Adams / Gibson / Müller Arisona Transdisciplinary Digital Art

Sound, Vision and the New Screen
1. Auflage 2008
ISBN: 978-3-540-79486-8
Verlag: Springer Berlin Heidelberg
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 7, 510 Seiten

Reihe: Communications in Computer and Information Science

This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.

Autoren/Hrsg.

Adams, Randy

Gibson, Steve

Müller Arisona, Stefan

Inhaltsverzeichnis

1;Preface;5
2;Table of Contents;7
3;Introduction: Why Transdisciplinary Digital Art?;10
3.1;Why Transdisciplinary Digital Art?;10
3.2;Why Digital Art?;11
3.3;ANote on {\it Digital Art} Weeks and {\it Interactive} Futures;11
4;Part I Philosophies of the Digital;12
5;The Ethics of Aesthetics;14
5.1;Introduction;14
5.2;Aesthetics;14
5.2.1;The Process of Aesthetic Judgement;15
5.2.2;Influences of Aesthetic Judgements;16
5.3;Aesthetics and Ethics;17
5.3.1;Aesthetics and Attitudes;18
5.3.2;Aesthetic Judgements and Entities;19
5.3.3;Promotion;20
5.3.4;Media Subterfuges;20
5.4;Conclusion;21
5.5;References;22
6;Ethical and Activist Considerations of the Technological Artwork;24
6.1;References;33
7;DIY: The Militant Embrace of Technology;35
7.1;References;41
8;Tuning in Rorschach Maps;42
8.1;Introduction;43
8.2;Mapping;44
8.3;ReMapping;45
8.4;Graphing Maps;47
8.5;Impossible Graphing and Mapping:;48
8.6;Rhizomic Structures;49
8.7;Collective Images;51
8.8;Conclusion: Tuning;51
8.9;References;54
9;Body Degree Zero Anatomy of an Interactive Performance;55
9.1;Which of My Selves?;55
9.2;Mimesis and Distanciation;56
9.3;The Einstein's Brain Project;57
9.4;Body Degree Zero;58
9.5;The Performance;62
9.6;Pattern Recognition;64
9.7;Conclusion;66
9.7.1;The HyperMorphic and the TransOrganic;67
10;Artificial, Natural, Historical Acoustic Ambiguities in Documentary Film;69
10.1;The Authentic Source;69
10.2;Natural and Artificial;71
10.3;The Sound of Home;72
10.4;Sound and Formalism;74
11;The Colour of Time (God Is a Lobster and Other Forbidden Bodies);80
12;Behind the Screen: Installations from the Interactive Future;89
12.1;Overview;89
12.2;Fauna of Screens;90
12.2.1;First Iteration: Circumstantial Evidence;91
12.2.2;Second Iteration: Facebooks and Monkey-Cliques;93
12.2.3;Third Iteration: Babelling Identities;95
12.2.4;Fourth Iteration: Self-imagining Otherwise;98
12.2.5;Fifth Iteration: Digital Dreams and Delusions;100
12.2.6;Sixth Iteration: A Digital Analogue;102
12.3;Behind the Screen;104
12.4;References;105
13;Transliteracy and New Media;110
13.1;References;117
14;Digital Archiving and "The New Screen";119
14.1;Introduction;119
14.1.1;Assumptions;120
14.1.2;Out with the Old;120
14.2;Archiving: Why?;120
14.3;Archiving: How?;122
14.4;Archiving: Whose Responsibility?;123
14.5;Questions/Pushback;124
14.6;Reflections/Conclusion;126
14.7;References;128
15;Digital Fiction: From the Page to the Screen;129
16;The Present [Future] of Electronic Literature;136
16.1;Introduction;136
16.2;Hayles’ Overview of Electronic Literature and Its Genres;137
16.2.1;Electronic Literature Described;137
16.2.2;Hayles’ Genres of 3D Works;138
16.3;Other 3D Genres;141
16.3.1;Multimedia Game Narratives;142
