This paper argues for the digital interactive installation artwork based on principles of complexity as an interface with the potential to evoke ekspansions in the subjective experience by confronting the user with an idea of abstract thought, created through a conceptual design, and experienced through bodily interaction and contemplative acts at symbolic levels. The claim is, that ideas presented through good artworks based on the coalision of science and technology can potentially create a synthesis between ideas inspired by (...) the philosophies and empiricisms of the physical-material world view, but also of a higher, spiritual dimension, in which new possibilities of knowledge are potentially to be found. The article accepts the thesis of cognition being the cause of evolution, rather than evolution of man being the cause of cognition. (shrink)

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures (...) inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS). (shrink)

With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined in (...) recent art historical studies on Byzantine icons, chorography ( chôra/space + chorós/movement) builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real. (shrink)

The aim of this article is to analyse interactive reinterpretations of two of Raul Meel’s artworks. They were created after the original works were made; they reference the original artworks and are meta-referential. These reinterpretations allow the original artworks to be opened and explained and become instantiations of their algorithmic content. The questions that arise in this article are as follows: how can physical artworks be opened up for audiences by means of interactive emulations? How can this serve to document (...) and preserve the unique experience of the artist? The aim of this article, in addition to the practical analysis of the two case studies, is to discuss the wider context of the problems of meta-artworks and the following direct questions that arise out of analysing them as research objects. I analyse in detail a selection of media artworks in which meta-referentiality is foregrounded. A focal point of my discussion is an interactive emulation of Raul Meel’s Under the Sky, which was created for his biggest retrospective exhibition entitled Dialogues with Infinity (2014) at the Kumu Art Museum in Tallinn. My second object of interest is the mobile app ‘seeESE’ based on Meel’s installation The Dice, shown in the same exhibition at the Kumu museum in 2014, of which the original version dates back to 1969. (shrink)

Arts, Real-Time Video and Interactivity for Sustainability is an ongoing collaborative research project investigating how real-time video, DIY surveillance technologies and sensor data can be used as a tool for environmental awareness, activism and artistic explorations. The project consists of a series of digital contexts for aesthetic contemplation of nature and civic engagement, aiming to foster awareness and empowerment of local populations through DIY surveillance. At the core of the ARTIVIS efforts are a series of interactive installations, that make (...) use of surveillance technologies and real-time video as raw material to promote environmental awareness through the emotion generated by real-time connections with nature. Throughout the project development, the surveillance concept has been shifting from the use of surveillance technology in a centralized platform, to the idea of veillance with distributed peer-to-peer networks that can be used for science and environmental monitoring. In this paper we present the history of the ARTiVIS project, related and inspiring work, describe ongoing research work and explore the present and future challenges of appropriating surveillance technology for artistic, educational and civic engagement purposes. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. (...) Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The (...) latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations. (shrink)

Pictorial art and presentness --art and transperceptual space -- In and through space : sculpture, assemblage, and installation art -- Land art : reciprocities of site and formation -- Embodiment and architectural cognition -- The aesthetic space of photography -- Digital objects, aesthetic phenomena.

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for (...) the consideration of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

This full-color title is designed to be a classic reference for the millions of photographers going to digital, from enthusiasts shooting family events and vacations with their SLRs, to professionals creating journalistic prints and fine art. It?s the only book on the market with a focus on complete, end-to-end workflow from shoot to print. It?s tied to Adobe?s latest version of Photoshop, which boasts an installed base of 4 million! Serge Timacheff is a professional photographer living in Pacific Northwest. (...) He is the official photographer for the International Fencing Federation, based in Lausanne, Switzerland, and he photographs fencing at World Championships and the Summer Olympics. His 100-percent digital studio provides portraiture, event, commercial, and boudoir photography, and his fine art photographs appear in galleries and individual collections worldwide. David Karlins is a digital imaging expert, Web designer, teacher, consultant and author of numerous books and magazine articles. (shrink)

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and (...) some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm. (shrink)

