3483529.3483782","url":null,"abstract":"‘With Every Fibre’ is a digital intervention and postmedia artwork that begins by subverting job listings websites and advertising formats, then redirect participants to the decentralised web via peer-to-peer browser Beaker. Drawing upon the aesthetics of the deepsea fibreoptics that funnel our online communications, the work takes the format of a spoof job advert to recruit for the fictional role of ‘Connections Manager’. This advert then directs ‘applicants’ to a page on the decentralised internet, a structure that in itself challenges the centralised power of the mainstream web and its role in perpetuating social inequalities and consolidating existing hierarchies. The core topics that ‘With Every Fibre’ explores include the monetisation and commodification of social interactions, how these interactions are a form of digital labour that often goes unrecognised, and how the need for care, empathy and dialogue is increasingly needed to counter a dominant infrastructure that thrives off polarisation, social tensions and an economy of outrage.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"112 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":"121958530","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}
Don’t Worry, Be Happy is an art performance which demonstrates the problematic nature of AI recognition algorithms when used as instruments of the law. The performance associates the use of AI recognition algorithms with the use of the notorious electric chair. Both technological tools were integrated into juridical systems before being fully understood and both mediate a direct contact between the body and the law. While AI based recognition and classification of faces can be used for the common good, they can also be dangerous when used to control and criminalize people. The artwork emphasizes the entanglement between the body and the machine and illustrates how a performative engagement facilitates a sense of agency when we are confronted with recognition algorithms.
{"title":"“Don’t Worry, Be Happy”: Resisting an AI Emotion Recognition System With a Smile","authors":"Avital Meshi, A. Forbes","doi":"10.1145/3483529.3483725","DOIUrl":"https://doi.org/10.1145/3483529.3483725","url":null,"abstract":"Don’t Worry, Be Happy is an art performance which demonstrates the problematic nature of AI recognition algorithms when used as instruments of the law. The performance associates the use of AI recognition algorithms with the use of the notorious electric chair. Both technological tools were integrated into juridical systems before being fully understood and both mediate a direct contact between the body and the law. While AI based recognition and classification of faces can be used for the common good, they can also be dangerous when used to control and criminalize people. The artwork emphasizes the entanglement between the body and the machine and illustrates how a performative engagement facilitates a sense of agency when we are confronted with recognition algorithms.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"54 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":"128929125","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 article presents Jardim das Cartas that brings together sounds, video, dance, poetry, and voice to express a Presence Ecology and discusses the theoretical framework in line with the creative process development. The concept of Jardim das Cartas is to create an environment to immerse the visitors in a state of suspension, exposing them to several layers of digital materials. The installation affords a construction of meaning by the blending of digital audio and video files. The article introduces concepts anchored to the installation and its creative process developed to generate diversity with a database of digital files. CCS CONCEPTS • Applied computing → Arts and humanities; • Humancentered computing; • Information systems → Data management systems;
