The “Assum Livre” artwork consists of an Inter-Art performance whose main objective is to reflect on freedom / imprisonment, evoking a metaphor that recreates the experience of lockdown / unlockdown in the 2020 / 2021 pandemic times. In addition to post-digital life issue, we question scientific negationism in what we call “shadow and light”, due to caused blindness. The performance is based on the transmission of a video recorded with the author / singer interpreting part of “Assum Preto” song (Humberto Teixeira and Luiz Gonzaga, 1950), simultaneously with the live interpretation of other verses of the music, which alternate with the presentation of full lyrics. We will have the materialization of the performer, from recording / video to real existence. As a scenario we have nature as a projection of “freedom”, the natural habitat once threatened by human intervention, enhancing the natural soundscapes, and enabling hybridization of image / sound / live performance. Resumo: A proposta artística “Assum Livre” consiste numa performance de Inter-Arte que tem como objetivo principal refletir sobre a liberdade/ aprisionamento, evocando uma metáfora que recria a experiência do confinamento / desconfinamento nos tempos de pandemia 2020 / 2021. Para além da questão da vida pós-digital, questionamos sobre o negacionismo científico no que denominamos de “sombras e a luz”, em virtude da cegueira provocada. A performance fundamenta-se na transmissão de um vídeo gravado com a autora / cantora a interpretar parte da canção “Assum Preto” (Humberto Teixeira e Luiz Gonzaga, 1950), simultaneamente com a interpretação ao vivo das outras estrofes da música, que alternam com a apresentação da totalidade da letra. Teremos a materialização da performer, da gravação / vídeo à existência real. Como cenário temos a natureza enquanto projeção da “liberdade”, o habitat natural outrora ameaçado pela intervenção humana, potencializando as paisagens sonoras naturais e possibilitando a hibridização imagem / som / performance ao vivo.
“Assum Livre”艺术作品是一场跨艺术表演，其主要目的是反思自由/监禁，唤起一种隐喻，再现2020 / 2021年大流行时期的封锁/解锁体验。除了后数字生活的问题，我们质疑科学的否定主义在我们所谓的“阴影与光明”，由于造成盲目性。表演是基于一段视频的传输，该视频记录了作者/歌手解释“Assum Preto”歌曲的一部分(Humberto Teixeira和Luiz Gonzaga, 1950)，同时现场解释音乐的其他段落，这些段落与完整的歌词交替呈现。我们将有表演者的物质化，从录音/视频到真实存在。作为一个场景，我们将自然作为“自由”的投射，自然栖息地曾经受到人类干预的威胁，增强了自然的声景，实现了图像/声音/现场表演的混合。简历:一项提案artística“假设生活”与国际间的行为一致，共同的目标，主要反映了人类的自由和自由/监禁，在2020 / 2021年流行病的时间内，metáfora共同的目标和experiência共同的限制/解除限制。关于薪金薪金的问题关于薪金薪金的问题pós-digital，关于薪金薪金的问题científico，关于薪金薪金和薪金薪金的问题，关于薪金薪金和薪金薪金的问题。性能fundamenta-se na transmissao de嗯视频gravado com autora / cantora interpretar杰克逊da cancao”Assum Preto”(Humberto特谢拉e路易斯贡扎加1950),simultaneamente com一interpretacao ao vivo das outras estrofes音乐,是alternam com一apresentacao哒totalidade哒letra。Teremos / vídeo existência real。科莫cenario temos一natureza enquanto projecao da“liberdade”,o栖息地自然outrora ameacado佩拉intervencao胡玛纳,potencializando作为paisagens索诺拉naturais e possibilitando hibridizacao imagem / som / ao体内性能。