This article examines an experimental genre of philosophical writing known as the Denkbild (‘thought-image’) practiced by members of the Frankfurt School to show how it is resurrected in the Augmented Reality installation of the artist-scholar Caitlin Fisher. It argues that Circle (2012) renews the Frankfurt School’s project of reaching to art to find a way for critical theory to bring about ‘a transformation of consciousness that could become a transformation of reality’. However, as a material and virtual artifact that (...) produces a unique circuit of exchange, the digital artwork is able to provide a sharper picture of that reality, positing community as the context and goal of philosophical thinking. Through a complex sculpting of its form, content, and image of its own thoughts, Fisher’s Denkbild strives to create a fluid, ‘disconnected and non-binding’ form capable of building what Adorno described as a ‘shared philosophy from the standpoint of subjective experience’. (shrink)

In this ambitious new work, eco-philosopher and cultural theorist Adrian Ivakhiv presents an incisive new way of thinking about images and imagination. Drawing upon an immense range of materials, Ivakhiv reassesses the place of imagination in cultural life, analyzing how people have interacted with images in the past and the ways that digital media are profoundly altering these relationships today. The book contributes powerfully to the study of visual culture and digital media, and provides provocative interpretations of a (...) range of important artists and media movements: from the work of photographer Edward Burtynsky, the ambitious multi-screen installations of John Akomfrah, the abstract art of Swedish spiritualist Hilma af Klint, and the Afrofuturism of jazz musicians like Sun Ra and poet Alexis Pauline Gumbs, to the ever-expanding universe of animal videos on YouTube. Along the way, the book delves into animacy and religious imagery, iconophilia and iconoclasm, divination and prophecy, "truthiness" and "enchantment networks," online communities and artificial intelligence, the political and affective economies of digital media, and the role of utopian futurism in the present "climate-colonial Anthropocene" predicament. The result is a vital contribution toward a more empowering conception of the creative imagination and its possibilities in today's emerging digital ecology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Phenomenology is often described as a paradigm shift that calls for a re-assessment of inherited themes and concepts. One of its most important contributions is the central role given to the embodied subject as opposed to the conception of the disembodied subject that has dominated philosophy since Descartes. If perspectival painting best represents the paradigm of modern philosophy since the Renaissance, it is the multiple perspectives of Cubist painting that best represent the phenomenological paradigm. While the relationship between phenomenology and (...) art has been widely studied, my aim in this article is to focus on the way in which Cubism represents the embodied, horizonal structure of our perception, and then to discuss the new form of contemporary art installation as an actualization of Cubist principles in the age of digital reproduction. The embodiment of the subject necessarily involves intersubjectivity, for others appear in the subject’s contextual frame of public space. While for Arendt the shift from private subjective space to public intersubjective space is effected through dialogue, I argue that it is also effected architecturally, for architecture facilitates dialogue by offering multiple perspectives on common space and shared time. I suggest, finally, that architecture’s multiperspectival strategies offer the humanities a useful model of a multidisciplinary methodology. (shrink)

Yevgen Samborsky is a multihyphenate, whose work spans not only painting but also video work, installation, and community-based creative projects. His visual language is entirely intermedial: he draws on photography, graffiti, hyperrealism, and internet machine aesthetics. His indebtedness to the digital image has been particularly strong in the last two years, which he has spent watching the news from back home on his com­puter. He has taken pictures of destroyed cultural institutions like the Kharkiv Art Museum or the (...) Odessa Museum and incorporated them into his more abstract painterly meditations on war and displacement. As part of his process of digital reworking, he combines his memo­ries of a place, the current events in Ukraine, and his own affective charge. (shrink)

In this article, we introduce our interactive art installation Neuro Mirror that was developed in 2017 for the Cybernetic Consciousness [?] exhibition that was held in 2017 at the ITAU Cultural in Sao Paulo. This artwork enables participants to interact with their own images and those of their alter egos with the help of digital mirrors. The installation consists of three screens. The middle one shows a live image of the participant that is somewhat distorted. The one (...) on the left side also displays an image of the interacting person, but with a time delay of a few seconds. On the right screen, however, another person is shown – a young man, who is acting and moving his head. In fact, this person is programmed to be an avatar or an alter ego who reacts to the participant. He ‘learns’ new behaviours by observing and imitating the participant and reacts accordingly. A neural network programme was developed to enable him to predict the participant’s next actions from his previous ones. (shrink)

