Interactive artistic installation proposal featuring the kitchen as a magnifying glass for degrowth, which seeks to expose the need for a coexistence agreement between animals of the human species and other species, as well as nature as a whole. An installation which is meant to stand as both a starting point for a performative class and an extended conversation about degrowth. This art installation is under the scope of a larger project entitled “The house for a man who wants to die dry”. The aforementioned house has several rooms, each with its own traits and corresponding artistic proposals. The division herein brought forth is the kitchen: “A stone in the stomach – a class as a work of art”. A tale to be told. Its materialization implies interaction with local resources (human and natural - existing autochthonous foodsand communities, among others). As an installation, the kitchen will encompass the use of visual elements embodied as diet charts, nutrient value charts for each species and food cartographies for different cuts of animal bodies, as well as infographics, videos, projections and virtual reality elements
{"title":"A Stone in the Stomach: Artistic installation / performance","authors":"Gilberto Reis, Sérgio Eliseu, N. Sousa","doi":"10.1145/3483529.3483776","DOIUrl":"https://doi.org/10.1145/3483529.3483776","url":null,"abstract":"Interactive artistic installation proposal featuring the kitchen as a magnifying glass for degrowth, which seeks to expose the need for a coexistence agreement between animals of the human species and other species, as well as nature as a whole. An installation which is meant to stand as both a starting point for a performative class and an extended conversation about degrowth. This art installation is under the scope of a larger project entitled “The house for a man who wants to die dry”. The aforementioned house has several rooms, each with its own traits and corresponding artistic proposals. The division herein brought forth is the kitchen: “A stone in the stomach – a class as a work of art”. A tale to be told. Its materialization implies interaction with local resources (human and natural - existing autochthonous foodsand communities, among others). As an installation, the kitchen will encompass the use of visual elements embodied as diet charts, nutrient value charts for each species and food cartographies for different cuts of animal bodies, as well as infographics, videos, projections and virtual reality elements","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"108 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":"129503645","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}
Unlike a rectangular grid arrangement, electronic writing has a character of a cross-linked and developing writing technique. The network of interconnected hypertext was compared with the human neural network Writing identity is reflected in the hypertext, as dynamic, flexible, variable, and even random. According to several authors [Manovich, 2001; Aarseth, 1997; Bootz and Baldwin, 2010 and others], the paradigm of digital mediation is manifested by changes in the approach to the production, storage, media distribution, and reception of literary, conceptual, or other "textual" artworks. In the position of an e-literature programmed form, Philippe Bootz reflected that those changes in the description of a procedural model of communication and the introduction of performative signs are a part of the aesthetic approach. The information which flows from the source (made by authors) to the target (reader's reading) could be embodied in the digital text and represented, manifested, or articulated by the digital text layout, which will be shaped on/in various interfaces, instead of the plane and rectangular of "screens". Digital text which is manifested by a layout should take place on/in current and future, digital and hybrid interfaces. This kind of layout could bring the reader into the text work, and closer to its essence. The posthumanistic approach of the digital layout problem solution will change the point of view, which is focused on a human, to the wider equal interrelations of technical, biological, and human intelligent actors. The flexible shape of complex and experimental digital layout solutions could be manifested on/in many different interfaces. In my work I propose a new definition of digital layout and a hypothetical solution - the model Transient Pattern. The model offers a space in which the creation of a digital layout could take place in different solutions - free of a grid pattern organization. These considerations pave the way for a new approach to the formal grasp of a digital text arrangement in a more comprehensive, unbiased, and experimental way. The new approach subsequently leads to a change in the aesthetic paradigm: from creating a digital text layout as a finally programmed form of an object to variable variations of running the program in the process of becoming. It includes both a dialectical complex pattern (presenting a systematic rational and formal approach) and randomness (of actual reading and variability of interfaces) that open access to hybrid unstable forms. The solution enables the flexible organization of a text in digital and post-digital spaces, in current and future conditions of monitoring the possibilities of new techniques of text production and reception, co-created by human, computer and the other nonhuman intelligent actors. At the same time, it changes our understanding from redesigned forms of grid or template principles to variable designing by processes.