本文介绍了汇集声音、影像、舞蹈、诗歌和声音来表达存在生态的Jardim das Cartas，并讨论了与创作过程发展相一致的理论框架。Jardim das Cartas的概念是创造一个让游客沉浸在悬浮状态的环境，将他们暴露在多层数字材料中。该装置通过数字音频和视频文件的混合提供了一种意义的构建。本文介绍了与装置相关的概念，以及通过数字文件数据库产生多样性的创作过程。CCS概念•应用计算→艺术和人文;•以人为本的计算;•信息系统→数据管理系统;
{"title":"Jardim das Cartas a Presence Ecology: a multimodal and dynamic flow in an installation","authors":"J. Manzolli, Mariana Baruco Machado Andraus","doi":"10.1145/3483529.3483680","DOIUrl":"https://doi.org/10.1145/3483529.3483680","url":null,"abstract":"The article presents Jardim das Cartas that brings together sounds, video, dance, poetry, and voice to express a Presence Ecology and discusses the theoretical framework in line with the creative process development. The concept of Jardim das Cartas is to create an environment to immerse the visitors in a state of suspension, exposing them to several layers of digital materials. The installation affords a construction of meaning by the blending of digital audio and video files. The article introduces concepts anchored to the installation and its creative process developed to generate diversity with a database of digital files. CCS CONCEPTS • Applied computing → Arts and humanities; • Humancentered computing; • Information systems → Data management systems;","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"91 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":"129512127","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}
Teatro-Menor, scenic installation, is part of a Post-Doctoral research, at the Department of Communication and Art, University of Aveiro, under the supervision of Prof. Dr. Paulo Bernardino Bastos. Tragedy is in the air we breathe, we've been in confinement for over a year and the inevitable theater of the real runs through scenes from the five peep shows of Teatro-Minor. The tragic is an affirmation of becoming, here and now. The five boxes to the taste of strong winds and storms are five uncontrollable experiences in their bizarre nomadism. Five small tenebrous strays, in spectral bodies traversed by a computational transmutation. Five hybrid forms of life and death, and in complicity with a theater of horrors, designing other ways of becoming a tragicomic actress, reinventing corporeality and variants of Nina from Anton Chekhov's The Seagull, and Nina or the Fragility of Stuffed Seagulls, of Matei Visniec. Throughout technological combat, confinement, affection, and the unknowable: dice games and laughter are inevitable. The Theater Minor actress doesn't act, she says yes to everything problematic and terrible, she's Dionysian. It is the comic dance of the spirit that advances with the theater between its teeth. The minor actor is another desperate person who has just thrown himself into a tiny scene. Resumo. Teatro-Menor, instalação cênica, é parte de pesquisa de Pós-doutoramento, no Departamento de Comunicação e Arte, da Universidade de Aveiro, sob orientação do Prof. Dr. Paulo Bernardino Bastos. A tragédia está no ar que respiramos, estamos em confinamento há mais de um ano e o teatro inevitável do real atravessa cenas dos cinco peep shows de Teatro-Menor. O trágico é afirmação do devir, aqui e agora. As cinco caixas ao sabor dos ventos fortes e das tempestades são cinco experiências enfreáveis em seus nomadismos bizarros. Cinco pequenas vagabundagens tenebrosas, em corpos espectrais atravessados por uma transmutação computacional. Cinco formas hibridas de vida e de morte, e em cumplicidade com um teatro de horrores, desenhando outras maneiras de um devir atriz tragicômica, reinventando corporeidades e variantes de Nina de A Gaivota de Anton Tchekhov, e de Nina ou da Fragilidade das Gaivotas empalhadas, de Matei Visniec. Ao longo dos combates tecnológicos, dos confinamentos, dos afetos e do incognoscível: jogo de dados e gargalhadas são inevitáveis. A atriz de Teatro-Menor não representa, ela diz sim a tudo o que problemático e terrível, ela é dionisíaca. É a dança cômica do espírito que avança com o teatro entre os dentes. O ator menor é mais um desesperado que acaba de se jogar em uma cena minúscula.