We investigate the Fourth Spatial Dimension, also known as ‘hyperspace’, by researching the capabilities of the human senses from the perspective of art and technology. The geometric approach of the fourth spatial dimension is studied through mathematical logic and the properties of simple geometric hyper-solids are examined. Focusing on the different ways that scientists and artists approached the Hyperspatial cognitive perception, we propose new aesthetic approaches by researching the capabilities of the human senses/bio-sensors and the brain. We present an interactive (...) art installation for approaching the hyper-sound, with reference to the Varèse and Helmholtz description, but also in conjunction with gravitational waves, an interactive art application about visualization of Hyperspace resulting from our evolution of the Hinton Coloured Cubes Method and an artistic approach to connect Johan Van Manen’s intuitive ‘hypersphere’ with the Quantum Geometry of String Theory, proposing a new cosmological model. Through these methods, a reasoning is developed between the objective scientific thought and the freedom that Art offers generating a practical result: a series of innovative audio and visual stimuli created via innovative audio-visual digital technology. Hence, we merge computer science with sensory technology and artistic knowhow, to define the required knowledge base that today can be found in an emerging professional, the ‘technartist’. (shrink)

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying (...) current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and (...) how spaces affect people and how they behave in a given setting. The objectivity of the screen allows viewers to observe through screens, and the screen as an ambivalent object provides a physical interface that transcends the shadow of its materiality, transforming the viewer’s environmental perception. Therefore, this article examines digital architectural environments that reveal the boundaries of architectural space, with particular consideration given to neuroaesthetics. In these data-driven environments, the human body is at the centre of multimodal perception. Therefore, these environments open the door to understanding the boundaries of architecture and invite the viewers to explore the boundaries of art and architecture that have become a fusion in the digital environment. (shrink)

Taking aesthetics as a racial regime of modernity, the focus of Bradley’s Anteaesthetics is experiments in Black art which are not ‘worlding but an illimitable descent made to come before the world’. With a powerful introduction reflecting upon Nina Simone at the Montreal Jazz festival, and chapters which take us through 19th-century paintings, cinema, texts, video installations, and digital art, Anteaesthetics forces us to encounter the horror, beauty, and racially gendered dimensions of a negative inhabitation substantiated through the absolutely (...) dispossessive field of worlding aesthetic refrains. Working against the grain of debate, aesthetics is not generatively enrolled for the modern subject possessed of ontological security to productively world itself in new ways. Rather, Anteaesthetics enables us to critically interrogate how investing in aesthetics requires working with the negative, taking an uncompromising stance towards aesthetics as a constitutive force of the ongoing violent legacies of modernity. (shrink)

The design ideas of the postmodern era reflect the general trends of socio-cultural reality, namely the loss of traditional moral guidelines, disharmony and destructiveness combined with absurdity, a sense of crisis, abyss and uncertainty conveyed in signs and in spatial coordinates. Design products become installations in which the viewer is a direct participant, sometimes even the creator. Postmodern design denies finitude, noting the plurality, uncertainty and fluidity of the world. The paradox of postmodern design culture is expressed in a combination (...) of diametrically opposite things, sometimes even mutually exclusive. The era of postmodern design culture has recorded the fusion of "high" and "low" art, the emergence of new trends - neo-conceptual art, art installation, lowbrow art, performance art, digital art, telematic art - has affected. It should be noted the immersion in virtual reality in particular, as a result of the perception of the concept of postmodernism. After all, the purpose of designer items and their perception has already been changed in accordance with the needs of a person in the postmodern world. A striking example is the coronavirus epidemic, which has become the central theme of successful design projects. After all, a protective mask as a medical device becomes the object of design solutions that transform it into a means of self-expression, or the manifestation of social characteristics, or the result of digital achievements.. (shrink)