{"title":"Assum Livre: performance paradoxal entre o real e o digital: Assum Livre: paradoxical performance between the real and the digital","authors":"R. Rocha, Hugo Canossa","doi":"10.1145/3483529.3483751","DOIUrl":"https://doi.org/10.1145/3483529.3483751","url":null,"abstract":"The “Assum Livre” artwork consists of an Inter-Art performance whose main objective is to reflect on freedom / imprisonment, evoking a metaphor that recreates the experience of lockdown / unlockdown in the 2020 / 2021 pandemic times. In addition to post-digital life issue, we question scientific negationism in what we call “shadow and light”, due to caused blindness. The performance is based on the transmission of a video recorded with the author / singer interpreting part of “Assum Preto” song (Humberto Teixeira and Luiz Gonzaga, 1950), simultaneously with the live interpretation of other verses of the music, which alternate with the presentation of full lyrics. We will have the materialization of the performer, from recording / video to real existence. As a scenario we have nature as a projection of “freedom”, the natural habitat once threatened by human intervention, enhancing the natural soundscapes, and enabling hybridization of image / sound / live performance. Resumo: A proposta artística “Assum Livre” consiste numa performance de Inter-Arte que tem como objetivo principal refletir sobre a liberdade/ aprisionamento, evocando uma metáfora que recria a experiência do confinamento / desconfinamento nos tempos de pandemia 2020 / 2021. Para além da questão da vida pós-digital, questionamos sobre o negacionismo científico no que denominamos de “sombras e a luz”, em virtude da cegueira provocada. A performance fundamenta-se na transmissão de um vídeo gravado com a autora / cantora a interpretar parte da canção “Assum Preto” (Humberto Teixeira e Luiz Gonzaga, 1950), simultaneamente com a interpretação ao vivo das outras estrofes da música, que alternam com a apresentação da totalidade da letra. Teremos a materialização da performer, da gravação / vídeo à existência real. Como cenário temos a natureza enquanto projeção da “liberdade”, o habitat natural outrora ameaçado pela intervenção humana, potencializando as paisagens sonoras naturais e possibilitando a hibridização imagem / som / performance ao vivo.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"66 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":"131331958","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 to present different artworks resulting from the collaboration with scientists at the Brazilian Antarctic Expedition. During 60 days aboard the Brazilian Navy Research ship, I worked together with oceanographers, marine biologists, ocean physicists and chemists. Associated to Artech 2021 topic of interest “Art, Science and Sustainability”, the artworks are video art, rotoscopic videos, data visualizations, audiovisual performance, experimental cartography, photography and design. As part of an art and research project, the artworks presented here are an attempt to bring attention to science, the scientific work and create environmental sensibility. RESUMO Este artigo propõe apresentar diferentes obras resultantes da colaboração com cientistas da Expedição Antártica Brasileira. Durante 60 dias a bordo do navio de pesquisa da Marinha do Brasil, trabalhei junto com oceanógrafos, biólogos marinhos, físicos oceânicos e químicos. Associado ao tema de interesse da Artech 2021 “Arte, Ciência e Sustentabilidade”, os trabalhos artísticos são arte vídeo, vídeos rotoscópicos, visualizações de dados, performance audiovisual, cartografia experimental, fotografia e design. Como parte de um projeto de arte e pesquisa, as obras aqui apresentadas são uma tentativa de chamar a atenção para a ciência, o trabalho científico e criar sensibilidade ambiental.
