Oasiscreen is the artist’s extended conception of the mobility and sustainability of images under the concept of Image Field. Based on the operation and experimentation of images, the artist expands the scope of thinking to the sustainability and foundation of the existence of digital images in the real environment, and thus leads to the concept of "non-fixed and sustainable image installation".
{"title":"Oasiscreen","authors":"Jieyuan Huang","doi":"10.1145/3483529.3483787","DOIUrl":"https://doi.org/10.1145/3483529.3483787","url":null,"abstract":"Oasiscreen is the artist’s extended conception of the mobility and sustainability of images under the concept of Image Field. Based on the operation and experimentation of images, the artist expands the scope of thinking to the sustainability and foundation of the existence of digital images in the real environment, and thus leads to the concept of \"non-fixed and sustainable image installation\".","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134310355","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 phenakisistcope was the first device to invoke phantom machine motion in repetitive-loop animations. Almost as soon as it was invented, Alfonse Giroux produced for the phenakistiscope a set of pornographic animations of delirious inventiveness. As though an early 19th-century Donna Haraway, he imagines transgressions of the boundaries between human and animal, human and machine, male and female (a continuous-loop gender reassignment) as well as between pleasure and pain. I explore the origins and implications of this inventiveness, so much in advance of the mid-19th-century crystallization of categories of sexual transgression. Giroux's celebration of female desire and volition suggests an inspiration from Fourier's mechanics of passional attraction rather than de Sade. More intriguing is the inspiration from the machinic medium itself. The phenaskistiscope was understood as a machine that represented non-mimetically in a way that seems to have released the imagination. Many of the early images for it were pure machinic abstractions. Giroux's images were largely masturbatory. Pistons relentlessly thrusting, gears endlessly meshing in pointless circular motion seemed to invoke an auto-erotic machine self-referentiality. The first human actions to be represented were those of labouring bodies already reduced to their machine-like components and semi-automated. Women performed repetitive tasks of domestic labour, including spanking, unendingly. The eroticism of machine discipline and power also animates Giroux's imagination. The construction of phenakistiscope motion involves analysis and reassembly. It allows for the virtual simplification and rationalization of work and working bodies as well as sex and sexual embodiments. These affordances allowed for the release of an inventiveness concerning the possibilities of human desire and the plasticity of the desiring body. Giroux creates for it perhaps the first techno-dream of endless erotic abundance and the escape of the limitations of one's sexual embodiment.
{"title":"The Birth of Machine Sex: The Pornographic Phenakistiscope Disks of the 1840s","authors":"R. Bantjes","doi":"10.1145/3483529.3483654","DOIUrl":"https://doi.org/10.1145/3483529.3483654","url":null,"abstract":"The phenakisistcope was the first device to invoke phantom machine motion in repetitive-loop animations. Almost as soon as it was invented, Alfonse Giroux produced for the phenakistiscope a set of pornographic animations of delirious inventiveness. As though an early 19th-century Donna Haraway, he imagines transgressions of the boundaries between human and animal, human and machine, male and female (a continuous-loop gender reassignment) as well as between pleasure and pain. I explore the origins and implications of this inventiveness, so much in advance of the mid-19th-century crystallization of categories of sexual transgression. Giroux's celebration of female desire and volition suggests an inspiration from Fourier's mechanics of passional attraction rather than de Sade. More intriguing is the inspiration from the machinic medium itself. The phenaskistiscope was understood as a machine that represented non-mimetically in a way that seems to have released the imagination. Many of the early images for it were pure machinic abstractions. Giroux's images were largely masturbatory. Pistons relentlessly thrusting, gears endlessly meshing in pointless circular motion seemed to invoke an auto-erotic machine self-referentiality. The first human actions to be represented were those of labouring bodies already reduced to their machine-like components and semi-automated. Women performed repetitive tasks of domestic labour, including spanking, unendingly. The eroticism of machine discipline and power also animates Giroux's imagination. The construction of phenakistiscope motion involves analysis and reassembly. It allows for the virtual simplification and rationalization of work and working bodies as well as sex and sexual embodiments. These affordances allowed for the release of an inventiveness concerning the possibilities of human desire and the plasticity of the desiring body. Giroux creates for it perhaps the first techno-dream of endless erotic abundance and the escape of the limitations of one's sexual embodiment.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"243 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":"132201752","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}
