Fostering a Community of Innovation at the Intersection of Art and Technology in the Pacific Northwest
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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. -
On the Human Role in Generative Art: a Case
ON THE HUMAN ROLE IN GENERATIVE ART: A CASE STUDY OF AI-DRIVEN LIVE CODING ANTONIO POŠĆIĆ Independent Scholar [email protected] GORDAN KREKOVIĆ Visage Technologies [email protected] https://doi.org/10.34632/jsta.2020.9488 ABSTRACT The constant evolution of philosophical views on art is interwoven with trajectories of accelerating technological development. In the current vehement emergence of generative algorithms there is an immediate need for making sense of modern technologies that increasingly seem to step in the realm that has been reserved for humans – creativity. This paper aims to understand the role of the human in generative art by demystifying Vol. 12, n. 3 (2020): pp. 45-62 implications of black-box generative algorithms and their applications for artistic purposes. First, we present examples of current practice and research in generative art with a special interest in music that served as foundation for our work. Then, we introduce Anastatica (2020), a part performance, part installation built on the basis of data-driven generative live coding. Finally, we discuss the various implications of AI in art through a case study rooted in Anastatica’s development and performance. Here we trace the path from algorithms to intelligence, applying both musical and computer science theory to a practical case of generating a live coding musical performance, with special focus given to aesthetic, compositional, conceptual, and phenomenological implications. Journal of Science and Technology of the Arts, of the Journal of Science and Technology Keywords: Artificial intelligence; Generative art; Live coding; Generative music; Computer art. 46 1. INTRODUCTION In broad terms, artificial intelligence (AI) is any sort of intelligence exhibited by machines (Nilsson 1998). -
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Media-N | The Journal of the New Media Caucus 2019: Volume 15, Issue 1, Pages 69–81 ISSN: 1942-017X Media-N | The Machines Wave Back CHAD M. EBY Assistant Professor, Herron School of Art + Design, IUPUI ABSTRACT This paper examines notions of autonomy and agency in the context of understanding artist and rules system relationships within an Autonomous Art System (AAS). The concept of Create / Read / Update / Delete is borrowed from computer engineering as a metaphor for a role-based (rather than medium-based) framework for classifying AASs and, combined with the discussion of autonomy and agency, forms the basis for a new taxonomic system of Autonomous Art Systems for analysis, categorization and comparison. “A chipped pebble is almost part of the hand it never leaves. A thrown spear declares a sort of independence the moment it is released.” – Isaac Asimov, “The machine and the robot” in Robot Visions “The machines aren’t very smart yet, but we’re teaching them this stuff all the time. We’re giving them eyes and ears and we’re giving them access to our world. We’re sharing our social spaces with them increasingly. They increasingly live like the render ghosts, on the borders of our world, and they’re starting to share it with (us). – James Bridle, “Waving at the Machines” INTRODUCTION The purpose of this paper is to propose a way to describe degrees of autonomy and agency in Autonomous Art Systems (hereafter, AAS) to aid in analysis, categorization and comparison of such systems, and to consider their boundary conditions in an art-making context. -
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 ............................................................................................................................ -
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. -
Byeong Sam Jeon
