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Journal articles on the topic 'Interactive art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Eiserman, Jennifer, and Gerald Hushlak. "Keeping Interactive Art Interactive." International Journal of the Inclusive Museum 6, no. 2 (2014): 183–96. http://dx.doi.org/10.18848/1835-2014/cgp/v06i02/44449.

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2

Carlisle, Anne. "Art & Technology: Interactive Art." Circa, no. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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3

Wong, Chee-Onn, Keechul Jung, and Joonsung Yoon. "Interactive Art: The Art That Communicates." Leonardo 42, no. 2 (April 2009): 180–81. http://dx.doi.org/10.1162/leon.2009.42.2.180.

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This paper highlights the intrinsic communication in interactive art. The authors propose knowledge discovery or data mining as a technique to measure the communication between the spectator and the intelligent interactive artwork. Due to the nature of interactive art, this aspect of technology is an essential part to integrate the artist's representation with the spectator. An example of interactive SwarmArt using knowledge discovery for personalized interactive experience is explained in this paper.

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4

Gaifman, Milette, and Lillian Lan-ying Tseng. "Interactive Art History." Art Bulletin 102, no. 1 (January 2, 2020): 6. http://dx.doi.org/10.1080/00043079.2020.1670604.

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5

Han, Su Jin. "Narrative Interaction Experience of Interactive Media Art." TECHART: Journal of Arts and Imaging Science 6, no. 3 (August 31, 2019): 6–8. http://dx.doi.org/10.15323/techart.2019.8.6.3.6.

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6

Guo, Lingling, and Lipeng Zhang. "Exploration on the Application of New Media Interactive Art to the Protection of Traditional Culture." Scientific Programming 2022 (March 23, 2022): 1–9. http://dx.doi.org/10.1155/2022/5418622.

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The background of information age promotes the rapid development of interactive art with new media. The interactive art of new media combines modern photography with the Internet and other technologies. The emergence of new art interacting with media not only reflects the progress and development of media technology but also reflects the tremendous progress of media art, which provides more ways for the development of art and is conducive to improving the diversity of people’s art and cultural activities. This paper summarizes the characteristics of interactive technology and new media and analyzes the application of interactive art of new media in the protection and dissemination of traditional culture. Interactive art is a virtual space that provides artists and engineers with interactive experience through technology platform. Interaction takes place in different areas and guides visitors to create it in different ways. In addition to being applied in many commercial fields of modern society, this art form has also been applied in the field of culture as an important means of communication of traditional culture. Through literature collection, data analysis, and questionnaire survey, it can be concluded that the application of new media interactive art in the protection of traditional culture can not only repair and replicate damaged traditional cultural resources but also display, preserve, and disseminate rare cultural resources.

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7

Edmonds, Ernest. "The Art of Interaction: What HCI Can Learn from Interactive Art." Synthesis Lectures on Human-Centered Informatics 11, no. 1 (March 8, 2018): i—73. http://dx.doi.org/10.2200/s00825ed1v01y201802hci039.

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8

Felipe Duarte, Emanuel, Luiz Ernesto Merkle, and M. Cecília C. Baranauskas. "The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices." Journal of Interactive Systems 10 (December 20, 2019): 20. http://dx.doi.org/10.5753/jis.2019.551.

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The mutual efforts of joining art and science have been an important source of innovation in many fields throughout history. In this article, we investigate the relatively common origins, differences, and similarities between the Interactive Art and Human-Computer Interaction (HCI) areas of knowledge. We also investigate what kind of human-computer interactions are sought by artists or emerge in Interactive Art examples, as well as what kind of frameworks, evaluation criteria or methodologies are reported in the literature to support the design and evaluation of Interactive Art. As a result of our analysis of Interactive Art examples found in the literature and beyond, we derived four genres of dialogue that emerge naturally or are stressed by authors: visual, embodied, tangible and social. These genres, albeit not comprehensive, can inspire the design of novel forms of interaction in computational systems with or without artistic intent. Moreover, frameworks, evaluation criteria, and methodologies may allow a cross-pollination between Interactive Art and HCI. While interactive artists may provide novel ways to look at the design and evaluation of interactive systems, these artists may also benefit from appropriating traditional HCI methods, tools, and technologies for new purposes. Lastly, we draw on our findings and learned lessons to outline a research agenda with the main objectives of 1) encouraging Interactive Art research, 2) studying Interactive Art examples, 3) practicing Interactive Art design and evaluation, and 4) designing Interactive Art for all.