Predrag K. Nikolić, Mohd Razali Md Tomari, M. Jovanović
Creativity and creating art are the most significant challenges the new generation of artificial intelligence models are exposed to. Nevertheless, by creating AI agents to achieve and exceed the performances of humans, we need to accept the evolution of their creativity. Hence, there are two possible directions toward the future development of robots' creativity: replicating the mental processes characteristic for humans or liberating machine creativity and leaving them to evolve their creative practices. In the artistic origination of the artwork "Botorikko, Machine Created State", the appearance and generated dialogues between Machiavelli and Sun Tzu artificial intelligence clones resembles Aristotle's Mimesis as human's natural love of imitation and the pleasure in recognizing likenesses and Dadaistic ideas linked to solid social criticism against anti-progressive thinking. We are trying to shift AI as a creative medium beyond traditional artistic approaches and interpretations and possibly accept it as co-creative rather than only assistive.
创造力和艺术创作是新一代人工智能模型面临的最大挑战。然而，通过创造人工智能代理来实现和超越人类的表现，我们需要接受他们创造力的进化。因此，机器人创造力的未来发展有两个可能的方向:复制人类特有的心理过程，或者解放机器的创造力，让它们发展自己的创造性实践。在艺术作品“Botorikko, Machine Created State”的艺术起源中，马基雅维利和孙子的人工智能克隆的出现和产生的对话类似于亚里士多德的Mimesis，即人类对模仿的自然热爱，以及识别相似性和达达主义思想的乐趣，这些思想与反对反进步思想的社会批判相联系。我们正试图将AI转变为一种创造性媒介，超越传统的艺术方法和解释，并可能接受它作为共同创造而不仅仅是辅助。
{"title":"Human-Robot-Robot Interaction: Botorikko Machine Created State","authors":"Predrag K. Nikolić, Mohd Razali Md Tomari, M. Jovanović","doi":"10.1145/3483529.3483749","DOIUrl":"https://doi.org/10.1145/3483529.3483749","url":null,"abstract":"Creativity and creating art are the most significant challenges the new generation of artificial intelligence models are exposed to. Nevertheless, by creating AI agents to achieve and exceed the performances of humans, we need to accept the evolution of their creativity. Hence, there are two possible directions toward the future development of robots' creativity: replicating the mental processes characteristic for humans or liberating machine creativity and leaving them to evolve their creative practices. In the artistic origination of the artwork \"Botorikko, Machine Created State\", the appearance and generated dialogues between Machiavelli and Sun Tzu artificial intelligence clones resembles Aristotle's Mimesis as human's natural love of imitation and the pleasure in recognizing likenesses and Dadaistic ideas linked to solid social criticism against anti-progressive thinking. We are trying to shift AI as a creative medium beyond traditional artistic approaches and interpretations and possibly accept it as co-creative rather than only assistive.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"170 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":"133720273","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 this article, we reflect on the role of contemporary art when used as a topic for the generation of new knowledge, intervention, and creation of thought, based on video, as a means of diffusion and artistic instantiation. Video, in its different forms of projection and diffusion, has been a resource for expression and artistic intervention around digital media art, fully inserted in the field of contemporary aesthetics. An aesthetic that has evolved to embrace digital technologies as an integral part of its forms of expression, establishing new languages and paradigms of knowledge and enjoyment, as wide and varied, as cultural globalization, today a synonymous of our contemporary times. Resumo. Neste artigo refletimos acerca do papel da arte contemporânea quando usada ela própria como tópico para a geração de novo conhecimento, intervenção e criação de pensamento, a partir do vídeo, como meio de difusão e de instanciação artística. O vídeo nas suas diferentes formas de projeção e difusão tem sido um recurso de expressão e intervenção artística na área da média-arte digital, plenamente inserido no campo da estética contemporânea. Uma estética que tem evoluído para abarcar as tecnologias digitais como parte integrante das suas formas de expressão, estabelecendo novas linguagens e paradigmas de conhecimento e fruição, tão amplos e variados, como a globalização cultural, hoje sinónimo da própria contemporaneidade.
