PostDigital Art - Proceedings of the 3rd Computer Art Congress Edited by K. Zreik, R. Gareus November 2012 http://postdigital.eu Published by europia Productions 15, avenue de Segur´ 75007 Paris, France Tel: +31 1 45 51 26 07 Email: [email protected] http://www.europia.fr Credits Cover design: Khaldoun Zreik Logo: Robin Gareus Layout: Robin Gareus Typesetting: LATEX and pdfTEX Printed in the EU ISBN 979-10-90094-12-3 c 2012 europia productions Tous droits reserv´ es.´ La reproduction de tout ou partie de cet ouvrage sur un support quel qu’il soit est formellement interdite sauf autorisation expresse de l’editeur´ : Europia Productions. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Europia Productions ii Partners and Sponsors CiTu, Laboratoire Paragraphe 104 Centquatre, Paris Europia Conseil regional ˆIle de France cap-digital digitalarti - Digital Art International Arts and Humanities Department, Design Research Foundation the Open University of Catalonia Le Cube iv Foreword The third Computer Art Congress (CAC.3) is dedicated to PostDigital Art. It is a making in many senses and invites artists, intellectuals, scientists and technologists to share their imaginations, creations, inventions and visions of the post digital art. CAC.3 observes that the world has never appropriated any technology in the same man" ner than the digital. This technology has penetrated and dominated almost all facets of our everyday life. It has had, obviously, important impacts on our culture, economy, society, . and cognition. #e believe that our ways of perception, interpretation and reasoning have not been same before and after having dealt with the digital !orld. Whats more digital technol- ogy has become more than part of our life, it has nearly become transparent. $icholas $egroponte declared the digital revolution over in %&&'%( “like air and drinking water,* digital would be noticed only y its absence, not its presence. +imon ,enkins recalled this point- )Don.t tell me you are still putting e- and i- in front of your product or talk- ing /platforms., like some naughtiest nerd. That is so yesterday”, and he persisted that )Post-digital is not anti-digital. It extends digital into the beyond. The !eb ecomes not a destination in itself but a route map to somewhere real*. The term Post Digital has recently come into use in the discourse of digital artistic prac- tice3. The term aims to call attention to )an attitude that is more concerned with being human, than with being digital*3. 1oy Ascott considers distinction between digital and ”postdigital* is part of the economy of reality3. 2or 3el Alexenberg4, postdigital as ad- jective, addresses the “humanization of digital technologies*. About PostDigital Art, Adam Tinworth7 points out to! important facts ( " )Theres a rule of thumb in the real estate business that if you want to kno! which part of a city is going to go up-market next, look at where the artists go to work.* " )8verything !e do is influenced y digital technology. ,ust as air and water, the prop- erty of being digital is only noticed when it is not there, not when it is there.* 2or all those reasons, and in order to preserve the artistic (and humanistic) part of the computer art, the advisory board of CAC retained, during the last congress in 3exico (in 2008), the Post Digital Art as the main topic for CAC.3. In that sense, CAC.3 considers PostDigital Art as an open creative way to draw out the evolving of our relation to information and communication technology as a dominant in the globalization paradigm !e are living. PostDigital Art experience has to be considered as intellectual therapy that challenge actors of the society to rethink their innovation approaches and the way they perceive the world, to explore new dimensions of our space, to go forward, to trace their own path, to be follo!ed CAC.3 count on the abilities of artists to explore digital and extra digital spaces in order to anticipate new technological issues that can influence our post digital world. %Teressa Iezzi ; Ann-Christine Diaz, 3ay/24/2010, “Are we Post-Digital Yet?”, http://creativity-online.com/news/are-we-postdigital-yet/144055 -+imon ,enkins, Dec/1/2011, The Guardian, http://www.guardian.co.uk/commentisfree/2011/dec/01/post-digital-world-web 3#ikipedia contributors, “Postdigital” #ikipedia, The 2ree 8ncyclopedia (accessed =ctober/27/2012), https://en.wikipedia.org/w/index.php?title=Postdigital&oldid=48381559( 43el Alexenberg, 2011, The Future of Art in Postdigital Age, Intellect ?ooks 7Adam Tinworth, ,an/2012, “Can a new culture grow from Post Digital art?”, http://nextberlin.eu/2012/01/can-an-new-culture-grow-from-post-digital-art/ v