{"title":"Transient Pattern – the Model of Digital Layout","authors":"Andrea Gogova","doi":"10.1145/3483529.3483716","DOIUrl":"https://doi.org/10.1145/3483529.3483716","url":null,"abstract":"Unlike a rectangular grid arrangement, electronic writing has a character of a cross-linked and developing writing technique. The network of interconnected hypertext was compared with the human neural network Writing identity is reflected in the hypertext, as dynamic, flexible, variable, and even random. According to several authors [Manovich, 2001; Aarseth, 1997; Bootz and Baldwin, 2010 and others], the paradigm of digital mediation is manifested by changes in the approach to the production, storage, media distribution, and reception of literary, conceptual, or other \"textual\" artworks. In the position of an e-literature programmed form, Philippe Bootz reflected that those changes in the description of a procedural model of communication and the introduction of performative signs are a part of the aesthetic approach. The information which flows from the source (made by authors) to the target (reader's reading) could be embodied in the digital text and represented, manifested, or articulated by the digital text layout, which will be shaped on/in various interfaces, instead of the plane and rectangular of \"screens\". Digital text which is manifested by a layout should take place on/in current and future, digital and hybrid interfaces. This kind of layout could bring the reader into the text work, and closer to its essence. The posthumanistic approach of the digital layout problem solution will change the point of view, which is focused on a human, to the wider equal interrelations of technical, biological, and human intelligent actors. The flexible shape of complex and experimental digital layout solutions could be manifested on/in many different interfaces. In my work I propose a new definition of digital layout and a hypothetical solution - the model Transient Pattern. The model offers a space in which the creation of a digital layout could take place in different solutions - free of a grid pattern organization. These considerations pave the way for a new approach to the formal grasp of a digital text arrangement in a more comprehensive, unbiased, and experimental way. The new approach subsequently leads to a change in the aesthetic paradigm: from creating a digital text layout as a finally programmed form of an object to variable variations of running the program in the process of becoming. It includes both a dialectical complex pattern (presenting a systematic rational and formal approach) and randomness (of actual reading and variability of interfaces) that open access to hybrid unstable forms. The solution enables the flexible organization of a text in digital and post-digital spaces, in current and future conditions of monitoring the possibilities of new techniques of text production and reception, co-created by human, computer and the other nonhuman intelligent actors. At the same time, it changes our understanding from redesigned forms of grid or template principles to variable designing by processes.","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":"129241665","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 process of translating the messages of an environment and the sensations within a piece of fiction transmitted to the audience in a sound manner is called Sound Design. The general objective of this research is to identify elements of sound design in Ludwig Van Beethoven's 9th Symphony, elements possibly structured and thoughts as a Sound Art/Design project, right as it is elaborated in contemporary audiovisual works. We adopted as a method of investigation the line of Systematic Musicology, which consists of: observation, reflection, collection and analysis of data that quantify the sound impact on people's direct and indirect relationships, considering the time, space and environment researched. As a methodological procedure, the collected data will be analyzed using the concept of three listening, defended by the French cinema theorist and experimental music composer, Michel Chion [5], and Pierre Shaeffer's four listening functions [7]: listening, listening, understand and understand. The praxis adopted will make use of a multimedia apparatus in an immersive room with interactive devices and its results will be confronted and analyzed with the concepts and definitions indicated in the theoretical framework. We will work with the hypothesis that Beethoven