Journal articles: 'Computer art Philosophy'

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Pickover, Clifford A. "Is Computer Art Really Art?" Idealistic Studies 23, no. 1 (1993): 75–85. http://dx.doi.org/10.5840/idstudies19932318.

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Oberquelle, Horst, and Oskar Beckmann. "Beckmann's Studio Computers Specified for Early Computer Art." IEEE Annals of the History of Computing 30, no. 3 (July 2008): 20–31. http://dx.doi.org/10.1109/mahc.2008.40.

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BINKLEY, TIMOTHY. "A Philosophy of Computer Art by lopes, dominic mciver." Journal of Aesthetics and Art Criticism 68, no. 4 (November 2010): 409–11. http://dx.doi.org/10.1111/j.1540-6245.2010.01436_1.x.

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Duncan, Elmer H., Friedrich Wilhelm Joseph Schelling, and Douglas W. Stott. "The Philosophy of Art." Leonardo 25, no. 2 (1992): 225. http://dx.doi.org/10.2307/1575731.

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Marks, Laura U. "Infinity and Accident: Strategies of Enfoldment in Islamic Art and Computer Art." Leonardo 39, no. 1 (February 2006): 37–43. http://dx.doi.org/10.1162/002409406775452140.

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Computer art and Islamic art, the two largest bodies of aniconic art, share a surprising number of formal properties, two of which are explored here. The common properties of computer art and classical Islamic art can be understood in light of moments in the history of Islamic philosophy. In these two cases, Islamic Neoplatonism and Mu'tazili atomism are shown to parallel, respectively, the logic of relations between one and infinity, and the basic pixel structure, that inform some historical monuments of Islamic art as well as some contemporary works of computer art. It is suggested that these parallels are in part a result of Islamic influences on Western modernism and thus that the genealogy of computer art includes classical Islamic art and the philosophies that informed it.

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Nake, Frieder. "The Pioneer of Generative Art: Georg Nees." Leonardo 51, no. 3 (June 2018): 277–79. http://dx.doi.org/10.1162/leon_a_01325.

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The pioneer of computer art Georg Nees passed away on 3 January 2016, at the age of 89. He was the first to exhibit computer-generated drawings, in Stuttgart in February 1965. Influenced by Max Bense’s information aesthetics (a rational aesthetics of the object based on Shannon’s information theory), Nees completed his PhD thesis in 1968 (in German). Its title, Generative Computergraphik, is an expression of the new movement of generative art and design. Trained as a mathematician, Nees participated in many early, but also recent, displays of computer art. After retiring from his research position at Siemens in Erlangen, he again concentrated on computer-generated art and researched issues of digital coloring but also wrote several novels expressing his philosophy of a nonreligious, human-made culture.

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Cherepanova, Svitlana. "Art within philosophy of education. Part 2." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 90–99. http://dx.doi.org/10.31874/2309-1606-2020-26-2-6.

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Modern reformation-educational processes are influenced by digital technologies, electronic communications networks, media-art practices, etc. Hence we get the actuality of creative potential of art for pedagogical activity as the concept of philosophy of education. Human consciousness inherents organic interdependence theoretically-cognitive (knowledge, ideas, comprehension of the boundary principles of human existence, culture, procedure of philosophical reflection) and social-psychological (feelings, will) elements. Author’s perennial experience incorporates interactive forms of artistic knowledge activation of pedagogical specialties students: preparations and guided tours by students (museums, architecture of Lviv, etc.), developing skills to conduct dialogues about art and education of the countries which languages are taught in pedagogical institution (Ukraine, the United Kingdom, Germany, France, Spain). In accordance personal and pedagogical experience of intersubjective communication, existential and cultural self-determination is enriched. In the system of philosophy of education, art is designed to harmonize human existence, to balance the sensory-emotional and rational-intellectual spheres of consciousness. The spread of electronic media requires a thorough study of their impact on humans, given the cognitive problems of communication technologies, information and computer systems, digitalization. A variety of artistic phenomena form a holistic system. Moreover, beliefs are knowledge that has passed through the world of feelings and human will. An open humanitarian space, new dialogical, communicative, cultural opportunities for interaction of nature-man-culture-society-universe, the universal nature of self-organization of human life, education of intersubjective cultural communication between carriers of different types of worldview, values, spiritual traditions is methodologically important.