{"title":"Contemporary art as a factor for knowledge generation from video: A arte contemporânea como fator de geração de conhecimento a partir do vídeo","authors":"H. Urrutia, P. Pérez, A. Marcos","doi":"10.1145/3483529.3483684","DOIUrl":"https://doi.org/10.1145/3483529.3483684","url":null,"abstract":"In this article, we reflect on the role of contemporary art when used as a topic for the generation of new knowledge, intervention, and creation of thought, based on video, as a means of diffusion and artistic instantiation. Video, in its different forms of projection and diffusion, has been a resource for expression and artistic intervention around digital media art, fully inserted in the field of contemporary aesthetics. An aesthetic that has evolved to embrace digital technologies as an integral part of its forms of expression, establishing new languages and paradigms of knowledge and enjoyment, as wide and varied, as cultural globalization, today a synonymous of our contemporary times. Resumo. Neste artigo refletimos acerca do papel da arte contemporânea quando usada ela própria como tópico para a geração de novo conhecimento, intervenção e criação de pensamento, a partir do vídeo, como meio de difusão e de instanciação artística. O vídeo nas suas diferentes formas de projeção e difusão tem sido um recurso de expressão e intervenção artística na área da média-arte digital, plenamente inserido no campo da estética contemporânea. Uma estética que tem evoluído para abarcar as tecnologias digitais como parte integrante das suas formas de expressão, estabelecendo novas linguagens e paradigmas de conhecimento e fruição, tão amplos e variados, como a globalização cultural, hoje sinónimo da própria contemporaneidade.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"20 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":"123883782","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}
Deep Learning and Image Processing is a key concept in today's world of computational art, where artists employed AI algorithms to generate visuals. This paper explores AI-generated images, using Convolutional Neural Networks software as a paradigm of symbolic AI creative systems, and contextualizes the use of modern image processing technologies to create visual artworks. It discusses the methodologies and strategies used to make art using AI algorithms, manipulating them with Processing software tool. The discussion focuses on CNN (Convolutional Neural Network) and Processing software (Java) as the main technologies used in distinct fields to generate images. My conception of technical images provides a conceptual framework for examining the qualities and attributes of AI-generated images.
{"title":"Convolution Neural Networks: Intersection of Deep Learning and Image Processing in Computational Art","authors":"Aya Shabbar","doi":"10.1145/3483529.3483533","DOIUrl":"https://doi.org/10.1145/3483529.3483533","url":null,"abstract":"Deep Learning and Image Processing is a key concept in today's world of computational art, where artists employed AI algorithms to generate visuals. This paper explores AI-generated images, using Convolutional Neural Networks software as a paradigm of symbolic AI creative systems, and contextualizes the use of modern image processing technologies to create visual artworks. It discusses the methodologies and strategies used to make art using AI algorithms, manipulating them with Processing software tool. The discussion focuses on CNN (Convolutional Neural Network) and Processing software (Java) as the main technologies used in distinct fields to generate images. My conception of technical images provides a conceptual framework for examining the qualities and attributes of AI-generated images.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"16 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":"125073860","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 current constant of the virtual factor causes the expression "in person" to decrease at its frequency of effective embodiment. It is now being relegated to special situations, with extraordinarily formatted outlines, even assuming the value of a rarity to be avoided. In this way, the importance of the act of "being with" or "being in front of" increases as the time, in which the exception is suitable, must be taken for precious. The distance increase between people, and the emotional detachment from their living place, grounds for actions that promote the human desire to live collectively, share places, objects and experiences. The present research has the concern of developing and supporting, in a project approach, the life quality of people groups at urban areas, anchoring actions in specific characteristics of their identity legacy. Is intended to contribute to healthier social relationships establishment with the adequacy of social action methodologies sustained in artistic intervention as cultural space mediator. Throughout the works, was intended to demonstrate that participatory environments contribute to generate emotional ties. At interaction, meaning