With the development of computer hardware and software, digital art is a new discipline. It uses computers and digital technology as tools to perform artistic expression. It can be expanded to various binary numerical codes with computers as the center and can also be refined to various categories of creation with computers. The research scope is set in the field of digital art, and all kinds of accidental factors of digital art creation based on the machine (...) learning algorithm are mined and analyzed for feature correlation. Based on the hidden association relationship of massive data, the study focuses on the implicit association mining of digital art features of data for the recommendation algorithm. The classification and continuous data feature attributes are introduced and discretized, and the binary representation of data features is extended to ensure the diversity of data feature attributes. In order to mine some correlation features in data, a heuristic feature mining method based on minimum support was studied to discover the frequency of correlation features and construct the optimal feature subset. Based on the frequent items of data features, this study observes the heuristic algorithm of digital art feature association mining based on minimum confidence and carries out feature matching based on digital art feature association mining under different situation modes. The validity of the proposed algorithm is verified by using the experimental data of health and medical situations in the machine learning library. (shrink)

https://plato.stanford.edu/entries/digital-art/.

Contemporary art based on new media is situated at the intersection of art-as-we-know-it, smart technologies, digital and algorithmic culture, networked economy, politics, as well as bio and techno sciences. Contemporary art enters into intense relations with these fields, including interactions, adoption of methodological devices and approaches, changes of the areas of activity, hybridization and amalgamation. This text explores those features of contemporary life and culture which are affected by digital art and the recombination, appropriation, remediation, reusing, repurposing, and (...) transfer of artistic procedures/tools from one context or field to another. (shrink)

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...) creating collaborative, digital art. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, (...) stated that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

The case studies in this book illuminate how arts and humanities tropes can aid in contextualizing Digital Arts and Humanities, Neogeographic and Social Media activity and data through the creation interpretive schemas to study interactions between visualizations, language, human behaviour, time and place.

The purpose of this article is to critically address a widespread assumption that reads like this: Works of art that make use of digital media automatically, through interactivity, are generally better suited for generating democratic processes in society than other art forms or phenomena that do not make use of digital media, and, therefore, digital art is more avant-garde than other art forms. By analysing the chains of equivalence underlying this assumption the article presents and discusses a (...) number of issues that, taken together, render this assumption fallacious. (shrink)

Purpose– The purpose of this paper is to set an example of how people with severe learning difficulties could be more integrated into our society.Design/methodology/approach– The installation consists of puzzles in the form of a specially designed table with an integrated touch screen. As the visual templates for the puzzles serve pictures painted by a person with severe learning difficulties. The pieces of the puzzles are manipulated directly by the player on the touch screen presenting an intuitive and easily (...) learned user interface.Findings– The framework for the work was a creation of an interactive art installation in the form of a game where users assemble puzzles on a touch monitor, housed in a specially designed table. Paintings by a person with severe learning difficulty served as visual templates for the puzzles. The pieces of the puzzles can be manipulated directly by the user on a touch screen presenting an intuitive and easily learned user interface, which stimulates the learning of fine motor skills and encourages practice, thus making it suitable for persons with severe learning difficulties in an art therapy setting.Practical implications– As the work has the format of an interactive art installation, this enables it to gain publicity through exhibitions in art galleries.Social implications– The installation demonstrates how people with severe learning difficulties can be integrated into the broader society. At the same time, these people are encouraged to use modern computer information technology, which is becoming a necessity also for this group of users. Ethical issues regarding how this group of people can get involved in such work are also discussed.Originality/value– Combining the habituation of people with severe learning difficulties with computer technology in the form of a game, and framing the whole process as a fine art undertaking, to win the public recognition, is a novelty in addressing the needs of these people. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some (...) ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

Obóz Kultury 2.0 Mirosław Filiciak, Alek Tarkowski, Agata Jałosińska, Andrzej Klimczuk, Maciej Rynarzewski, Jacek Seweryn, Stunża M., D. Grzegorz, Marcin Wilkowski & Anna Orlik .

