A Model for Interactive Art
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Materials & Process
Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls.. -
Public Art Implementation Plan
City of Alexandria Office of the Arts & the Alexandria Commission for the Arts An Implementation Plan for Alexandria’s Public Art Policy Submitted by Todd W. Bressi / Urban Design • Place Planning • Public Art Meridith C. McKinley / Via Partnership Elisabeth Lardner / Lardner/Klein Landscape Architecture Table of Contents 1.0 Introduction 2.0 Vision, Mission, Goals 3.0 Creative Directions Time and Place Neighborhood Identity Urban and Natural Systems 4.0 Project Development CIP-related projects Public Art in Planning and Development Special Initiatives 5.0 Implementation: Policies and Plans Public Art Policy Public Art Implementation Plan Annual Workplan Public Art Project Plans Conservation Plan 6.0 Implementation: Processes How the City Commissions Public Art Artist Identification and Selection Processes Public Art in Private Development Public Art in Planning Processes Donations and Memorial Artworks Community Engagement Evaluation 7.0 Roles and Responsibilities Office of the Arts Commission for the Arts Public Art Workplan Task Force Public Art Project Task Force Art in Private Development Task Force City Council 8.0 Administration Staffing Funding Recruiting and Appointing Task Force Members Conservation and Inventory An Implementation Plan for Alexandria’s Public Art Policy 2 Appendices A1 Summary Chart of Public Art Planning and Project Development Process A2 Summary Chart of Public Art in Private Development Process A3 Public Art Policy A4 Survey Findings and Analysis An Implementation Plan for Alexandria’s Public Art Policy 3 1.0 Introduction The City of Alexandria’s Public Art Policy, approved by the City Council in October 2012, was a milestone for public art in Alexandria. That policy, for the first time, established a framework for both the City and private developers to fund new public art projects. -
Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected]
Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected] Interactions were often used as a dialogue model, for example the “Telematic Dreaming” project. In this installation the viewer is no ABSTRACT longer solely a recipient, but simultaneously an agent, too. This paper is a summary of the essay “Interaction, Participation, Networking Art and telecommunication” from Inke Arns. We At the late 1980s telematic and telepresence began to gain explore how the spectator is involved into the artwork and how importance for interactive media art. Telepresence provided a new the participation of art changed in the last 50-60 years. scope for the artist and allowed the viewer parallel experiences in Furthermore, this paper point out the evolution of art and which three different spaces at once: role participation plays in the art context • The real space in which the viewer’s body is physically located Keywords Art Network Internet mass-media participation telematic • Per tele-perception in the virtual, simulated visual space collaboration Openness NetArt satellite communication • Per tele-action at the physical location of the “data- work” 1. INTRODUCTION In this context of telematic art Kit Galloway and Sherrie Duchamp said that artwork is made entirely by those who look at Rabinowitz created a groundbreaking work, which is called “Hole it or read it. The artist, who made it, survives by their accolades or in Space”. In this installation the viewer from Los Angeles were even their condemnation. These points motivated the artist of the able to talk to the viewer from the other side in New York via a 20th Centaury to use and evolve the concepts of interaction, satellite video connection. -
Ubiquitous Interactive Art Displays: Are They Wanted, Are They Intuitive?
Ubiquitous Interactive Art Displays: Are they Wanted, are they Intuitive? Gary Burrows The Information Science Discussion Paper Series Number 2006/02 January 2006 ISSN 1172-6024 University of Otago Department of Information Science The Department of Information Science is one of six departments that make up the School of Business at the University of Otago. The department offers courses of study leading to a major in Information Science within the BCom, BA and BSc degrees. In addition to undergraduate teaching, the department is also strongly involved in post- graduate research programmes leading to MCom, MA, MSc and PhD degrees. Re- search projects in spatial information processing, connectionist-based information sys- tems, software engineering and software development, information engineering and database, software metrics, distributed information systems, multimedia information systems and information systems security are particularly well supported. The views expressed in this paper are not necessarily those of the department as a whole. The accuracy of the information presented in this paper is the sole responsibil- ity of the authors. Copyright Copyright remains with the authors. Permission to copy for research or teaching pur- poses is granted on the condition that the authors and the Series are given due ac- knowledgment. Reproduction in any form for purposes other than research or teach- ing is forbidden unless prior written permission has been obtained from the authors. Correspondence This paper represents work to date and may not necessarily form the basis for the au- thors’ final conclusions relating to this topic. It is likely, however, that the paper will ap- pear in some form in a journal or in conference proceedings in the near future. -
"How Does Gamified Interaction Allow Participants to Co-Create Digital Artworks?"