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GLADDEN, MATTHEW E. "REVISITING INGARDEN’S THEORETICAL BIOLOGICAL ACCOUNTOF THE LITERARY WORK OF ART: IS THE COMPUTER GAME AN “ORGANISM”?" HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 640–61. http://dx.doi.org/10.21638/2226-5260-2020-9-2-640-661.

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From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare literary works to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated (yet interdependent) elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar.

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Maiocchi, Roberto. "Can you make a computer understand and produce art?" AI & Society 5, no. 3 (July 1991): 183–201. http://dx.doi.org/10.1007/bf01891915.

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Piryazeva, Elena N. "Developing functional literacy by means of contemporary art." Perspectives of Science and Education 49, no. 1 (March 1, 2021): 191–201. http://dx.doi.org/10.32744/pse.2021.1.13.

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Problem and objective. The level of functional literacy is checked by the Programme for International Student Assessment, where Russian students demonstrate their weak positions. As one of the ways to improve the results of international testing, it is proposed to study works of contemporary art and to construct, on their basis, tasks of a wide range of scientific fields aimed at forming functional literacy, involving students in creative tasks of a project type. The purpose of the article is to show ways to develop functional literacy through educational-cognitive and educational-practical tasks developed in the process of comprehending the work by French composers Pierre Henri Marie Schaeffer and Pierre Henry Symphonie pour un homme seul, which has wide pedagogical capabilities. Methods. Developing functional literacy by means of contemporary art is based on the system-activity, person-centred, and multi-artistic approaches. The analysis of theoretical sources in pedagogy and art history was used. Results. The pedagogical potential of contemporary art, in particular, works of concrete music, opens up significant prospects for students to create their own creative products that combine different types of arts. This requires the development of educational-practical skills with the involvement of a wide range of information to obtain a creative result. The educational orientation consists in the implementation of a conceptual idea in a literary-musical composition and its visualisation with the involvement of personal computers connected to the Internet, sound speakers, a USB microphone, and computer programmes. Conclusion. The knowledge, skills, and abilities obtained in the study of contemporary art are effective in forming functional literacy in general and additional education, lesson and extracurricular activities while integrating the content of art lessons and school subjects of basic school.

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Epuré, Sherban. "Intrinsic Art: A Cultural Capsule." Leonardo 49, no. 5 (October 2016): 406–11. http://dx.doi.org/10.1162/leon_a_01076.

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In this article, the author introduces Intrinsic Art as the theoretical foundation of his work. He explains how Intrinsic Art is a synthesis of art’s fundamentals, mathematics, philosophy and technologies. Three strands of his work derived from it include Meta-Phorms, S-Bands and Protruded Sculptures.

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Monro, Gordon. "Emergence and Generative Art." Leonardo 42, no. 5 (October 2009): 476–77. http://dx.doi.org/10.1162/leon.2009.42.5.476.

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Emergence, the idea that in some sense more comes out of a system than was put in, is the holy grail of generative art. Yet emergence is a slippery concept. Originating in the philosophy of science, it has been taken up in systems theory, cognitive science and Artificial Life. As a consequence there are numerous definitions of emergence in the literature, but none well-suited to discussions of generative art. The paper reviews some existing definitions and proposes a new definition of generative-art emergence.

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Zhukova, Kateryna, Nataliia Rudaya, Oksana Ozerska, Stanislav Naumenko, and Olena Zub. "ORIENTAL CALLIGRAPHY IN ART PEDAGOGY." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 3 (May 28, 2021): 205–15. http://dx.doi.org/10.17770/sie2021vol3.6229.

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Nowadays, the art of calligraphy is being revived. Computer typing, has largely replaced handwritten version, however it cannot develop fine motor skills, memory training, and concentration. Thus, a person does not receive a certain training set necessary for the harmonious development of brain activity. In recent years, the direction of "calligraphy therapy" has been developing, which is precisely aimed at filling the missing skills. In modern pedagogy, inclusive education comes to the fore in importance. Methods of working with people with special needs are being developed, including the direction of "art pedagogy", that is, learning through art. And it is precisely oriental (art) calligraphy (Chinese, Japanese), which is a whole philosophy and art that has developed over many centuries, that can fully meet new pedagogical tasks. The article proposes the concept of a new method of inclusive education - "art calligraphy", which can be used as one of the elements of art pedagogy for working with people with special needs.