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LUKICHEV, RUSLAN V. "CONCERNING THE ISSUE OF GENERATIVE ART CLASSIFICATION: DEFINITION OF CONCEPTS." ART AND SCIENCE OF TELEVISION 15, no. 3 (2019): 11–31. http://dx.doi.org/10.30628/1994-9529-2019-15.3-11-31.

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The article refers to the problem of generative art taxonomy as a complex interdisciplinary phenomenon and analysis of its key features. The generative art is a relevant cultural and artistic phenomenon in Russian and foreign art that emerged in the 1910s within Russian and West European avant-garde painters and received a new boost for development thanks to contemporary computer technologies. Based on the classification model proposed by foreign researchers, M. Boden and E. Edmonds, the author of this article identifies concepts like Generative Art (G-art), Computer Art (C-art), Interactive Art (I-art), Interactive Computer Art (CI-art), and Computer Generative Art (CG-art) and introduces new scientific terms: Interactive Generative Art and Interactive Computer- Generated Art. The first one refers to a series of works of art created with the active participation of the audience and the use of traditional (non- computer) autonomous systems that provide a certain degree of randomness without the implementation of multimedia technologies. The second one refers to a series of artworks created by autonomous computer systems and involving active interaction with the audience. These phenomena are considered based on the art object’s possessing the features of generative (G), interactive (I) or computer (C) vectors that underlie the classification method of Gen Art and adjacent contextual phenomena developed by the author and visually modeled by him in the Cartesian coordinate system. Emphasis was made on Interactive Computer-Generated Art. A media installation by Stain art group called Mobile Interactive Multi-Parametric Image (MIMPI) is provided as an example; it is an interactive audio-visual environment first introduced in MEL Space gallery (Moscow) in May 2012 Finally, the author comes to the conclusion that granting the generative art the status of a natural transitional phase in the art history of the 20th — early 21st centuries, as proposed by him, is justified, since this art combines “dry” and “wet” technologies and the corresponding types of cultures.

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10

Kluszczynski, RyszardW. "Strategies of interactive art." Journal of Aesthetics & Culture 2, no. 1 (January 2010): 5525. http://dx.doi.org/10.3402/jac.v2i0.5525.

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11

Bialoskorski, Leticia S. S., Joyce H. D. M. Westerink, and Egon L. Van den Broek. "Experiencing affective interactive art." International Journal of Arts and Technology 3, no. 4 (2010): 341. http://dx.doi.org/10.1504/ijart.2010.035826.

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12

Nicholas, Christine Wade, Ludwig, Ingeborg Wilding, Wolfgang, and Isolde Kiwus. "Interactive Art and Science." Perception 34, no. 11 (November 2005): 1295–300. http://dx.doi.org/10.1068/p3411ed.

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13

Walker, Joel. "Group Interactive Art Therapy." American Journal of Psychotherapy 48, no. 3 (July 1994): 481. http://dx.doi.org/10.1176/appi.psychotherapy.1994.48.3.481.

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14

Seligmann, D. D., and K. Walker. "Interactive and informative art." IEEE Multimedia 10, no. 1 (January 2003): 4–10. http://dx.doi.org/10.1109/mmul.2003.1167916.

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15

Zhai, Yue. "Exploring the Traditional Art Design in Urban Space Based on Interactive Media Arts: A Case Study of China." Communications in Humanities Research 27, no. 1 (January 3, 2024): 104–10. http://dx.doi.org/10.54254/2753-7064/27/20232139.

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As a cultural communication medium, art needs to be developed and passed on. In an environment where traditional culture and art are gradually being forgotten, interactive media is particularly important. Compared with traditional media, interactive media is more guiding and interactive, and can also stimulate people's interest in traditional art and culture. The interactive media incorporated into modern urban design can better establish connections between traditional art culture, artists and the public, making traditional art culture truly come alive and integrated into urban space design. The addition of interactive media enables people to not only appreciate but also have a strong sense of participation. This article verifies the influence of interactive media in changing traditional culture and art by studying the impact of interactive media on traditional culture when interacting with the audience, and explores how interactive media art can be integrated into urban space design.

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16

Malina, Roger F., and Itsuo Sakane. "Wonderland of Science Art: Invitation to Interactive Art." Leonardo 24, no. 4 (1991): 491. http://dx.doi.org/10.2307/1575545.

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17

Prisco, Brianna. "Living Art: An Exploration of Interactive Art Installations." Art Education 69, no. 5 (August 15, 2016): 49–57. http://dx.doi.org/10.1080/00043125.2016.1202078.

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18

Chang, Yoon Je, KIMHyungGi, and 오창근. "Sympathy Relationship with Mutual Participation in Interactive Art and Interfaces -Focus on multi-user's interaction in Interactive Art Works-." Journal of Korea Design Knowledge ll, no. 25 (March 2013): 249–58. http://dx.doi.org/10.17246/jkdk.2013..25.024.

