This essay presents the rationale, implementation, social and cultural influences, and historical background of Cradlr: An Interaction Design for Refugee Children, a human-centered digital network concept designed to keep displaced children—the most vulnerable group who doesn't have cell phones—connected with their families, resources, and heritage. Inspired by the Mothers’ Movement in China—a women's movement rescued and educated 30,000 refugee children—and European countries during World War II, this project goes beyond the realm of digital product design in an attempt to find a humanitarian solution for a complex social challenge. It envisions a global network preserving a collective memory that might help displaced children to overcome many adversities and receive more love and brighter futures.
{"title":"From the Mothers' Movement to Cradlr: An Interaction Design for Refugee Children","authors":"Jing Zhou","doi":"10.1145/3483529.3483677","DOIUrl":"https://doi.org/10.1145/3483529.3483677","url":null,"abstract":"This essay presents the rationale, implementation, social and cultural influences, and historical background of Cradlr: An Interaction Design for Refugee Children, a human-centered digital network concept designed to keep displaced children—the most vulnerable group who doesn't have cell phones—connected with their families, resources, and heritage. Inspired by the Mothers’ Movement in China—a women's movement rescued and educated 30,000 refugee children—and European countries during World War II, this project goes beyond the realm of digital product design in an attempt to find a humanitarian solution for a complex social challenge. It envisions a global network preserving a collective memory that might help displaced children to overcome many adversities and receive more love and brighter futures.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"236 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":"121574615","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}
Weblogmusic (http://weblogmusic.org) is a web-based platform for performers to improvise in asynchronous virtual ensembles and for audiences to experience these performances in ways that reflect the impact of technological mediation on human interaction, the human values and sensibilities in mediated experiences, and the power of mediation as an expressive element in art. These borndigital performances only exist in the moment of playback. The turn-based, time-shifted format compels performers and audiences to probe their senses of presence and authenticity. It is designed to exploit the unpredictable aspects of networked communication and embrace them as a distinct expressive dimension in composition, to probe the values at work in any kind of human connection. This is especially pertinent given the global shift to videocalls during the COVID-19 pandemic and the resulting void of live performances.
{"title":"Weblogmusic","authors":"Jeffrey M. Morris","doi":"10.1145/3483529.3483740","DOIUrl":"https://doi.org/10.1145/3483529.3483740","url":null,"abstract":"Weblogmusic (http://weblogmusic.org) is a web-based platform for performers to improvise in asynchronous virtual ensembles and for audiences to experience these performances in ways that reflect the impact of technological mediation on human interaction, the human values and sensibilities in mediated experiences, and the power of mediation as an expressive element in art. These borndigital performances only exist in the moment of playback. The turn-based, time-shifted format compels performers and audiences to probe their senses of presence and authenticity. It is designed to exploit the unpredictable aspects of networked communication and embrace them as a distinct expressive dimension in composition, to probe the values at work in any kind of human connection. This is especially pertinent given the global shift to videocalls during the COVID-19 pandemic and the resulting void of live performances.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"50 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":"124813067","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}
Holographic works can be considered interactive, although they do not cover all possible types of interaction. The exploration of the holographic image invites the self-knowledge of the relativity of our perception and, consequently, of the vision of our cognitive universe. My research has been about the aesthetics of light, as an entity in itself, and how the viewer interacts with it; holography is one of the media that I have used in this process. Developments in the techniques of producing pulsed holograms and holographic stereograms have combined to provide high-quality three-dimensional movement and illusions. In the new era of holographic image and the creation of digital holograms, imaging systems are being developed to capture dimensional content and also possible software to edit it. In this paper, the creative process and the experimental techniques of digital holographic image are analysed from the point of view of the visual arts. In view of these digital holograms, attention is drawn to a set of situations, which require a global activity from the participant who is in the space of the work. Through the movement of the participant's body and the time taken, a set of relationships is established between the real space, in which the participant moves, and the virtual space of the digital holographic image, shaping a series of actions that transform what is perceived and become the specific performance of each participant. That dynamic experience of seeing a digital hologram where the image is not static, but in a non-stop transformation, questions us about the act of seeing. Understanding holography not to “reproducing” the world but opening new formal play and unexpected imagery, perhaps could be a land to develop new ways of seeing ourselves, the world and what we take to be “natural”.
