المؤلفون: Kim, Kyoung-nam, Kim, TaeYong

المصدر: Digital Creativity; Sep-Dec2012, Vol. 23 Issue 3/4, p278-290, 13p

مصطلحات موضوعية: INTERACTIVE art, PAINTING, ART audiences, FORMALISM (Art), ART theory

مستخلص: Audience participation is essential for successful interactive art. Accordingly, it is very important to study the immersion that encourages the participation of the audience. In this paper, we analyse the expressive characteristics of material-focused Modernist paintings as immersive elements for which the characteristics of the material itself are highlighted. This includes how behavioural elements are introduced to paintings, how such a seemingly consequential abstract visual exists in the context of Formalism, and how these characteristics are shown in the combined action of physical phenomena of nature. That is, the expressive characteristics that occur as the result of interaction between behaviour of artist, gravity and materials are analysed as the sense of presence, the facilitation of immediate feedback, and the immersive elements of visual beauty. Accordingly, it is suggested this type of analysis can be utilized in interactive art. [ABSTRACT FROM PUBLISHER]

: Copyright of Digital Creativity is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Barker, Timothy

المصدر: Digital Creativity; Jun2011, Vol. 22 Issue 2, p65-77, 13p

مصطلحات موضوعية: COMPUTER art, ART theory, AESTHETICS

People: WHITEHEAD, Alfred North, 1861-1947, RINALDO, Ken, SERMON, Paul, MUENCH, Wolfgang, FURUKAWA, Kiyoshi

مستخلص: Framed by the process philosophy of Alfred Whitehead and the more recent work in object-oriented philosophy of figures such as Steven Shaviro and Graham Harman, this article develops an object-oriented approach to understanding interaction. By way of illustration I explore interactive artworks from Ken Rinaldo, Wolfgang Muench and Kiyoshi Furukawa, and Paul Sermon, which emphasise the intersection of a layer of technology in our sensory and physical experiences of the world. In order to develop an object-oriented exploration of these works, and our day-to-day interactions with technology in a broader sense, I explore digital interaction as a process that involves the transductive relationships set up between objects and the milieu in which these objects find themselves. Central to this argument is setting all objects, including human users, technology and artifacts, on the same ontological footing. [ABSTRACT FROM AUTHOR]

: Copyright of Digital Creativity is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Hawes, Robin

المصدر: Digital Creativity; Sep2009, Vol. 20 Issue 3, p177-186, 10p, 7 Black and White Photographs

مصطلحات موضوعية: 21ST century art, ART theory, PHILOSOPHY, PSYCHOLOGY of art

People: HAWES, Robin

مستخلص: Artist and researcher, Robin Hawes, presents a recently completed art/science collaboration which examined the processes undertaken by the eye in providing sensory data to the brain and aimed to explore the internally constructive and idiosyncratic aspects of visual perception. With the physiology of the retina providing inconsistent quality of information across our field of view, the project set out to reveal the disparity between the visual information gathered by our eyes and the conscious picture of 'reality' formed in our minds. The paper will map out the psychological, physiological and philosophical basis for the research, as well as presenting images produced by the project. In essence, each time someone contemplates a work of art, the work of art is re-constructed 'internally'. This project set out, in part at least, to make 'visible' this hitherto internal, idiosyncratic, unique and unshared neurological event. [ABSTRACT FROM AUTHOR]

: Copyright of Digital Creativity is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Boden, Margaret A., Edmonds, Ernest A.

المصدر: Digital Creativity; Mar2009, Vol. 20 Issue 1/2, p21-46, 26p

مصطلحات موضوعية: ART theory, METHODOLOGY, COMPUTER art, CYBERNETICS, COGNITIVE science

مستخلص: There are various forms of what's sometimes called generative art, or computer art. This paper distinguishes the major categories and asks whether the appropriate aesthetic criteria—and the locus of creativity—are the same in each case. [ABSTRACT FROM AUTHOR]

: Copyright of Digital Creativity is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)