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19

Wilson, Stephen. "Interactive Art and Cultural Change." Leonardo 23, no. 2/3 (1990): 255. http://dx.doi.org/10.2307/1578617.

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20

김다희, SeunghoPark, and 이명주. "Affordance for Interactive Media Art." Journal of Digital Design 8, no. 2 (April 2008): 341–48. http://dx.doi.org/10.17280/jdd.2008.8.2.033.

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21

Chu, Jean Ho. "Persuasive Play as Interactive Art." TECHART: Journal of Arts and Imaging Science 8, no. 2 (May 31, 2021): 1–4. http://dx.doi.org/10.15323/techart.2021.5.8.2.1.

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22

Kim, Jae Hyun, and Hyun Jean Lee. "Picture books as Interactive Art." Journal of Basic Design & Art 19, no. 3 (June 30, 2018): 69–83. http://dx.doi.org/10.47294/ksbda.19.3.6.

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23

Kuznetsov, Andrew V. "Emergence in Interactive Embedded Art." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 1–19. http://dx.doi.org/10.4018/ijacdt.2019070101.

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This article is devoted to the problem of novelty in embedded art. Exciting possibilities of microelectronics for visual art are considered. Implementations of available microcontrollers, sensors and actuators are given. A new kind of interactions between spectators and artworks with embedded electronics was investigated. Special attention is paid to the effect of emergence, which is generated by this interaction. Computational artwork is being considered in a new unconventional context. An aesthetic difference between the deterministic and nondeterministic algorithms was shown. The combination of acrylic paintings with light-emitting diodes (LEDs) was systematically studied to give useful recommendations for an artistic community. Produced artifacts were demonstrated at exhibitions and were used to teach students at the university and VHS Freiburg, Germany. The results showed a great public interest in embedded electronic systems and a tremendous theoretical and practical perspective for the permanently developing contemporary art.

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24

Brew, K. "Engaging characters at art interactive." IEEE Multimedia 11, no. 1 (January 2004): 1–7. http://dx.doi.org/10.1109/mmul.2004.1261099.

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25

Muller, L., E. Edmonds, and M. Connell. "Living laboratories for interactive art." CoDesign 2, no. 4 (December 2006): 195–207. http://dx.doi.org/10.1080/15710880601008109.

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26

Thompson, Chris. "Hot Spots: Interactive Narrative Art." PAJ: A Journal of Performance and Art 26, no. 1 (January 2004): 94–99. http://dx.doi.org/10.1162/152028104772624982.

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27

Preston, Dominic. "Some Ontology of Interactive Art." Philosophy & Technology 27, no. 2 (October 8, 2013): 267–78. http://dx.doi.org/10.1007/s13347-013-0134-7.

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28

Lopes, Dominic M. McIver. "The Ontology of Interactive Art." Journal of Aesthetic Education 35, no. 4 (2001): 65. http://dx.doi.org/10.2307/3333787.

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29

Stern, Andrew. "Deeper Conversations with Interactive Art." Convergence: The International Journal of Research into New Media Technologies 7, no. 1 (March 2001): 17–24. http://dx.doi.org/10.1177/135485650100700103.

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30

Kuliahin, Аndrii. "PERSONALIZATION OF VISUAL CONTENT OF INTERACTIVE ART IN AUGMENTED REALITY BASED ON INDIVIDUAL USER PREFERENCES." Системи управління, навігації та зв’язку. Збірник наукових праць 1, no. 75 (February 9, 2024): 115–17. http://dx.doi.org/10.26906/sunz.2024.1.115.

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Topicality. In connection with the development of AR technologies and their use in interactive art, there is a growing need to develop methods of personalizing visual content, focused on the individual preferences of users. Research methods. Neural collaborative filtering method, generalized matrix factorization method, mood analysis on video. The purpose of the article: Researching the possibilities of improving the personalization of visual content in interactive art by evaluating the emotional reactions of users and their implicit feedback. The results obtained. The application of neural collaborative filtering and generalized matrix factorization to create adapted visual content in interactive art in AR was considered, which will significantly increase the relevance and immersion of users in interactive works. Conclusion. The considered approach can be used to improve immersiveness and personalization during user interaction with interactive art in AR.

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31

Xuanhong, Liu, and Jin Wan Park. "The relationship between interactive installation art and traditional art." TECHART: Journal of Arts and Imaging Science 6, no. 2 (May 31, 2019): 29–31. http://dx.doi.org/10.15323/techart.2019.5.6.2.29.