这篇论文提出了与巴西南极探险队的科学家合作的不同艺术作品。在巴西海军研究船上的60天里，我与海洋学家、海洋生物学家、海洋物理学家和化学家一起工作。与Artech 2021主题“艺术，科学和可持续发展”相关的艺术作品包括视频艺术，旋转视频，数据可视化，视听表演，实验制图，摄影和设计。作为艺术和研究项目的一部分，这里展示的艺术作品试图引起人们对科学，科学工作和创造环境敏感性的关注。RESUMO Este artigo propõe表示不同的obras resultantes da colabora o com scientistas da expedi o Antártica Brasileira。Durante 60 dias a bordo do navio de pesquisa da Marinha do Brasil, trabalhei junto com oceanógrafos, biólogos marinhos, físicos oce nicos e químicos。Associado ao tema de interesse da Artech 2021“Arte, Ciência e Sustentabilidade”，os trabalhos artísticos s o Arte vídeo, vídeos rotoscópicos, visualizações de dados，表演视听，制图实验，摄影设计。共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目、共同开发项目。
{"title":"Arte e ciência na Antártica: Práticas artísticas de divulgação científica: Art & Science in Antarctica: Artistic practices of science outreach","authors":"K. Brunet","doi":"10.1145/3483529.3483534","DOIUrl":"https://doi.org/10.1145/3483529.3483534","url":null,"abstract":"This paper proposes to present different artworks resulting from the collaboration with scientists at the Brazilian Antarctic Expedition. During 60 days aboard the Brazilian Navy Research ship, I worked together with oceanographers, marine biologists, ocean physicists and chemists. Associated to Artech 2021 topic of interest “Art, Science and Sustainability”, the artworks are video art, rotoscopic videos, data visualizations, audiovisual performance, experimental cartography, photography and design. As part of an art and research project, the artworks presented here are an attempt to bring attention to science, the scientific work and create environmental sensibility. RESUMO Este artigo propõe apresentar diferentes obras resultantes da colaboração com cientistas da Expedição Antártica Brasileira. Durante 60 dias a bordo do navio de pesquisa da Marinha do Brasil, trabalhei junto com oceanógrafos, biólogos marinhos, físicos oceânicos e químicos. Associado ao tema de interesse da Artech 2021 “Arte, Ciência e Sustentabilidade”, os trabalhos artísticos são arte vídeo, vídeos rotoscópicos, visualizações de dados, performance audiovisual, cartografia experimental, fotografia e design. Como parte de um projeto de arte e pesquisa, as obras aqui apresentadas são uma tentativa de chamar a atenção para a ciência, o trabalho científico e criar sensibilidade ambiental.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"71 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114023971","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}
Hybrid Art: fraught relationships with nature and technology is a series of installations produced in 2021 for the “Hybrid Culture” exhibitions (3 different ones in distinct locations as part of “Viver ao Vivo” project) and for the “Contingency” exhibition (ARTECH 2021). These installations arise from the focus on images produced in scientific laboratories and my ethnographic exploration of the relation between what I considered to be different virtual archival spaces (i.e. the natural environment, the studio, the art gallery, the laboratory, my body). Its main aim was to establish a critical link between the scientific images and practices and visual arts, in a highly technical society where the experience of nature is somehow mediated, as well as memories, and there is a sense of technically constructed nature.
“混合艺术:充满自然和技术的关系”是2021年为“混合文化”展览(作为“Viver ao Vivo”项目的一部分，在不同的地点有三个不同的展览)和“偶然性”展览(ARTECH 2021)制作的一系列装置作品。这些装置源于对科学实验室中产生的图像的关注，以及我对不同虚拟档案空间(即自然环境，工作室，艺术画廊，实验室，我的身体)之间关系的民族志探索。它的主要目的是在科学图像、实践和视觉艺术之间建立一个关键的联系，在一个高度技术的社会中，自然的体验和记忆以某种方式被调解，并且有一种技术构建的自然感。
{"title":"Hybrid Art: fraught relationships with nature and technology","authors":"Maria Manuela Lopes","doi":"10.1145/3483529.3483789","DOIUrl":"https://doi.org/10.1145/3483529.3483789","url":null,"abstract":"Hybrid Art: fraught relationships with nature and technology is a series of installations produced in 2021 for the “Hybrid Culture” exhibitions (3 different ones in distinct locations as part of “Viver ao Vivo” project) and for the “Contingency” exhibition (ARTECH 2021). These installations arise from the focus on images produced in scientific laboratories and my ethnographic exploration of the relation between what I considered to be different virtual archival spaces (i.e. the natural environment, the studio, the art gallery, the laboratory, my body). Its main aim was to establish a critical link between the scientific images and practices and visual arts, in a highly technical society where the experience of nature is somehow mediated, as well as memories, and there is a sense of technically constructed nature.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"7 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":"114595814","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 glitch: an unexpected moment in a system resulting in the appearance of a malfunction. Commonly found within software, video games, digital images, film, and audio. In a world of digital perfectionism and sleek sonic design, why do artists now seek to re-associate the sounds of computational error into contemporary music? The “aesthetics of failure”, and subsequent glitch music sub-genre, emerged in the 1990s, deliberately using and exploiting technological systems as sound materials for composition. Whilst exploring the technological innovations and artistic movements compounding the rise of this new musical phenomenon, we will also investigate the genres link to French philosopher Jacques Derrida's concept of hauntology. This will give us an insight into the human anxieties associated with a wavering faith in technological progress and modernity when it came to the turn of the millennium. Whilst the last century was spent perfecting the sound recording, the availability of the glitch has revolutionised modern music. We now seem to be entering a “post-digital” era, concerned primarily with the rapidly changing relationships we have with technologies, as well as our increasing dependence on them. The internet has provided the ultimate archival space to reminisce and re-contextualise all sound materials, even those once seen as defective.