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Kolomiets, G. G. "THE ONTOLOGICAL STATUS OF MUSIC: IN THE FOOTSTEPS OF THE WORK «CREATIVE INTUITION IN ART AND POETRY» BY J. MARITAIN." Intelligence. Innovations. Investment, no. 3 (2022): 98–107. http://dx.doi.org/10.25198/2077-7175-2022-3-98.

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Abstract. The article deals with the actual meaning of the interpretation of the concept of «music» in the philosophical sense, when music is more than a kind of musical art, a concept that takes place in the concept of creative, poetic intuition of the religious philosopher Jacques Maritain. The authors discover in Maritain’s work an ontological sign of a stable core of an unchanging and changing «musical» present, according to the philosopher, in the preconscious creative Self. At the same time, he refers to the philosophical and historical origins in the views on music in the human world. The article provides for the connection of Mariten’s idea, which addresses the depths of creative, poetic intuition in art and poetry, with the author’s concept of G. G. Kolomiets «Concept of the value of music as a substance and a way of value interaction of a person with the world.» In Mariten’s work «Creative Intuition in Art and Poetry», the author of this article, in order to identify the ontological status of music, identified three provisions of Mariten’s creative, poetic intuition: «poetic experience», «poetic meaning», «music interiorization». The authors draw attention to the presence of the musical-substantial in the origins of Mariten’s theory, to the use by Mariten in poetry and art of the concepts «melody», «musical shock», «music of intuitive impulses». The article points out the correlation between the concept of duration in Bergson’s positive metaphysics and the idea of metaphysical intuition of being by Maritain, and also draws a parallel with the idea of substantial musical being in A.F. Losev’s religious philosophy. The author points out the difference and closeness of the views of religious philosophers Mariten and Losev on the existence of music and the importance of the ontological status of music, attractive to modern musical thinking, which is looking for a fundamental support for its activities. The fact that it is characteristic of a poet, an artist to contemplate the deep mousikë (music in the philosophical sense), according to Mariten, thereby affecting the psychological side of being musical, since not logos, but estesis attracts the attention of a religious philosopher, was briefly reported by G. G. Kolomiets at the X Ovsiannikov International Aesthetic Conference in November 2021, held at Lomonosov Moscow State University. However, this article provides an ontological justification of Maritain’s idea in the context of philosophical and historical interrelations in views on the existence of music, emphasizing the author’s conceptual approach to the philosophy of music.

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Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.

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AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world.

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Strehovec, Janez. "New media art as research: art-making beyond the autonomy of art and aesthetics." Technoetic Arts 6, no. 3 (February 1, 2009): 233–50. http://dx.doi.org/10.1386/tear.6.3.233_1.

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Koshkin, Anastasya. "Along a Duration of Time: Extending Human Involvement to Remote Regions of the Earth." Leonardo Music Journal 24 (December 2014): 43–44. http://dx.doi.org/10.1162/lmj_a_00200.

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Rosenbrock, HH. "Engineering As An Art." AI & SOCIETY 21, no. 4 (June 12, 2007): 673–78. http://dx.doi.org/10.1007/s00146-007-0112-7.

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Rosenbrock, HH. "Engineering as an art." AI & Society 2, no. 4 (October 1988): 315–20. http://dx.doi.org/10.1007/bf01891365.

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Żyniewicz, Karolina. "Junk art: The art that needs to be understood – Autoethnographic perspective." Technoetic Arts 18, no. 2-3 (October 1, 2020): 113–24. http://dx.doi.org/10.1386/tear_00031_1.

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Thierry Bardini, in his book titled Junkware, proposed that the apt name for contemporary art would be junk art. He stressed the significant change taking place in art: that the narration and explanatory discourse run by an artist is more important than the visual outcome of the project. According to the knowledge from STS (especially Bruno Latour’s writing), knowledge production is based on multilevel translations. Art based on science can be seen as a kind of translation as well. The production of biological knowledge and bio art creation looks pretty similar, being based on the same laboratory protocols. However, something interesting is happening regarding bio art’s presentations in galleries or museums. The audience is usually unfamiliar with the laboratory work process, which results in something akin to getting just one layer of that translation cake. What is the role of an institution in making junk art readable? What does being lost in translation mean in this context? To work on the questions, I use my autoethnographic notes from the performative killing of my cells (immortalized B lymphocytes), which took place at the opening of an exhibition titled Beyond Borders: Processed Body – Expanded Brain – Distributed Agency at Gallery Łaźnia in Gdańsk (18 December 2019).