concentrated a design thinking with the perspective of Sound Design in his works. In this sense, the study also defends that Beethoven, when composing the 9th symphony, reached his musical maturity to such an extent that he was fully aware of it. of the path that sound is capable of following, deeply connecting its work to the human soul. RESUMO O processo de tradução das mensagens de um ambiente e as sensações dentro de uma peça de ficção transmitidas de maneira sonora ao público, é chamado de Sound Design. O objetivo geral dessa pesquisa está em identificar na 9ª Sinfonia de Ludwig Van Beethoven, elementos de desenho sonoro, estruturados como pensamento projetual em Sound Art/ Design, como é elaborado em obras audiovisuais contemporâneas. Adotamos como método de investigação a linha da Musicologia Sistemática que consiste em: observação, reflexão, coleta e análise de dados que quantificam o impacto sonoro nas relações diretas e indiretas das pessoas, considerando o próprio tempo, o espaço e o ambiente pesquisado. Como procedimento metodológico, os dados coletados serão analisados utilizando o conceito das três escutas, defendido pelo teórico do cinema francês e compositor de música experimental, Michel Chion [5], e as quatro funções de escuta de Pierre Shaeffer [7]: escutar, ouvir, entender e compreender. A práxis adotada irá se valer de aparato multimídia em sala imersiva com dispositivos interativos e seus resultados serão confrontados e analisados com os conceitos e definições indicados no referencial teórico. Trabalharemos com a hipótese de que Beethoven concentrava um pensamento projetual com a perspectiva de Sound Design em suas obras.Nesse sentido, o estudo defende ainda que Beeth
将环境信息和小说中的感觉以声音的方式传递给观众的过程被称为声音设计。本研究的总体目标是确定路德维希·范·贝多芬第九交响曲中声音设计的元素，这些元素可能作为声音艺术/设计项目的结构和思想，就像它在当代视听作品中阐述的那样。我们采用了系统音乐学的调查方法，包括观察、反思、收集和分析数据，在考虑研究的时间、空间和环境的情况下，量化声音对人的直接和间接关系的影响。作为一个方法论程序，收集到的数据将使用法国电影理论家和实验音乐作曲家Michel Chion[5]捍卫的三听概念和皮埃尔谢弗的四听功能[7]进行分析:听，听，理解和理解。所采用的实践将在一个具有交互设备的沉浸式房间中使用多媒体设备，其结果将与理论框架中所示的概念和定义进行比较和分析。我们将假设贝多芬在他的作品中集中了一种声音设计视角的设计思维。从这个意义上说，该研究也为贝多芬在创作第九交响曲时达到音乐成熟的程度进行了辩护，他完全意识到了这一点。声音能够跟随的道路，将它的工作与人类的灵魂深深地联系在一起。resume O processing de tradupal O das mensagens de um ambiente e as sensações dentro de uma pera de ficente O transmitidas de maneira sonora ao público, chamado de Sound Design。作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲Adotamos科莫metodo de investigacao linha da Musicologia Sistematica, consiste em: observacao, reflexao, coleta e注意德不同,quantificam o impacto sonoro nas relacoes diretas e indiretas das萨姆,considerando o proprio节奏,o espaco e o环境pesquisado。Como procedimento metodológico, os dados coletados ser o analisados utilizdo do conceptodas três escutas, defdido pelo teórico do cinema francês e compositor de música experimental, Michel Chion [5]， e as quatro funções de escuta de Pierre Shaeffer [7]: escutar, ouvir, entender e comppreder。A práxis adotada ir se valer de aparato multimídia em sala ersiva com dispositivos interatives seseus resultados ser o contratos e analyisados com os conceitos e definições指标无参考teórico。Trabalharemos com a hipótese de que Beethoven concentrava um pensamento project com a perspective de Sound Design em suas obras。我的感觉，我的防御，我的贝多芬，我的作曲，我的交响乐，我的音乐，我的音乐，我的音乐，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴，我的钢琴。
{"title":"Poiesis & Práxis: Fundamentos da 9ª Sinfonia de Beethoven para Estudos de Sound Art/Design","authors":"Ivaldo Luiz Moreira","doi":"10.1145/3483529.3483741","DOIUrl":"https://doi.org/10.1145/3483529.3483741","url":null,"abstract":"The process of translating the messages of an environment and the sensations within a piece of fiction transmitted to the audience in a sound manner is called Sound Design. The general objective of this research is to identify elements of sound design in Ludwig Van Beethoven's 9th Symphony, elements possibly structured and thoughts as a Sound Art/Design project, right as it is elaborated in contemporary audiovisual works. We adopted as a method of investigation the line of Systematic Musicology, which consists of: observation, reflection, collection and analysis of data that quantify the sound impact on people's direct and indirect relationships, considering the time, space and environment researched. As a methodological procedure, the collected data will be analyzed using the concept of three listening, defended by the French cinema theorist and experimental music composer, Michel Chion [5], and Pierre Shaeffer's four listening functions [7]: listening, listening, understand and