formation is benefited by the perception of specific cultural elements, rooted in memory, which people feel greater affinity, and can be integrated into content of the interactive installations production. These matters queries for what would be an appropriated procedure to discover local identity elements to be included in content production. According to this research, and in an attempt to adopt a methodology, was endeavored to structure a procedure for emerging social problems, to listen citizens and collect credible data that will serve to select contents that enhance well-being. Therefore, an iterative procedure has been produced, derived from Delphi method, from the area of Social Diagnosis, using anonymous consultation questionnaires at sample groups of individuals from a territory. It was established that in this procedure the discussion and validation of collected data will be done through a focus group formed by specialists. This innovative procedure is a starting point in the gathering of identity elements at groups of individuals, for the creation of multimedia installations in city spaces, with interactive sensory stimuli in the fields of vision, hearing, touch and proprioception, fostering the expansion of links between individuals, and of these with their place.
{"title":"Emotional resonance at art interactive installations: Social reconnection among individuals through identity legacy elements uncover","authors":"J. F. Castro, Paulo Bernardino Bastos, H. Alvelos","doi":"10.1145/3483529.3483710","DOIUrl":"https://doi.org/10.1145/3483529.3483710","url":null,"abstract":"The current constant of the virtual factor causes the expression \"in person\" to decrease at its frequency of effective embodiment. It is now being relegated to special situations, with extraordinarily formatted outlines, even assuming the value of a rarity to be avoided. In this way, the importance of the act of \"being with\" or \"being in front of\" increases as the time, in which the exception is suitable, must be taken for precious. The distance increase between people, and the emotional detachment from their living place, grounds for actions that promote the human desire to live collectively, share places, objects and experiences. The present research has the concern of developing and supporting, in a project approach, the life quality of people groups at urban areas, anchoring actions in specific characteristics of their identity legacy. Is intended to contribute to healthier social relationships establishment with the adequacy of social action methodologies sustained in artistic intervention as cultural space mediator. Throughout the works, was intended to demonstrate that participatory environments contribute to generate emotional ties. At interaction, meaning formation is benefited by the perception of specific cultural elements, rooted in memory, which people feel greater affinity, and can be integrated into content of the interactive installations production. These matters queries for what would be an appropriated procedure to discover local identity elements to be included in content production. According to this research, and in an attempt to adopt a methodology, was endeavored to structure a procedure for emerging social problems, to listen citizens and collect credible data that will serve to select contents that enhance well-being. Therefore, an iterative procedure has been produced, derived from Delphi method, from the area of Social Diagnosis, using anonymous consultation questionnaires at sample groups of individuals from a territory. It was established that in this procedure the discussion and validation of collected data will be done through a focus group formed by specialists. This innovative procedure is a starting point in the gathering of identity elements at groups of individuals, for the creation of multimedia installations in city spaces, with interactive sensory stimuli in the fields of vision, hearing, touch and proprioception, fostering the expansion of links between individuals, and of these with their place.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"53 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":"116265160","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 describes the artwork Debris (2021) and examines the impact of consumer electronics and digital media as electronic waste (e-waste) in environmental pollution. E-waste is in part motivated by planned obsolescence, a model for designing consumer electronics and digital media technologies to shorten their functional time period. The materiality of digital media as e-waste is explored in the installation Debris by repurposing found e-waste in an assemblage of broken hardware together with sound and a browser-based game. The assemblage becomes an autonomous device that reacts to the environment's light intensity to generate noise. As part of the assemblage, the game visualises the exponential growth of e-waste where the player has to survive planned obsolescence. Debris aims to raise awareness of the aggravating effects of e-waste on the environment.