Teatro-Menor，风景装置，是阿威罗大学传播与艺术系博士后研究的一部分，由Paulo Bernardino Bastos教授指导。悲剧就在我们呼吸的空气中，我们已经被囚禁了一年多，现实的戏剧不可避免地贯穿于小剧院五场偷窥秀的场景中。悲剧是对此时此地成为的肯定。这五个盒子里的狂风暴雨，是他们奇异游牧生活中无法控制的五种体验。五只小的黑质流浪动物，在由计算嬗变穿越的光谱体中。五种生命和死亡的混合形式，与恐怖剧院串谋，设计了成为悲喜剧演员的其他方式，重塑了肉体和安东·契诃夫的《海鸥》中的尼娜的变体，以及马泰·维斯涅克的《尼娜或脆弱的海鸥》。在整个技术战斗中，禁闭、感情和不可知:骰子游戏和笑声是不可避免的。小剧场女演员不演戏，她对所有有问题和可怕的事情都说“是”，她是酒神。这是一种精神的喜剧舞蹈，它与戏剧一起前进。小演员是另一个绝望的人，他刚刚投入到一个小场景中。Resumo。大剧院、装置、 pesquisa de Pós-doutoramento、通信艺术学院、阿威罗大学、东方学院、保罗·贝纳迪诺·巴斯托斯博士教授。A tragacimdia estestno ar que。O trágico afirma O do devier, aqui e agora。正如cinco caixas“没有工作，没有企业家”一样，cinco experiências enfreáveis似乎是最奇怪的游牧民族。中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中文:中国的形式是关于恐怖主义的，我们是关于恐怖主义的，我们是关于恐怖主义的，我们是关于恐怖主义的，我们是关于恐怖主义的，我们是关于恐怖主义的，我们是关于恐怖主义的，我们是关于契诃夫的，我们是关于恐怖主义的，我们是关于恐怖主义的。Ao longo dos combates tecnológicos, dos confinamentos, dos afettos e do incognoscível: jogo de dados e gargalhadas s o inevitáveis。A atriz de Teatro-Menor n代表，ela diz sim A tudo o que problemático e terrível, ela dionisíaca。É a dana cômica do espírito que avana com o teatro entre OS dentes。我的导师是谁?我的导师是谁?我的导师是谁?
{"title":"Nina-nina-não ou Menina-banana / Nina-Nina-No or Banana-girl: Existência à altura da fragilidade das gaivotas empalhadas, em cinco modos menores de atuar","authors":"S. Reis","doi":"10.1145/3483529.3483718","DOIUrl":"https://doi.org/10.1145/3483529.3483718","url":null,"abstract":"Teatro-Menor, scenic installation, is part of a Post-Doctoral research, at the Department of Communication and Art, University of Aveiro, under the supervision of Prof. Dr. Paulo Bernardino Bastos. Tragedy is in the air we breathe, we've been in confinement for over a year and the inevitable theater of the real runs through scenes from the five peep shows of Teatro-Minor. The tragic is an affirmation of becoming, here and now. The five boxes to the taste of strong winds and storms are five uncontrollable experiences in their bizarre nomadism. Five small tenebrous strays, in spectral bodies traversed by a computational transmutation. Five hybrid forms of life and death, and in complicity with a theater of horrors, designing other ways of becoming a tragicomic actress, reinventing corporeality and variants of Nina from Anton Chekhov's The Seagull, and Nina or the Fragility of Stuffed Seagulls, of Matei Visniec. Throughout technological combat, confinement, affection, and the unknowable: dice games and laughter are inevitable. The Theater Minor actress doesn't act, she says yes to everything problematic and terrible, she's Dionysian. It is the comic dance of the spirit that advances with the theater between its teeth. The minor actor is another desperate person who has just thrown himself into a tiny scene. Resumo. Teatro-Menor, instalação cênica, é parte de pesquisa de Pós-doutoramento, no Departamento de Comunicação e Arte, da Universidade de Aveiro, sob orientação do Prof. Dr. Paulo Bernardino Bastos. A tragédia está no ar que respiramos, estamos em confinamento há mais de um ano e o teatro inevitável do real atravessa cenas dos cinco peep shows de Teatro-Menor. O trágico é afirmação do devir, aqui e agora. As cinco caixas ao sabor dos ventos fortes e das tempestades são cinco experiências enfreáveis em seus nomadismos bizarros. Cinco pequenas vagabundagens tenebrosas, em corpos espectrais atravessados por uma transmutação computacional. Cinco formas hibridas de vida e de morte, e em cumplicidade com um teatro de horrores, desenhando outras maneiras de um devir atriz tragicômica, reinventando corporeidades e variantes de Nina de A Gaivota de Anton Tchekhov, e de Nina ou da Fragilidade das Gaivotas empalhadas, de Matei Visniec. Ao longo dos combates tecnológicos, dos confinamentos, dos afetos e do incognoscível: jogo de dados e gargalhadas são inevitáveis. A atriz de Teatro-Menor não representa, ela diz sim a tudo o que problemático e terrível, ela é dionisíaca. É a dança cômica do espírito que avança com o teatro entre os dentes. O ator menor é mais um desesperado que acaba de se jogar em uma cena minúscula.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"29 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":"129010121","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 the artwork Syntropic Counterpoints: Metaphysics of The Machines, we explore the phenomena of AI aesthetic and challenge machine abstraction with the eternal question about philosophical topics such as moral, ethics, human existence, God, evil, war. We are making Philosophers AI Clones and giving them words and grammar as a creative tool to make worlds “beyond” the world, existing and non-existing realities, like humans, do. In our conceptual approach, we are led by Nietzsche claim that grammar is the “Metaphysics of the People”. Accordingly, grammar, content, and vision generated during the philosophical discussion between our AI clones are "Metaphysics of Machines". As a result, we can experience machine realities and absurdity and start to question our own.