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32

Kothe, Elsa Lenz. "Beyond Art Waitressing: Meaningful Engagement in Interactive Art Galleries." Art Education 65, no. 4 (July 2012): 19–24. http://dx.doi.org/10.1080/00043125.2012.11519180.

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33

Cao, Yuan, Zhi Han, Rui Kong, Canlin Zhang, and Qiu Xie. "Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence." Mathematical Problems in Engineering 2021 (September 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/7227416.

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Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.

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34

Shen, Yan, and Fang Yu. "The Influence of Artificial Intelligence on Art Design in the Digital Age." Scientific Programming 2021 (December 27, 2021): 1–10. http://dx.doi.org/10.1155/2021/4838957.

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With the advancement of technology represented by artificial intelligence, art creation is becoming increasingly rich, and content expression is intelligent, interactive, and data-driven, making the relationship between technology, art, and people increasingly close and bringing opportunities for the development of emerging interaction. Artificial intelligence technologies aim to perfectly replicate the human mind by enabling natural responses based on the surrounding environment, decoding emotions, and recognizing human traits within the energy range. Driven by AI technology, interactive art no longer focuses on a single audiovisual sensory experience but rather on integrated artistic expressions that are highly interactive, kinetic, and emotional, based on the study of natural human behavior and integrated senses, combined with intelligence. In this paper, we first sort out the intersection of AI technology development and interactive art expression streams on the timeline based on historical development and analyze the deconstructive relationship between the two from the macroperspective of the historical development of technology and art. First, based on the conceptual connotation, development history, technical application, and singularity outlook of AI, we identify the current characteristics and development trends of interactive art; second, based on exploring the advantages of AI technology, we propose the impact of AI on the creative thinking, creative mode, and artistic experience of interactive art and establish the paradigm of interactive art creation in the context of AI. It solves the problem that experts are unable to quickly locate the category of painters when facing different styles of unsigned digital Chinese painting images in the authenticity identification task.

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35

O, Eun Seok, and Moon Seok Kim. "Proposal of Interactive Media Art Using AI as Public Art." Korea Institute of Design Research Society 9, no. 2 (June 30, 2024): 201–12. http://dx.doi.org/10.46248/kidrs.2024.2.201.

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Media art attracts public attention for its newness and differentiation from existing art and media art converged with the latest technology, AI is being presented in public art. This paper proposes interactive media art using AI as public art. Powerful interactions that are more personalized, non-linear, and multidirectional should be delivered through AI. They need to make interactive media art more interesting for citizens to expect and participate in, and provide differentiated experiences through diverse communication and empathy with artworks. When establishing public art policies, a virtuous cycle structure that leads to public participation is proposed by preparing a strategy to promote the work to the public through sharing and co-creation of artworks on SNS. For citizen-centered public art, citizens' needs should be identified through AI data analysis and reflected in policies and creation. Interactive media art using AI as public art should promote citizen participation and communication and advance in the direction of developing a citizen-centered culture.

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36

Ye, Xuan. "Application of Interaction between Art and Intelligence Technology in Modern Exhibition Halls." Wireless Communications and Mobile Computing 2022 (September 23, 2022): 1–10. http://dx.doi.org/10.1155/2022/9735286.

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In order to further improve the user experience of interactive products that is the development trend of interaction design, a modern art interaction design method based on artificial intelligence technology was proposed. The method promoted the innovation of modern art, endowed the modern exhibition halls with more forms of expression, brought users a more intelligent interactive experience, and provided a new carrier for modern art interaction design. Through experiments, it was found that the people’s perception of Chinese product design could only reach 62%. And 45% of the people were eager to know modern art. After the interview, 79.2% of the people thought that modern life needed the integration of technology and art. And 13.1% of the people thought it could be considered. Through experiments, it was found that the use of visual design symbols in line with modern people’s aesthetics could create modern art in line with the people’s aesthetics, realize the interaction between art and intelligence technology, and promote the development of artificial intelligence technology, which laid a solid foundation for the future interaction design of modern art.

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37

Park, Yeon Sook. "A Study on Interactive Art Applying BCI (Brain-Computer Interaction)." Korean Society of Science & Art 40, no. 3 (June 30, 2022): 135–51. http://dx.doi.org/10.17548/ksaf.2022.06.30.135.

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38

Jacob, Christian J., Gerald Hushlak, Jeffrey E. Boyd, Paul Nuytten, Maxwell Sayles, and Marcin Pilat. "SwarmArt: Interactive Art from Swarm Intelligence." Leonardo 40, no. 3 (June 2007): 248–54. http://dx.doi.org/10.1162/leon.2007.40.3.248.