{"title":"Debris: The detritus of digital media technologies","authors":"P. Ferreira","doi":"10.1145/3483529.3483737","DOIUrl":"https://doi.org/10.1145/3483529.3483737","url":null,"abstract":"This paper describes the artwork Debris (2021) and examines the impact of consumer electronics and digital media as electronic waste (e-waste) in environmental pollution. E-waste is in part motivated by planned obsolescence, a model for designing consumer electronics and digital media technologies to shorten their functional time period. The materiality of digital media as e-waste is explored in the installation Debris by repurposing found e-waste in an assemblage of broken hardware together with sound and a browser-based game. The assemblage becomes an autonomous device that reacts to the environment's light intensity to generate noise. As part of the assemblage, the game visualises the exponential growth of e-waste where the player has to survive planned obsolescence. Debris aims to raise awareness of the aggravating effects of e-waste on the environment.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"142 8 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":"129364271","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}
New technology and media platforms are emerging to support communications between Long Distance Relationships (LDRs). But few of them are aiming at a specific emotional expression such as nostalgic feelings. As Svetlana Boym says, nostalgic love can only survive in a Long-Distance Relationship [1]. Nostalgia is a common emotion we feel towards people we loved but living in distance. It has been shown to have benefits for relationship bonding and human well-being [2]. While most nostalgia designs are emphasized on retro style and memory-related uses, nostalgia's aesthetic meanings and reflective attributes are being ignored and lack theoretical exploration. Missing someone who is absent is just like J. D. Salinger's description about love: "a touch and yet not a touch" [3]. The multi-layered emotion is hard to describe and harder to express over distance. Since nostalgic emotion is a perfect bridge for shortening psychological distance and establishing a real lasting, organic relationship bonding, we believe it is timely to create a new language to deliver this subtle emotion. In this paper, we propose an LDR mediated design concept based on nostalgia theory, followed by two design cases: NostosMoon and NostosLamp. Those design cases feature three factors: metaphorical nature-related content, slow and reserved way of interaction, and realized tangible output. We would like to open discussions on how factors that are seemly opposite with closeness actually enhance intimacy and strengthen bonding between LDR groups, thus influence the nostalgia mediated design.
{"title":"Aesthetic Nostalgia Mediated Design for Long Distance Relationship","authors":"Xu Yu, M. Inakage, Atsuro Ueki","doi":"10.1145/3483529.3483745","DOIUrl":"https://doi.org/10.1145/3483529.3483745","url":null,"abstract":"New technology and media platforms are emerging to support communications between Long Distance Relationships (LDRs). But few of them are aiming at a specific emotional expression such as nostalgic feelings. As Svetlana Boym says, nostalgic love can only survive in a Long-Distance Relationship [1]. Nostalgia is a common emotion we feel towards people we loved but living in distance. It has been shown to have benefits for relationship bonding and human well-being [2]. While most nostalgia designs are emphasized on retro style and memory-related uses, nostalgia's aesthetic meanings and reflective attributes are being ignored and lack theoretical exploration. Missing someone who is absent is just like J. D. Salinger's description about love: \"a touch and yet not a touch\" [3]. The multi-layered emotion is hard to describe and harder to express over distance. Since nostalgic emotion is a perfect bridge for shortening psychological distance and establishing a real lasting, organic relationship bonding, we believe it is timely to create a new language to deliver this subtle emotion. In this paper, we propose an LDR mediated design concept based on nostalgia theory, followed by two design cases: NostosMoon and NostosLamp. Those design cases feature three factors: metaphorical nature-related content, slow and reserved way of interaction, and realized tangible output. We would like to open discussions on how factors that are seemly opposite with closeness actually enhance intimacy and strengthen bonding between LDR groups, thus influence the nostalgia mediated design.","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":"130546555","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}
Planetary Crop Rotation is an artwork that attempts to reimagine humanity as a responsible spacefaring civilization by considering the application of practices from regenerative agriculture and rewilding to space exploration. What if leaving Earth was a step in the cycle of planetary (crop) rotation rather than an emergency evacuation from Landfill Earth? "The Rotation Effect" describes benefits to agricultural production due to the rotation of crops and/or the resting of lands between growing seasons. This project uses “The Rotation Effect” and other principles from regenerative agriculture and rewilding work to reflect on the (im)possibility of responsible multiplanetary living and encourage a debate that brings care and maintenance to the forefront of space exploration. Using inexpensive publicly available software and services, audio extracts from regenerative agriculture and rewilding Creative Commons videos were transcribed, edited, and then re-read using deepfake voice elements from private space exploration company founders. Creative Commons imagery about privatized space exploration, regenerative farming, and rewilding illustrate the audio piece.