BYEONG SAM JEON Personal Website: www.bsjeon.net Organizational Website: www.koian.com Email: [email protected] Office: 82-2-2038-8290 Address: 7F Sinmyeong BD. 834-44, Yeoksam-dong, Gangnam-gu, Seoul, Korea BIOGRAPHY Byeong Sam Jeon is an internationally recognized artist, researcher, and educator working at the confluence of art and science. His interests include Telematic Culture, Robotic Art, Embodied Interaction, Physical Computing, Trans-Humanism, and STEAM Education. For a decade, Jeon has been invited to present his artwork and research worldwide including: SIGGRAPH (USA), ISIMD (Turkey), LIFE: Version of Science (Russia), ArtBots (Ireland), AsiaGraph (China), SALON (Cuba), Netfilmmakers (Denmark), Siggraph-ASIA (Singapore), DALSMA (Korea), and elsewhere. One of his well-known projects, 'Telematic Drum Circle' has gathered more than 300,000 Internet users and offline participants from 59 countries to perform tele-robotic sound improvisation together since it was premiered at the California Institute for Telecommunications and Information Technology in September 2007. Jeon, as a theater director, has produced the world-first robot musical 'Robotata' (2011), the main performance of Korea Science Fest ‘Science for Dream’ (2010), and the opening performance of the 60th International Astronautical Congress ‘Feast of Space’ (2009). As a curator, he directed the international new media art exhibition 'ThisAbility'(China), 'Machine Dreams'(Korea), 'Interactive Playground'(USA), and several others. Byeong Sam Jeon currently works as the -
By Edwcrd Whitechcpel Gcllery London the MIT Press Ccmbridge, Mcrssclchusetts
by Edwcrd Whitechcpel Gcllery London The MIT Press Ccmbridge, Mcrssclchusetts Edited by Edwcrd A. Shcrnken Documents of Contemporcry Art Co published by WhitechapeL Gallery Series Editor: lwona Blazwicl< and The MIT Press Commissioning Editor: [an Farr Documents of Contemporqry Art Ploject Editor: Francesca Vinter First published 2015 Design by SMITH O 2015 Whitechapel Gallery Ventures Lirrited Allon l(aye, Justine Schuster All texts O the authors or the estates ofthe authors, Printed and bound in China unless otherwise stated Cover, Tomis Saraceno, 14 Billions (workingtitle) Whitechapel Gallery is the imprint of Whitechapel (2010). Black cords, elastic rope, hool(s. Irr recent decades artists have progressively expanded the boundaries o[ art as Gallery Ventures Limited Dimensions/Scale: 1 : 17 Latrodectus mactans web. lnstallation view, Bonniers l(onsthall, Stockholm thcy have sought to engage with an increasingly pluralistic environment. All rights reserved. No part ofthis publication 2010. Photograph O Studio Tomis Saraceno, 2010. of and visual culture are likewise no may be reproduced, stored in a retrieval system li'.rching, curating and understanding art o[ transmitted in any form or by any means, Whitechapel Gallery Ventures Limited longer grounded in traditional aesthetics but centred on significant ideas, topics electronic, mechanical, photocopying or otherwise, 77 82 Whitechapel High Street without the written permission of the publisher London El 7QX .urcl themes ranging from the everyday to the uncanny, the psychoanalytical to whi techapelgal lery.org tlrc political. ISBN 978-0-85488-234 2 (Whitechapel Gallery) To order (UK and Europe) cal I +44 (0)207 522 1888 ISBN 978-0-262-52719-4 (The MIT Press) or email MailOrder@whitechapelgallery org The Documents of Contemporary Art series emerges from this context. -
Immersive Interactive Virtual Reality in the Museum
Immersive Interactive Virtual Reality in the Museum Maria Roussou Foundation of the Hellenic World 254 Pireos St. Athens 17778 Greece +30-1-4835300, +30-1-4834634, [email protected], http://www.fhw.gr/ Abstract. The use of immersive Virtual Reality (VR) technology is a relatively recent trend enjoyed almost exclusively by the academic, military, and industrial research and development communities. However, as VR technologies mature, research is expanding from the military and scientific visualisation realm into more multidisciplinary areas, such as education, art, culture, and the humanities. As representative institutions involved in the research and presentation of these fields, museums, cultural centres, and entertainment venues may be in a better position to make use of advanced virtual reality technologies in order to investigate their educational potential while effectively shaping how they deliver public education and recreation. This paper will discuss the issues involved in using state-of-the-art interactive virtual environments in cultural public spaces by presenting the virtual environments developed for learners of all ages at the Foundation of the Hellenic World (FHW), a cultural heritage institution of informal education located in Athens. Virtual Reality in the Museum The development of new interactive important drawbacks for the use of VR in technologies has inevitably impacted the more public spaces, making it difficult to incorporate traditional sciences and arts. This is more in dwindling museum or school budgets. In evident in the case of novel interactive spite of these concerns and objections technologies that fascinate the broad public, as regarding the appropriateness and educational has always been the case with virtual reality. -
