Technology, Design and the Arts - Opportunities and Challenges.
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| Superior document: | Springer Series on Cultural Computing Series |
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| : | |
| TeilnehmendeR: | |
| 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
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| Online Access: | |
| Physical Description: | 1 online resource (392 pages) |
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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 &
- 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.