{"title":"Performative holography: The hologram and the experience with its image","authors":"I. Azevedo","doi":"10.1145/3483529.3483682","DOIUrl":"https://doi.org/10.1145/3483529.3483682","url":null,"abstract":"Holographic works can be considered interactive, although they do not cover all possible types of interaction. The exploration of the holographic image invites the self-knowledge of the relativity of our perception and, consequently, of the vision of our cognitive universe. My research has been about the aesthetics of light, as an entity in itself, and how the viewer interacts with it; holography is one of the media that I have used in this process. Developments in the techniques of producing pulsed holograms and holographic stereograms have combined to provide high-quality three-dimensional movement and illusions. In the new era of holographic image and the creation of digital holograms, imaging systems are being developed to capture dimensional content and also possible software to edit it. In this paper, the creative process and the experimental techniques of digital holographic image are analysed from the point of view of the visual arts. In view of these digital holograms, attention is drawn to a set of situations, which require a global activity from the participant who is in the space of the work. Through the movement of the participant's body and the time taken, a set of relationships is established between the real space, in which the participant moves, and the virtual space of the digital holographic image, shaping a series of actions that transform what is perceived and become the specific performance of each participant. That dynamic experience of seeing a digital hologram where the image is not static, but in a non-stop transformation, questions us about the act of seeing. Understanding holography not to “reproducing” the world but opening new formal play and unexpected imagery, perhaps could be a land to develop new ways of seeing ourselves, the world and what we take to be “natural”.","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":"123340124","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 Observatory of Electronic Music and Media Art (Ob.EMMA) is a pioneer observatory created in 2019 for monitoring, mapping, diagnosing and promoting the investigation of electronic music and media art in Portugal. Ob.EMMA is part of the ID research center CITCEM_Center for Transdisciplinary Research on Culture, Space and Memory. Given its hybrid nature, this observatory includes artists and academics from various institutions and areas, namely, communication sciences, social sciences, technologies, humanities and arts. Ob.EMMA integrates two main lines of research: 1_Electronic Music and 2_Media Art. explored both autonomously and also together. One of the objectives of this observatory is to create a digital platform with the main purpose of organizing, managing and preserving information, using different storytelling forms of visualization. The work in progress is a pilot project, developed within the scope of line 1_Electronic Music to be later applied in the line 2_Media Art and if possible, to create intersections between both and available on the web for public access.
{"title":"Ob.EMMA: A pioneer observatory of electronic music and media art in Portugal","authors":"Célia Soares, Emília Simão, Nadine Santos","doi":"10.1145/3483529.3483687","DOIUrl":"https://doi.org/10.1145/3483529.3483687","url":null,"abstract":"The Observatory of Electronic Music and Media Art (Ob.EMMA) is a pioneer observatory created in 2019 for monitoring, mapping, diagnosing and promoting the investigation of electronic music and media art in Portugal. Ob.EMMA is part of the ID research center CITCEM_Center for Transdisciplinary Research on Culture, Space and Memory. Given its hybrid nature, this observatory includes artists and academics from various institutions and areas, namely, communication sciences, social sciences, technologies, humanities and arts. Ob.EMMA integrates two main lines of research: 1_Electronic Music and 2_Media Art. explored both autonomously and also together. One of the objectives of this observatory is to create a digital platform with the main purpose of organizing, managing and preserving information, using different storytelling forms of visualization. The work in progress is a pilot project, developed within the scope of line 1_Electronic Music to be later applied in the line 2_Media Art and if possible, to create intersections between both and available on the web for public access.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"10 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":"130053432","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}
Raul Masu, Hanna Pajala-Assefa, Nuno N. Correia, T. Romão
This paper describes the process of adapting a dance piece to an interactive installation. To cope with COVID-19 restrictions, the installation runs on a browser, allowing for remote access, and is based on camera tracking of movement. We describe the adaptation of the dramaturgy, with a primary focus on translating the interaction design aspects from the performance to the browser-based installation. We invited five users to test our working prototype, and we report on their feedback. This paper offers insights on how to adapt a dance piece to an interactive browser-based installation. We also highlight the benefits of using machine learning for motion capture in this context. Finally, we identify the potential of using interaction design with sound for embodied perception.
