Arduino Tool: for Interactive Artwork Installations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Software Art: Image
NYUAD - Interactive Media Syllabus Software Art: Image NYU Abu Dhabi — Interactive Media SOFTWARE ART: IMAGE IM-UH 2115 Fall 2017 COURSE SYLLABUS Instructor Pierre Depaz ([email protected]) Meeting Time Tuesday — 10:25AM - 1:05PM Thursday — 11:50AM - 1:05PM Classroom C3-153 Office C3-032 Office Hours Open-door policy Credits 2 Class website https://github.com/pierredepaz/software-art-image !1 of !12 NYUAD - Interactive Media Syllabus Software Art: Image This course counts towards the following NYUAD degree requirement: • Multidisciplinary Minors > Interactive Media • Majors > Art and Art History Course Description Although computers only appeared a few decades ago, automation, repetition and process are concepts that have been floating around artists’ minds for almost a century. As machines enabled us to operate on a different scale, they escaped the domain of the purely functional and started to be used, and understood, by artists. The result has been the emergence of code-based art, a relatively new field in the rich tradition of arts history that today acts as an accessible new medium in the practice of visual artists, sculptors, musicians and performers. Software Art: Image is an introduction to the history, theory and practice of computer-aided artistic endeavours in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, how it shaped a specific aesthetic language and what it reveals about technology and art today. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art. -
Online Software Piracy of the Last Millennium.Sxw
Online Software Piracy of the Last Millennium By Ben Garrett aka Ipggi Ever since there has been the ability to store data on a personal computer and commercial software for sale, there has been the existence of pirating. Pirating, cracking and even pirate scenes go all the way back to the late seventies, and maybe even earlier. By the early eighties some machines (such as the BBC Macro in Europe) where so riddled with pirates that the programming companies gave up. They discontinued producing and porting software for the affected computers because there was simply no money to be made. This article has been written with only the PC scene in mind. Table of Contents 1. The IBM PC Scene Beginnings Page 1 2. Bulletin Board Systems And Couriers 2 3. The Death of the Bulletin Board System and the Rise of the Internet 4 4. Software Suppliers 5 5. Text Files 5 6. Scene Art 6 7. The Emergence of Europe 6 8. The Death of the Floppy Disk 6 9. Evolution to the ISO scene 7 10.Bibliography 8 1. The IBM PC Scene Beginnings With the large amount of 8-bit computers around during the early eighties, otherwise known as the Golden Age. And then with the subsequence scenes that followed, most people will agree that the Commodore 64 scene was the greatest at the time. But the Commodore 64 1 wasn't the first computer system to have an organised international pirate scene. It was probably the Apple II users in the very late seventies 2 that can be credited with creating the first remnant of a pirate scene that would be familiar in todays internet warez world. -
Effects of Art Styles on Video Game Narratives
Effects of Art Styles on Video Game Narratives UNIVERSITY OF TURKU Department of Future Technologies Master's Thesis July 2018 Leena Hölttä UNIVERSITY OF TURKU Department of Future Technologies HÖLTTÄ, LEENA Effects of Art Styles on Video Game Narratives Master's thesis, 76 pages, 29 appendix pages Computer Science August 2018 The effect of an art style on a video game's narrative is not widely studied and not much is known about how the general player base views the topic. This thesis attempts to answer this question through the use of two different surveys, a general theory related one, and one based upon images and categorization and a visual novel based interview that aims at gaining a further understanding of the subject. The general results point to the art style creating and emphasizing a narrative's mood and greatly enhancing the player experience. Based on these results a simple framework ASGDF was created to help beginning art directors and designers to create the most fitting style for their narrative. Key words: video games, art style, art, narrative, games TURUN YLIOPISTO Tulevaisuuden teknologioiden