16.3.2;Corporeal Poetry;145
16.4;Pre-print Multimedia;148
16.5;References;149
17;Transient Passages: The Work of Peter Horvath;152
18;Part III Multimedia Composition and Performance;163
19;Visceral Mobile Music Systems;164
19.1;Introduction;164
19.2;Sensor Instruments;165
19.3;Network Music;167
19.3.1;Network Concerts;168
19.3.2;Network Based Installations;168
19.3.3;Hybrids;169
19.4;Mobile Music;170
19.4.1;Locative Media;171
19.4.2;Ubiquitous Music;171
19.5;Visceral Mobiles;172
19.5.1;Sensing and Localization;173
19.5.2;Local/Remote Hybrid Rendering;174
19.6;In Use;175
19.7;Reflexive Translucence;176
19.8;Conclusions;177
19.9;References;178
20;Designing a System for Supporting the Process of Making a Video Sequence;180
20.1;Introduction;180
20.2;Related Work;181
20.3;A Case Study;182
20.3.1;Roles of Sketching;182
20.3.1.1;Written and Diagrammatic Annotations for Designers' Multiple Viewpoints.;182
20.3.1.2;Visualising Relationships between Multiple Viewpoints.;184
20.3.2;Roles of Software;184
20.3.2.1;Observing ``Facts'' in a Material Sequence.;185
20.3.2.2;Trial-and-Error Processes.;186
20.3.3;Identified Design Rationales;187
20.3.3.1;Allowing Seamless Transition between Overview and Detail Representations.;187
20.3.3.2;Visualising Multiple Viewpoints and Timelines.;188
20.3.3.3;Enhancing Trial-and-Error Processes.;188
20.4;Knowledge Nebula Crystallizer for Time-Based Information;188
20.4.1;OverviewEditor: Providing a Bird-Eye View;189
20.4.2;DetailEditor: A Place for Incremental Formalisation;190
20.4.3;ElementEditor: Seamless Connection with FinalCut Pro HD;191
20.5;Towards a Generative Video Authoring System;192
20.6;Conclusion;194
21;Video Game Audio Prototyping with Half-Life 2;196
21.1;Introduction;196
21.1.1;The Importance of Prototyping;197
21.1.2;Pure Data;197
21.1.3;Open Sound Control;198
21.1.4;Half-Life 2;199
21.2;Technology;199
21.2.1;Pure Data Sound Driver;199
21.2.2;Half-Life 2 and OSC;203
21.2.3;Game Audio Tools;204
21.3;Conclusion;205
21.4;References;206
22;Computer-Assisted Content Editing Techniques for Live Multimedia Performance;208
22.1;Introduction;208
22.2;Background and Previous Work;209
22.2.1;Creating Instruments for Live Visuals Performance;209
22.2.2;Composition and Design;210
22.2.3;The Connection of Movies and Music;210
22.3;Assisting the Composition and Performance Workflow;211
22.3.1;Structuring the Workflow;212
22.3.2;Deducing the Design Tree;213
22.3.3;Implementation and Practical Application of the Design Tree;214
22.4;Automation of Non-linear Video Editing;216
22.4.1;Pre-processing of Video Material;216
22.4.2;Real-Time Audio Analysis;217
22.4.3;Live Montage;218
22.5;Conclusion and Future Work;219
23;Computational Audiovisual Composition Using Lua;222
23.1;Introduction;222
23.2;Implementation Strategy;223
23.2.1;Background;223
23.2.2;Contributions;224
23.3;Temporal Structure;225
23.3.1;Computational Time and Composition Time;225
23.3.2;Implementation: Coroutine Scheduling;227
23.3.3;Concurrency: Future Directions;228
23.4;Spatial and Visual Structure;229
23.4.1;Foundations;229
23.4.2;Current Implementation;230
23.5;Sonic Structure;232
23.5.1;Foundations;233
23.5.2;Implementation;233