Erasmus Mundus Joint Master Degree European Master of Excellence Media Arts Cultures "HOW DOES GAMIFIED INTERACTION ALLOW PARTICIPANTS TO CO-CREATE DIGITAL ARTWORKS?" Qualitative analysis: comparative method, within-case method of analysis and embedded multiple-case study Master Thesis Handed in to Department of Communication and Psychology Aalborg University Head of Department Univ.-Prof. Dr. Mikael Vetner and the Media Arts Cultures Consortium Supervisor: Palle Dahlstedt (Ph.D., MFA, MA) By: Dominique Vinckenbosch (BA, MA) August 12, 2019 ! ii! ABSTRACT Topic: Game design elements (gamification affordances) applied to interaction for co-creation in art. Author: Dominique Vinckenbosch Course/Year: Media Arts Cultures, 2017-2019 4th Semester Placement: Aalborg University, Denmark Pages: 130 Content: So far gamification and interaction in art have been studied separately. However, the research question of this study "How does Gamified Interaction allow participants to co-create digital artworks?" covers three disciplines, respectively games, human computer interaction and interactive art and demonstrate connections premises between the three. Therefore, this study aims to bridge these three disciplines by filling the gap in the current research about the application of game design elements (gamification affordances) to interaction for co-creation in art. In order to do so, the study conducts an in-depth cross-case and within-case qualitative analysis of four digital artworks, respectively The Beast, Cow Clicker, Tweetris and BURP in regards to two previously elaborated hypotheses, which goals are to provide evidence of a causal relationship (H1) and to eliminate a causal factor as a necessary condition (H2). The results demonstrate that Gamified Interaction enables co-creation in the form of authorial and social collaboration, and that it does not necessary have to be designed according to the participants. -
Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Kansas Curricular Standards for Visual Arts Are Aligned with the National Standards for the Visual Arts
Model Curricular Standards for Visual Arts State Board of Education May 2007 Kansas Curricular Standards for Visual Arts Joyce Huser Fine Arts Education Consultant Kansas State Department of Education 120 Southeast 10th Avenue, Topeka, Kansas, 66612-1182 [email protected] (785) 296-4932 Table of Contents Mission Statement ii Introduction iii Acknowledgements iv Document Usage v Major Objectives of Art Education vi What Constitutes a Quality Art Education? vii Standards, Benchmarks, Indicators, Instructional Samples 1 Basic 2 Intermediate 24 Proficient 46 Advanced 68 Exemplary 90 Scope and Sequence 112 Appendix I 128 Blooms Taxonomy 129 Assessments in Art 135 Kansas Art Teacher Licensure Standards 139 Competitions and Contests 142 Displaying Artwork 144 Shooting Slides of Student Work 145 Museums 146 Needs of Special Students 147 A Safe Work Environment 149 Stages of Artistic Development 151 Technology Time and Scheduling Standards 153 Appendix II 156 Resources/Books 157 Websites 159 Art Museums in Kansas with Educational Materials 162 Appendix III 165 Lesson Plans 166 Appendix IV 253 Glossary 254 i The Mission of the Kansas Curriculum Standards for the Visual Arts The visual arts are a vital part of every Kansas student’s comprehensive education. ii Introduction The Kansas Curricular Standards for the Visual Arts are designed for all visual art students and educators whether experienced or in the preservice years of their teaching career. A range of benchmarks engages students in reaching their greatest potential in the visual arts. Quality activities involve students in thoughtful, creative, and original expression of self. In all cases, students will learn life-skills including critical thinking, astute observation, viewing from multiple perspectives, higher order learning, and authentic problem-solving skills. -
Tubular Sculptures