{"title":"Metaphysics of The Machines","authors":"Predrag K. Nikolić, Ruiyang Liu, Shengcheng Luo","doi":"10.1145/3483529.3483730","DOIUrl":"https://doi.org/10.1145/3483529.3483730","url":null,"abstract":"In the artwork Syntropic Counterpoints: Metaphysics of The Machines, we explore the phenomena of AI aesthetic and challenge machine abstraction with the eternal question about philosophical topics such as moral, ethics, human existence, God, evil, war. We are making Philosophers AI Clones and giving them words and grammar as a creative tool to make worlds “beyond” the world, existing and non-existing realities, like humans, do. In our conceptual approach, we are led by Nietzsche claim that grammar is the “Metaphysics of the People”. Accordingly, grammar, content, and vision generated during the philosophical discussion between our AI clones are \"Metaphysics of Machines\". As a result, we can experience machine realities and absurdity and start to question our own.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"139 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":"127336514","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 study is an attempt to understand and describe the compositional principles of Chaoshan traditional houses (CTH) through a computational space syntax. In this approach, the space syntax is used to describe and verify the compositional rules of Chaoshan houses. Chaoshan rural residence is a classical Lingnan style building in Chaoshan area of eastern Guangdong province, associated with Teo-Swa people, a Han Chinese minority. This study takes the example the prototypes existing in the village of Zhupu, Haojiang District, Shantou city as a case study, to analyse the spatial form of the residences. The Zhupu village houses date from the Qing Dynasty - Qianlong period, around 1700 AD. The hypothesis of this study is that CTH buildings are a result of a space compositional rule system that can be described and replicated through a computational design methodology. This study will establish a computational architectural syntax, and is the first stage of an extended research work on the evolution of Chaoshan residential types. The understanding of this evolution may help, as future work, to develop urban strategies for adaptation of the CTH heritage buildings to the contemporary living conditions. As the result of this study is a computational 3D graphics modelling algorithm, the ability of the system to generate the house layouts is not limited to the reconstruction of existing typologies of CTH and its variations. The same algorithm will allow the generation of new housing schemes, with adaptation to design variables extracted from a particular site and region.