{"title":"Full-Body Interaction in a Remote Context: Adapting a Dance Piece to a Browser-Based Installation","authors":"Raul Masu, Hanna Pajala-Assefa, Nuno N. Correia, T. Romão","doi":"10.1145/3483529.3483747","DOIUrl":"https://doi.org/10.1145/3483529.3483747","url":null,"abstract":"This paper describes the process of adapting a dance piece to an interactive installation. To cope with COVID-19 restrictions, the installation runs on a browser, allowing for remote access, and is based on camera tracking of movement. We describe the adaptation of the dramaturgy, with a primary focus on translating the interaction design aspects from the performance to the browser-based installation. We invited five users to test our working prototype, and we report on their feedback. This paper offers insights on how to adapt a dance piece to an interactive browser-based installation. We also highlight the benefits of using machine learning for motion capture in this context. Finally, we identify the potential of using interaction design with sound for embodied perception.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"59 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":"116131952","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}
Lucija Ivsic, Nina Rajcic, J. McCormack, V. Dziekan
Point cloud datasets, the pertinent product of remote sensing technologies, such as LiDAR and photogrammetry, are increasingly being used as a new digital medium in art practice. This paper presents an overview of purposely selected and prominent artworks, emerging from traditional representational onto-epistemologies, to identify currently prevailing parameters and their limitations when working with remote sensing technologies. Although these works differ markedly in aesthetic qualities and conceptual foundations, they all treat the scanner as an objective, passive and impartial means of recording and transcribing reality, rather than an active agent in its creation. By placing an emphasis on merely aesthetic and technical characteristics of point clouds and accompanying technology, they overlook the expressive, open-ended potential of the technology, as well as the multiplicity of the point cloud. Building upon entanglement theories, such as agential realism and new materialism, and drawing inspiration from Pearce's existing design-research projects, such as ‘The Masks of Fleet Street’ (2014), the paper exposes the common features of this contemporary approach, showcases its advantages and points to the potential for further practice-based investigation.
{"title":"The Art of Point Clouds: 3D LiDAR Scanning and Photogrammetry in Science & Art","authors":"Lucija Ivsic, Nina Rajcic, J. McCormack, V. Dziekan","doi":"10.1145/3483529.3483702","DOIUrl":"https://doi.org/10.1145/3483529.3483702","url":null,"abstract":"Point cloud datasets, the pertinent product of remote sensing technologies, such as LiDAR and photogrammetry, are increasingly being used as a new digital medium in art practice. This paper presents an overview of purposely selected and prominent artworks, emerging from traditional representational onto-epistemologies, to identify currently prevailing parameters and their limitations when working with remote sensing technologies. Although these works differ markedly in aesthetic qualities and conceptual foundations, they all treat the scanner as an objective, passive and impartial means of recording and transcribing reality, rather than an active agent in its creation. By placing an emphasis on merely aesthetic and technical characteristics of point clouds and accompanying technology, they overlook the expressive, open-ended potential of the technology, as well as the multiplicity of the point cloud. Building upon entanglement theories, such as agential realism and new materialism, and drawing inspiration from Pearce's existing design-research projects, such as ‘The Masks of Fleet Street’ (2014), the paper exposes the common features of this contemporary approach, showcases its advantages and points to the potential for further practice-based investigation.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"38 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":"130733423","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}
Deconstructing Whiteness is an art performance which examines the visibility of race through the lens of AI face recognition technology. The artist interacts with an off-the-shelf face recognition algorithm, while specifically examining the confidence level by which it recognizes her as ‘White’. During the performance she changes her appearance by modifying her facial expressions and hair style and by doing so is able to ‘trick’ the algorithm and affect its confidence regarding her racial visibility.
