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Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.
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This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. It also aims to understand the design issues surrounding the creation of these systems.
The approach used is Practice-based, integrating practice, evaluation and theoretical research.
Practice used methods from Reflection-in-action and Iterative design to create two interactive art systems: Glass Pond and +-now. Creation of +-now resulted in a novel method for instantiating emergent shapes. Both art works were also evaluated in exploratory studies. In addition, a main study with 30 participants was conducted on participant interaction with +-now. These sessions were video recorded and participants were interviewed about their experience. Recordings were transcribed and analysed using Grounded theory methods. Emergent participant experiences were identified and classified using a taxonomy of emergence in interactive art. This taxonomy draws on theoretical research.
The outcomes of this Practice-based research are summarised as follows. Two interactive art systems, where the second work clearly facilitates emergent interaction, were created. Their creation involved the development of a novel method for instantiating emergent shapes and it informed aesthetic and design issues surrounding interactive art systems for emergence. A taxonomy of emergence in interactive art was also created. Other outcomes are the evaluation findings about participant experiences, including different types of emergence experienced and the coding schemes produced during data analysis.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.
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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Komarova, Maria. "Interactive technologies on art museum websites." Kansas State University, 2015. http://hdl.handle.net/2097/18947.
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Master of Science<br>Department of Communications Studies<br>Gregory Paul<br>This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by human-to-human and human-to-content interactive technologies respectively. The findings demonstrate a tension between the goals of art museums in wanting to engage visitors in co-creation of meaning about art on the one hand and wanting to maintain their traditional authority over that meaning on the other. The report concludes by offering recommendations for how museums can use interactive technologies more effectively in order to maintain their role as centers of social and cultural life.
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Strindlund, Nathalie. "Exploring relations between Interaction attributes and Pleasures in multisensory interactive art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23788.
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The interest in designing interactive systems is going beyond their functionality and more towards their aesthetics. Often, research fails to address how qualities of the interaction as a medium can actually create pleasurable experiences. However, it points out the importance of understanding temporal aspects of interactions to understand their aesthetics. The aim for this thesis is to address this by the creation and evaluation of an interactive artwork working as a platform to explore relations between Interaction attributes and Pleasures, as well as how temporal aspects in interactions can affect these Pleasures. This to help interaction designers think more clearly around and make better design choices regarding interactions within interactive systems. The results of this showed that there can be many such relations, but also that they are complex. Additionally, it is discussed that Pleasures might also partly be experienced before or after the interaction with the artwork.
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Drummond, Jon R. "Interactive electroacoustics." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.
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Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY
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Murat, Mathilde. "Scénographie interactive, interfaces et interférences." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20013/document.
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La démarche artistique à laquelle se lie ce travail de thèse est le fruit d’interrogations sur ce qui constitue les liens kinesthésiques et perceptuels à l’environnement. Ralliées à ces explorations, les technologies de l’interactivité, issues de la pensée cybernétique et de l’essor de l’informatique, permettent l’instauration de scénographies qui se construisent par interférence avec la corporéité,dans son caractère autopoïétique, au travers des dispositifs d’interfaces. L’interactivité est appréhendéeici dans son volet hypermédia. Cette thèse est l’expression d’un travail de recherches pratiqueset théoriques. Le premier axe de recherche concerne directement les enjeux relationnels entre plasticité etcorporéité. Les premières lignes de notre développement sont consacrées aux modes de relations au sein de la plasticité des installations immersives. Par les scénographies interactives, corps et espace se tissent de façon complexe. Ces scénographies permettent l’apparition de nouveaux possibles kinesthésiques et sensoriels.Le second axe concerne les enjeux d’une spectatorialité spécifique. Par filiation à des démarches antérieures, on identifie un déplacement épistémologique de la notion d’espace qui s’effectue par l’intégration d’espaces computationnels hypermédias à l’espace topologique. Le spectateur devenu interacteur (Couchot, Weisseberg) accède à des conduites auctoriales. Cette idée d’auctorialité n’est-Elle pas à modérer au regard des contraintes exercées par le dispositif ? La dialectiqueentre contrainte et liberté est abordée en termes de territoires d’action programmée en rapport à des territoires d’action individualisée. Les thèses de Steigler permettent de considérer le spectateur comme praticien de l’espace plastique. L’auctorialité spectatorielle fait alors l’objet d’une poïétique de l’empreinte. Le troisième axe est consacré aux enjeux poïétiques (Passseron) des technologies interactives ralliées à une démarche plasticienne. Méta-Outils, l’interactivité et les outils numériques qu’elle sollicite dans la constitution de médias favorisent une nouvelle approche de l’atelier. La multiplicité de compétences que nécessite cette pratique ouvre des considérations poïétiques quant aux pratiquescollectives. L’identification d’une culture propre aux arts numériques comme champ transdisciplinaire souligne l’influence d’un terrain professionnel constitué autour de ces pratiques. La pratique de l’interactivité, par l’expérimentation, se singularise alors au sein d’une démarche de création-Recherche- profession<br>The present dissertation partakes of an ongoing inquiry into our kinesthetic experience and the influence of the environment on our perceptions. The technologies of interactivity, which stem from cybernetics and from the rise of computer technology, are major tools in this exploration, as they enable the emergence of scenographies whose specificity is the way they integrate corporeality in its autopoieticdimension, by means of the interface-Based devices.This dissertation is the product of research work of a practical and of a theoretical nature. The first part tackles the question of what is at stake, in relationships, between plasticity and corporeality. A few paragraphs are devoted to modes of interaction in the context of immersive plasticity. In interactive scenographies, body and space are complexly interconnected. The scenographies lead to the emergence of new cognitive possibilities, notably at the level of the sensory-Motor perception patterns. They are explored through the practice of installation. The second part focuses on the stakes of a specific spectaroriality. Following previous approaches, we proposeto identify an epistemological shift of the notion of space which occurs with the integration of hypermedia computationalareas into the topological field. Being thus made an interactor, the spectator becomes a potential author. The notion of auctoriality is tempered in the way of constraint caused by the apparatus. By resorting to systemic thought and relying on theanalysis of our productions, we can define the dialectic between constraint and freedom as programmed action fields inrelation with individual action fields. Steigler’s theory enables us to regard the spectator as a practician-Body in the plasticsphere. The third part deals with the poietics of interaction technologies, on which is brought to bear an approach focusingon plasticity. As metatools, the interactivity and the digital tools it requires in the constitution of media promote a new approach to the worshop. The multiplicity of skills this practice involves leads to poietic considerations as regards collective practices.The identification of a culture specific to digital art as a cross-Disciplinary field underlines the influence of a professional field established around these practices. Interactivity practice, by experimentation, stends out in a creation-Research-Profession process
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Babic, Kristopher T. "InterDraw - An Online, Interactive, Collaborative Art Program." Digital WPI, 2000. https://digitalcommons.wpi.edu/etd-theses/825.
