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EB

ONLINE

Cham : Springer International Publishing AG, 2020

1 online resource (392 pages)

ISBN 9783030420970 (electronic bk.)

ISBN 9783030420963

Springer Series on Cultural Computing Ser.

Print version: Earnshaw, Rae Technology, Design and the Arts - Opportunities and Challenges Cham : Springer International Publishing AG,c2020 ISBN 9783030420963

3.4.4 The Translator’s Perspective -- 3.4.5 The Combined Perspective -- 3.4.6 An Interdisciplinary Communication Tool Wish List.

2.4 Cross-Disciplinary, Interdisciplinary, and Multidisciplinary Collaborative Research in Doctoral Studies -- 2.5 Art, Collaboration, and Technology -- 2.6 Conclusions -- References -- Part II Facilitating Communication Between the Arts, Technology, and Audiences -- 3 Framing the Conversation: The Role of the Exhibition in Overcoming Interdisciplinary Communication Challenges -- 3.1 Introduction -- 3.2 Defining Interdisciplinary Communication -- 3.2.1 Defining Interdisciplinary -- 3.2.2 Defining Communication -- 3.2.3 Defining the Principal Actors in Interdisciplinary Communication -- 3.3 Interdisciplinary Communication Challenges -- 3.3.1 Communicating Accurately -- 3.3.2 Communicating Precisely -- 3.3.3 Communicating Impactfully -- 3.4 Interviews with Interdisciplinary Practitioners -- 3.4.1 The Specialist Technologist’s Perspective -- 3.4.2 The Specialist Artist’s Perspective -- 3.4.3 The Benefactor’s Perspective ---

3.4.4 The Translator’s Perspective -- 3.4.5 The Combined Perspective -- 3.4.6 An Interdisciplinary Communication Tool Wish List.

Intro -- Foreword by Jill Journeaux -- References -- Foreword by Jon Peddie -- Preface -- Reference -- Contents -- Editors and Contributors -- Part I A Panoramic View of the Field -- 1 Introduction and Background to Technology and the Arts -- 1.1 Interactions Between Disciplines -- 1.2 Relationships Between the Arts and the Sciences -- 1.3 Historical Developments in the Relationship Between Technology and the Arts -- 1.3.1 Computer Arts -- 1.3.2 Computer Animation -- 1.4 Digital Media -- 1.5 Digital Humanities -- 1.6 A New Renaissance? -- References -- 2 Positioning the Arts in the Research Process: Perspectives from Higher Education -- 2.1 Introduction -- 2.2 Artistic Research and the Academy -- 2.3 Knowledge Production and Practice-Based/Practice-Led Research ---

10.4.1 On the Brittleness of Digital Things -- 10.4.2 Aesthetics, Frameworks, APIs and Ontologies.

13.8 Ethical Considerations -- References.

17 Virtual Reality Holography-A New Art Form -- 17.1 Introduction -- 17.2 Overview of Holography as an Artistic Medium -- 17.3 Virtual Reality Art.

6.4 Petri Nets, Communication and the Bucket Chain.

10.5 The Challenge of Live Vs Video of Activity or Interactivity of Exposing the Internal or Relying on the Surface -- 10.5.1 Exposing the Internal or Relying on the Surface -- 10.5.2 The Final Work for Gallery Installation -- 10.6 Conclusion -- 10.6.1 Final Reflection -- 10.7 Epitaph for a Digital Artwork -- References -- Part IV Audio Visual Installations to Generate Collective Human Responses -- 11 Coral Voices -- 11.1 Introduction: Corals Are in Crisis -- 11.2 Initial Research Phase -- 11.3 Project Development, Phase Two -- 11.4 Workflow -- 11.5 Compositional Design and Technical Challenges -- 11.6 Choral Animation Summary -- 11.7 Sound Design and Electronic Score Summary -- 11.8 Conclusions -- References -- 12 Cyberdreams: Visualizing Music in Extended Reality -- 12.1 Introduction -- 12.2 The Current State of the Art -- 12.2.1 Multi-projection VJ Performances ---

3.5 The Exhibition as an Interdisciplinary Communication Tool -- 3.5.1 Defining Exhibition -- 3.5.2 Assessing Impact -- 3.6 A New Curatorial Model -- 3.7 Conclusions -- References -- 4 Modern Communication Technologies and the Marxist Understanding of Scientific Cognition -- 4.1 Introduction -- 4.2 Modern Epistemology About Subject-Object Relations -- 4.3 Practice as a Unification of Subjective and Objective Reality -- 4.4 Technical Activity as a Special Form of Practice -- 4.5 Social and Cultural Perspectives of Communication Technologies -- 4.6 Extrapolation into the Future -- 4.7 Conclusions -- References -- 5 Use of Digital Holography to Re-Encode and Image Chinese Movable Type Printing -- 5.1 Chinese Movable Type Printing -- 5.1.1 Introduction to Chinese Movable Type Printing -- 5.1.2 The Influence of Chinese Movable Type Technology in the Wider World ---