{"title":"Deconstructing Whiteness: Visualizing Racial Bias in a Face Recognition Algorithm","authors":"Avital Meshi","doi":"10.1145/3483529.3483738","DOIUrl":"https://doi.org/10.1145/3483529.3483738","url":null,"abstract":"Deconstructing Whiteness is an art performance which examines the visibility of race through the lens of AI face recognition technology. The artist interacts with an off-the-shelf face recognition algorithm, while specifically examining the confidence level by which it recognizes her as ‘White’. During the performance she changes her appearance by modifying her facial expressions and hair style and by doing so is able to ‘trick’ the algorithm and affect its confidence regarding her racial visibility.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"359 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":"130470089","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}
Make America Grate Again is an algorithmic art installation investigating nostalgia and toxic masculinity in the 21st century. It is a procedurally generated, silent post-scratch video, which uses archival, out of copyright films; nuclear bomb test footage [10] and a scene from ’Debbie Does Dallas’. [5]
“让美国再次崛起”(Make America Grate Again)是一个算法艺术装置，旨在调查21世纪的怀旧情绪和有毒的男子气概。这是一个程序生成的，无声的后期视频，使用档案，没有版权的电影;核弹试验镜头[10]和《黛比做达拉斯》中的一个场景。[5]
{"title":"Make America Grate Again","authors":"C. Hutchins","doi":"10.1145/3483529.3483769","DOIUrl":"https://doi.org/10.1145/3483529.3483769","url":null,"abstract":"Make America Grate Again is an algorithmic art installation investigating nostalgia and toxic masculinity in the 21st century. It is a procedurally generated, silent post-scratch video, which uses archival, out of copyright films; nuclear bomb test footage [10] and a scene from ’Debbie Does Dallas’. [5]","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":" 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132124530","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}
“Breathing the air” is what we want! This is the theme of the performative action that we create through videoconferencing systems to provide a sensorial and virtual artistic experience. The narrative is created in a non-linear way by what I call Immersion Dramaturgy. The COVID devastates Brazil due to the approximately 600,000 people who cannot breathe and have had their lives interrupted by the government's lack of control of the disease. We are also affected metaphorically due to the feeling of the impotence of those who still live, for not knowing how to change the social chaos of public health and instituted necropolitics. The performance exposes the lack of air but tries to show that a new day of sunshine, clear skies, and birdsong will return.
{"title":"Breathing Air: Performance para Tecnologia de Rede - Dramaturgia de Imersão","authors":"Ivani Santana","doi":"10.1145/3483529.3483761","DOIUrl":"https://doi.org/10.1145/3483529.3483761","url":null,"abstract":"“Breathing the air” is what we want! This is the theme of the performative action that we create through videoconferencing systems to provide a sensorial and virtual artistic experience. The narrative is created in a non-linear way by what I call Immersion Dramaturgy. The COVID devastates Brazil due to the approximately 600,000 people who cannot breathe and have had their lives interrupted by the government's lack of control of the disease. We are also affected metaphorically due to the feeling of the impotence of those who still live, for not knowing how to change the social chaos of public health and instituted necropolitics. The performance exposes the lack of air but tries to show that a new day of sunshine, clear skies, and birdsong will return.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"27 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":"133389795","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 unprecedented era of the COVID-19 pandemic, people lost a lot of face-to-face interactions in society. They have grown accustomed to virtual meetings via Internet services. People look at their computer displays to take part in most of their events. After the vaccinations and our immune system help them return to their normal life, how do they remember the virtual events? How to Remember COVID-19 in the Post-pandemic Era represents a virtual class environment in the pandemic and provides visitors with an experiential space as a theme park ride. This project focuses on indirect interactions with people in the virtual world and makes them rethink the visual-centric and restricted interface for virtual events.
{"title":"How to Remember COVID-19 in the Post-pandemic Era: A Virtual Class Environment as Conformist Interactive Art","authors":"Byeongwon Ha","doi":"10.1145/3483529.3483743","DOIUrl":"https://doi.org/10.1145/3483529.3483743","url":null,"abstract":"In the unprecedented era of the COVID-19 pandemic, people lost a lot of face-to-face interactions in society. They have grown accustomed to virtual meetings via Internet services. People look at their computer displays to take part in most of their events. After the vaccinations and our immune system help them return to their normal life, how do they remember the virtual events? How to Remember COVID-19 in the Post-pandemic Era represents a virtual class environment in the pandemic and provides visitors with an experiential space as a theme park ride. This project focuses on indirect interactions with people in the virtual world and makes them rethink the visual-centric and restricted interface for virtual events.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"28 25","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133424925","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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