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InterDraw is an art program that facilitates the artistic collaboration of multiple users. The goal of this collaboration is the creation of one unique computer image that represents a combination of the ideas and images provided by each of the users. InterDraw extends the already collaborative nature of the World Wide Web through the use of the Java programming language, which provides InterDraw with its cross-platform capabilities. Previously, collaborative art-like programs have been developed for specific operating systems or environments. This limitation prohibits any collaboration with users from other operating systems or environments. InterDraw breaks this limitation by using the power of Java to provide program access from any computer with an Internet connection and a Java enabled browser. The InterDraw clients collaborate by transforming objects drawn by a user into compressed binary strings that are then transported over the Internet to a server application. This server maintains a database of artist contributions and updates all other InterDraw clients collaborating on the same image. These binary strings provide a reliable transmission format that allows the drawn objects to be recreated by the InterDraw clients. Through user testing, InterDraw has been shown to provide an effective and entertaining forum for the creation of collaborative, dynamic images.
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Chanhthaboutdy, Somphout. "Vanité interactive : recherche et expérimentation artistique." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080060/document.
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Ce travail se positionne dans le domaine de l'interactivité sensorielle, de la 3D temps réel et des arts visuels. Cette étude artistique et technique s’inscrit directement dans une recherche entamée depuis des années, sur la question de la représentation sublimée de la mort, qui se retrouve pleinement transfiguré dans l’emblème de la Vanité et sur la recherche de nouvelles façons d’entretenir un dialogue en rétroaction avec l’œuvre. Sur le point artistique, la recherche analyse le processus de création, qui a mené de la représentation sublimée de la mort en vidéo, à la réalisation et l’expérimentation de Vanité au sein de tableaux virtuels interactifs et immersifs. Cette analyse apporte des réponses aux questionnements envers la signification des intentions liées à la création et l’utilisation de Vanité en 3D dans des installations conversationnelles. Elle met en lumière les enjeux de ce procédé innovant par rapport à l’histoire de la Vanité depuis son apparition. Elle en approfondit le contenu en développant une démarche significative, sur la relation entre l’œuvre et le spectateur, par l’utilisation d’interface sensorielle comme support de dialogue. Sur le plan technique, l’étude porte sur l’utilisation d’une interface BCI (Brain computer interface) afin d’apporter une nouvelle façon d’appréhender et de dialoguer avec l’œuvre, dans le cadre d’un processus de rétroaction. Il en émane une interactivité où se mêlent la concentration et la méditation. Par le contrôle des ondes cérébrales et des contractions musculaires, le corps et l’esprit doivent se rejoindre, pour accéder à la maîtrise de l’interface BCI<br>This work is about sensory interactivity, real-time 3D and visual arts. This artistic and technical study falls within a long-term research, introducing the notion of an enhanced representation of Death, embodied by the Vanitas and exploring new ways of inducing feedback about a work of art.From an artistic point of view, this research analyses the creation process which led us from the enhanced representation of Death on video, to the experience of the Vanitas through a total immersion into virtual pictures. This analysis brings out the motives for the creation and the use of 3D Vanitases in interactive installations. It highlights the issues raised by this innovative process regarding the History of the Vanitas since its outbreak. It goes further, by developing an original approach, to the communication between the audience and the work of art, introducing the use of a sensorial interface as a medium.At the technical level, the study revolves around the use of a Brain Computer Interface (BCI), inducing a new way of discovering and interacting with a work of art, as part of a feedback process. It creates a sense of interactivity, between concentration and meditation. The control of the brainwaves and muscular contractions brings the Body and the Mind together to achieve the mastery of the BCI
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Drummond, Jon R. "Interactive electroacoustics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.
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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.
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Margerison, Paul. "An algorithmic and interactive approach to computer art." Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240001.
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Keays, William G. (William George) 1960. "Using high-bandwidth input/output in interactive art." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/61839.
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Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1999.<br>Includes bibliographical references (leaves 75-78).<br>Are we making the best use of commonly available high-bandwidth input/output ( I/O) devices on our computers? How would research on this subject be affected if it were driven by a purely artistic mandate? The bandwidth in question refers specifically to video input and output devices, the only high-bandwidth devices that are on found on common, conventional computers. Under normal circumstances, these devices transmit moving two dimensional images at rapid refresh rates; this high-bandwidth is a prerequisite for the capturing and viewing of motion images. A great potential exists in using this high-throughput capacity in applications that do not simply convey continuous moving images. In the burgeoning field of highly technological interactive art, a large number of works suffer from poorly adapted interface mechanisms. New high-bandwidth I/O configurations can serve to derive improved interfaces for the creation of interactive art. This course of research is not driven solely by the desire to create new technology and improved modes of interaction. As the the infusion of rapid-changing technology in art reaches popular levels, the role of the artist in society is equally in flux. The definition of such a role is sought as part of this thesis. These goals are accomplished through the study of the nature and history of interactivity in art, the development of new prototypes, the creation and exhibition of interactive art works in public spaces, and through a close analysis of the role of the artist-scientist in contemporary society.<br>b William G. Keays.<br>S.M.