Touching the Interface.Pdf
From Television to Drone Vision: Telepresence and Touch in Contemporary Art Kris Paulsen Introduction: “Touching the Interface – Interfacing Touch” Figure 1. Douglas Engelbart at the controls of the oNLine System during "The Mother of All Demos," San Francisco, December 9, 1968. On December 9, 1968, Douglas EngelBart famously changed the future of computing. His presentation at the Fall Joint Computer Conference in San Francisco introduced the world to the oNLine System (NLS), which he developed with his team from the Augmented Research Center at the Stanford Research Institute. In the brisk 100-minute lecture, later known as “The Mother of All Demos,” Engelbart demonstrated, among other things, live teXt editing on a cathode ray tuBe monitor, hyperlinked documents, the computer mouse, networked interaction, video conferencing, and the idea of a personal computer with a display screen.1 The Introduction: Touching the Interface—Interfacing Touch 1 importance of the demonstration was not just in what EngelBart showed the audience, but how he did so. Though he sat on a stage facing a packed 1000-seat auditorium, he addressed the crowd through a 22-by-18-foot screen displaying a live video image of him at the computer workstation. An Eidaphor video projector, Borrowed from NASA and networked by the Advanced Research Projects Agency (ARPA), Beamed the high-resolution image across the lecture hall while a team of assistants, including Stewart Brand, the producer of the psychedelic 1966 Trips Festival, were at the lab in Menlo Park remotely controlling and choreographing the images on the screen.2 Despite Being in the same room with his viewers, EngelBart indicated that he would address them “primarily through this medium” By pointing into the television camera, and thereBy to the center of the video projection (fig. -
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2020-2021 data-ai.design 2020-2021 2020-2021 2 Data+AI+Design pring 2021 Index 2021 02.1 Intro To Exquisite 2PM–6PM 3D Printing Lecture + Camella Dahn Gim Workshop (UCLA) About the program 6-7 03.04 Creative AI: From 6PM–7PM Expressive Mimicry Lecture To Critical Inquiry Events Angus Forbes (UC Santa Cruz) 01 Future Artifact Design 8-15 04.30 Exploring 02 Mobile App Design 16-25 10AM–12PM Machine Learning Applications For Workshop 03 Intro to Exquisite 3D Printing 26-29 Art and Design Angus Forbes (UC Santa Cruz) 04 Creative AI: From Expressive Mimicry to 30-31 Critical Inquiry 03.12 Artificial Natures // 05 Artificial Natures // Games of Life 32-35 10AM–11AM Games Of Life Lecture 06 I Learn Humanities by Making Art with AI 36-39 [Autonomous Complexity 12PM–3PM in Life & Machines: Happy Students! 40-41 Workshop Cellular Automata] Haru Ji (OCAD University) & Acknowledgements & Organizers 42 Graham Wakefield (York University) Fall 2020 04.0 I Learn Humanities By 2020 11.0 Future Artifact 6PM–7PM Making Art With AI 3PM–5PM Design Lecture Eunsu Kang (Carnegie Mellon University) Final Online Presentation From BFA Graphic Design Students, In collaboration with the Chemical and Engineering Department 04.0 Co-Creating Art With AI 12.11 Mobile App 11AM–2PM Using Machine Learning 12PM–2PM Design Workshop Eunsu Kang (Carnegie Mellon University) Final Online Presentation From BFA Graphic Design Students; Mentors: Bloomberg NYC Interaction Designers 4 5 About the program Series of Six Events 01 Future Artifact Design 02 Mobile App Sponsored by Artistic Excellence Programming Grant 2020-2021 Sep 22-Nov 5, 2020 Oct 29-Dec 11, 2020 from College of Humanities and the Arts, San José State University In collaboration with chemical and materials Mentors: Anthony Viviano, Linda Le, Lucy Chen engineering department and Prof.