understand. The praxis adopted will make use of a multimedia apparatus in an immersive room with interactive devices and its results will be confronted and analyzed with the concepts and definitions indicated in the theoretical framework. We will work with the hypothesis that Beethoven concentrated a design thinking with the perspective of Sound Design in his works. In this sense, the study also defends that Beethoven, when composing the 9th symphony, reached his musical maturity to such an extent that he was fully aware of it. of the path that sound is capable of following, deeply connecting its work to the human soul. RESUMO O processo de tradução das mensagens de um ambiente e as sensações dentro de uma peça de ficção transmitidas de maneira sonora ao público, é chamado de Sound Design. O objetivo geral dessa pesquisa está em identificar na 9ª Sinfonia de Ludwig Van Beethoven, elementos de desenho sonoro, estruturados como pensamento projetual em Sound Art/ Design, como é elaborado em obras audiovisuais contemporâneas. Adotamos como método de investigação a linha da Musicologia Sistemática que consiste em: observação, reflexão, coleta e análise de dados que quantificam o impacto sonoro nas relações diretas e indiretas das pessoas, considerando o próprio tempo, o espaço e o ambiente pesquisado. Como procedimento metodológico, os dados coletados serão analisados utilizando o conceito das três escutas, defendido pelo teórico do cinema francês e compositor de música experimental, Michel Chion [5], e as quatro funções de escuta de Pierre Shaeffer [7]: escutar, ouvir, entender e compreender. A práxis adotada irá se valer de aparato multimídia em sala imersiva com dispositivos interativos e seus resultados serão confrontados e analisados com os conceitos e definições indicados no referencial teórico. Trabalharemos com a hipótese de que Beethoven concentrava um pensamento projetual com a perspectiva de Sound Design em suas obras.Nesse sentido, o estudo defende ainda que Beeth","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"229 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":"115106046","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}
For the Future of the Past is an interactive audiovisual installation which supports a (re)connection of the four primordial elements with consciousness and ethics, questioning the world, society and life through an interaction process. It aims to (re)create meanings or reinforce meanings about the environment, life and globalization. It does not give us answers, but it allows us to question our choices.
{"title":"Um Futuro em (Re)conexão com o Passado - Uma instalação que (re)conecta a relação do homem com a natureza: A Future in (Re)connection with the Past - An installation that (re)connects man's relationship with nature","authors":"Sara Cruz, José Bidarra","doi":"10.1145/3483529.3483709","DOIUrl":"https://doi.org/10.1145/3483529.3483709","url":null,"abstract":"For the Future of the Past is an interactive audiovisual installation which supports a (re)connection of the four primordial elements with consciousness and ethics, questioning the world, society and life through an interaction process. It aims to (re)create meanings or reinforce meanings about the environment, life and globalization. It does not give us answers, but it allows us to question our choices.","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":"115562843","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}
Cross-disciplinary collaboration is proving to be a vital tool for leading creative and technological fields. The need for varied expertise is rising, especially as more complex and ambitious projects are being created. We are moving towards a future in creative fields that is repurposing older ideas and merging them with new insight through multidisciplinary input. This paper covers the production and premiere of US, a theatre production created in collaboration between the departments of Visualization, Dance Science, and Liberal Arts at Texas A&M University. The performance emphasizes the importance of collaborative input between the performers and audience members in order to achieve an immersive and effective experience. The paper uses US as an example to emphasize the positive outcomes resulting from the synergy of cross disciplinary collaboration and the effectiveness of audience-performer collaboration. These two objectives become a necessity when tackling a topic like immigration, which has been discussed time and time again for many generations.