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Blackaller, Luis (Luis Eduardo Blackaller Bages). "Performing process : the artist studio as interactive art." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44806.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.<br>Includes bibliographical references (p. 123-127).<br>Digital technology has radically changed human communication in the last few decades. The digital medium has pushed cultural artifacts towards forms defined by interaction, participation, and social systems. This thesis looks at recent changes of artistic practice in the realm of digital visual arts. In order to study the intersection between interactive art and the digital image, I will describe the design of an online participatory studio system, where an artist can perform the creative process and respond to remote feedback from audience participants at the same time. Such a system opens a conversation between artist and audience that will shed new light on how we can learn, understand and communicate boundaries in digital space and digital interactive art.<br>by Luis Blackaller.<br>S.M.
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DUNNE, THOMAS G. "DEFINING THE ART OF INTERACTIVE REAL-TIME 3D." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085463758.
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Vorhees, Chris. "A series of viewer interactive sculptures." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1168144.
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The challenge of creating a dialogue between a viewer and an artwork is the next logical step in the evolution of my artwork. The problem is to find a way of creating art that does not only remain visual. By the same token, also to create something that does not remain purely conceptual and out of touch. In order to make the experience of encountering artwork more meaningful, a merging of physical and mental interaction in the viewer is strived for.This project serves as a tool for reflection on myself and understanding a way of working. It also provides an opportunity to clarify many of the beliefs and positions that I hold to be true in what I do in theory and practice. This project attempts to provide viewers new experiences with art through interaction.<br>Department of Art
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Voirol, Mary Agnes. "Interactive mechanized fairytale jewelry." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178353.
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The Primary objectives of this creative project were the exploration of well-known fairy tales (such as Snow White), and the process of creating interactive jewelry based on my own personal interpretation of these stories. I designed and constructed seven jewelry pieces using traditional metal working techniques along with innovative contemporary surface treatments such as etching, sandblasting and colored pencil decoration. Each piece contained a "surprise" interactive element - some pieces contain moving parts, while others contain small pieces of fabric tape on which sentences are written. These tapes are mechanized to wind up into the ring or pendant.This body of work required a variety of metalsmithing techniques including complex constructions, copper forming, casting, lathe turning, and stone setting.<br>Department of Art
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Ha, Byeongwon. "Nam June Paik as a Pioneer of Interactive Art." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5405.
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Nam June Paik (1932-2006) is well known as the father of video art. However, this study demonstrates the importance of his earlier interactive art (1961-63), which historically has been overshadowed by his video art. At the climax of his career in interactive art, Paik introduced his two-way art to the public at his first solo exhibition in Wuppertal, West Germany, in 1963. Interactive art itself has been a peripheral area in the history of art, and it has plural pioneers across disciplinary boundaries. Among the several origins of interactive art, Nam June Paik utilized music as a fundamental approach to design the emerging art.
Concentrating on Paik’s music theory and practice in West Germany, my research traces the unexplored academic area of his articles about new music in the Korean newspaper Chayushinmun(1958-59). The perspective in his articles toward new music became a significant foundation for his progressive interactive art. Based on his music background, Paik knew how to incorporate musical instruments and devices into his interactive art. Finally, this study will articulate a concrete relationship between Paik’s musical experiences and his interactive art. It argues that his interactive pieces, based on his musical experiences, make him one of the most creative pioneers of interactive art.
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Sommerer, Christa. "Modeling complex adaptive systems and complexity for interactive art." Thesis, University of South Wales, 2002. https://pure.southwales.ac.uk/en/studentthesis/modeling-complex-adaptive-systems-and-complexity-for-interactive-art(3d7143e3-eb05-49b9-8965-0ffa53767eb9).html.
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Complex System Sciences, as a field of research, has emerged in the past decade. It studies how parts of a system give rise to the collective behaviours of the system and how the system interacts with its environment. It approaches the question of how life on earth could have appeared by searching for inherent structures in living systems and trying to define common patterns within these structures. Complex Systems are also often described as systems where the whole is more complex than the mere sum of its parts, and these systems are also considered to be at the point of maximum computational ability, maximum fitness and maximum evolvability. Several scientific models have simulated Complex Adaptive Systems. These try to model the emergence of complexity within computer-simulated environments inhabited by artificially evolving organisms. My objective in this thesis is to study the application of Complex Systems and Complex Adaptive Systems to Interactive Art and to test how one could construct interactive systems that can create dynamic and open-ended image structures that increase in complexity as users interact with them. Ideally, these interactive artworks should become comparable to Complex Adaptive Systems or even become Complex Systems themselves by satisfying some of the key properties of such systems.
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Raboisson, Nathanaëlle. "Esthétique d'un art expérientiel : l'installation immersive et et interactive." Paris 8, 2014. http://octaviana.fr/document/18500332X#?c=0&m=0&s=0&cv=0.
