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Letteratura scientifica selezionata sul tema "Interactive art"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Interactive art"

Eiserman, Jennifer, e Gerald Hushlak. "Keeping Interactive Art Interactive". International Journal of the Inclusive Museum 6, n. 2 (2014): 183–96. http://dx.doi.org/10.18848/1835-2014/cgp/v06i02/44449.

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Carlisle, Anne. "Art & Technology: Interactive Art". Circa, n. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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Wong, Chee-Onn, Keechul Jung e Joonsung Yoon. "Interactive Art: The Art That Communicates". Leonardo 42, n. 2 (aprile 2009): 180–81. http://dx.doi.org/10.1162/leon.2009.42.2.180.

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

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Gaifman, Milette, e Lillian Lan-ying Tseng. "Interactive Art History". Art Bulletin 102, n. 1 (2 gennaio 2020): 6. http://dx.doi.org/10.1080/00043079.2020.1670604.

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Han, Su Jin. "Narrative Interaction Experience of Interactive Media Art". TECHART: Journal of Arts and Imaging Science 6, n. 3 (31 agosto 2019): 6–8. http://dx.doi.org/10.15323/techart.2019.8.6.3.6.

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

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

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Edmonds, Ernest. "The Art of Interaction: What HCI Can Learn from Interactive Art". Synthesis Lectures on Human-Centered Informatics 11, n. 1 (8 marzo 2018): i—73. http://dx.doi.org/10.2200/s00825ed1v01y201802hci039.

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

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

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LUKICHEV, RUSLAN V. "CONCERNING THE ISSUE OF GENERATIVE ART CLASSIFICATION: DEFINITION OF CONCEPTS". ART AND SCIENCE OF TELEVISION 15, n. 3 (2019): 11–31. http://dx.doi.org/10.30628/1994-9529-2019-15.3-11-31.

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

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Kluszczynski, RyszardW. "Strategies of interactive art". Journal of Aesthetics & Culture 2, n. 1 (gennaio 2010): 5525. http://dx.doi.org/10.3402/jac.v2i0.5525.

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Tesi sul tema "Interactive art"

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
Department of Communications Studies
Gregory Paul
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
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
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.
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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Libri sul tema "Interactive art"

George, Fifield, Ketner Joseph D, Donath Judith e Milwaukee Art Museum, a cura di. Act/react: Interactive installation art. Milwaukee, WI: Milwaukee Art Museum, 2008.

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Seevinck, Jennifer. Emergence in Interactive Art. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45201-2.

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Yasui, Miki. Time in interactive art. London: LCP, 2002.

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Wassermann, Selma. The Art of Interactive Teaching. New York: Routledge, [2017]: Routledge, 2017. http://dx.doi.org/10.4324/9781315174624.

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Solarski, Chris. Interactive Stories and Video Game Art. Boca Raton, FL : Taylor & Francis, 2016.: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/b21636.

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Fahlström, Öyvind. The interactive art of Öyvind Fahlström. [s.l.]: [s.n.], 2002.

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Dombrower, Eddie. Dombrower's art of interactive entertainment design. New York: McGraw-Hill, 1998.

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Adams, Laurie. A history of western art. 4^a ed. Boston: McGraw-Hill, 2005.

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Gerfried, Stocker, Sommerer Christa 1964- e Mignonneau Laurent 1967-, a cura di. Christa Sommerer & Laurent Mignonneau: Interactive art research. Wien: Springer, 2009.

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Gerfried, Stocker, Sommerer Christa 1964- e Mignonneau Laurent 1967-, a cura di. Christa Sommerer & Laurent Mignonneau: Interactive art research. Wien: Springer, 2009.

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Capitoli di libri sul tema "Interactive art"

Stern, Nathaniel. "Interactive Art". In A Companion to Digital Art, 310–29. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch13.

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Franco, Francesca. "Interactive Generative art". In Generative Systems Art, 89–116. New York: Routledge, 2017. | Series: Digital research in the: Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-6.

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Sarcar, Vaskaran. "Interfaces: An Art in OOP". In Interactive C#, 123–44. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3339-9_5.

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Knoller, Noam. "The Expressive Space of IDS-as-Art". In Interactive Storytelling, 30–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34851-8_3.

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Hernandez Mengesha, L., e C. J. James-Reynolds. "Interactive Evolutionary Generative Art". In Research and Development in Intelligent Systems XXXIII, 377–82. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47175-4_28.

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Seevinck, Jennifer. "Three Interactive Art Systems". In Springer Series on Cultural Computing, 71–96. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45201-2_5.