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Swarms of bees, colonies of ants, schools of fish, flocks of birds, and fireflies flashing synchronously are all examples of highly coordinated behaviors that emerge from collective, decentralized intelligence. Local interactions among a multitude of agents or “swarmettes” lead to a variety of dynamic patterns that may seem like choreographed movements of a meta-organism. This paper describes SwarmArt, a collaborative project between several computer scientists and an artist, which resulted in interactive installations that explore and incorporate basic mechanisms of swarm intelligence. The authors describe the scientific context of the artwork, how user interaction is provided through video surveillance technology, and how the swarm-based simulations were implemented at exhibitions and galleries.

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39

Vainalavičiūtė, Gintarė. "Communication Solutions by Improving Interactive Art Projects." Coactivity: Philosophy, Communication 24, no. 1 (March 31, 2016): 36–47. http://dx.doi.org/10.3846/cpc.2016.191.

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The article examines the emergence of new forms of expression in modern society such as technology, which makes the traditional art active and the users are drawn into the processes of creation and dissemination. Interactive art technology gradually integrates more and more people to be interested on it because of its innovative and interesting concept and idea. Interactive art removes traditional boundaries between the artist and “public”. Appearance of the new modern technologies in the art provoked the development of the interactive art which later evolved into some other forms of art as cinema, interactive dance, music and etc. The article is based on Lithuanian and foreign academic works, interactive art definition is provided the theoretical aspect of an interactive art projects is highlighted. The modern theories of marketing communications are defined. To solve examined issues marketing communication model with highlighted key elements is proposed.

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40

Stern, Nathaniel. "The Implicit Body as Performance: Analyzing Interactive Art." Leonardo 44, no. 3 (June 2011): 233–38. http://dx.doi.org/10.1162/leon_a_00168.

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This paper puts contemporary theories of embodiment and performance in the service of interactive arts criticism. Rather than focusing on vision, structure or signification, the author proposes that we explicitly examine bodies-in-relation, interaction as performance, and “being” as “being-with.” He presents four concrete areas of concentration for analyzing the category of interactive art. The author also examines how such work amplifies subjects and objects as always already implicated across one another.

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41

김호성. "Marketing Strategy Using Interactive Media Art." Journal of Digital Design 13, no. 2 (April 2013): 399–407. http://dx.doi.org/10.17280/jdd.2013.13.2.039.

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42

Buckner, Barbara. "Healing Interactions and Interactive Digital Art." Afterimage 29, no. 3 (November 2001): 4. http://dx.doi.org/10.1525/aft.2001.29.3.4a.

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43

Asanuma, Keiji. "Interactive Relation of Art and Society." TRENDS IN THE SCIENCES 5, no. 4 (2000): 56–57. http://dx.doi.org/10.5363/tits.5.4_56.

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44

Kim, Yun-Tae. "Applying Interactive Media Art to VJing." Journal of the Korea Contents Association 7, no. 10 (October 28, 2007): 80–88. http://dx.doi.org/10.5392/jkca.2007.7.10.080.

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45

MeeCham, Pam, and Elena Stylianou. "Interactive Technologies in the Art Museum." Designs for Learning 5, no. 1-2 (December 1, 2012): 94. http://dx.doi.org/10.2478/dfl-2014-0006.

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46

Heinrich, Falk. "On the beauty of interactive art." International Journal of Arts and Technology 1, no. 2 (2008): 159. http://dx.doi.org/10.1504/ijart.2008.021925.

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47

Tseng, Yu-Chuan, Chia-Hsiang Lee, and Ding-Ming Wang. "Flow—A Flowing Information Interactive Art." Leonardo 42, no. 1 (February 2009): 98–99. http://dx.doi.org/10.1162/leon.2009.42.1.98.

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Flow is an interactive art work creating a context of flowing information which is unable to be held, but is instead in a state of intermix. The practice aims to represent the chaos state of information in which we find ourselves in our present-day society. When confronted with a huge amount of information, we process it differently based on our opinions. We assume that we understand without question, but how can we firmly believe that our cognition is correct?

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48

Edmonds, E. "New directions in interactive art collaboration." CoDesign 2, no. 4 (December 2006): 191–94. http://dx.doi.org/10.1080/15710880601008091.

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49

Phillips, David. "Recipe for an interactive art gallery." International Journal of Museum Management and Curatorship 7, no. 3 (September 1988): 243–52. http://dx.doi.org/10.1080/09647778809515127.

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50

Durbridge, Nicola. "The Interactive World of Art Explorer." Innovations in Education & Training International 33, no. 1 (February 1996): 30–40. http://dx.doi.org/10.1080/1355800960330105.

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