Technology, Design and the Arts - Opportunities and Challenges.

• Superior document: Springer Series on Cultural Computing Series
• Author: Earnshaw, Rae.
• TeilnehmendeR: Liggett, Susan.; Excell, Peter.; Thalmann, Daniel.
• Place / Publishing House: Cham : : Springer International Publishing AG,, 2020.; ©2020.
• Year of Publication: 2020
• Edition: 1st ed.
• Language: English
• Series: Springer Series on Cultural Computing Series
• Physical Description: 1 online resource (392 pages)

Table of Contents

Intro -- Foreword by Jill Journeaux -- References -- Foreword by Jon Peddie -- Preface -- Reference -- Contents -- Editors and Contributors -- Part I A Panoramic View of the Field -- 1 Introduction and Background to Technology and the Arts -- 1.1 Interactions Between Disciplines -- 1.2 Relationships Between the Arts and the Sciences -- 1.3 Historical Developments in the Relationship Between Technology and the Arts -- 1.3.1 Computer Arts -- 1.3.2 Computer Animation -- 1.4 Digital Media -- 1.5 Digital Humanities -- 1.6 A New Renaissance? -- References -- 2 Positioning the Arts in the Research Process: Perspectives from Higher Education -- 2.1 Introduction -- 2.2 Artistic Research and the Academy -- 2.3 Knowledge Production and Practice-Based/Practice-Led Research -- 2.4 Cross-Disciplinary, Interdisciplinary, and Multidisciplinary Collaborative Research in Doctoral Studies -- 2.5 Art, Collaboration, and Technology -- 2.6 Conclusions -- References -- Part II Facilitating Communication Between the Arts, Technology, and Audiences -- 3 Framing the Conversation: The Role of the Exhibition in Overcoming Interdisciplinary Communication Challenges -- 3.1 Introduction -- 3.2 Defining Interdisciplinary Communication -- 3.2.1 Defining Interdisciplinary -- 3.2.2 Defining Communication -- 3.2.3 Defining the Principal Actors in Interdisciplinary Communication -- 3.3 Interdisciplinary Communication Challenges -- 3.3.1 Communicating Accurately -- 3.3.2 Communicating Precisely -- 3.3.3 Communicating Impactfully -- 3.4 Interviews with Interdisciplinary Practitioners -- 3.4.1 The Specialist Technologist's Perspective -- 3.4.2 The Specialist Artist's Perspective -- 3.4.3 The Benefactor's Perspective -- 3.4.4 The Translator's Perspective -- 3.4.5 The Combined Perspective -- 3.4.6 An Interdisciplinary Communication Tool Wish List.

3.5 The Exhibition as an Interdisciplinary Communication Tool -- 3.5.1 Defining Exhibition -- 3.5.2 Assessing Impact -- 3.6 A New Curatorial Model -- 3.7 Conclusions -- References -- 4 Modern Communication Technologies and the Marxist Understanding of Scientific Cognition -- 4.1 Introduction -- 4.2 Modern Epistemology About Subject-Object Relations -- 4.3 Practice as a Unification of Subjective and Objective Reality -- 4.4 Technical Activity as a Special Form of Practice -- 4.5 Social and Cultural Perspectives of Communication Technologies -- 4.6 Extrapolation into the Future -- 4.7 Conclusions -- References -- 5 Use of Digital Holography to Re-Encode and Image Chinese Movable Type Printing -- 5.1 Chinese Movable Type Printing -- 5.1.1 Introduction to Chinese Movable Type Printing -- 5.1.2 The Influence of Chinese Movable Type Technology in the Wider World -- 5.2 Encoding in the Context of Chinese Cultural Communication -- 5.2.1 Re-Definition of Encoding Concepts -- 5.2.2 The Role of Enlightenment -- 5.2.3 The Role of Encoding -- 5.3 Digital Holographic Printing -- 5.3.1 Modern Digital Printing -- 5.3.2 Digital Holographic Printing -- 5.3.3 The Evolution of Chinese Movable Type Printing to Digital Holographic Printing -- 5.4 The Exploration of Encoding in the Future -- 5.5 Artistic Works -- 5.5.1 Three Manifestations of a Chinese Movable Type Text -- 5.5.2 Four Manifestations of Chinese Movable Type in a Hybrid Timeline -- 5.6 Conclusions -- Appendix: Records of Movable Type Printing in MengXiBiTan -- References -- Part III Interactions Between the Arts and Data -- 6 The FOREVER-DO Game: A Big Data Fishing Expedition -- 6.1 Introduction -- 6.2 A Fishing Expedition-the Method -- 6.3 The FOREVER-DO Game-the First 'Catch' -- 6.4 Petri Nets, Communication and the Bucket Chain.