{"title":"Planetary Crop Rotation: A Space Permaculture? A Cosmic Decompiculture?","authors":"Emma Conley","doi":"10.1145/3483529.3483765","DOIUrl":"https://doi.org/10.1145/3483529.3483765","url":null,"abstract":"Planetary Crop Rotation is an artwork that attempts to reimagine humanity as a responsible spacefaring civilization by considering the application of practices from regenerative agriculture and rewilding to space exploration. What if leaving Earth was a step in the cycle of planetary (crop) rotation rather than an emergency evacuation from Landfill Earth? \"The Rotation Effect\" describes benefits to agricultural production due to the rotation of crops and/or the resting of lands between growing seasons. This project uses “The Rotation Effect” and other principles from regenerative agriculture and rewilding work to reflect on the (im)possibility of responsible multiplanetary living and encourage a debate that brings care and maintenance to the forefront of space exploration. Using inexpensive publicly available software and services, audio extracts from regenerative agriculture and rewilding Creative Commons videos were transcribed, edited, and then re-read using deepfake voice elements from private space exploration company founders. Creative Commons imagery about privatized space exploration, regenerative farming, and rewilding illustrate the audio piece.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129340543","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}
Inspired by Einstein’s special theory of relativity, Sobre a eletrodinâmica dos corpos de trabalho (On the Electrodynamics of Working Bodies) is a stereophonic, fixed-media video artwork presenting a temporally and spatially distorted perspective on a factory set in natural surroundings. It portrays the work of the facility as it echoes off the landscape in compressed time, frozen time, and smeared timelines by modeling sonic mirrors moving at relativistic speeds. It is a reflection on the efforts of man-made forces, the persistence of natural forces over time, and the interfaces between them.
受爱因斯坦狭义相对论的启发，《关于工作物体的电动力学》(Sobre a eletrodin mica dos corpos de trabalho)是一件立体声、固定媒体的视频艺术作品，以一种时空扭曲的视角呈现了一个自然环境中的工厂。它通过模拟以相对论速度运动的声波镜，描绘了该设施在压缩时间、冻结时间和模糊时间线中与景观相呼应的工作。它反映了人为力量的努力，自然力量随着时间的推移而持续存在，以及它们之间的接口。
{"title":"On the Electrodynamics of Working Bodies: Sobre a eletrodinâmica dos corpos de trabalho","authors":"Jeffrey Morris","doi":"10.1145/3483529.3483780","DOIUrl":"https://doi.org/10.1145/3483529.3483780","url":null,"abstract":"Inspired by Einstein’s special theory of relativity, Sobre a eletrodinâmica dos corpos de trabalho (On the Electrodynamics of Working Bodies) is a stereophonic, fixed-media video artwork presenting a temporally and spatially distorted perspective on a factory set in natural surroundings. It portrays the work of the facility as it echoes off the landscape in compressed time, frozen time, and smeared timelines by modeling sonic mirrors moving at relativistic speeds. It is a reflection on the efforts of man-made forces, the persistence of natural forces over time, and the interfaces between them.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"8 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":"129721103","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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