Part V The Convergence of Digital Design, the Arts, Computing, and the Environment -- 14 Chandini (A Bride for the Moon) -- 14.1 Introduction -- 14.2 A Changing Real-World Context -- 14.3 Short Film -- 14.4 Outdoor Performance -- 14.5 Objects and Projections -- 14.6 Choreography -- 14.7 Festival -- 14.8 Live Art -- 14.9 Video Installation -- 14.10 Outdoor Dance Theatre -- 14.11 Documentary -- 14.12 Conclusions -- References -- 15 Digital Moving Image Installations and Renewable Energy: 1994-2018 -- 15.1 Introduction -- 15.2 Perpetual Motion -- 15.3 Fire, Ice & -- Steam -- 15.4 Mothlight -- 15.5 For William Henry Fox Talbot (The Pencil of Nature) -- 15.6 Interwoven Motion -- 15.7 Resurrection -- 15.8 Sunbeam -- 15.9 Aeolian Processes -- 15.10 Impossible Objects -- 15.11 Conclusions -- References ---

10.4.1 On the Brittleness of Digital Things -- 10.4.2 Aesthetics, Frameworks, APIs and Ontologies.

12.2.2 Augmented Reality Companion Apps -- 12.2.3 Music Visualizations for Mixed Reality Headsets -- 12.2.4 Music Visualizations in Virtual Reality -- 12.2.5 Discussion -- 12.3 Case Study: Projects Visualizing Music in Extended Reality -- 12.3.1 Background -- 12.3.2 Augmented Reality Paintings -- 12.3.3 VJ Performances -- 12.3.4 Cyberdream VR -- 12.3.5 Discussion -- 12.4 Conclusions -- References -- 13 Augmenting Virtual Spaces: Affective Feedback in Computer Games -- 13.1 Introduction -- 13.2 Affect, Immersion and Engagement -- 13.3 Social Presence and Connection -- 13.4 Augmenting Virtual Environments -- 13.5 The Internet of Things and Games -- 13.6 Measuring Affective Response -- 13.7 Suggestions for Future Work -- 13.7.1 Measuring the Efficacy of Affective Games -- 13.7.2 Affective Games and Altered States of Consciousness -- 13.7.3 Measuring the Social Aspects of Multiplayer Affective Games ---

16 From Digital Nature Hybrids to Digital Naturalists: Reviving Nature Connections Through Arts, Technology and Outdoor Activities -- 16.1 Introduction -- 16.2 Background -- 16.3 The Design Lens -- 16.3.1 Technologies, Things, People and Context -- 16.3.2 Focal Things and Focal Practices -- 16.3.3 Commoditization -- 16.4 Using the Critical Lens to Establish Design Guidelines -- 16.5 Artifacts -- 16.6 Reflections on the Digital Nature Hybrid Designs -- 16.6.1 Challenges Arising Through Use of the Critical Lens -- 16.6.2 Response to the Challenges Arising Through Use of the Critical Lens -- 16.7 Digital Naturalists -- 16.7.1 Background -- 16.7.2 Digital Boggarts -- 16.7.3 The Lost Sounds -- 16.8 Reflections on Digital Naturalists -- 16.9 Conclusions -- References -- Part VI The Use of Virtual Reality and Augmented Reality to Extend Creativity, Reach, and Engagement in the Arts ---

17 Virtual Reality Holography-A New Art Form -- 17.1 Introduction -- 17.2 Overview of Holography as an Artistic Medium -- 17.3 Virtual Reality Art.

5.2 Encoding in the Context of Chinese Cultural Communication -- 5.2.1 Re-Definition of Encoding Concepts -- 5.2.2 The Role of Enlightenment -- 5.2.3 The Role of Encoding -- 5.3 Digital Holographic Printing -- 5.3.1 Modern Digital Printing -- 5.3.2 Digital Holographic Printing -- 5.3.3 The Evolution of Chinese Movable Type Printing to Digital Holographic Printing -- 5.4 The Exploration of Encoding in the Future -- 5.5 Artistic Works -- 5.5.1 Three Manifestations of a Chinese Movable Type Text -- 5.5.2 Four Manifestations of Chinese Movable Type in a Hybrid Timeline -- 5.6 Conclusions -- Appendix: Records of Movable Type Printing in MengXiBiTan -- References -- Part III Interactions Between the Arts and Data -- 6 The FOREVER-DO Game: A Big Data Fishing Expedition -- 6.1 Introduction -- 6.2 A Fishing Expedition-the Method -- 6.3 The FOREVER-DO Game-the First ’Catch’ ---