{"title":"Haunted by the Glitch: Technological Malfunction - Critiquing the Media of Innovation","authors":"Joseph Gilling","doi":"10.1145/3483529.3483667","DOIUrl":"https://doi.org/10.1145/3483529.3483667","url":null,"abstract":"The glitch: an unexpected moment in a system resulting in the appearance of a malfunction. Commonly found within software, video games, digital images, film, and audio. In a world of digital perfectionism and sleek sonic design, why do artists now seek to re-associate the sounds of computational error into contemporary music? The “aesthetics of failure”, and subsequent glitch music sub-genre, emerged in the 1990s, deliberately using and exploiting technological systems as sound materials for composition. Whilst exploring the technological innovations and artistic movements compounding the rise of this new musical phenomenon, we will also investigate the genres link to French philosopher Jacques Derrida's concept of hauntology. This will give us an insight into the human anxieties associated with a wavering faith in technological progress and modernity when it came to the turn of the millennium. Whilst the last century was spent perfecting the sound recording, the availability of the glitch has revolutionised modern music. We now seem to be entering a “post-digital” era, concerned primarily with the rapidly changing relationships we have with technologies, as well as our increasing dependence on them. The internet has provided the ultimate archival space to reminisce and re-contextualise all sound materials, even those once seen as defective.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"370 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":"116056830","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}
Day Bi Day é um projeto artístico que questiona como o design gráfico e a escrita poética podem criar espaços de pesquisa que se inspiram em aspectos de humanização do rótulo bissexual. Este artigo apresenta a concepção e o desenvolvimento de uma publicação que representa uma experiência poética bissexual acompanhada de gravuras ilustrativas. O projeto é inspirado em uma abordagem da literatura ergódica [1] para a escrita, além de explorar formas de texto e textura para potencializar a experiência de leitura. Busca estabelecer uma conexão com o leitor por meio de uma participação que estimule a fisicalidade. Essa conexão e entrada na narrativa relacionam idealmente o espectador com a experiência retratada, proporcionando uma compreensão empática de uma experiência bissexual, bem como uma visão mais humanizada das pessoas que se identificam sob o rótulo. A importância do projeto depende do uso da prática para fazer perguntas específicas e autoetnográficas, sendo ao mesmo tempo o motor e o resultado do processo de pesquisa.