23.6;Conclusion;235
24;Interrellation: Sound-Transformation and Remixing in Real-Time;238
24.1;Introduction;238
24.2;Some Basic Principles of Sound Perception;239
24.2.1;Sound as a Transient Medium;239
24.2.2;The Interrelation of Cause and Effect;239
24.2.3;Music as a Time-Based Art;240
24.3;The Influence of Digital Audio on the Human Listening Habits;240
24.3.1;Sound as a Durable Medium;240
24.3.2;The Dissociation of Cause and Effect;241
24.3.3;Sound as Ambience-Based Art;241
24.4;Sound-Transformation and Re-Mixing in Real-Time;241
24.4.1;Overview;241
24.4.2;Software;242
24.4.3;Processing Methods;242
24.5;Artistic Projects and Concepts;243
24.5.1;Snail;243
24.5.2;staTdT_kunst;243
24.5.3;Boxberg-Sinfonie – a Bach-Metropolis-Transformation;244
24.5.4;Auto-route (2004);244
24.5.5;Filament (2006);245
24.6;Summary;245
24.7;References;246
25;Functors for Music: The Rubato Composer System;247
25.1;Introduction;247
25.2;Overview;248
25.2.1;Functionality;249
25.2.2;Architecture;249
25.3;Universal Spaces: Forms and Denotators;250
25.3.1;Forms, Denotators and Their Implementation;250
25.3.2;The Module Category and Its Implementation;254
25.4;Functoriality and Its Application to Musical Operations;255
25.5;A Functorial Composition with Dodecaphonic Series;256
25.6;Macro Scores and Wallpapers;258
25.6.1;Macro Scores;259
25.6.2;The Wallpaper Rubette;260
25.6.3;Reconstructing Boulez's {\it Structures};261
25.7;Conclusion and Future Work;262
26;Inventing Malleable Scores: From Paper to Screen Based Scores;264
26.1;Introduction;264
26.2;Standard Scores and the Repeat Event;264
26.2.1;The Standard Score;264
26.2.2;The Repeat Event;265
26.2.3;Section Summary;266
26.3;Self-constructing and Constructible Scores;267
26.3.1;Composing as a Process;267
26.3.2;Self-constructing Scores;267
26.3.3;Constructible Scores;268
26.3.4;Work Specific Notation;269
26.3.5;Section Summary;271
26.4;Performance Systems and Modular Scores;271
26.4.1;The Patch Bay and the Punch Card;271
26.4.2;Mechanical and Electronic Performance Systems;273
26.4.3;Section Summary;274
26.5;Real Time Electronic Scores and Collaborative Scores;274
26.5.1;Using Motion Tracking;274
26.5.2;Distribution and Sensor Networking;275
26.5.3;Public Audience and Collaborative Scores;277
26.5.4;Section Summary;277
26.6;Conclusion;277
26.7;References;278
27;Glimmer: Creating New Connections;279
27.1;Introduction;279
27.2;Background;280
27.2.1;Large Audience Participatory Music;280
27.2.2;Multiplayer Games;281
27.2.3;Audience Participation in {\it Glimmer};281
27.3;System Design;282
27.3.1;New York and Jerusalem Versions;282
27.3.2;Audience Input and Video Analysis;283
27.3.3;Data Mapping;284
27.3.4;Music Notation and Video Projection;285
27.3.5;Reliability within the Orchestral Environment;287
27.4;Evaluation and Discussion;287
27.4.1;Audience Participation;287
27.4.2;The Role of the Orchestra;289
27.4.3;The Musical Result;290
27.5;Conclusion and Future Work;291
27.6;References;292
28;Variations on Variations;293
28.1;Introduction;293
28.2;Conclusion;307
28.3;Bibliography;307
29;Part IV Interfaces and Expression;309
30;Gestures, Interfaces and other Secrets of the Stage;310
30.1;Introduction;310