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Bolewski, Christin. "Man, Nature and Technology—Eastern Philosophy, Global Issues and Western Digital Visualization Practice." Leonardo 51, no. 3 (June 2018): 291. http://dx.doi.org/10.1162/leon_a_01519.

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This practice-based research project explores cross-cultural influences between the West and the East. It reinvestigates relationships of man and nature in Eastern traditional art and philosophy and transposes the content to contemporary global environmental issues. The outcomes are two ambient digital video art animations presented as video painting on high-resolution wall-mounted flat screen displays.

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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.

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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.

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Cronk, Frank, Jill Dacey, and Colleen Taugher. "Breaking barriers." Information Design Journal 11, no. 2-3 (December 31, 2003): 216–24. http://dx.doi.org/10.1075/idj.11.2.15cro.

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The purpose of this paper is threefold. We summarize our experiences in building a multi-disciplinary capstone information design course that included faculty, staff, and students from art, computer science, business, communications, sociology, music, philosophy, mathematics, and education. We discuss ways in which findings from this course have impacted our programs in the foundation studies of drawing and design. Finally, we provide specific examples of projects and best practices advice for coping with the challenges of working in a multi-disciplinary atmosphere. Our best practices advice extends to developing an information design program that is fully integrated into a larger art and design curriculum and the greater university.

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Rodríguez Gómez, Sergio. "An agential-narrative approach on art semiosis." Technoetic Arts 17, no. 3 (October 1, 2019): 281–95. http://dx.doi.org/10.1386/tear_00021_1.

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Abstract In this article, a semiotic approach is proposed to explain how human agents use and give meaning to art in complex contexts. Inspired by the psycho-historical approach on art appreciation, which attempts to embrace psychological and cognitive aspects of art sense-making, as well as the art-historical context dependence of artworks, an extended theory is suggested: an agent's art use and interpretation can be described using three general categories of meaning grounding: phylogenetic recurrence, ontogenetic recurrence and collective recurrence. These categories explain how a certain meaning of a sign is possible and justifiable, supported by human agents' capabilities and purposes. This article also proposes that it is possible to narrate, using such categories of meaning grounding, how different agents enact art, that is, give meaning and act upon art in different circumstances. Finally, I offer some examples about how the model can be used in real art contexts. The objective of this narrative-enactive approach, even though it offers a limited and edited focus, is to offer an orderly and comprehensible method to explain the dynamic nature of art meaning and how biologic, individual and collective grounding and purposes intertwine.

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Grba, Dejan, and Vladimir Todorović. "Rendering life: Transgressive affinities between bio art and generative art." Technoetic Arts 18, no. 2-3 (October 1, 2020): 223–38. http://dx.doi.org/10.1386/tear_00040_1.

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In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two fields focusing on generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique.

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Cheglakov, Aleksandr Dmitrievich. "The assemblage technique in the creation of modern wooden sculptures." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2022): 40–46. http://dx.doi.org/10.25136/1339-3057.2022.3.36017.

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The article demonstrates how the assemblage technique manifests itself in modern wooden sculptures. The author shows what assemblage is and what is the essence of this method. In addition, close attention is paid to another innovation of avant-garde culture – organic art, according to the philosophy of which the world is represented as an organic whole, a single system with its own laws. By the example of M. Matyushin’s pedagogical system, the natural connection between man and nature in works of art is shown. On the basis of the developed creative method, it is presented how modern art can combine such avant-garde tendencies as, for example, organic art and assemblage. Another important methodology, close to the technique of assemblage, and at the same time bordering on the practices of kinetic art, is the creation of sculptures, the elements of which can be rotated. The synthesis of methods and materials allows us to expand the boundaries of art by introducing non-artistic materials into the creative circulation. The main idea of this approach is to enlarge the context in which the work of art we have created exists, to enrich its history. It is stated that the wooden sculpture provides the creator with ample opportunities for experimentation. The ideas and plots of wooden sculptures embody various ranges of artistic diversity of decorative and applied arts.