6.5 Theoretical Context: Design and Analysis of (Coordinated) Communication Systems -- 6.6 Fishing the Net of the Communication Disciplines -- 6.7 Conclusion -- References -- 7 Searching for New Aesthetics: Unfolding the Artistic Potential of Images Made by the Scanning Electron Microscopy -- 7.1 Artist Statement -- 7.2 Introduction -- 7.3 Water Represented by the Scanning Electron Microscope -- 7.4 Photomicrography as an Art Form -- 7.5 Photographs or not Photographs? -- 7.6 Scientific Images and New Media -- 7.7 Conclusions -- References -- 8 Interspecific Interactions: Interaction Modes Between Sound and Movement in Collaborative Performance -- 8.1 Introduction -- 8.2 Interactivity in Performance-Origins and Recent Developments -- 8.3 The Symbiotic Phenomenon -- 8.4 Interactive Taxonomy: Theory and Precedents -- 8.5 Symbiotic Interactions in Precedent Practices -- 8.6 Symbiotic Modes of Interaction in Symbiont Zero -- 8.7 Mutualism -- 8.8 Commensalism -- 8.9 Parasitism -- 8.10 Conclusions -- References -- 9 Between Presence and Program: The Photographic Error as Counter Culture -- 9.1 Introduction: Histories and Hierarchies -- 9.2 Camera Acts and Human Acts -- 9.3 Agents and Networks -- 9.4 From Tool to Plaything -- 9.5 Tinkering with Technology -- 9.6 Conclusion: Being in Two Minds -- References -- 10 Signs of Surveillance -- 10.1 Introduction -- 10.2 Process of Gathering Raw Images and Meta-Data -- 10.2.1 Building Semantic Affordance with Artistic Raw Materials -- 10.2.2 Gathering Images and the Dérive -- 10.3 Managing and Manipulating Large Digital Image Corpuses as Artistic Raw Material -- 10.3.1 Meta-Data and Artistic Data Management -- 10.4 Developing Artworks Combining Hand-Coded and Industrial Digital Tools -- 10.4.1 On the Brittleness of Digital Things -- 10.4.2 Aesthetics, Frameworks, APIs and Ontologies.

10.5 The Challenge of Live Vs Video of Activity or Interactivity of Exposing the Internal or Relying on the Surface -- 10.5.1 Exposing the Internal or Relying on the Surface -- 10.5.2 The Final Work for Gallery Installation -- 10.6 Conclusion -- 10.6.1 Final Reflection -- 10.7 Epitaph for a Digital Artwork -- References -- Part IV Audio Visual Installations to Generate Collective Human Responses -- 11 Coral Voices -- 11.1 Introduction: Corals Are in Crisis -- 11.2 Initial Research Phase -- 11.3 Project Development, Phase Two -- 11.4 Workflow -- 11.5 Compositional Design and Technical Challenges -- 11.6 Choral Animation Summary -- 11.7 Sound Design and Electronic Score Summary -- 11.8 Conclusions -- References -- 12 Cyberdreams: Visualizing Music in Extended Reality -- 12.1 Introduction -- 12.2 The Current State of the Art -- 12.2.1 Multi-projection VJ Performances -- 12.2.2 Augmented Reality Companion Apps -- 12.2.3 Music Visualizations for Mixed Reality Headsets -- 12.2.4 Music Visualizations in Virtual Reality -- 12.2.5 Discussion -- 12.3 Case Study: Projects Visualizing Music in Extended Reality -- 12.3.1 Background -- 12.3.2 Augmented Reality Paintings -- 12.3.3 VJ Performances -- 12.3.4 Cyberdream VR -- 12.3.5 Discussion -- 12.4 Conclusions -- References -- 13 Augmenting Virtual Spaces: Affective Feedback in Computer Games -- 13.1 Introduction -- 13.2 Affect, Immersion and Engagement -- 13.3 Social Presence and Connection -- 13.4 Augmenting Virtual Environments -- 13.5 The Internet of Things and Games -- 13.6 Measuring Affective Response -- 13.7 Suggestions for Future Work -- 13.7.1 Measuring the Efficacy of Affective Games -- 13.7.2 Affective Games and Altered States of Consciousness -- 13.7.3 Measuring the Social Aspects of Multiplayer Affective Games -- 13.8 Ethical Considerations -- References.

Part V The Convergence of Digital Design, the Arts, Computing, and the Environment -- 14 Chandini (A Bride for the Moon) -- 14.1 Introduction -- 14.2 A Changing Real-World Context -- 14.3 Short Film -- 14.4 Outdoor Performance -- 14.5 Objects and Projections -- 14.6 Choreography -- 14.7 Festival -- 14.8 Live Art -- 14.9 Video Installation -- 14.10 Outdoor Dance Theatre -- 14.11 Documentary -- 14.12 Conclusions -- References -- 15 Digital Moving Image Installations and Renewable Energy: 1994-2018 -- 15.1 Introduction -- 15.2 Perpetual Motion -- 15.3 Fire, Ice &amp -- Steam -- 15.4 Mothlight -- 15.5 For William Henry Fox Talbot (The Pencil of Nature) -- 15.6 Interwoven Motion -- 15.7 Resurrection -- 15.8 Sunbeam -- 15.9 Aeolian Processes -- 15.10 Impossible Objects -- 15.11 Conclusions -- References -- 16 From Digital Nature Hybrids to Digital Naturalists: Reviving Nature Connections Through Arts, Technology and Outdoor Activities -- 16.1 Introduction -- 16.2 Background -- 16.3 The Design Lens -- 16.3.1 Technologies, Things, People and Context -- 16.3.2 Focal Things and Focal Practices -- 16.3.3 Commoditization -- 16.4 Using the Critical Lens to Establish Design Guidelines -- 16.5 Artifacts -- 16.6 Reflections on the Digital Nature Hybrid Designs -- 16.6.1 Challenges Arising Through Use of the Critical Lens -- 16.6.2 Response to the Challenges Arising Through Use of the Critical Lens -- 16.7 Digital Naturalists -- 16.7.1 Background -- 16.7.2 Digital Boggarts -- 16.7.3 The Lost Sounds -- 16.8 Reflections on Digital Naturalists -- 16.9 Conclusions -- References -- Part VI The Use of Virtual Reality and Augmented Reality to Extend Creativity, Reach, and Engagement in the Arts -- 17 Virtual Reality Holography-A New Art Form -- 17.1 Introduction -- 17.2 Overview of Holography as an Artistic Medium -- 17.3 Virtual Reality Art.

17.4 The Creation of a New Artistic Medium.