laitos HÖLTTÄ, LEENA Taidetyylien vaikutus videopelien narratiiviin Pro gradu -tutkielma, 76 s., 29 liites. Tietojenkäsittelytiede Elokuu 2018 Taidetyylien vaikutus videopelien narratiiviin ei ole laajasti tutkittu aihe, eikä ole laajasti tiedossa miten yleinen pelaajakunta näkee aiheen. Tämä tutkielma pyrkii vastaamaan tähän kysymykseen kahden eri kyselyn avulla, joista toinen on teoriaan perustuva kysely, ja toinen kuvien kategorisointiin perustuva kysely. Myös visuaalinovelliin perustuvaa haastattelua käytettiin tutkimuskysymyksen tutkimiseen. Yleiset tulokset viittaavat siihen, että taidetyyli vaikuttaa narratiivin tunnelmaan ja korostaa pelaajan kokemusta. -
The Creativity of Artificial Intelligence in Art
The Creativity of Artificial Intelligence in Art Mingyong Cheng Duke University October 19th, 2020 Abstract New technologies, especially in the field of artificial intelligence, are dynamic in transforming the creative space. AI-enabled programs are rapidly contributing to areas like architecture, music, arts, science, and so on. The recent Christie's auction on the Portrait of Edmond has transformed the contemporary perception of A.I. art, giving rise to questions such as the creativity of this art. This research paper acknowledges the persistent problem, "Can A.I. art be considered as creative?" In this light, the study draws on the various applications of A.I., varied attitudes on A.I. art, and the processes of generating A.I. art to establish an argument that A.I. is capable of achieving artistic creativity. 1 Table of Contents Chapter One ..................................................................................................................................... 4 1.1 Introduction ............................................................................................................................ 4 2.1 Overview ................................................................................................................................ 7 2.2 Defining Artificial Intelligence .............................................................................................. 8 2.3 Application of AI in Various Fields .................................................................................... 10 2.3.1 Music ............................................................................................................................ -
Hi-Bit Pixel Graphics – the New Era of Pixel Art
Hi-Bit Pixel Graphics – The New Era of Pixel Art Olli Heikkinen Thesis May 2021 Degree Programme in Information Business Systems Game Production 2 ABSTRACT Tampere University of Applied Sciences Information Business Systems Game Production Olli Heikkinen Hi-Bit Pixel Graphics – New Era of Pixel Art Bachelor's thesis 35 pages May 2021 This bachelor’s thesis studies how pixel graphics in video games are seen today, and what current trends make classic pixel graphics hi-bit. This thesis briefly covers the beginnings of pixel graphics, how pixel graphics in video games have changed over the years, as well as a few key techniques that make hi-bit pixel art. To further demonstrate the elements of hi-bit pixel graphics, a short game demo “Mr. Skullerton’s Vault” was created in the Unity game engine. In this demonstration a variety of different hi-bit pixel art techniques were tested, including pixel perfect settings, normal mapping, skeletal animation. The techniques tested in this demonstration proved to be significant elements, which distinguish classic pixel graphics from hi-bit pixel art Key words: pixel graphics, pixel art, video game graphics 3 CONTENTS Introduction ................................................................................................ 5 1 Pixel art in general ................................................................................ 7 1.1 Pixel art in video games today ....................................................... 8 1.2 Why Hi bit-pixel art? .................................................................... -
Computer Based Art 2 Computer Based Art 3