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L’art expérientiel tend à confondre, par ses qualités, oeuvre et expérience. En art contemporain, certains artistes conçoivent des installations qui nécessitent une implication corporelle forte pour être reçue par leur visiteur, pour être vécue. Cette thèse est dédiée à l’étude du processus de réception de l’installation en tant qu’oeuvre d’art expérientiel. Comment se construit l’expérience de cette catégorie d’oeuvre ; quelles sont ses modalités et ses propriétés ? Après un bref état de l’art, nous avons étudié, dans une première approche théorique, le dispositif technique pour en dégager les spécificités liées à la situation ; spécificités spatio-temporelles, praxiques, formelles et structurelles. Une seconde approche théorique s’est orientée vers l’analyse de l’expérience du visiteur afin de comprendre comment les spécificités du dispositif pouvaient influer sur ses habitudes psychomotrices et sensorimotrices et ainsi lui offrir de nouvelles potentialités. Une dernière partie, pratique, expose les oeuvres créées durant le doctorat, ainsi que les résultats d’une étude comportementale. Cette thèse souhaite dresser les prémices d’une esthétique nouvelle en exposant le processus d’appropriation de l’installation immersive et interactive et en démontrant que, dans certains cas, elle peut proposer une expérience singulière, qui devient expérience de soi, d’un nouvel état d’agir et d’être esthétique<br>Via its qualities, experiential art tends to intermingle the actual artwork and experience. In contemporary art, certain artists produce installations that call for a strong corporeal investment on the part of the spectator/vistitor, that call to be experienced. This thesis studies the process of reception of the installation as experiential artwork. How does the experience of this kind of work get constructed ? What are its modalities and features ? After a brief presentation of this type of art, the thesis offers a first theoretical approach that focuses on the technical assemblage so as to single out the situationbased specificities of it : spatio-temporal, practical, formal and structural. A second theoretical approach then looks at the visitor's experience so as to make sense of how the assemblage's specificities can impact his/her psycho-motor and sensori-motor habits, and thus offer new potentialities. In the last part of the thesis, a practical approach is offered, whereby the various works created during the doctoral research are presented, along with the results of a behaviourist study. This thesis hopes to offer the premise of a new aesthetics by exposing the process of appropriation of immersive/interactive installations and by demonstrating that, in certain cases, such installations can propose a singular experience, a selfexperience, a new active and aesthetic state of being
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Sikora, Andrzej. "Interactive relationships between artist and recipient in virtual art." Doctoral thesis, Katowice : Uniwersytet Śląski, 2020. http://hdl.handle.net/20.500.12128/18633.
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Niniejsza dysertacja to analiza „podstawowego doświadczenia VR” — interaktywnej
relacji pomiędzy twórcą a odbiorcą jego dzieła, które jest rodzajem interaktywnej sztuki osadzonej w cyfrowej rzeczywistości. Studium zagadnienia rozpoczyna się od próby
przyjrzenia się trójkątowi Autor — Dzieło — Odbiorca, który był tematem burzliwego
dyskursu między luminarzami XX wieku, od Umberto Eco do Michela Foucaulta; ta
historyczna perspektywa jest wszakże tylko preludium do kolejnego rozdziału, gdzie
znacznie współcześniejsi nam rozmówcy zastanawiają się nad relacją bezpośredniego
uczestnictwa w sztuce. Rozdział wstępny zawiera także krytyczny przegląd wielu definicji
interaktywności oraz rzeczywistości wirtualnej i bada kwestię interaktywnej natury
człowieka z filozoficznego i socjologicznego punktu widzenia.
Rozdział pierwszy poświęcony jest aktualnej dyskusji na temat roli interaktywności w
relacjach między artystą a odbiorcą, przy czym główny nacisk pada tutaj na dzieła
zapośredniczane technologicznie. Autor zastanawia się nad doświadczeniem
interaktywności i wieloma elementami, które składają się zarówno na artystyczny proces
dzielenia się dziełem sztuki, jak i na odbiór przez publiczność dzieła, kiedy to
„uczestnikami są widzowie i użytkownicy w interakcji z tym dziełem i między sobą
(Rogala, 1997)”. Rozdział zamykają rozważania na temat multimedialnych dzieł
Mirosława Rogali, w których artysta sięga do własnej poezji, aby wywołać odwrotną
transformację swoich nowych fotografii, a jednocześnie w większym stopniu kontrolować
gotowy, przekształcony już obraz. Wydaje się, że jest to odpowiedź Rogali na
postmodernistyczny świat wszechobecnej SI.
Rozdział drugi analizuje wzorce obecne w sztuce interaktywnej, filmie, wideo i grach oraz
zajmuje się cyberświatem, uniwersum w którym zachodzą interaktywne praktyki
artystyczne. Autor bada również narzędzia wykorzystywane do tworzenia, dystrybucji,
wystawiania i odbioru dzieł interaktywnych. Analiza obejmuje wybrane platformy
Wirtualnej Rzeczywistości, a uwagę autora przykuwają zwłaszcza indywidualne i
zbiorowe doświadczenia wzajemności za pośrednictwem tych platform.
W trzecim i ostatnim rozdziale autor przedstawia wybrane projekty z zakresu wirtualnej
rzeczywistości na wszystkich platformach VR, w tym pierwsze kino VR w Amsterdamie,
przeżywającą rozkwit Produkcję Wirtualną w Hollywood oraz DEL+ALT+CTRL, nową
interaktywną operę w 8 częściach autorstwa Mirosława Rogali.
Ciągle zmieniające się, dynamiczne i wielowymiarowe relacje między artystą a
użytkownikiem (użytkownikami) w przestrzeni zapośredniczonej technologicznie okazują
się jeszcze bardziej złożone, gdy zderzają się ze sztuczną inteligencją, mimo że wciąż stoją przed nimi te same dylematy w debacie na temat stopnia, w jakim społeczeństwo lub
technologia determinują sposób interakcji artysty, dzieła i odbiorcy. Samouczące się
maszyny oparte na głębokich sieciach neuronowych posiadają zdolność do śledzenia
naszej biernej wiedzy i instynktownych reakcji. Potrafią zmniejszyć spontaniczność
interaktywności, którą dzisiaj cieszymy się w znacznym stopniu. Autor stawia więc
ostatnie pytanie: czy sztuczna inteligencja odbierze nam interaktywność, sprowadzając nas
znów do roli obserwatorów? Rozdział zamyka próba przewidzenia, jaka będzie przyszła
rola interaktywności jeśli chodzi o autonomię na styku człowieka i maszyny i jaką formę
przybierze proces podejmowania decyzji — innymi słowy, jakie problemy z manipulacją,
władzą i kontrolą wynikną z wszechmocnej funkcjonalności SI, która będzie zarządzać
naszym życiem na makro i mikro poziomie.
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Hanney, Lesley. "Family assessment and interactive art exercise : an integrated model." Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/46525.