{"title":"Study of the Compositional Rules of Design in Chaoshan Traditional House: A Computational Approach","authors":"Filipe Afonso","doi":"10.1145/3483529.3483721","DOIUrl":"https://doi.org/10.1145/3483529.3483721","url":null,"abstract":"This study is an attempt to understand and describe the compositional principles of Chaoshan traditional houses (CTH) through a computational space syntax. In this approach, the space syntax is used to describe and verify the compositional rules of Chaoshan houses. Chaoshan rural residence is a classical Lingnan style building in Chaoshan area of eastern Guangdong province, associated with Teo-Swa people, a Han Chinese minority. This study takes the example the prototypes existing in the village of Zhupu, Haojiang District, Shantou city as a case study, to analyse the spatial form of the residences. The Zhupu village houses date from the Qing Dynasty - Qianlong period, around 1700 AD. The hypothesis of this study is that CTH buildings are a result of a space compositional rule system that can be described and replicated through a computational design methodology. This study will establish a computational architectural syntax, and is the first stage of an extended research work on the evolution of Chaoshan residential types. The understanding of this evolution may help, as future work, to develop urban strategies for adaptation of the CTH heritage buildings to the contemporary living conditions. As the result of this study is a computational 3D graphics modelling algorithm, the ability of the system to generate the house layouts is not limited to the reconstruction of existing typologies of CTH and its variations. The same algorithm will allow the generation of new housing schemes, with adaptation to design variables extracted from a particular site and region.","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":"126672566","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 article presents the process of developing a demo of a digital game, from a prototype, named “The Desert Star” previously developed in the course completion work (TCC) in Arts at Faac Unesp Bauru. It seeks to present the construction and pre-production, through a process that encourages creative freedom and problem solving that will not affect the production phase, thus solving and bringing improvements within the game's art, mechanics, and narrative. Digital games are related to art technology due to the distribution of specific visual, auditory, and interactive information mediated by computers, thus being a creative and cultural production with a range of unique experiences in the cyberculture universe, new forms of interaction within universes hybrids. The production of the project will be carried out on the Unity platform, being distributed online, occupying the virtual space with videos and lives showing the creative process, seeking public cooperation in development with feedbacks, sharing experiences to advance the project.
{"title":"ART TECHNOLOGY – A new digital adventure: A new digital adventure","authors":"Isabelle Reny Ribaldo, Sidney Tamai","doi":"10.1145/3483529.3483719","DOIUrl":"https://doi.org/10.1145/3483529.3483719","url":null,"abstract":"The article presents the process of developing a demo of a digital game, from a prototype, named “The Desert Star” previously developed in the course completion work (TCC) in Arts at Faac Unesp Bauru. It seeks to present the construction and pre-production, through a process that encourages creative freedom and problem solving that will not affect the production phase, thus solving and bringing improvements within the game's art, mechanics, and narrative. Digital games are related to art technology due to the distribution of specific visual, auditory, and interactive information mediated by computers, thus being a creative and cultural production with a range of unique experiences in the cyberculture universe, new forms of interaction within universes hybrids. The production of the project will be carried out on the Unity platform, being distributed online, occupying the virtual space with videos and lives showing the creative process, seeking public cooperation in development with feedbacks, sharing experiences to advance the project.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"32 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":"126848626","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}
Clément Caporal, Cecília de Lima, Michele Luceac, Rui Filipe Antunes
This demo combines performance, virtual reality, swarm simulation and genetic algorithms. The dance performers are in presence and move within swarms of virtual geometric shapes. They perform in a virtual reality environment populated by a swarm of pyramid-shaped elements that behave in the same way as a flock of birds, a school of fish or a swarm of insects. Developed as a collaboration with dancers, choreographers and computer scientists, the software developed creates new possibilities of expression by generating a non-static swarm movement that is simultaneously independent and influenced by the dancer. Performances can be recorded or watched live via virtual cameras on stage. The software tool can be configured through two interfaces: in VR and on the desktop, additionally it allows viewers to explore a dance scene using configurable virtual cameras.
{"title":"Boidance","authors":"Clément Caporal, Cecília de Lima, Michele Luceac, Rui Filipe Antunes","doi":"10.1145/3483529.3483736","DOIUrl":"https://doi.org/10.1145/3483529.3483736","url":null,"abstract":"This demo combines performance, virtual reality, swarm simulation and genetic algorithms. The dance performers are in presence and move within swarms of virtual geometric shapes. They perform in a virtual reality environment populated by a swarm of pyramid-shaped elements that behave in the same way as a flock of birds, a school of fish or a swarm of insects. Developed as a collaboration with dancers, choreographers and computer scientists, the software developed creates new possibilities of expression by generating a non-static swarm movement that is simultaneously independent and influenced by the dancer. Performances can be recorded or watched live via virtual cameras on stage. The software tool can be configured through two interfaces: in VR and on the desktop, additionally it allows viewers to explore a dance scene using configurable virtual cameras.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"56 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":"114486912","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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