1 Computer based art 2 Computer based art 3 Computer based art 4 Computer based art ??5 Buzzanca vs Buzzanca6 7 9 L’arte contemporanea (quale sia la data d’inizio che le volessimo attribuire) è stata caratterizzata, lo si è già accennato, dalla adozione di materiali di espressione artistica i più disparati possibili. La scelta di utilizzare il computer per esprimere il fare artistico, per sviluppare un linguaggio della manifestazione artistica diviene strettamente connesso • al sistema operativo, • all’applicazione, • alla pagina definita dal codice ed • alle teorie che del computer prendono in considerazione gli aspetti logici, simbolici; E’ possibile attivare sul computer, in maniera chiara e fortemente innovativa, una rappresentazione del proprio agire artistico. La vera innovazione, sappiamo bene, non consiste certo nella tastiera più o meno user friendly ma nella capacità di usare il mezzo informatico alla stessa stregua dei più disparati materiali presi a base nelle rappresentazioni dell’arte contemporanea. 13 14 15 16 17 Quali possono essere, allora, le strategie per l'archiviazione e, principalmente, per la conservazione delle arti digitali e di altre pratiche artistiche contemporanee di natura effimera o variabile e comunque strettamente dipendente da un medium la cui sopravvivenza è abbondantemente messa in crisi dagli stessi assunti metodologici della tecnologia adottata? Trovo in questo senso diagrammatica, esulando solo per un attimo dalle arti figurative (che includono figurazione e rappresentazione comunque iconica) la composizione musicale Helicopter String Quartet di Karlheinz Stockhausen che prevede che i quattro esecutori siano ciascuno su un differente elicottero ed eseguano sincronicamente l’esecuzione essendo tra loro collegati mediante apparecchi di registrazione e trasmissione coordinati da terra dal regista o meglio ancora dal direttore tecnologico dell’orchestra. -
Pixel Art: 1.0
Pixel Art: 1.0 Square is Cool! by Astra Wijaya (astrawijaya.com) with Tech Valley Game Space What is on the menu today? 1. Introduction 2. History 3. Software setup 4. Playing with pixels 5. Resources 0.1 Some questions - Does anyone know how/is learning to draw (digital or traditional)? - Familiar with Photoshop/Piskel/other image editing software? - Who is using what software? 1.1 What is a pixel? - From the words, picture and element. This one square is a pixel "Pixel-example" by ed g2s • talk - Example image is a rendering of Image:Personal computer, exploded 5.svg.. Licensed under CC BY-SA 3.0 via Wikimedia Commons - https://commons.wikimedia. org/wiki/File:Pixel-example.png#/media/File:Pixel-example.png 1.2 What is pixel art? - Drawing or editing on the pixel level that now has become a style of its own. 2.1 History - Came from hardware processing limitation - Not able to draw or render too many colors 2.1 History - Very similar to mosaic art 2.2 Visual History Pong (1972) Credit: Amintore Fanfani 2.2 Visual History Space Invaders (1978) 2.2 Visual History Pac Man (1980 2.2 Visual History Donkey Kong [arcade] (1981) 2.2 Visual History Super Mario Bros (NES) (1985) 2.2 Visual History Ryu (Street Fighter series) 1987+ 2.2 Visual History Chrono Trigger (1995) 2.2 Visual History Metal Slug series (1996+) 2.2 Visual History Castlevania: Symphony of the Night (1997) 2.2 Visual History Final Fantasy Tactics (1997) 2.2 Visual History Pokemon series (1996) 2.2 Visual History 3D Dot Game Heroes (2009) 2.2 Visual History Minecraft (2009) 2.2 -
Chicago New Media 1973- 1992' Pays Tribute to the City's Contribution to Video Games and Digital
Chicago New Media 1973- 1992' pays tribute to the city’s contribution to video games and digital art On the frontier of free information, experimentation, and self-expression. By Caroline Picard @cocolarolo Have a Nice Day II: VR Tour Through the Decades, Ellen Sandor, Chris Kemp, Diana Torres, and Azadeh Gholizadeh, (art)n, virtual reality installation with Unity and Oculus Rift, 2017. COURTESY OF ELLEN SANDOR AND VGA GALLERY Chicago isn't immediately associated with technology's vanguard in the popular imagination. But Gallery 400's current exhibition, "Chicago New Media 1973-1992," focuses on the city's contribution to new media history through a broad installation of video games, digital art, video art, and archival materials. The oldest photograph is a 1910 still from Uptown's Essanay Studios showing a cast of cowboys with horses posed beneath the elaborate (and heavy looking) electric studio lights. Not only is this image evidence of how, as curator Jon Cates puts it, Chicago was "an early contender" for the film industry, it shows a direct correlation between representations of the iconic west and the technology that produced it. With assistance