Tubular Sculptures Carlo H. Séquin CS Division, University of California, Berkeley, CA E-mail: [email protected] Abstract This paper reviews ways in which many artists have constructed large sculptures from tubular elements, ranging from single cylinders to toroidal or knotted structures, to assemblies of a large number of bent tubes. A few parameterized generators are introduced that facilitate design and evaluation of a variety of such sculptural forms. 1. Introduction Artists like Charles O. Perry have been able to build very large scale sculptures filling volumes of more than 30 feet in diameter at an affordable price by assembling pre-cut and bent tubular pieces. Stellar examples are Eclipse in the Hyatt Regency lobby in San Francisco, or Equinox at the Lincoln Center, Dallas, Texas (Fig.1a). But even much smaller assemblies of tubular elements can make very attractive sculptures. At the small end of this spectrum we find sculptures by Max Bill, e.g., Assembly of three equal cylinders (Fig.1b) [2], or the elegant tubular loops by José de Rivera (Fig.1c) [4]. Additional “minimal sculptures” will be discussed in Section 3. Figure 1: (a) Charles O. Perry: “Equinox;” (b) Max Bill: “Assembly of 3 equal cylinder;” (c) José de Rivera: “Construction #35.” With so many diverse ways of forming attractive sculptures from tubular elements, it seems worthwhile to try to compile an organized overview over the many possibilities and approaches used, and to explore in which ways computer-aided tools may be helpful to create additional, and potentially more complex, artistic structures. In addition, I have a personal, nostalgic reason to write this paper on Tubular Sculptures. -
ART the Art Model's Handbook
ART The Art Model’s Handbook: The Naked Truth about Posing for Art Classes and Fine Artists Andrew Cahner CreateSpace Softcover $16.95 (141pp) 978-1-442-16969-2 “The human form is arguably the most difficult subject for an artist to render,” writes author and experienced art model, Andrew Cahner. “A landscape drawn a little inaccurately will still look like a landscape, but an error in depicting a human likeness will not look right.” Capturing an emotional quality is even more challenging, writes Cahner, adding that mastering figure drawing skills prepares artists to draw all other subjects with ease. Given the importance of live models to this endeavor, it is strange that so little attention has been paid to their training and that few resources exist to orient art school faculty, art model coordinators, and artists themselves. Cahner, an experienced professional art model, has ably filled the gap with The Art Model’s Handbook; going beyond basic modeling and drawing terminology and technique, he describes how the model is an active participant in the creative process of figurative artists, providing not just a visual reference, but also serving as a source of inspiration. Recognizing that, especially in American culture, body issues can deter potentially great models from ever pursuing the career, Cahner explains the difference between fashion modeling, with its need for models whose bodies share a particular idealized form, and art modeling, which requires people of all sizes, shapes, ages, and races. With sensitivity and skill, the author describes what the figure drawing experience is like for both models and artists, and establishes the parameters of mutual respect and concern that must exist between them. -
A Data Set and a Convolutional Model for Iconography Classification in Paintings
111 A Data Set and a Convolutional Model for Iconography Classification in Paintings FEDERICO MILANI and PIERO FRATERNALI, Politecnico di Milano Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the studyof influences across artists and art works. With the proliferation of digital archives of art images, the possibility arises ofapplying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may support iconography research and education. In this paper we introduce a novel paintings data set for iconography classification and present the quantitative and qualitative results of applying a Convolutional Neural Network (CNN) classifier to the recognition of the iconography of artworks. The proposed classifier achieves good performances (71.17% Precision, 70.89% Recall, 70.25% F1-Score and 72.73% Average Precision) in the task of identifying saints in Christian religious paintings, a task made difficult by the presence of classes with very similar visual features. Qualitative analysis of the results shows that the CNN focuses on the traditional iconic motifs that characterize the representation of each saint and exploits such hints to attain correct identification. The ultimate goal of our work is to enable the automatic extraction, decomposition, and comparison of iconography elements to support iconographic studies and automatic art work annotation. CCS Concepts: • Computing methodologies ! Artificial intelligence; Computer vision; Computer vision tasks; Computer vision problems; • Applied computing ! Arts and humanities; Additional Key Words and Phrases: Iconography, Art, Paintings, Data set, Deep learning, Classification, Transfer learning ACM Reference Format: Federico Milani and Piero Fraternali.