Day Bi Day是一个艺术项目，质疑平面设计和诗意写作如何创造研究空间，灵感来自双性恋标签的人性化方面。本文介绍了一种出版物的设计和发展，它代表了一种带有插图的双性恋诗意体验。该项目的灵感来自于遍历文学[1]的写作方法，并探索文本和纹理的形式，以增强阅读体验。它寻求通过刺激身体的参与与读者建立联系。这种联系和进入叙述理想地将观众与所描绘的体验联系起来，提供了对双性恋体验的移情理解，以及对标签下认同自己的人的更人性化的看法。项目的重要性取决于使用实践来提出具体的和自传体的问题，同时也是研究过程的引擎和结果。
{"title":"Day Bi Day: A research guided by the practice of graphic design and poetic writing","authors":"Cassandra Loh, M. Steagall","doi":"10.1145/3483529.3483666","DOIUrl":"https://doi.org/10.1145/3483529.3483666","url":null,"abstract":"Day Bi Day é um projeto artístico que questiona como o design gráfico e a escrita poética podem criar espaços de pesquisa que se inspiram em aspectos de humanização do rótulo bissexual. Este artigo apresenta a concepção e o desenvolvimento de uma publicação que representa uma experiência poética bissexual acompanhada de gravuras ilustrativas. O projeto é inspirado em uma abordagem da literatura ergódica [1] para a escrita, além de explorar formas de texto e textura para potencializar a experiência de leitura. Busca estabelecer uma conexão com o leitor por meio de uma participação que estimule a fisicalidade. Essa conexão e entrada na narrativa relacionam idealmente o espectador com a experiência retratada, proporcionando uma compreensão empática de uma experiência bissexual, bem como uma visão mais humanizada das pessoas que se identificam sob o rótulo. A importância do projeto depende do uso da prática para fazer perguntas específicas e autoetnográficas, sendo ao mesmo tempo o motor e o resultado do processo de pesquisa.","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":"116565880","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}
Maria Manuela Lopes, J. Borlido-Santos, Maria Rui Vilar-Correia, Anabela Nunes
Hybrid Lab Network (HYBRID) is an exploratory project to promote innovation and good practices for Higher Education, bridging areas of Art, Science, Technology/Engineering and Humanities, and fostering knowledge sharing and training. HYBRID aims to upgrade the work carried out by the individual partners - two excellent Higher Education Institutions (Slovenia e Finland), a world-class Research Institute (Portugal), and an outstanding Foundation (Netherlands) -, giving it a strong EU dimension. The transnational consortium aims to promote reflection processes and real action over what should be Higher Education for the future: innovation, autonomy, curricular flexibility, and collaborative and sustainable approaches. Tackling the 4 Cultures (Arts, Sciences, Engineering/ Technology, Humanities) and 3 Sectors (Academia, Research, Society). HYBRID is implementing a multidisciplinary approach to improve STEAM training, particularly in bio-sciences, including the development of didactic tools and resources to promote critical and creative thinking and innovation.
{"title":"Hybrid Lab Network an exploratory project on STEAM for Higher Education","authors":"Maria Manuela Lopes, J. Borlido-Santos, Maria Rui Vilar-Correia, Anabela Nunes","doi":"10.1145/3483529.3483724","DOIUrl":"https://doi.org/10.1145/3483529.3483724","url":null,"abstract":"Hybrid Lab Network (HYBRID) is an exploratory project to promote innovation and good practices for Higher Education, bridging areas of Art, Science, Technology/Engineering and Humanities, and fostering knowledge sharing and training. HYBRID aims to upgrade the work carried out by the individual partners - two excellent Higher Education Institutions (Slovenia e Finland), a world-class Research Institute (Portugal), and an outstanding Foundation (Netherlands) -, giving it a strong EU dimension. The transnational consortium aims to promote reflection processes and real action over what should be Higher Education for the future: innovation, autonomy, curricular flexibility, and collaborative and sustainable approaches. Tackling the 4 Cultures (Arts, Sciences, Engineering/ Technology, Humanities) and 3 Sectors (Academia, Research, Society). HYBRID is implementing a multidisciplinary approach to improve STEAM training, particularly in bio-sciences, including the development of didactic tools and resources to promote critical and creative thinking and innovation.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"64 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":"121879717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
C. Sylla, M. Gil, Douglas Menegazzi, Rafael Fernandes, Cristiana Araújo, Nuno Martins
This paper discusses the contribution of Design in the development of a kit of tangible and multimedia tools for children to collaboratively read and create stories about the world. Here, we detail the design process, including the investigation of visual concepts, the prototyping and the user studies carried out during the development of the tools. We discuss the contribution of Design in the development of each step both through the adoption of theoretical concepts from the field, and by following a participatory Design and a User Centered Design approach. In the context of an investigation that combines a range of different fields, we argue that the Design has acted as the element that materializes and unifies the multidisciplinary contributions, leading to the creation of compelling engaging materials, which have the potential to involve users in the creation of multicultural narratives.