{"title":"The Power of Collaborative Synergy: Diving into US, a Collaborative Theatre Production Involving the Departments of Visualization, Dance Science, and Liberal Arts at Texas A&M University.","authors":"Eman Al-Zubeidi, J. Seo","doi":"10.1145/3483529.3483673","DOIUrl":"https://doi.org/10.1145/3483529.3483673","url":null,"abstract":"Cross-disciplinary collaboration is proving to be a vital tool for leading creative and technological fields. The need for varied expertise is rising, especially as more complex and ambitious projects are being created. We are moving towards a future in creative fields that is repurposing older ideas and merging them with new insight through multidisciplinary input. This paper covers the production and premiere of US, a theatre production created in collaboration between the departments of Visualization, Dance Science, and Liberal Arts at Texas A&M University. The performance emphasizes the importance of collaborative input between the performers and audience members in order to achieve an immersive and effective experience. The paper uses US as an example to emphasize the positive outcomes resulting from the synergy of cross disciplinary collaboration and the effectiveness of audience-performer collaboration. These two objectives become a necessity when tackling a topic like immigration, which has been discussed time and time again for many generations.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"12 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":"115641500","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 need of supporting meditation through digital technology has been increased especially after COVID-19. By combining the olfactory experience provided by the ambient incense connected with virtual reality technology, we propose to bring the aesthetic and affective aspects of smell to the users for meditation in the digital era. TranScent aims to provide users a hybrid composition of sensory experiences that transcends the spatial and temporal characteristics in their surroundings. It lets the users meditate with the incense burnt in the real world while immersing in the audiovisual virtual environment. Rather than emphasizing on the mobility in fast pace, it focuses on giving users the stillness atmosphere for meditation practice through olfactory art with virtual reality.
{"title":"TranScent in Stillness: Exploring the Feasibility of Using Incense Art with Virtual Reality for Meditation","authors":"Mei-Kei Lai, Siu Wing Chung","doi":"10.1145/3483529.3483535","DOIUrl":"https://doi.org/10.1145/3483529.3483535","url":null,"abstract":"The need of supporting meditation through digital technology has been increased especially after COVID-19. By combining the olfactory experience provided by the ambient incense connected with virtual reality technology, we propose to bring the aesthetic and affective aspects of smell to the users for meditation in the digital era. TranScent aims to provide users a hybrid composition of sensory experiences that transcends the spatial and temporal characteristics in their surroundings. It lets the users meditate with the incense burnt in the real world while immersing in the audiovisual virtual environment. Rather than emphasizing on the mobility in fast pace, it focuses on giving users the stillness atmosphere for meditation practice through olfactory art with virtual reality.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"607 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114049082","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}
Este artigo tem o objetivo de refletir sobre o ensino remoto da fotografia e o uso de mídias móveis, como aparelhos celulares, nos processos digitais de expressão artística. Para tanto, percorre dois caminhos: o primeiro com base na observação dos métodos de ensino de fotografia em uma instituição de ensino superior; e o segundo a partir da apreciação do ensaio fotográfico “Elevé Acaraú”, produzido por um dos alunos. Ambos os caminhos – ensino e expressão artística – se deram na cidade de Parintins, uma ilha fluvial localizada no interior do estado brasileiro do Amazonas, em meio à pandemia do novo coronavírus (SARS-CoV-2) e ao recorde histórico de cheia do Rio Amazonas, que atingiu a marca de 9,38 metros acima do seu nível. O ensaio fotográfico expressa em sua linguagem visual a tensão entre arte, cotidiano, pandemia e enchente em um cenário amazônico imediato.