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This thesis presents research into the development of a family assessment and interactive art exercise that is designed for children between the ages of two to eleven with complex psychiatric difficulties and those who have been exposed to significant abuse, trauma, and neglect and with family relationship problems. An overview of the field of child development, trauma and attachment is presented. Various clinical approaches and tools that have been used to engage and assess children is then explored and analysed including psychodynamic and systemic, such as art therapists, family therapists and family art therapists. These explorations created the framework for the development of the family assessment and interactive art exercise using an integrative model that is a synthesis of theoretical approaches and clinical assessment tools. The family assessment and interactive art exercise was then applied to four families and the findings evaluated and presented through vignettes, observations and discussions. The results demonstrated that when applying an integrative model of assessment to children with complex needs increases child inclusion, multiple levels of information can be effectively and efficiently observed and assessed and first-rate multidisciplinary treatment plans can be created.
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Hanney, Lesley. "Family assessment and interactive art exercise an integrated model /." View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/46525.
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Thesis (Ph.D.)--University of Western Sydney, 2009.<br>A thesis presented to the University of Western Sydney, College of Arts, Social Justice and Social Change Research Centre, in fulfilment of the requirements for the degree of Doctor of Philosophy in the field of Art Therapy. Includes bibliographies.
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Kuzminsky, Tracy V. "Interactive Whiteboard Technology within the Kindergarten Visual Arts Classroom." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/21.
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The purpose of this document is to design and record a Kindergarten visual arts unit using the Activboard to determine how student achievement, motivation, and interest are impacted. Methods of data collection include both observational recording and student interviews. The Activboard facilitates a highly interactive study of the art curriculum and data collected throughout the unit indicates a positive impact on student achievement, motivation, and interest.
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Lopez, Juan. "PORTRAITURE: AN INTERACTIVE EXPERIENCE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4205.
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Linking his thematic inspiration (the strange, the bizarre, the weird and the odd) to his artistic reflection, Lopez conceives of his work as based on his fascination with human facial expressions. "It is there where it is born", he says. Like Leonardo, he believes that the eye is the superior organ. Lopez's use of form and color represents his main objective: to show emotion, humanity and elegance. For that, it is necessary for him to reveal character as well as beauty. It is again, the approach used by the great masters such as Leonardo, Velázquez, Géricault and Goya in representing integrity inside the strange, the bizarre, the weird and the odd. Lopez's art invites the viewer to stare at it, to establish a cordial exchange and to venture into the fascinating world of the unusual.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA
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Munro, Samantha Fawn. "Being for others : critical reflections on the stranger, the estranged and the self in participatory art." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017771.
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By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
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Johnson, Grant. "Otherworldly goods." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2361.
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Thesis (M.F.A.)--West Virginia University, 2002.<br>Title from document title page. Document formatted into pages; contains vi, 32 p. : ill. (some col.). Includes sound file in the mp3 audio format. Vita. Includes abstract. Includes bibliographical references (p. 29).
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Oxborrow, Marie Lynne Aitken. "Interactive Web Technology in the Art Classroom: Problems and Possibilities." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3172.
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Research has shown that the use of technology in curriculum, and art classrooms in particular, can benefit students. This thesis outlines these benefits which include the potential for technology to make learning more personal, assist students in their future careers, and allow opportunity for collaboration. Still, several obstacles impede the full-fledged realization of that potential, often leading teachers to avoid or ignore technology in their pedagogical strategies. This thesis addresses these obstacles and provides practical and theoretical solutions. Once these obstacles are overcome, teachers will be better able to incorporate new technology in their lessons, such as social media, podcasts, open-source websites, and online programs. As an example of art teaching that uses technology, this thesis also provides a sample lesson plan for secondary students, incorporating elements of interactive Web technologies that have been recommended by art education scholars.
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Seaman, William. "Recombinant poetics : emergent meaning as examined and explored within a specific generative virtual environment." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/recombinant-poetics(e26d7312-0586-4c42-bb25-3e47cc2d4a39).html.
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This research derives from a survey of primary and secondary literature and my practice as a professional artist using electronic information delivery systems. The research has informed the creation of an interactive art work, authored so that emergent meaning can be examined and explored within a specific generative virtual environment by a variety of participants. It addresses a series of questions concerning relationships between the artist, the art work and the viewer/user. The mutable nature of this computer-based space raises many questions concerning meaning production, i.e., how might such a techno-poetic mechanism relate to past practices in the arts, and in particular how might its use affect our understanding of theories of meaning? If the outcome of this part of the research suggests a radical transformation in meaning production as dynamically encountered through interactivity with a generative work of art, then how might the construction of this device inform a new field of practice? The scope of the topic and the secondary questions that flow from the initial speculation focus on the inter-conveyance of text (both spoken and written), image (both still and time-based) and music, as encountered by participants through interactive engagement within an authored and inter-authored virtual environment. The method has been to extend the realm of a series of theoretical positions relative to these areas as they appear in the mainstream literatures on art and interactivity, meaning and understanding. A virtual interactive art work has been developed in parallel to the literature survey and exhibited in Europe and Japan. The conclusions have been drawn by the author on the basis of a series of theoretical positions that examine the operative nature of an art work which is intended to generate emergent meaning. Future research is also discussed that seeks to extend our understanding and use of generative virtual environments.
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Head, Donna J. "Advanced Placement Art History: Effective Teaching Strategies in the Art Beyond the European Content Area." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1037.
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This thesis presents a study of current research on effective teaching strategies in art beyond the European tradition content area of the Advanced Placement Art History (APAH) examination administered by the College Board. Three Advanced Placement Art History teachers participated in this study. Each teacher demonstrated successful and effective strategies in her APAH program. The criteria for selection required that each participant taught the class for three years (2001-4) and their students scored higher than the national average as published by the College Board. Each teacher discussed with the author how they teach the art beyond the European tradition content area. Presented in this study are teaching strategies each participant used in the classroom. Emphasis is placed on effective strategies that ask the students to participate in their learning.
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Ryan, Bengtsson Linda. "Re-negotiating social space : Public art installations and interactive experience." Doctoral thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-11723.
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Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres. The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today’s media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts. The study uses three contemporary Scandinavian interactive art installations, ‘Colour by Numbers’, ‘Emotional Cities’ and ‘Climate on the Wall’, to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans’ sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans’ perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.