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Edmonds, Ernest. "Learning from Interactive Art". In The Art of Interaction, 13–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-031-02222-7_3.

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Popov, Ivan. "When Is Art Interactive?" In Balkan Analytic Forum, 247–55. Belgrade ; Belgrade: Center for Contemporary Philosophy — Balkan Analytic Forum ; University of Belgrade — Faculty of Philosophy, 2024. http://dx.doi.org/10.18485/baf.2024.1.ch12.

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Knoller, Noam. "Agency and the Art of Interactive Digital Storytelling". In Interactive Storytelling, 264–67. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16638-9_38.

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Vassos, Stavros, Eirini Malliaraki, Federica dal Falco, Jessica Di Maggio, Manlio Massimetti, Maria Giulia Nocentini e Angela Testa. "Art-Bots: Toward Chat-Based Conversational Experiences in Museums". In Interactive Storytelling, 433–37. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48279-8_43.

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Atti di convegni sul tema "Interactive art"

"Critical art/interactive art/virtual art". In the 20th annual conference, chair Timothy Druckrey. New York, New York, USA: ACM Press, 1993. http://dx.doi.org/10.1145/166117.166176.

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Hsu, Chao-Chi, e Pey Chwen Lin. "Interactive installation art". In ACM SIGGRAPH ASIA 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900354.1900380.

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Ning, Ye, e Terence Sim. "Interactive Portrait Art". In 2008 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2008. http://dx.doi.org/10.1109/wacv.2008.4543998.

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Tan, Tele, Min Chew Lim, Mihai Lazarescu e Ling Li. "Interactive Digital Art through Chameleon Art". In Annual International Conferences on Computer Games, Multimedia and Allied Technology. Global Science & Technology Forum (GSTF), 2008. http://dx.doi.org/10.5176/978-981-08-8227-3_cgat08-49.

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Clark, Sean. "Revisiting Interactive Art Systems". In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.38.

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Cornock, Stroud. "THE INTERACTIVE ART SYSTEM". In CAT 2010: Ideas before their time : Connecting the past and present in computer art. BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/cat2010.3.

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Shim, Hyunjung. "Session details: Interactive Art". In MM '18: ACM Multimedia Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3286950.

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Kanaya, Ichiroh, Masataka Imura e Mayuko Kanazawa. "Interactive art to go". In ACE '14: 11th ADVANCES IN COMPUTER ENTERTAINMENT TECHNOLOGY CONFERENCE. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2663806.2663871.

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Boden, Margaret A. "Aesthetics and interactive art". In the 5th conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1056224.1056225.

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"Session details: Interactive Art". In 2018 ACM Multimedia Conference, chair Hyunjung Shim. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3240508.3286950.

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Rapporti di organizzazioni sul tema "Interactive art"

Seidametova, Zarema S., Zinnur S. Abduramanov e Girey S. Seydametov. Using augmented reality for architecture artifacts visualizations. [б. в.], luglio 2021. http://dx.doi.org/10.31812/123456789/4626.

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Nowadays one of the most popular trends in software development is Augmented Reality (AR). AR applications offer an interactive user experience and engagement through a real-world environment. AR application areas include archaeology, architecture, business, entertainment, medicine, education and etc. In the paper we compared the main SDKs for the development of a marker-based AR apps and 3D modeling freeware computer programs used for developing 3D-objects. We presented a concept, design and development of AR application “Art-Heritage’’ with historical monuments and buildings of Crimean Tatars architecture (XIII-XX centuries). It uses a smartphone or tablet to alter the existing picture, via an app. Using “Art-Heritage’’ users stand in front of an area where the monuments used to be and hold up mobile device in order to see an altered version of reality.

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Plessi, Fabrizio, Celestino Soddu e Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, febbraio 2003. http://dx.doi.org/10.18235/0005909.

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An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.

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Goldie, James. Interactive: where are cities sinking? Monash University, maggio 2023. http://dx.doi.org/10.54377/bf9b-22e1.

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Sequeira, Dora María, Ileana Alvarado V. e Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, agosto 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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Goldie, James. Interactive: Fire danger days are growing. Monash University, dicembre 2023. http://dx.doi.org/10.54377/3a98-8950.

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Wallace, ina F., Meera Viswanathan, Stephanie McInnis e Jessica Sobolewski. How Effective Are Interactive Social Media Interventions for Changing Health and Health Behaviors? A Cochrane Review Summary with Commentary. RTI Press, settembre 2023. http://dx.doi.org/10.3768/rtipress.2023.rb.0034.2309.