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DELFYETT, P. J., B. MATHASON, I. NITTA, and H. SHI. "NOVEL MULTIWAVELENGTH MODE-LOCKED SEMICONDUCTOR LASERS: PHYSICS AND APPLICATIONS." International Journal of High Speed Electronics and Systems 10, no. 01 (March 2000): 309–17. http://dx.doi.org/10.1142/s0129156400000337.

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We develop and study the physics of a novel hybrid wavelength-division-multiplexed, optical timedivision-multiplexed (WDM-OTDM) mode-locked semiconductor laser for applications in ultra-high data rate communication links, computer interconnects, and optical sampling applications. The key philosophy behind using a hybrid approach is that state-of-the-art system performance can be achieved without the necessity of operating at the limits of a either a pure WDM or OTDM technology platform.

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Carrier, David. "On the Possibility of Aesthetic Atheism: Philosophy and the Market in Art." Leonardo 18, no. 1 (1985): 35. http://dx.doi.org/10.2307/1578092.

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Macrì, Saverio. "Individuation, Art and Interactivity Starting with Gilbert Simondon." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 2, 2022): 161–71. http://dx.doi.org/10.36253/aisthesis-13203.

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The aim of the article is to show the fruitfulness of Gilbert Simondon’s theory of individuation as a tool for analysing the aesthetic-artistic experience made possible by new technologies. Interactivity is the category to qualify those works based on computer systems whose form is determined by the intervention of the user or by signals coming from the environment. The reflection under the profile of aesthetics has long since begun to reckon with Simondon’s thought, developing his analyses on the mode of existence of technical objects. Here we intend rather to show how the concepts and expressions at the centre of his theory of individuation are also rich in ideas for the study of an aesthetic-artistic experience in which the category of relation assumes a constitutive value and in which the processual aspect of the artwork prevails over its object dimension.

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Boqiao, Wang. "Digital art in China." Technoetic Arts 10, no. 2 (December 1, 2012): 145–49. http://dx.doi.org/10.1386/tear.10.2-3.145_7.

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Harle, R. F. "Biobehavioural basis of art." Technoetic Arts 6, no. 3 (February 1, 2009): 259–68. http://dx.doi.org/10.1386/tear.6.3.259_1.

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Ghazala, Qubais Reed. "The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut." Leonardo Music Journal 14 (December 2004): 97–104. http://dx.doi.org/10.1162/0961121043067271.

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The author describes the philosophy and art of circuit-bending: shorting out conven-tional electronic devices to reveal unexpected sound and music. Starting from his first foray into chance electronics during his junior high school years, he details both his method of working and the wealth of instruments that have resulted.

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Hung, Chi-Sen, Tien-Li Chen, and Yun-Chi Lee. "From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training." Education Sciences 11, no. 12 (December 9, 2021): 801. http://dx.doi.org/10.3390/educsci11120801.

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In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.

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Venturelli, Suzete, Artur Reis, Nycacia Delmondes, Prahlada Hargreaves, and Tainá Martins. "Art in the era of ecocentrism." Technoetic Arts 17, no. 3 (October 1, 2019): 241–50. http://dx.doi.org/10.1386/tear_00018_1.

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Abstract This article describes activities carried out at the computational art laboratory and discusses a question about place. To think of place as the place of universal, it’s ground, the place where you live, it isn’t only a residence place, a construction of exploration, but also the planet as a possible place of survival. Therefore, we will present artworks that, in the name of a conception inspired by ecocentrism, propose to eliminate the ontological and axiological difference between all living beings and, for this reason, considers the biosphere as an important biotic unit in the context of artworks. Here the development of affective computer interfaces that seek to promote interactions is also described: a process by which an external or an internal stimulus causes a specific reaction, producing a perception, considering that the idea, in the Deleuzian and Guattarian sense, goes through creative activities. The idea arises in three distinct forms: in the philosophical context, in the form of concepts and in visual production. We describe below the results of collaborative research that has in common the poetics of interactivity between living beings and machines through graphical and machine interfaces, provided by computational processes and methods that approach several ideas involving affective mapping, body, nature and artificial life.

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Cahen, Joel. "Tech Art: the effects of code and network systems on music and art." Technoetic Arts 6, no. 2 (August 21, 2008): 185–98. http://dx.doi.org/10.1386/tear.6.2.185_1.

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Kac, Eduardo. "GFP Bunny." Leonardo 36, no. 2 (April 2003): 97–102. http://dx.doi.org/10.1162/002409403321554125.