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Woolf, Sam. "Expanded media : interactive and generative processes in new media art." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420707.
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Vasconcelos, Francisco Wesdley da Silva. "Refrains, mantras and chaos: compossibility and contemplation in interactive art." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7285.
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nÃo hÃ<br>This research aims to restore, in the realms of cyberart, the notions of refrain, compossibility and contemplation, through the development of an interactive installation named Ritus. Based on the Deleuzian notion of refrain as an expressive material capable of creating territories, a study was conducted concerning repetition as an enabler of the difference in philosophy and contemporary art. The concept of compossibility was adopted as a narrative model to artistic processes based on computer programming. The question of contemplation in art was treated in order to conceive the possibility of a paradoxical contemplative situation in interactive works. Furthermore, a study was conducted about the potential of sonic material as a trigger of altered states of consciousness. Finally, was outlined the genesis path of the installation Ritus, based on an interactive environment in which sound and image repeated in loops are actualized by the interactor according its position in a room, evoking audiovisual contents captured on religious events performed in state of CearÃ.<br>Esta pesquisa pretende reconstituir, no Ãmbito da ciberarte, as noÃÃes de ritornelo, compossibilidade e contemplaÃÃo, por meio do desenvolvimento de uma instalaÃÃo interativa denominada Ritus. Partindo da noÃÃo deleuzeana de ritornelo como matÃria expressiva criadora de territÃrios, foi realizado um estudo acerca da repetiÃÃo como elemento propiciador da diferenÃa na filosofia e na arte contemporÃnea. O conceito de compossibilidade foi adotado como modelo de narrativa para os processos artÃsticos baseados em programaÃÃes computacionais. A questÃo da contemplaÃÃo na arte foi tratada no sentido de conceber a possibilidade paradoxal de uma situaÃÃo contemplativa em obras interativas. Ademais, foi realizado um estudo sobre as potencialidades da matÃria sonora como provocadora de estados alterados de consciÃncia. Por fim, foram delineados os percursos de gÃnese da instalaÃÃo Ritus, baseada num ambiente interativo em que sons e imagem reiterados na forma de loops sÃo atualizados pelo sujeito interator a partir de sua posiÃÃo numa sala, evocando material audiovisual captado em manifestaÃÃes religiosas realizadas no estado do CearÃ.
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Bech, Tine. "Playful interactions : a critical inquiry into interactive art and play." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/25212/.
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My practice-based doctoral research explores how I, as an artist, can create conditions and possibilities for playful interaction in and around interactive artworks. Using practice- based research methods four artworks were created, presented and examined in relation to my research questions concerning play. The three key research questions were: 1] How do the properties and affordances of materials and technologies foster play and interactions? 2] How can artists conceptualise physical participation and play in interactive artworks? 3] What kind of play takes place in and around interactive artwork? My inquiry focused on the development of a model for making playful and interactive artworks and the creation of a vocabulary of play, which demonstrates the different kinds of play initiated through my practice and research. The model provides alternative ways to think about the role of play within interactive art and consists of a series of tangible making gambits for eliciting playful interactions from the audience. The model will be useful for future interactive artists, as well as other fields concerned with the creation of playful experiences. Underpinning my process of creating playful experiences were methods of observation of the participants’ interactions, which were used in order to enable change and improvement of the artworks throughout the research process. I argue that by employing a sculptural approach to interactive art, using the visual arts tradition of working with the properties of materials and affordances of technology, an invitation to play was created. I propose that to focus on the material’s affordance, rather than on interactive systems, provides additional ways to create interactivity. I also suggest that by understanding technology as a sculptural and embodied material we can move the focus from the technology to what the art does and says. In this sculptural playful interactivity audience members are allowed and encouraged to touch and physical and immersive participation is invited. I explored the body as a particular mode of interaction that can bridge the divide between doing and looking in the gallery, developing theories of the playful body and how audiences connect through play. I argue that the combination of sculptural, captivating interfaces, where the artwork reacts reliably, enables the audience to develop play mastery and become fully engaged. These playful interactions invite people to be curious and seek to engage audiences into dialogue, thereby opening up the possibility for play. Play is an essential pre-condition for the emergence of possibilities and, as such, it is the flexible structure by which meaningful interaction can arise. These interactions are not about our relation to technology but rather about new ways of experiencing culture. In this context interactive art is part of a wider change in contemporary art, where artists are creating culture to be experienced rather than consumed.
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Enros, Max. "Development of an Interactive VR Experience for an Art Museum." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79463.
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In this project, a prototype for a virtual reality museum experience was developed. The virtual environment contains paintings and birds that the user can interact with to display information. A text panel or an image is displayed next to the object the user interacted with. The text or image displayed contains information about the object. A narration of the information can be played for some of the images and text panels. This enhances the experience of the museum compared to looking at an object in the real world. The virtual reality experience allows the museum to be more interactive and fun for the visitors. A few user tests were performed to test the usability of the experience. The tests found a few usability problems that have to be fixed before this experience could be part of a real museum.<br>I detta projekt utvecklades en prototyp för ett virtual reality museum. Den virtuella miljön innehåller tavlor och fåglar som användaren kan interagera med för att visa information. En textpanel eller en bild visas bredvid objektet som användaren interagerade med. Texten eller bilden som visas innehåller information om objektet. En inspelning av informationen kan spelas upp för några av bilderna och textpanelerna. Detta förbättrar museets upplevelse jämfört med att titta på ett objekt i den verkliga världen. Virtual reality-upplevelsen gör att museet kan vara mer interaktivt och roligt för besökarna. Några användartester genomfördes för att testa upplevelsens användbarhet. Testerna hittade några användbarhetsproblem som måste åtgärdas innan denna upplevelse kan vara en del av ett verkligt museum.
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Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.
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Genest, Valérie, and Valérie Genest. "Rêves de L'Infini... : réflexions sur l'installation immersive interactive." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25334.