Conference Organization Khaldoun Zreik Robin Gareus Technical Team Centquatre CiTu Conference Design and Website Robin Gareus Special Thanks to Imad Saleh Nada Karami Marion Chapel Martin Colomer-Diez Maurice Benayoun Sandrine Marsaudon Valerie Senghor ...and to everyone else who helped in numerous places after the editorial deadline of this publication. vii Review Committee Alan Dunning Alberta College of Art + Design, University of Calgary, Alberta, Canada Alok b. Nandi Architempo Annick Bureaud Independent Curator Charlie Gere Lancester Institute for contemporary arts Christian Jacquemin LIMSI, CNRS Everardo Reyes Universite´ Paris 13 Frank Dufour Arts and Technology Program, The University of Texas at Dallas Iliana Hernandez´ Pontificia Universidad Javeriana, Bogota´ Jack Stenner Art + Technology Program, University of Florida Jeffrey Shaw School of Creative Media, City University Hong Kong Joseph Nechvatal School of Visual Arts, New York Khaldoun Zreik CITU-Paragraphe (University Paris 8) Lev Manovich University of California, San Diego Luisa Paraguai Nuova Accademia di Belle Arti, Milano, Italy Malu Fragoso Federal University of Rio de Janeiro Marc Veyrat Poleˆ Image & Information (Laboratoire IREGE - IAE Savoie Mont-Blanc) Maurice Benayoun CiTu - Universite´ Paris 8, School of Creative Media, City University Hong Kong Mirko Tobias Schaefer Utrecht University Nils Aziosmanoff le Cube Pau Alsina Arts and Humanities Department, Universitat Oberta de Catalunya Paul Woodrow University of Calgary, Alberta, Canada Paul Klein San Francisco Art Institute Paul Magee Factulty of Arts and Design, University of Canberra, Australia Pierre Boulanger University of Alberta, Canada Reza Beheshti Design Research Foundation, Netherlands Ricardo Mbarkho University of Balamand Richard Coyne Edinburgh College of Art, The University of Edinburgh Robert Woodbury School of Interactive Arts and Technology - Simon Fraser University Robin Gareus linuxaudio.org, Universite´ Paris 8 Ron Burnett Emily Carr University of Art and Design Roy Ascott University of Plymouth, UK Safwan Chendeb CiTu - Universite´ Paris 8 Stuart Moulthrop Yale Gordon College of Liberal Arts, University of Baltimore Tania Fraga IMA-SP Vincent Boyer LIASD - Universite´ Paris 8 viii Table of Contents The search for emergence in New Media Art practices 1 • Pau Alsina Brief Reflection on the Anonymity 7 • Marcos Salazar Delfino Future Potentials for ASCII art 13 • A. Bill Miller, Anders Carlsson Hyper-Production and the Value of Exquisite Corps on the Web 25 • Blanka Earhart 21st Century Brazilian Computer (Experimental) Art 31 • Tania Fraga, Malu Fragoso The Post Digital Art is made of Paper, Cardboard and ABS 43 • Filipe Pais On the separation between the esthetic and the functional - And how the digital • realm will steal form 51 Aurelien´ Michon, Cedric Flazinski, Clement´ Chalubert From Paper to Portable Devices: How to script and read comics? 59 • Vincent Boyer, Jer´ emy´ Raulet, Catherine Sauvaget Designing Natural User Interfaces with Depth Sensing Technologies like the Kinect • Sensor - A Tracking Framework for Artists and Designers 69 Michaela Honauer, Jens Geelhaar New technologies and non technical students: making contact with creative digi- • tal writing 75 Gaetan´ Darquie´ Disrupting 3D models 91 • Everardo Reyes Digital Preservation of Ju Ming Stone Sculpture in Taiwan 97 • Naai-Jung Shih U-rss and the dark side of the moon 103 • Marc Veyrat, Franck Soudan Connected creation: The Art of Sharing 115 • Florent Di Bartolo Cinema Beings 121 • Alain Lioret Facebook Chronicles 129 • Regina Freyman ix Architectural Ornamentation and Fabrication with Multi Agent System 137 • Subhajit Das, Florina Dutt Autonomous social Avatars (AsA) 145 • Juan Pablo Bertuzzi, Safwan Chendeb, Khaldoun Zreik Digital Environment to Envision and Experience the Art of Light and Space 151 • Cheng-Hsiu Chuang, Nan-Ching Tai Art image classification using Bag-of-Visualterms representation 157 • Ferran Reverter, Pilar Rosado, Miquel Angel Planas, Eva Figueras Post Anxiety Art: Economies and cultures of digital painting 161 • Jo Briggs, Mark Blythe x The search for emergence in New Media Art practices Abstract discussed by physicist Doyne Farmer, to whom emergence "is not magic, but it feels like magic."2 As a follow up of the long pursued ideal of Art as Life, or better, as Creation of the Creation, in this paper we intend to explore the use of 2 Definitions of Emergence and its Emergent dynamics in Art practices linked to relevance in Art. Science and Technology. We articulate this research through the analysis of those significant Although there are several definitions of what may fields