from Chaz Evans, Jonathan Kinkley and the Video Game Art (VGA) Gallery, Cates highlights the way "new media"—video art, video games, and electronic music—evolved through a radical community of Chicago-based early adopters in the early 70s. "This creative culture of collaborative communities gathered together regularly to perform in various configurations publicly during annual Electronic Visualization Events on the campus of the University of Illinois at Chicago," he says. "Their connections were social, artistic, educational, and technological." The exhibition shows how people like Dan Sandin, Phil Morton, Tom DeFanti, Ted Nelson, Jamie Faye Fenton, and others connected commercial gaming, academic research, and independent art making in a way that permanently impacted the industry. -
GAMES-KONZEPTE Für Schule Und Jugendbildung + IMPRESSUM
SPIELEND LERNEN 17 innovative GAMES-KONZEPTE für Schule und Jugendbildung + IMPRESSUM Herausgeber medien+bildung.com gGmbH Lernwerkstatt Rheinland-Pfalz Turmstr. 10 67059 Ludwigshafen Registernummer: HRB 60647 Gerichtsstand: Amtsgericht Ludwigshafen Verantwortlich Katja Friedrich (Geschäftsführerin) Tel.: (0621) 52 02 256 [email protected] Redaktion Christian Kleinhanß Hans-Uwe Daumann Autor/innen Katja Batzler Christopher Bechtold Steffen Griesinger Maren Herrmann Christian Kleinhanß Friedhelm Lorig Katja Mayer Daniel Zils Bildnachweis medien+bildung.com, LMK Layout und Gestaltung Kristin Lauer, www.diefraulauer.com, Mannheim Druck Nino Druck GmbH, Neustadt an der Weinstraße IN- Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung 3.0 Deutschland Lizenz HALT Seite Inhalt Alter Stufe 04 Grußworte 05 Einleitung 06 Learning Apps Ab 8 GS SEK1 SEK2 08 Kahoot: Quizzes entwickeln Ab 8 GS SEK1 SEK2 10 Moodle: Gamifizierte Online-Kurse Ab 10 SEK1 SEK2 12 Eigene 3-D-Welten gestalten mit Co-Spaces Ab 10 SEK1 SEK2 14 Pixel Art Ab 10 SEK1 SEK2 15 Machinima Ab 12 SEK1 SEK2 16 Minetopia Ab 12 SEK1 17 Filmwerkstatt Minecraft Ab 12 SEK1 18 Digital Outdoor Games Ab 8 GS SEK1 SEK2 19 Code Breakers Ab 14 SEK1 SEK2 23 Bloxels Ab 8 GS SEK1 24 Gamesentwicklung mit Scratch Ab 10 SEK1 SEK2 26 Twine: Digital Storytelling Ab 10 SEK1 SEK2 28 Make Dance Moves Ab 10 SEK1 30 Exzessives Spielen Ab 11 SEK1 32 Gewalt in digitalen Spielen Ab 11 SEK1 34 check the games – Ein Projekttag Ab 11 SEK1 35 Links & Empfehlungen IN- HALT GRUSS-WORTE Georg Banek © Das Konzept des homo ludens, des spielenden Menschen, ist Spielend zu lernen ist für viele Schülerinnen und Schüler ein vom Gedanken getragen, dass jedes Spiel auch dem Lernen Traum. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
Being Virtual: Embodiment and Experience in Interactive Computer Game Play
Being Virtual: Embodiment and Experience in Interactive Computer Game Play Hanna Mathilde Sommerseth PhD The University of Edinburgh January 2010 1 Declaration My signature certifies that this thesis represents my own original work, the results of my own original research, and that I have clearly cited all sources and that this work has not been submitted for any other degree or professional qualification except as specified. Hanna Mathilde Sommerseth 2 Acknowledgements I am grateful to my supervisor Ella Chmielewska for her continued support throughout the past four years. I could not have gotten to where I am today without her encouragement and belief in my ability to do well. I am also deeply thankful also to a number of other mentors, official and unofficial for their advice and help: Richard Coyne, John Frow, Brian McNair, Jane Sillars, and most especially thank you to Nick Prior for his continued friendship and support. I am thankful for the Higher Education Funding Council in Scotland and the University of Edinburgh for the granting of an Overseas Research Student award allowing me to undertake this thesis in the first place, as well as to the Norwegian State Educational Loan Fund for maintenance grants allowing me to live while doing it. In the category of financial gratefulness, I must also thank my parents for their continued help over these four years when times have been difficult. Rumour has it that the process of writing a thesis of this kind can be a lonely endeavour. But in the years I have spent writing I have found a great community of emerging scholars and friends at the university and beyond that have supported and challenged me in ways too many to mention.