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Ce texte d’accompagnement du projet explique dans le détail les notions relatives à ma recherche-création en arts visuels. Les principaux points traités sont en lien avec l’installation immersive interactive travaillée par l’entremise de la fibre optique, la lumière et la microprogrammation. Il s’agit d’une œuvre multidisciplinaire et hybride qui allie la sculpture et l’art numérique dans un ensemble médiatique interactif rappelant à la fois le microcosme et le macrocosme dans son esthétique visuelle générale.<br>Ce texte d’accompagnement du projet explique dans le détail les notions relatives à ma recherche-création en arts visuels. Les principaux points traités sont en lien avec l’installation immersive interactive travaillée par l’entremise de la fibre optique, la lumière et la microprogrammation. Il s’agit d’une œuvre multidisciplinaire et hybride qui allie la sculpture et l’art numérique dans un ensemble médiatique interactif rappelant à la fois le microcosme et le macrocosme dans son esthétique visuelle générale.
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Cason, Nancy F. (Nancy Foster). "The Effect of Interactive Multimedia on the Critical Writings of Art History Survey Students." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332664/.
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In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?
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Buccellato, Steven. "AdTech Interactive Media Network /." Online version of thesis, 1994. http://hdl.handle.net/1850/11757.
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Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Thesis, Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170/document.
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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie<br>With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular
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Smith, Jeffrey Statler. "Multi-camera: interactive rendering of abstract digital images." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/341.
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The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.
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Nigten, Anne. "Processpatching : defining new methods in aRt&D." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5655/.
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In the context of a rapidly changing domain of contemporary electronic art practice- where the speed of technological innovation and the topicality of art 'process as research' methods are both under constant revision- the process of collaboration between art, computer science and engineering is an important addition to existing 'R&D'. Scholarly as well as practical exploration of artistic methods, viewed in relation to the field of new technology, can be seen to enable and foster innovation in both the conceptualisation and practice of the electronic arts. At the same time, citing new media art in the context of technological innovation brings a mix of scientific and engineering issues to the fore and thereby demands an extended functionality that may lead to R&D, as technology attempts to take account of aesthetic and social considerations in its re-development. This new field of new media or electronic art R&D is different from research and development aimed at practical applications of new technologies as we see them in everyday life. A next step for Research and Development in Art (aRt&D) is a formalisation of the associated work methods, as an essential ingredient for interdisciplinary collaboration. This study investigates how electronic art patches together processes and methods from the arts, engineering and computer science environments. It provides a framework describing the electronic art methods to improve collaboration by informing others about one's artistic research and development approach. This investigation is positioned in the electronic art laboratory where new alliances with other disciplines are established. It provides information about the practical and theoretical aspects of the research and development processes of artists. The investigation addresses fundamental questions about the 'research and development methods' (discussed and defined at length in these pages), of artists who are involved in interdisciplinary collaborations amongst and between the fields of Art, Computer Science, and Engineering. The breadth of the fields studied necessarily forced a tight focus on specific issues in the literature, addressed herein through a series of focused case studies which demonstrate the points of synergy and divergence between the fields of artistic research and development, in a wider art&D' context. The artistic methods proposed in this research include references from a broad set of fields (e. g. Technology, Media Arts, Theatre and Performance, Systems Theories, the Humanities, and Design Practice) relevant to and intrinsically intertwined with this project and its placement in an interdisciplinary knowledge domain. The aRt&D Matrix provides a complete overview of the observed research and development methods in electronic arts, including references to related disciplines and methods from other fields. The new Matrix developed and offered in this thesis also provides an instrument for analysing the interdisciplinary collaboration process that exclusively reflects the information we need for the overview of the team constellation. The tool is used to inform the collaborators about the backgrounds of the other participants and thus about the expected methods and approaches. It provides a map of the bodies of knowledge and expertise represented in any given cross-disciplinary team, and thus aims to lay the groundwork for a future aRt&D framework of use to future scholars and practitioners alike.
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Pope, Simon. "Who else takes part? : admitting the more-than-human into participatory art." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:5a34e4c6-0031-40d5-8bc0-2157e53f91ea.
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This practice-led research concerns how participatory and dialogic art practice can come to terms with conditions after the Anthropocene (Crutzen & Stoermer 2000), the epoch when humans were recognized as 'an earth-changing force' (Lorimer 2015). These forms of art practice draw heavily on a social-constructivism that emphasizes human cultural endeavour above all else. But if we are to live in an epoch when humans can no longer presume to have mastery over nature (Plumwood 1993), then how can such a anthropocentric practice remain tenable? Indeed, it now seems impossible, inappropriate even, to make such a clear distinction between humans and others things. This is not to claim the end of the human. Rather, it is an invitation to think the 'more-than-human' (Whatmore 2002; 2006), and to ask, who else takes part with us in the social forms enacted through participatory and dialogic art practice after the Anthropocene? In doing so, this research turns towards aspects of new materialism (Dolphijn & van der Tuin 2015), and despite the associated risks - most obviously an accusation of "vulgarity" in insisting on the materiality of relations which subtend cultural and social ones - concludes that the benefits abound as the rest of the universe suddenly becomes our kin (Haraway 2015), our collaborators in research (Barad 2007), participants in art, and interlocutors in dialogue. This research is conducted through art (Frayling 1993), and is presented as a series of artworks and accompanying printed publications. Together, they attempt to admit the more-than-human into art practice - both as things and as a concept.
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Liu, Mankun. "The production of differential spaces through participatory art in Hong Kong 2000-2019." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/853.