{"title":"Once Upon a Time: A Kit of Tools for Reading and Telling Stories","authors":"C. Sylla, M. Gil, Douglas Menegazzi, Rafael Fernandes, Cristiana Araújo, Nuno Martins","doi":"10.1145/3483529.3483685","DOIUrl":"https://doi.org/10.1145/3483529.3483685","url":null,"abstract":"This paper discusses the contribution of Design in the development of a kit of tangible and multimedia tools for children to collaboratively read and create stories about the world. Here, we detail the design process, including the investigation of visual concepts, the prototyping and the user studies carried out during the development of the tools. We discuss the contribution of Design in the development of each step both through the adoption of theoretical concepts from the field, and by following a participatory Design and a User Centered Design approach. In the context of an investigation that combines a range of different fields, we argue that the Design has acted as the element that materializes and unifies the multidisciplinary contributions, leading to the creation of compelling engaging materials, which have the potential to involve users in the creation of multicultural narratives.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"318 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":"122433441","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 interest in art-technology in the current context has led to the research of catalogs and press releases of exhibits from the 60s and 70s. We were guided initially by Edward A. Shanken, particularly where the author examines the interrelationship between conceptual art and art and technology from the 1960s, and then the relationship between modern art and new media. Based on Jack Burnham and analyzing the cultural transformations from the industrial society to the post-industrial information age, Shanken finds that both conceptual art and art and technology share similarities that many art historians still do not recognize today, and that would change the direction of the discourses of the dominant contemporary art. The aim here is to contribute to a discussion elicited by both Shanken and Burnham through the analysis of documents of their time and of perspectives of other authors.
在当前背景下，对艺术技术的兴趣导致了对60年代和70年代展览的目录和新闻稿的研究。我们最初是由爱德华·a·尚肯(Edward A. Shanken)指导的，特别是作者考察了20世纪60年代以来观念艺术与艺术和技术之间的相互关系，然后是现代艺术与新媒体之间的关系。以杰克·伯纳姆为基础，通过分析从工业社会到后工业信息时代的文化转型，尚肯发现，观念艺术与艺术与技术有着许多艺术史学家至今仍未认识到的相似之处，而这将改变占主导地位的当代艺术话语的方向。这里的目的是通过分析他们那个时代的文献和其他作者的观点，为山肯和伯纳姆所引发的讨论做出贡献。
{"title":"Recovering Data from Art-technology","authors":"Silvia Laurentiz","doi":"10.1145/3483529.3483672","DOIUrl":"https://doi.org/10.1145/3483529.3483672","url":null,"abstract":"The interest in art-technology in the current context has led to the research of catalogs and press releases of exhibits from the 60s and 70s. We were guided initially by Edward A. Shanken, particularly where the author examines the interrelationship between conceptual art and art and technology from the 1960s, and then the relationship between modern art and new media. Based on Jack Burnham and analyzing the cultural transformations from the industrial society to the post-industrial information age, Shanken finds that both conceptual art and art and technology share similarities that many art historians still do not recognize today, and that would change the direction of the discourses of the dominant contemporary art. The aim here is to contribute to a discussion elicited by both Shanken and Burnham through the analysis of documents of their time and of perspectives of other authors.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"75 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":"132030256","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}
"Your Shadow" is an interactive multimedia interactive audiovisual installation that explores the phenomenon of surveillance, which is rampant in our society. As your actions and activities leave a digital and physical footprint behind, is your shadow safe and protected, or is it open to exploitation? How are your movements and actions being tracked? What is at stake as your shadows are constantly monitored onand offline? The sonic and visual interaction will capture the formation of shadows and vestiges. As each audience member swings their face left and right, leans forward and backward, the video will capture the gradual shadows that follow the participant’s movements. Overall, this interactive installation aims to create an embodied and visceral experience for audiences. In doing so, this work hopes to raise viewers’ awareness in regards to the dangers and potential risks associated with high-tech