{"title":"Fotografia, Arte, Mídia e Ensino Remoto no Interior da Amazônia: Reflexões Sobre Métodos e Experimentações","authors":"Marcelo Rodrigo Silva, Fabiana Wielewicki, Gledson Oliveira Silva","doi":"10.1145/3483529.3483713","DOIUrl":"https://doi.org/10.1145/3483529.3483713","url":null,"abstract":"Este artigo tem o objetivo de refletir sobre o ensino remoto da fotografia e o uso de mídias móveis, como aparelhos celulares, nos processos digitais de expressão artística. Para tanto, percorre dois caminhos: o primeiro com base na observação dos métodos de ensino de fotografia em uma instituição de ensino superior; e o segundo a partir da apreciação do ensaio fotográfico “Elevé Acaraú”, produzido por um dos alunos. Ambos os caminhos – ensino e expressão artística – se deram na cidade de Parintins, uma ilha fluvial localizada no interior do estado brasileiro do Amazonas, em meio à pandemia do novo coronavírus (SARS-CoV-2) e ao recorde histórico de cheia do Rio Amazonas, que atingiu a marca de 9,38 metros acima do seu nível. O ensaio fotográfico expressa em sua linguagem visual a tensão entre arte, cotidiano, pandemia e enchente em um cenário amazônico imediato.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"100 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":"116277989","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}
L. Costalonga, Daniel Hora, M. Pimenta, M. Wanderley
This article introduces the idea of sustainable development of DMIs, discussing how fundamental concepts like e-Waste, Ragpicking and Green Computing can be (re)used to minimize or eliminate where possible the environmental impact of DMIs. The arguments and fundamentals for this initiative are presented, as also some examples to illustrate our ideas. Our intention is to contribute to the reflection by the Computer Music community on the subject.
{"title":"The Ragpicking DMI Design: The Case for Green Computer Music","authors":"L. Costalonga, Daniel Hora, M. Pimenta, M. Wanderley","doi":"10.1145/3483529.3483711","DOIUrl":"https://doi.org/10.1145/3483529.3483711","url":null,"abstract":"This article introduces the idea of sustainable development of DMIs, discussing how fundamental concepts like e-Waste, Ragpicking and Green Computing can be (re)used to minimize or eliminate where possible the environmental impact of DMIs. The arguments and fundamentals for this initiative are presented, as also some examples to illustrate our ideas. Our intention is to contribute to the reflection by the Computer Music community on the subject.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"23 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":"122505670","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 discussion about the relationship between artistic practices and digital technology is not recent, but it has gained new perspectives in times of pandemic due to the massive use of digital platforms as a means of circulation and creative expression. Net art, memes, posts on Instagram, orchestral presentations and lives via Facebook are some of the manifestations that internet users find in the countless connections, available in the “windows” of the web. Based on this assumption Interface Aesthetics: net art, social networks and contemporary culture is divided into two parts. In the first, we will work with the concept of interface aesthetics in its relationship with digital art in dialogue with thinkers in the field of media. Later, we will move the discussion to artistic and creative productions developed for social networks in the post-digital context. As a case study, we will present some actions of the curatorial project #paçoemtodolugar.
{"title":"Estética da Interface: net art, redes sociais e cultura contemporânea: Interface Aesthetics: net art, social networks and contemporary culture","authors":"P. Arantes","doi":"10.1145/3483529.3483671","DOIUrl":"https://doi.org/10.1145/3483529.3483671","url":null,"abstract":"The discussion about the relationship between artistic practices and digital technology is not recent, but it has gained new perspectives in times of pandemic due to the massive use of digital platforms as a means of circulation and creative expression. Net art, memes, posts on Instagram, orchestral presentations and lives via Facebook are some of the manifestations that internet users find in the countless connections, available in the “windows” of the web. Based on this assumption Interface Aesthetics: net art, social networks and contemporary culture is divided into two parts. In the first, we will work with the concept of interface aesthetics in its relationship with digital art in dialogue with thinkers in the field of media. Later, we will move the discussion to artistic and creative productions developed for social networks in the post-digital context. As a case study, we will present some actions of the curatorial project #paçoemtodolugar.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"26 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":"122250336","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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