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The author describes his transgenic artwork GFP Bunny and discusses the theoretical and practical implications of creating a new mammal in the context of art. Weaving together insights from philosophy, molecular biology, natural history, cognitive ethology and art, the author places primary emphasis on the welfare of the transgenic rabbit he has created. The author rejects biological determinism and states his goals of developing a dialogical relationship with the bunny based on love and care.

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He, Zhou. "Study on the Application of Traditional Chinese Auspicious Images in Environmental Art Design Based on VR Senses." Computational Intelligence and Neuroscience 2022 (September 17, 2022): 1–12. http://dx.doi.org/10.1155/2022/1189613.

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Virtual reality is high-tech involving multiple disciplines developed at the end of the 20th century. Virtual reality technology can be used in many fields, such as remote control, business, education, entertainment, visual simulation, military, art, architecture, and network. Essentially, virtual reality technology has three basic characteristics: immersion, interaction, and imagination. This study analyzes the advantages of VR technology in the specific application of environmental art design based on case studies and considers the impact of VR technology on human beings from multiple dimensions such as sociology and philosophy. First, it analyzes the application and advantages of VR technology in various stages of the environmental art design. Secondly, combined with cases, it explains the advantages of VR technology in four directions: exhibition, interior, landscape, and planning. Then, it finds out the problems in the application and their solutions. In addition, to solve these problems, you need to explore the answers from more fields such as philosophy and sociology. Then, it discusses the development trend of environmental art design under VR technology and how designers should keep up with the time. Finally, as a designer of the new era, we apply VR technology to our own design and creation practice. We also analyzed the many forms of expression of auspicious images. Through the actual research and induction of modern designers, we summed up its main forms and expressions and drew some conclusions that everyone recognized, which can provide a reference for future designers.

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Pevere, Margherita. "Vulnerability as a queer art." Technoetic Arts 20, no. 1 (July 1, 2022): 95–110. http://dx.doi.org/10.1386/tear_00084_1.

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The idea of ‘arts of vulnerability’ (AoV) reclaims the fact of being inherently open (never sealed) and becomes a tool to navigate such a lack of closure. It is art because it comes from art practice, and it is of vulnerability because it comes from materials that are vulnerable and defy control. The idea is rooted in bioart practice understood as artistic research and read through feminist and queer studies about embodiment and ecology. This article traces how the artwork series Wombs contributed to the development of the idea. AoV is a way of understanding art practice, yet it becomes an ethical and intellectual tool that pays attention (and tribute) to more-than-human ethics and aesthetics. It may thus contribute to a critical discussion of today’s surging ecological complexity.

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Levy, Ellen K. "Designing the art of attention." Technoetic Arts 8, no. 1 (May 1, 2010): 93–99. http://dx.doi.org/10.1386/tear.8.1.93/1.

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Windleburn, Maurice. "Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas." Organised Sound 26, no. 3 (December 2021): 403–12. http://dx.doi.org/10.1017/s1355771821000480.

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While a familiar term in art history, philosophy and cultural studies, ‘hyperrealism’ is rarely applied to music. This is despite Noah Creshevsky’s use of the term to describe his unique compositional process and aesthetic approach. A composer of electroacoustic music and founder of the Brooklyn College Center for Computer Music, Creshevsky has described his musical hyperrealism as a ‘language constructed from sounds that are found in our shared environment (“realism”), handled in ways that are somehow exaggerated or excessive (“hyper”)’. In this article, I summarise the ideas behind Creshevsky’s hyperreal music and compare them to philosopher Jean Baudrillard’s theorisation of the hyperreal. Numerous similarities between Creshevsky and Baudrillard’s ideas will be made evident. The first half of this article focuses on Creshevsky’s sampling of sounds as ‘simulacra’ and how the interweaving textures and melodies that Creshevsky makes out of these samples are similar to ‘simulations’. In the article’s second half, Creshevsky’s creation of disembodied ‘superperformers’ is addressed and related to Baudrillard’s transhumanism. Towards the end of the article, Creshevsky’s aesthetic more broadly and what he calls ‘hyperdrama’ are linked to Baudrillard’s ‘transaesthetics’, before a concluding note addressing Baudrillard and Creshevsky’s different dispositions towards hyperrealism.

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Jones, Stephen. "Towards a Philosophy of Virtual Reality: Issues Implicit in “Consciousness Reframed”." Leonardo 33, no. 2 (April 2000): 125–32. http://dx.doi.org/10.1162/002409400552388.