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important (...) resources for developing a Heideggerian response to this lack. (shrink)

In this book we learn that computers can generate visual art with unique aesthetic effects based on innovations in computer technology, and a postmodern naturalization of technology wherein technology becomes something we live in as well as use.

Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were (...) expected to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image’s haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders’ bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders’ oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version. (shrink)

In this article, I engage with aesthetic experience as a central hermeneutic endeavour for theorising performing arts audiences in the Arab region. I argue that a critical engagement with Arab performing arts audiences’ aesthetic experiences necessitates both an archaeological manoeuver and a re-articulation of two keywords: ‘experience’ and ‘everyday’. The article advances, using evidence from research, that allowing the audiences of performing arts in the Arab region to speak may be a step towards democratising the triangular meaning making process among (...) the performer, the audience, and the art institution, and a means towards dislocating, if not liberating, the categories Arab culture, art, performance, and experience, from their teleological articulations. (shrink)

The idMirror project consists of a tablet computer, specially equipped with a small mirror and a newly developed android app. The Android application uses face recognition to detect the location of the user’s face in relation to the device and based on this renders a computer graphic at the location of his or her reflection. The goal of the idMirror project setting as a research tool was to make an exploratory study on cultural differences at exhibition venues. For this study, (...) we have analyzed 150 participants’ face images aged between 18 and 75; among them, 50 participants’ face images collected in Europe, 50 participants’ face images collected in the USA, and 50 participants’ face images collected in Japan. We found global exhibitions a good research platform for random sampling of the subjects. For the study, we examined the first 50 participants at each exhibition and we found some significant differences. Through the explanatory study in the form of an art installation, we wanted to learn if the facial expression upon one’s own self-observation is a function of gender and place of exhibition setting origin. (shrink)

In the current digital environment, people can visit every corner of the world without leaving their homes. New media technology compresses distance and time, but it also subverts the traditional mode of audience presence. Many traditional, offline content expression modes are also moving toward the digital field, and digital art is among them. Digital new media is a new art form that requires its audience to have a new media literacy; this literacy is necessary for esthetic (...) experience and for audience participation. At present, the relatively lack of objective methodology for scientific research on aesthetic and media literacy has limited our current understanding. Therefore, we need to develop a new model and conduct empirical research with college students as the audience. Empirical research was conducted with an audience of college students. The study had the following purposes: to add a new dimension to the esthetic model, namely new media literacy, to align the model with the current digital environment, and to test the moderating effect of new media literacy on esthetic emotion as represented by interest and confusion. The experiment verified the study’s hypothesis that higher new media literacy was associated with higher esthetic interest and lower confusion. By contrast, has a substantial influence on the cognitive processes in humans, lower new media literacy was associated with lower esthetic interest and higher confusion. New media literacy is an essential quality for contemporary audiences. This knowledge may be useful for effective design. It provides a traditional and favorable learning environment and empirical reference for the subsequent improvement of digital aesthetics and media literacy. (shrink)

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, (...) and philosophers involved in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger. (shrink)

This study proposed a children’s digital art ability training system with artificial intelligence-assisted learning, which was designed to achieve the goal of improving children’s drawing ability. AI technology was introduced for outline recognition, hue color matching, and color ratio calculation to machine train students’ cognition of chromatics, and smart glasses were used to view actual augmented reality paintings to enhance the effectiveness of improving elementary school students’ imagination and painting performance through the diversified stimulation of colors. This study adopted (...) the quasi-experimental research method and designs the pre-test and post-test for different groups. The research subjects are the Grade 4 students of an elementary school in Taitung City, Taiwan. The test tools included an imagination test and an evaluation of painting performance ability. The test results of a total of 30 students before and after the experiment included the experimental group that received the children’s digital art ability training system with AI-assisted learning and 30 students in the control group that had not received the teaching were analyzed by covariance. These results were supplemented by the description and interpretation of student feedback, teachers’ reflection notes, and other qualitative data to understand the performance of the students in the experimental group in terms of imagination and painting performance. (shrink)