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This brief summarizes the published Cochrane Review, “Behavioural Interventions Delivered Through Interactive Social Media for Health Behaviour Change, Health Outcomes, and Health Equity in the Adult Population,” by J. Petkovic, S. Duench, J. Trawin, O. Dewidar, J. Pardo Pardo, R. Simeon, M. DesMeules, D. Gagnon, J. Hatcher Roberts, A. Hossain, K. Pottie, T. Rader, P. Tugwell, M. Yoganathan, J. Presseau, & V. Welch (https://doi.org/10.1002/14651858.CD012932.pub2). The Cochrane Review examines whether interactive social media interventions improve health behaviors and health outcomes, concluding that such interventions may benefit physical activity, weight loss, and well-being, but the evidence is not strong due to extensive heterogeneity and small effects. The review defines interactive social media as “activities, practices, or behaviours among communities of people who have gathered online to interactively to share information, knowledge, and opinions… in which adults are able to communicate directly with each other” (p. 1). The review and original commentary acknowledge the limitations, suggesting that future social media intervention trials use a common set of outcome measures, examine the role of mediating variables, and measure adherence. The original commentary describes other social media research that has shown an impact.

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Vorus, William S. ONR Hull Propulsor Interaction ARI. Fort Belvoir, VA: Defense Technical Information Center, novembre 1990. http://dx.doi.org/10.21236/ada230809.

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Martins, Francisco, Cíntia França, Francisco Santos, Diogo Martinho, Carolina Saldanha e Élvio Rúbio Gouveia. Emerging technologies to promote fans interaction in football events: a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, febbraio 2023. http://dx.doi.org/10.37766/inplasy2023.2.0015.

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Review question / Objective: The search terms used for this review were constructed using the PICOS framework: (1) population were people in general of both genders and any age, (2) studies based on digital technologies used in football sportive events, (3) comparisons made in the domains of motivation, interaction, satisfaction and interest, (4) data reporting the use of digital tools (studies with no results reported will be considered, besides not having outcomes), (5) Intervention studies with a pre and post-test design, descriptive studies, theorical studies, and protocol proposals, and (6) articles written in English, Spanish or Portuguese. Condition being studied: Our concern is with the acceptance of the fans returning to the stadium with normality after a pandemic period. In addition, we also want to understand what kind of interactive applications are already on the market or with their well defined protocols that intend to increase fan interaction at live games, increasing their motivation to go to the stadium and to have accurate and updated live information.

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Khomenko, Tetiana, e Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, marzo 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.

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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.

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Palamar, Svitlana P., Ganna V. Bielienka, Tatyana O. Ponomarenko, Liudmyla V. Kozak, Liudmyla L. Nezhyva e Andrei V. Voznyak. Formation of readiness of future teachers to use augmented reality in the educational process of preschool and primary education. CEUR Workshop Proceedings, luglio 2021. http://dx.doi.org/10.31812/123456789/4636.

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The article substantiates the importance of training future teachers to use AR technologies in the educational process of preschool and primary education. Scientific sources on the problem of AR application in education are analyzed. Possibilities of using AR in work with preschoolers and junior schoolchildren are considered. Aspects of research of the problem of introduction of AR in education carried out by modern foreign and domestic scientists are defined, namely: use of AR-applications in education; introduction of 3D technologies, virtual and augmented reality in the educational process of preschool and primary school; 3D, virtual and augmented reality technologies in higher education; increase of the efficiency of learning and motivating students through the use of AR-applications on smartphones; formation of reading culture by means of augmented reality technology; prospects for the use of augmented reality within the linguistic and literary field of preschool and primary education. The authors analyzed the specifics of toys with AR-applications, interactive alphabets, coloring books, encyclopedias and art books of Ukrainian and foreign writers, which should be used in working with children of preschool and primary school age; the possibilities of books for preschool children created with the help of augmented reality technologies are demonstrated. The relevance of the use of AR for the effective education and development of preschoolers and primary school children is determined. Problems in the application of AR in the educational process of modern domestic preschool education institutions are outlined. A method of diagnostic research of the level and features of readiness of future teachers to use AR in the educational process of preschool and primary education has been developed. Criteria, indicators are defined, the levels of development of the main components of the studied readiness (motivational, cognitive, activity) are characterized. The insufficiency of its formation in future teachers in the field of preschool and primary education; inconsistency between the peculiarities of training future teachers to use AR in professional activities and modern requirements for the quality of the educational process; the need to develop and implement a holistic system of formation of the studied readiness of future teachers in the conditions of higher pedagogical education are proved. A model of forming the readiness of future teachers to use AR in the educational process of preschool and primary education has been developed.

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