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This paper reviews the first “Consciousness Reframed” conference. A number of artists' works in media such as virtual reality and interactive installations are discussed, and various issues relating to “technoetic” artworks are raised. These issues include questions such as the potentially dehumanizing nature of technology, the transcendent states claimed for cyberspace, the nature of immersion, and aspects of the problem of consciousness. The author offers some suggestions regarding how technoetic art might tackle such issues.

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Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (December 20, 2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.

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Hovagimyan, G. H. "Art in the Age of Spiritual Machines: (with apologies to Ray Kurzweil)." Leonardo 34, no. 5 (October 2001): 453–58. http://dx.doi.org/10.1162/002409401753521593.

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Humanity is evolving towards a “post-human” society that may include enhanced human beings, hybrid humans, and artificial intelligences. As an artist working in digital media and network culture, I believe that the crucial issue of the time is to clear the path for networked art and to create the foundations for a new aesthetic discourse emerging from networked culture. In order to do this, one has to be willing to create art that may not be readily recognized as artwork. In this essay, I trace the common roots of structuralist philosophy, developmental psychology, reductivist art discourse, structural linguistics and neural nets in an attempt to create a basis for this new aesthetic discourse.

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Gresham-Lancaster, Scot. "Relationships of sonification to music and sound art." AI & SOCIETY 27, no. 2 (August 27, 2011): 207–12. http://dx.doi.org/10.1007/s00146-011-0337-3.

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Penny, Simon. "Art and robotics: sixty years of situated machines." AI & SOCIETY 28, no. 2 (March 15, 2012): 147–56. http://dx.doi.org/10.1007/s00146-012-0404-4.

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Seck Langill, Caroline. "Negotiating the hybrid: art, theory and genetic technologies." AI & SOCIETY 20, no. 1 (November 26, 2005): 49–62. http://dx.doi.org/10.1007/s00146-005-0005-6.

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Drinkall, Jacquelene. "Capitalist Telepathics, Psychic Debt and the Search for Collective Intelligence." TOPIA: Canadian Journal of Cultural Studies 45 (October 1, 2022): 133–64. http://dx.doi.org/10.3138/topia-45-002.

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The current state of capitalist digital telepathics, or what I will call telepathy 3.0, presents a serious threat to the prospects of human freedom (Žižek 2020) . Notably, the capitalist race to develop telepathics by Mark Zuckerberg’s Facebook/Meta, Elon Musk’s Neuralink and others represents an intensification of surveillance capitalism (Zuboff 2019 : 206). Through an examination of tech-sector marketing literature and industry critics this article examines contemporary development of Brain Computer Interfaces (BCIs), Neural Interfaces (NIs) and intensified social networks, revealing the expansion of surveillance capitalism and its shift into neurocapitalist telepathics. Is there an alternative to the corporate dystopia promised by telepathy 3.0? This article argues for a more soulful and speculative form of telepathics in fields including art, philosophy, design, architecture, engineering, cybernetics and even psychology. This tradition of prophetic art and human compassion must be nurtured in the face of massive corporate-led investments in predictive technologies.

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Ess, Charles. "Luciano Floridi’s philosophy of information and information ethics: Critical reflections and the state of the art." Ethics and Information Technology 10, no. 2-3 (September 2008): 89–96. http://dx.doi.org/10.1007/s10676-008-9172-8.

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Pepperell, Robert. "Towards a theory of conscious art." Technoetic Arts 1, no. 2 (July 1, 2003): 117–34. http://dx.doi.org/10.1386/tear.1.2.117.18695.

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Laskari, Iro, Irene Mavrommati, and Eleni Glinou. "Hybrid art: Towards a new scepticism." Technoetic Arts 17, no. 1 (June 1, 2019): 33–47. http://dx.doi.org/10.1386/tear_00004_1.

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Abstract In Hybrid artwork, whereby the digital and the real are mixed, the artist/creator has to additionally manage interaction. Interaction is seen as an added dimension to narration: the art piece turns from being a means towards a narration (or an understanding) to a path towards an experience. It is argued that strong metaphysical concepts give place to new more fragmented ones. This nihilism and fragmentation can be seen as a cause of concern but also as an opportunity.

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Journal articles on the topic 'Computer art Philosophy'

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