{"title":"Your Shadow","authors":"Cecilia Suhr","doi":"10.1145/3483529.3483786","DOIUrl":"https://doi.org/10.1145/3483529.3483786","url":null,"abstract":"\"Your Shadow\" is an interactive multimedia interactive audiovisual installation that explores the phenomenon of surveillance, which is rampant in our society. As your actions and activities leave a digital and physical footprint behind, is your shadow safe and protected, or is it open to exploitation? How are your movements and actions being tracked? What is at stake as your shadows are constantly monitored onand offline? The sonic and visual interaction will capture the formation of shadows and vestiges. As each audience member swings their face left and right, leans forward and backward, the video will capture the gradual shadows that follow the participant’s movements. Overall, this interactive installation aims to create an embodied and visceral experience for audiences. In doing so, this work hopes to raise viewers’ awareness in regards to the dangers and potential risks associated with high-tech","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"156 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":"132349290","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}
Bárbara Cleto, M. Ferreira, Ricardo Silva Carvalho
In this study an environment was created to make teachers and students "believe" they were in a classroom, even though they were physically separated. We designed teaching-learning activities related to programming, in this case, 3D object modelling, with the purpose of analysing the interactions between students from three vocational education classes from three secondary schools, in a Virtual Reality environment. This exploratory study (case study) consisted in teaching three classes in a Virtual Reality environment, in the subject Programming and Information Systems of the first and second years of the Professional Course of Management and Programming of Computer Systems (TGPSI). The students programmed objects in 3D modelling. The motivation for using this environment is related to the idea of providing teachers and students with a new teaching and learning environment that facilitates the exploration of the initial concepts of programming and algorithms, which can be extended to any level of education. Simultaneously, it is intended to explore new environments, which can be customised. Starting from the experimentation and exploration of a classroom (identical to the real one), the study focused on discovering the benefits and challenges regarding the potential of these environments, considering the students' perspective. The aim was to understand how these environments can be facilitators of the teaching/learning process and promoters of socialisation, capable of involving and motivating the students. Based on the analysis of the results obtained, these environments were considered promising and innovative, with the potential to be applied not only in the current context of the pandemic, but also later when returning to classroom teaching.
{"title":"Análise de interações de alunos do ensino secundário em ambientes virtuais","authors":"Bárbara Cleto, M. Ferreira, Ricardo Silva Carvalho","doi":"10.1145/3483529.3483678","DOIUrl":"https://doi.org/10.1145/3483529.3483678","url":null,"abstract":"In this study an environment was created to make teachers and students \"believe\" they were in a classroom, even though they were physically separated. We designed teaching-learning activities related to programming, in this case, 3D object modelling, with the purpose of analysing the interactions between students from three vocational education classes from three secondary schools, in a Virtual Reality environment. This exploratory study (case study) consisted in teaching three classes in a Virtual Reality environment, in the subject Programming and Information Systems of the first and second years of the Professional Course of Management and Programming of Computer Systems (TGPSI). The students programmed objects in 3D modelling. The motivation for using this environment is related to the idea of providing teachers and students with a new teaching and learning environment that facilitates the exploration of the initial concepts of programming and algorithms, which can be extended to any level of education. Simultaneously, it is intended to explore new environments, which can be customised. Starting from the experimentation and exploration of a classroom (identical to the real one), the study focused on discovering the benefits and challenges regarding the potential of these environments, considering the students' perspective. The aim was to understand how these environments can be facilitators of the teaching/learning process and promoters of socialisation, capable of involving and motivating the students. Based on the analysis of the results obtained, these environments were considered promising and innovative, with the potential to be applied not only in the current context of the pandemic, but also later when returning to classroom teaching.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128725363","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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