6.4 Petri Nets, Communication and the Bucket Chain.

8.6 Symbiotic Modes of Interaction in Symbiont Zero -- 8.7 Mutualism -- 8.8 Commensalism -- 8.9 Parasitism -- 8.10 Conclusions -- References -- 9 Between Presence and Program: The Photographic Error as Counter Culture -- 9.1 Introduction: Histories and Hierarchies -- 9.2 Camera Acts and Human Acts -- 9.3 Agents and Networks -- 9.4 From Tool to Plaything -- 9.5 Tinkering with Technology -- 9.6 Conclusion: Being in Two Minds -- References -- 10 Signs of Surveillance -- 10.1 Introduction -- 10.2 Process of Gathering Raw Images and Meta-Data -- 10.2.1 Building Semantic Affordance with Artistic Raw Materials -- 10.2.2 Gathering Images and the Derive -- 10.3 Managing and Manipulating Large Digital Image Corpuses as Artistic Raw Material -- 10.3.1 Meta-Data and Artistic Data Management -- 10.4 Developing Artworks Combining Hand-Coded and Industrial Digital Tools ---

10.5 The Challenge of Live Vs Video of Activity or Interactivity of Exposing the Internal or Relying on the Surface -- 10.5.1 Exposing the Internal or Relying on the Surface -- 10.5.2 The Final Work for Gallery Installation -- 10.6 Conclusion -- 10.6.1 Final Reflection -- 10.7 Epitaph for a Digital Artwork -- References -- Part IV Audio Visual Installations to Generate Collective Human Responses -- 11 Coral Voices -- 11.1 Introduction: Corals Are in Crisis -- 11.2 Initial Research Phase -- 11.3 Project Development, Phase Two -- 11.4 Workflow -- 11.5 Compositional Design and Technical Challenges -- 11.6 Choral Animation Summary -- 11.7 Sound Design and Electronic Score Summary -- 11.8 Conclusions -- References -- 12 Cyberdreams: Visualizing Music in Extended Reality -- 12.1 Introduction -- 12.2 The Current State of the Art -- 12.2.1 Multi-projection VJ Performances ---

17.4 The Creation of a New Artistic Medium.

3.5 The Exhibition as an Interdisciplinary Communication Tool -- 3.5.1 Defining Exhibition -- 3.5.2 Assessing Impact -- 3.6 A New Curatorial Model -- 3.7 Conclusions -- References -- 4 Modern Communication Technologies and the Marxist Understanding of Scientific Cognition -- 4.1 Introduction -- 4.2 Modern Epistemology About Subject-Object Relations -- 4.3 Practice as a Unification of Subjective and Objective Reality -- 4.4 Technical Activity as a Special Form of Practice -- 4.5 Social and Cultural Perspectives of Communication Technologies -- 4.6 Extrapolation into the Future -- 4.7 Conclusions -- References -- 5 Use of Digital Holography to Re-Encode and Image Chinese Movable Type Printing -- 5.1 Chinese Movable Type Printing -- 5.1.1 Introduction to Chinese Movable Type Printing -- 5.1.2 The Influence of Chinese Movable Type Technology in the Wider World ---

6.5 Theoretical Context: Design and Analysis of (Coordinated) Communication Systems -- 6.6 Fishing the Net of the Communication Disciplines -- 6.7 Conclusion -- References -- 7 Searching for New Aesthetics: Unfolding the Artistic Potential of Images Made by the Scanning Electron Microscopy -- 7.1 Artist Statement -- 7.2 Introduction -- 7.3 Water Represented by the Scanning Electron Microscope -- 7.4 Photomicrography as an Art Form -- 7.5 Photographs or not Photographs? -- 7.6 Scientific Images and New Media -- 7.7 Conclusions -- References -- 8 Interspecific Interactions: Interaction Modes Between Sound and Movement in Collaborative Performance -- 8.1 Introduction -- 8.2 Interactivity in Performance-Origins and Recent Developments -- 8.3 The Symbiotic Phenomenon -- 8.4 Interactive Taxonomy: Theory and Precedents -- 8.5 Symbiotic Interactions in Precedent Practices ---

Part V The Convergence of Digital Design, the Arts, Computing, and the Environment -- 14 Chandini (A Bride for the Moon) -- 14.1 Introduction -- 14.2 A Changing Real-World Context -- 14.3 Short Film -- 14.4 Outdoor Performance -- 14.5 Objects and Projections -- 14.6 Choreography -- 14.7 Festival -- 14.8 Live Art -- 14.9 Video Installation -- 14.10 Outdoor Dance Theatre -- 14.11 Documentary -- 14.12 Conclusions -- References -- 15 Digital Moving Image Installations and Renewable Energy: 1994-2018 -- 15.1 Introduction -- 15.2 Perpetual Motion -- 15.3 Fire, Ice & -- Steam -- 15.4 Mothlight -- 15.5 For William Henry Fox Talbot (The Pencil of Nature) -- 15.6 Interwoven Motion -- 15.7 Resurrection -- 15.8 Sunbeam -- 15.9 Aeolian Processes -- 15.10 Impossible Objects -- 15.11 Conclusions -- References ---

001894770

express

(Au-PeEL)EBL6363081

(MiAaPQ)EBC6363081

(OCoLC)1292352687