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Since the preservation campaigns at Lee Tung Street, the Star Ferry Pier and the Queen's Pier that erupted in early to mid-2000s, Hong Kong participatory art has undertaken an increasingly proactive role in local spatial movements, which marks the organizational and strategical evolvements of this artistic category that differentiate it from earlier public and community art. While research initiatives after 2010 have identified regional geospatial politics as one major concern for local participatory art today, existing studies tend to take a contextual approach with main emphases on why art becomes involved in urban spatial struggles while rarely proceeding to investigate what strategies or modes of spatial practices have emerged from relevant projects and what implications they have on the material-social spaces of the city. This hesitation to forward an interpretive evaluation of the focused phenomenon stems from the absence of epistemological concreteness in participatory art theories and criticisms, which necessitates the introduction of new analytical tools in research on the subject. To answer the pending questions, this research employs Henry Lefebvre's theories of the social production of space to examine three representative projects selected from a preliminary survey of local participatory art programs/groups which involve spatial practices. In exploring the contents, strategies, and socio-spatial implications of these cases, it presents three models of spatially oriented participatory art. On this basis, a cross-case analysis is conducted to explore how participatory art in general offers counterforces against the neoliberalist social-material and aesthetic reprogramming of the city while laying the social foundation for the anticipated production of differential spaces. As more urban renewal and land resumption plans are anticipated to storm through the city in the coming decades, this research hopes to provide for practitioners, researchers, and local communities the discursive and conceptual tools to understand the role of art in preceding and future spatial contestations
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Chenzira, Ayoka. "Haptic cinema: an art practice on the interactive digital media tabletop." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39500.
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Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema".
This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.
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Schiller, Gretchen Elizabeth. "The kinesfield : a study of movement-based interactive and choreographic art." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2384.
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Through the exploration of practice and theory, this thesis aims to elucidate the characteristics of movement-based interactive art and the kinesfield, a term developed during the course of the research to describe the publics' body-medium. Movement-based interactive art is based on choreographed movements of the body, media and specialized technologies which facilitate new forms of participatory movement experience. This emergent art form has initiated new methods of experiencing and presenting dance in the public domain. lt is argued that this leads to new artistic developments which may constitute a paradigm shift of the concept of the body-medium in the field of dance. To understand whether the shift is indeed paradigmatic, and to contribute to the development of dance and technology, this study introduces and applies the concept of the kinesfield to extend the theory of the body-medium as kinesphere, first proposed by Laban, and to challenge its characteristics in the context of movement-based interactive art. The concept of the kinesfield is employed to describe the relational dynamic of movement interactions which traverse the body and material forms in unbounded space. By this account, the body-medium is not defined geometrically, as in Laban's theory, but as a temporal and spatial field. The kinesfield accounts for a complexity of movement characteristics which pertain to the dynamic and relational experiences which occur between the biological body and its natural and atmospheric surroundings, natural forces, and its socio-cultural milieu. The argument unfolds as a triangulation of three movement-based interactive artworks (Shifting Ground, trajets, and Raumspielpuzzle) presented during the course of the thesis, my physical and experiential knowledge in the field of dance and an interdisciplinary literature investigation in the fields of dance, physiology/psychology/cognitive science, philosophy and sociology, plastic arts and cinema. This written document is accompanied by a CD-ROM which serves as an electronic appendix including images, videos and diagrams of the works referenced in the written thesis.
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Bedworth, Jonathan. "Music as embodied action : interfacing autonomous systems and rhythmical expression." Thesis, University of South Wales, 2001. https://pure.southwales.ac.uk/en/studentthesis/music-as-embodied-action(d720a3e7-8b3f-466c-9663-877f31e60c1c).html.
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This thesis concerns a particular relationship between music practice, computer technology and the importance of rhythm as a vehicle of musical expression. The intention is to explore new technology to allow for computer-mediated improvisation of rhythmic forms that are derived from a consideration of West African drumming. In developing the thesis an analysis of personal practice is used to reveal the role of music technology and the musical aims implicit behind its adoption. The exploration of rhythm is seen as important both compositionally and as a means of mediating collaborative musical expression, and can be understood as the exploration of a particular form of complexity. In considering its importance, the idea of music as 'embodied action' is discussed and music is considered as a form of knowledge and communication equal to spoken language but different from it. These considerations form the background for a discussion of the musical potential that may lie within certain key developments in artificial life, situated robotics, and the computer modelling of perception. These technologies are looked at for their ability to recognize rhythmic complexity and to be able to suggest subtle adaptations of complex rhythmic forms. A proposal of an 'adaptive rhythm synthesis' is put forward. In its consideration, the rhythmic structures and improvisational styles found in West African music are seen to pose particular challenges for computer modelling and a range of possible solutions is explored. A consideration is also given to the nature of machine 'autonomy'. It is suggested that the progress may lie in some combination of these solutions. Finally, some thoughts about the relationship between art, music and science are discussed.
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art Postcard from Tunis /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.112222/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"Thesis submitted for the degree of Doctor of Philosophy in the School of Communication, Design and Media, University of Western Sydney, 31 August 2003" Includes bibliography.
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Keating, Marla Jo Matlick. "Computers in college art and design programs /." Online version of thesis, 1992. http://hdl.handle.net/1850/11630.
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Pryor, Sally. "Extending integrationist theory through the creation and analysis of a multimedia work of art : postcard from Tunis." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/746.
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This thesis consists of the production of an inter-active computer-based artwork, an analysis of its research outcomes, and an exploration of the theoretical issues that influenced the artistic practice. The artwork, Postcard from Tunis, is an Integrationist exploration of writing and its transformation at the human-computer interface. It is set in a personal portrait of Tunis, a city with a rich history of writing. The thesis starts with the theory of writing. The conventional view of real writing as representation of speech is shown to have serious limitations.Postcard from Tunis offers users who are not Arabic-literate the perception that there are actually no fixed boundaries between writing and pictures, as both are based on spatial configurations. User interaction with Postcard from Tunis, particularly rollover activity, creates a variety of dynamic signs that cannot be theorised by a bipartate theory of signs and that transcend a distinction between the verbal and the non-verbal altogether. Postcard from Tunis both extends Integrationist theory into writing and human-computer interaction and also uniquely articulates this integration of activities in a way that is impossible with written words on paper. The research asserts the validity of the Integrationist theory of writing, language and human communication and of uncoupling these from spoken words. A framework is outlined for future Integrationist research into icons and human-computer interaction.
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Mubarak, Oussama. "Designing and Modeling Collective Co-located Interactions for Art Installations." Electronic Thesis or Diss., Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1170.
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À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie<br>With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular