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}
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}
Why do we possibly need Sociological (Re)search Games? EU Horizon 2020-27 is a new European program for research funding [1]. It establishes, as one of its core strategic ideas, the investment on projects about digital media, articulated with other areas’ instruments and resources, to develop innovative methods for knowledge production and transfer. At present, games are the faster growing segment of digital industry and services. And serious games constitute an efficient way of sharing knowledge, as a genre that teach or allow training various activities or skills, within a critical posture [2]. E.g., health skills; marketing or political campaigns; and cultural heritage qualifications for both professionals and publics at an art museum or gallery. This project's initial big idea is to demonstrate that digital games, and specifically serious games, can be used as one of the most operational research methodological tools, within any kind of knowledge, be it scientific, technical, artistic or other. As we will argue below, there is a lack of literature and game development on this behalf, in particular within Social Sciences. Therefore, our main purpose is to develop both (a) a Sociological reflection on serious games and (b) serious games’ practical tools, e.g. Sociological (re)search games for education and training on social and cultural processes. In particular, targets include universities and corporations that maintain partnership relations with cultural institutions as a museum or gallery, in order to develop knowledge transfer and sharing among them, and among them and other social actors, such as cultural publics.
{"title":"Sociological (Re)search Games: Play and transfer cultural knowledge among social sciences, museum staff and publics","authors":"Pedro Andrade","doi":"10.1145/3483529.3483660","DOIUrl":"https://doi.org/10.1145/3483529.3483660","url":null,"abstract":"Why do we possibly need Sociological (Re)search Games? EU Horizon 2020-27 is a new European program for research funding [1]. It establishes, as one of its core strategic ideas, the investment on projects about digital media, articulated with other areas’ instruments and resources, to develop innovative methods for knowledge production and transfer. At present, games are the faster growing segment of digital industry and services. And serious games constitute an efficient way of sharing knowledge, as a genre that teach or allow training various activities or skills, within a critical posture [2]. E.g., health skills; marketing or political campaigns; and cultural heritage qualifications for both professionals and publics at an art museum or gallery. This project's initial big idea is to demonstrate that digital games, and specifically serious games, can be used as one of the most operational research methodological tools, within any kind of knowledge, be it scientific, technical, artistic or other. As we will argue below, there is a lack of literature and game development on this behalf, in particular within Social Sciences. Therefore, our main purpose is to develop both (a) a Sociological reflection on serious games and (b) serious games’ practical tools, e.g. Sociological (re)search games for education and training on social and cultural processes. In particular, targets include universities and corporations that maintain partnership relations with cultural institutions as a museum or gallery, in order to develop knowledge transfer and sharing among them, and among them and other social actors, such as cultural publics.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"102 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":"122504131","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 suggests that integration of Augmented Reality (AR) with Visual Storytelling in non-scientific professional contexts is needed to improve communication of scientific research. The use of AR technology in Visual Storytelling for communication of scientific research enables science communicators to better communicate, and non-scientific audiences to experience and therefore better understand scientific data and its relevance to society. The paper urges the development of new principles and methods of Visual Storytelling with AR for effective communication of scientific research and findings that can also be translated into Design practice.
{"title":"Enhancing Science Communication through AR Driven Visual Storytelling: Suggested Approach and Study","authors":"A. Tyurina","doi":"10.1145/3483529.3483727","DOIUrl":"https://doi.org/10.1145/3483529.3483727","url":null,"abstract":"This paper suggests that integration of Augmented Reality (AR) with Visual Storytelling in non-scientific professional contexts is needed to improve communication of scientific research. The use of AR technology in Visual Storytelling for communication of scientific research enables science communicators to better communicate, and non-scientific audiences to experience and therefore better understand scientific data and its relevance to society. The paper urges the development of new principles and methods of Visual Storytelling with AR for effective communication of scientific research and findings that can also be translated into Design practice.","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":"127386913","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 installation takes Castelo Branco Embroidery and the textile technology involved as a starting point, materializes the design motifs, and deconstructs the fabric as if the fabric that was being embroidered exploded., expanding through the exhibition space. The Embroidery of Castelo Branco is traditional from the Beira Baixa region, in the interior of Portugal, and is considered the result of the meeting of cultures between West and East, with a strong European influence. The motifs of this Embroidery design result from the convergence of the design and engravings made in Europe in the 17th and 18th centuries, in Portuguese tiles, in Indian textiles, and in Chinese porcelain. Resumo. A instalação artística toma como ponto de partida o Bordado de Castelo Branco e a tecnologia têxtil envolvida, materializamos os motivos do desenho e desconstruímos o tecido como se o tecido que estava a ser bordado explodisse da tela, expandindo-se pelo espaço expositivo. O Bordado de Castelo Branco é tradicional da região da Beira Baixa, no interior de Portugal, e considera-se que seja fruto do encontro das culturas entre o Ocidente e o Oriente, com forte influência europeia. Os motivos do desenho deste Bordado resultam da convergência do desenho e das gravuras que se faziam na Europa nos séculos XVII e XVIII, na azulejaria portuguesa, nos têxteis indianos e na porcelana chinesa.
装置以Castelo Branco Embroidery和所涉及的纺织技术为出发点，将设计主题物质化，并解构织物，就像正在刺绣的织物爆炸一样。，通过展览空间进行扩展。布兰科城堡(Castelo Branco)的刺绣是葡萄牙内陆贝拉拜萨(Beira Baixa)地区的传统刺绣，被认为是东西方文化交汇的结果，受到了强烈的欧洲影响。这种刺绣图案的图案源于17世纪和18世纪欧洲的图案和雕刻，葡萄牙瓷砖，印度纺织品和中国瓷器。Resumo。一个安装系统系统(artística)，一个技术(têxtil envolvida)，一个技术(têxtil envolvida)，一个材料(materiizamos)，一个动机(动机)，一个技术(desconstruímos)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(技术)，一个技术(爆炸)，一个扩展(扩展)，一个技术(技术)，一个空间(扩展)，一个空间(空间)。O O Bordado de Castelo Branco O传统文化中心O O da Beira Baixa，没有葡萄牙的内部，我们考虑到seja fruto do encontrol作为西方和东方的文化中心，以及influência欧洲的文化中心。我们的动机是什么?我们的目标是什么?我们的目标是什么?我们的目标是什么?我们的目标是什么?我们的目标是什么?我们的目标是什么?
{"title":"Inside the embroidery. The rematerialization of traditional embroidery in a post-digital approach: No interior do bordado. A rematerialização do bordado numa vertente pós-digital","authors":"Selma Pereira, A. Marcos","doi":"10.1145/3483529.3483766","DOIUrl":"https://doi.org/10.1145/3483529.3483766","url":null,"abstract":"The installation takes Castelo Branco Embroidery and the textile technology involved as a starting point, materializes the design motifs, and deconstructs the fabric as if the fabric that was being embroidered exploded., expanding through the exhibition space. The Embroidery of Castelo Branco is traditional from the Beira Baixa region, in the interior of Portugal, and is considered the result of the meeting of cultures between West and East, with a strong European influence. The motifs of this Embroidery design result from the convergence of the design and engravings made in Europe in the 17th and 18th centuries, in Portuguese tiles, in Indian textiles, and in Chinese porcelain. Resumo. A instalação artística toma como ponto de partida o Bordado de Castelo Branco e a tecnologia têxtil envolvida, materializamos os motivos do desenho e desconstruímos o tecido como se o tecido que estava a ser bordado explodisse da tela, expandindo-se pelo espaço expositivo. O Bordado de Castelo Branco é tradicional da região da Beira Baixa, no interior de Portugal, e considera-se que seja fruto do encontro das culturas entre o Ocidente e o Oriente, com forte influência europeia. Os motivos do desenho deste Bordado resultam da convergência do desenho e das gravuras que se faziam na Europa nos séculos XVII e XVIII, na azulejaria portuguesa, nos têxteis indianos e na porcelana chinesa.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"72 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":"131294575","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}
P. C. Teles, Juliano Prado, Guilherme Z. L. Avila, Klebert Pallucci Cardoso, Rosana Campinas
The present manuscript presents, describes and analyzes the work "Antigenous 2.021 - Currency Resistances", an interactive sculpture that sets, guides and induces its audience to act and contemplate of a poetic diversity composed of sound expressions, ranging from synthetic textures to understandable noises and sounds, and colorful luminous animations (pulsating and flowing) on pictures in classic frames with organic expressions in high relief, whose holes at the top of their reliefs emanate spot lights (in laser). The installation brings in its poetics the purpose of evoking intimate memories, concerns and feelings about invasions (ours and others) and resistances suffered, committed and expressed, based on the protagonism established by the audience through the linear approach of people in front of pieces on display. Resumo: O presente manuscrito apresenta, descreve e analisa a obra "Antigenous 2.021 - Current Resistances", uma escultura interativa que ambienta, conduz e induz a sua audiência à realização e à contemplação de uma diversidade poética composta de expressões sonoras, que variam de texturas sintéticas à ruídos e sonoridades compreensíveis, e animações luminosas coloridas (pulsantes e em fluxo) sobre quadros em molduras clássicas com expressões orgânicas em alto-relevo, cujos orifícios no topo de seus relevos emanam luzes pontuais (em laser). A instalação traz em sua poética o propósito de evocar íntimas lembranças, inquietações e sensações acerca de invasões (nossas e alheias) e resistências a elas sofridas, cometidas e externadas, a partir do protagonismo estabelecido pela audiência por meio da aproximação linear das pessoas diante das peças em exibição.
本稿件介绍、描述和分析了作品“Antigenous 2.021 - Currency resistance”，这是一个互动雕塑，它设置、引导和诱导观众行动和思考由声音表情组成的诗意多样性，从合成的纹理到可理解的噪音和声音，以及经典框架中具有高浮雕有机表情的图片上的彩色发光动画(脉动和流动)。浮雕顶部的孔洞发出聚光灯(激光)。该装置以诗意为目的，唤起对入侵(我们的和他人的)的亲密记忆、关注和感受，以及对遭受、承诺和表达的抵抗，以观众通过人们在展品前的线性方式建立的主角为基础。Resumo:提交了一份报告，描述了一种分析方法，一种“Antigenous 2.021 - Current resistance”，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境audiência，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化相互作用的环境，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化，一种文化。Cujos orifícios no topo de seus relevos emanam luzes pontuais (em laser)。1 . A install -。
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Our mind constantly interacts with our environments. We cognize the world and transform it on the basis of multifarious experiences we continue to have. Enacted Scene intervenes in this cognitive process of building memories and mediates the disparity between disinterested digital images and unstable yet rich, affective memories of the same experience. In this project, the artist carefully opens and explores the underlying interaction between a mind and a world by digitally recreating the experienced world – the city of Spokane. The artist's daily exploration of the city was influenced by their actions in the process – observation, photographing, and 3D modeling, and in this way, they intervened in underlying cognitive activities. To represent this process that a nonconscious mind emerges as a recognizable cognition, it is first presented as a scattered image and invites the audience to approach closely and engage in enacting the image of their memories.
{"title":"Enacted Scene: Virtual World Built Upon Experimental Cognitive Intervention","authors":"Sunsook Nam","doi":"10.1145/3483529.3483777","DOIUrl":"https://doi.org/10.1145/3483529.3483777","url":null,"abstract":"Our mind constantly interacts with our environments. We cognize the world and transform it on the basis of multifarious experiences we continue to have. Enacted Scene intervenes in this cognitive process of building memories and mediates the disparity between disinterested digital images and unstable yet rich, affective memories of the same experience. In this project, the artist carefully opens and explores the underlying interaction between a mind and a world by digitally recreating the experienced world – the city of Spokane. The artist's daily exploration of the city was influenced by their actions in the process – observation, photographing, and 3D modeling, and in this way, they intervened in underlying cognitive activities. To represent this process that a nonconscious mind emerges as a recognizable cognition, it is first presented as a scattered image and invites the audience to approach closely and engage in enacting the image of their memories.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"326 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":"129669005","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}
There are currently very few options for executing live spherical drawings for an audience. This work presents an artefact which demonstrates one possible way to achieve such drawings in a performative setting with concurrent interactive live feed of the spherical drawing's VR visualization. The authors aim at stimulating the under-explored form of expression that spherical perspectives represent by facilitating, demonstrating, opening, and extending their use both with general applications and in particular with digital art live presentations. To highlight the artefact's utility, we consider the state of art of drawing techniques for different spherical perspectives (equirectangular, azimuthal equidistant, cubical) and the software available for their practice. The artefact processes various inputs into one mixed output. The inputs are a drawing generated either with traditional or digital techniques, and OSC data taken from an external device. The output is a classical perspective projected onto a screen (optionally also on a mobile device). The software has been made with node-based programming: the free non-commercial version of TouchDesigner, which allowed us to evaluate the workflow with great versatility and a good integration with Python before entering a coding stage. The artefact is tested within the exhibition “I'm watching you/me” (IMWYM), which is part of Lufo Art project. The live presentation explores and explodes Hybrid Immersive Models (HIMs) within digital art and uses the artefact as a way of expanding spherical perspectives’ applications.
{"title":"I'm watching you/me: Live drawing and VR visualization of spherical perspectives using Touch Designer","authors":"Lucas Fabián Olivero, A. Araújo","doi":"10.1145/3483529.3483778","DOIUrl":"https://doi.org/10.1145/3483529.3483778","url":null,"abstract":"There are currently very few options for executing live spherical drawings for an audience. This work presents an artefact which demonstrates one possible way to achieve such drawings in a performative setting with concurrent interactive live feed of the spherical drawing's VR visualization. The authors aim at stimulating the under-explored form of expression that spherical perspectives represent by facilitating, demonstrating, opening, and extending their use both with general applications and in particular with digital art live presentations. To highlight the artefact's utility, we consider the state of art of drawing techniques for different spherical perspectives (equirectangular, azimuthal equidistant, cubical) and the software available for their practice. The artefact processes various inputs into one mixed output. The inputs are a drawing generated either with traditional or digital techniques, and OSC data taken from an external device. The output is a classical perspective projected onto a screen (optionally also on a mobile device). The software has been made with node-based programming: the free non-commercial version of TouchDesigner, which allowed us to evaluate the workflow with great versatility and a good integration with Python before entering a coding stage. The artefact is tested within the exhibition “I'm watching you/me” (IMWYM), which is part of Lufo Art project. The live presentation explores and explodes Hybrid Immersive Models (HIMs) within digital art and uses the artefact as a way of expanding spherical perspectives’ applications.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"51 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":"130287086","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}
Oneirografia é uma obra de literatura digital que permite ao seu usuário recriar sonhos, ou criar novos, e guardá-los ou compartilhá-los. Baseada em uma reflexão sobre o papel dos sonhos na vida humana, e em uma experiência onírica pessoal que ocorreu no início da pandemia de Covid-19, o trabalho utiliza ambientes imersivos 3D para alcançar seus objetivos. Esses objetivos são a possibilidade de rememorarmos nossos sonhos e darmos eco a eles, utilizando-os para nos conectarmos conosco e com o mundo a nossa volta.
{"title":"Escrita onírica digital: e as imagens de sonhos","authors":"Andréa Catrópa","doi":"10.1145/3483529.3483764","DOIUrl":"https://doi.org/10.1145/3483529.3483764","url":null,"abstract":"Oneirografia é uma obra de literatura digital que permite ao seu usuário recriar sonhos, ou criar novos, e guardá-los ou compartilhá-los. Baseada em uma reflexão sobre o papel dos sonhos na vida humana, e em uma experiência onírica pessoal que ocorreu no início da pandemia de Covid-19, o trabalho utiliza ambientes imersivos 3D para alcançar seus objetivos. Esses objetivos são a possibilidade de rememorarmos nossos sonhos e darmos eco a eles, utilizando-os para nos conectarmos conosco e com o mundo a nossa volta.","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":"133726821","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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