This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant’s writing on installation, we advance an interpretation of artists’ engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss’s (...) reconception of the medium against Rebentisch’s criticism, while analyzing Krauss’s disapproval of installation art, including the room-size works of the avant-garde. (shrink)

Artificial intelligence (AI) is rapidly changing the way that art is created and consumed, allowing artists to create unique, engaging works with high computing power that can supplement their creative process. This manuscript explores the creative process of using AI technology in digital art to create paintings and evaluates creativity based on the aesthetic value and components of works created by AI. This research seeks to understand how AI technology influences the art world through a practice-led methodology with a (...) descriptive qualitative approach and observational methodology. Pioneering artwork such as Edmond de Belamy, created by French collective obvious using generative adversarial networks (GANs), has raised questions among the creative fields concerning originality, creativity, and authorship. Through analyses of AI-generated artwork and comparison with traditional artwork, the research investigates potential opportunities and challenges that AI presents to the art world. Ultimately, AI technology can provide a creative spark for human artists who, with an appropriate understanding of the limitations of AI algorithms, can create incredible pieces of art that embrace the contributions of both humans and machines. This research seeks to fill in the gaps left by earlier works and provide a more multi-faceted look at the changing landscape of AI in art, gaining a better understanding of the ways AI is impacting the art world and what the future may look like in the coming years. (shrink)

When Blanchot sketches the obscure space of the other night, he describes it primarily in terms of sound. The vocation of the other night, the domain of inspiration, which is approached because it promises to enable artistic works but ultimately puts them at the utmost risk, turns out to be one’s own “eternally reverberating echo.” In my article, I want to trace how such nocturnal sounds are articulated in works of art across different media, especially by staging breath. Echoing Blanchot, (...) these works indicate how hearing the night and hearing breath, the sound of physical inspiration, coincides with hearing what constitutes the respective work’s medial and material bases. In Virginia Woolf’s novels Jacob’s Room and The Waves, an impersonal, neutral narrative voice resounds in a “murmur of air,” “tremulous with breathing,” spreading darkness across space and time. The visitors’ exploration of Kimsooja’s installation To Breathe: Bottari ends in a completely dark anechoic chamber where visitors start hearing their own breath. By creating this uncanny moment of hearing one’s own respiration as an external and disembodied sound, the spatial installation points to what essentially determines it: the bodily movements of the participants. “Nightmarket,” a track by Burial, is a labyrinthine soundscape consisting mainly of muffled whispering, rustling, crackling and audible breath. Through the acoustic proximity of the recorded breath and the vinyl crackles, the track evokes its own medial constitution and history: it displays traces of the organic basis of voice as well as the analogue medium in the digital. (shrink)

Digitization of every daily procedure requires trustworthy verification schemes. People tend to overlook the security of the passwords they use, i.e. they use the same password on different occasions, they neglect to change them periodically or they often forget them. This raises a major security issue, especially for elderly people who are not familiar with modern technology and its risks and challenges. To overcome these drawbacks, biometric factors were utilized, and nowadays, they have been widely adopted due to their convenience (...) of use and ease of hardware installation. Many biometric-based authentication schemes were proposed, but despite the advantages that they offer, recent research has shown that biometrics by itself cannot be considered as an inviolable technique. Recently, we have proposed StegoPass, a novel method that obtains the 68 facial points of a user and utilizes them as a stego message to an image. This produced stego image was the password. Although the experiments conducted showed maximum security, it would be challenging to enhance the robustness of the proposed model for even more attacks. This paper examines the utilization of multimodal biometrics as the secret message embedded in the image. More specifically, besides the extraction of the facial points, we extract the unique minutiae moments and combine them in a feature vector. This feature vector is then embedded in the image. Two different datasets were used, and the security of the method was tested against state-of-the-art deep learning models, i.e. generative adversarial networks, to test whether the image could be digitally synthesized and fool the proposed verification scheme. The results proved that the new enhanced version of StegoPass offers an extremely secure method as its predecessor. (shrink)