30.2;Lectures and Demonstrations as Performances;311
30.3;The Human Body as an Electrical Circuit;312
30.4;An Electrical Machine of Sound and Light;312
30.4.1;Wearable Jewels;313
30.4.2;Electrical Diadem;313
30.4.3;Electrical Fireflies;314
30.4.4;Faust and Electrical Duel;314
30.4.5;Electricity Music;315
30.4.6;Wireless Electric Light;315
30.4.7;The Electric Wizard;315
30.4.8;Electric Bones;315
30.4.9;Terpsitone;316
30.5;From Analog to Digital Technology;316
30.5.1;Love Machine;317
30.5.2;Computational Interaction and Gestures;318
30.5.3;LoVid – VideoWear;319
30.6;Conclusion;319
30.7;References;320
31;Beyond the Threshold: The Dynamic Interface as Permeable Technology;322
31.1;Introduction;322
31.2;Trajectivity;323
31.3;conFIGURING the Cave;324
31.4;A Figurative History;325
31.5;Hosts;327
31.6;Artificial Changelings;327
31.7;Relational Aesthetics;329
31.8;Naftaztec;329
31.9;Body Movies;331
31.10;Conclusion;332
31.11;References;333
32;CoPuppet: Collaborative Interaction in Virtual Puppetry;335
32.1;Introduction;335
32.2;Background;336
32.3;Related Work;337
32.4;The CHAMBRE Architecture for Multimodal Interaction;337
32.5;The CoPuppet Environment for Digital Puppetry;340
32.5.1;Single Puppet, Collaborative Controls;341
32.5.2;Multiple Puppets, Collaborative Controls;342
32.6;Configuring CoPuppet;342
32.7;CoPuppet Performance;343
32.7.1;Collaboration Aspects;343
32.7.2;Technical Description;344
32.8;Combining Virtual and Real Puppets: A Case Study;346
32.9;Discussion and Conclusions;349
33;Experiments in Digital Puppetry: Video Hybrids in Apple’s Quartz Composer;351
33.1;Introduction and Aims;351
33.2;Concept Description -- Real Time Art;354
33.3;Development;355
33.3.1;Understanding {\IT Quartz} Composer;355
33.3.2;The Future of Quartz Composer;357
33.3.3;Custom Software Production;358
33.3.4;Control and Visual Sequencing Software;359
33.3.5;The {\it Wii-Remote} and {\it Quartz Composer};359
33.3.6;Chroma-keying with GLSL in {\it Quartz Composer};360
33.3.7;Evolution and Configurations;361
33.4;Visual Documentation with Commentary;362
33.4.1;Content Creation;362
33.5;Artistic Insights;364
34;Formalized and Non-formalized Expression in Musical Interfaces;367
34.1;Introduction;367
34.2;Background;368
34.2.1;Expression;368
34.2.2;Measure Performer's Inputs;369
34.2.3;Mapping;369
34.2.4;Select Measurements;369
34.2.5;Formalize Measurements;369
34.2.6;Levels in Expression to Convey;370
34.3;The Performer's Actions;370
34.3.1;Open and Transparent;370
34.3.2;Fields of Analysis;371
34.3.3;Levels of Reality;371
34.3.4;Examples of Performer's Actions;372
34.4;Phenomenological and Formalized Level;372
34.4.1;Requirements;372
34.4.2;Formal Specification;373
34.4.3;Abstraction;373
34.4.4;Performer's Focus Move;374
34.5;Leaving Essentials Non-formalized;374
34.5.1;Parameter Based Approach;374
34.5.2;Audio Signal Based Approach;375
34.5.3;Advantages and Drawbacks;375
34.6;Openness in Computer Games;376
34.6.1;The Problem of Anticipation;377
34.6.2;Examples;377
34.6.3;Restricted Openness;378
34.7;Discussion;379
34.7.1;Performer's Estimations;379
34.7.2;Different Qualities;380
34.7.3;Impact of Formalisms;380
34.8;Conclusions;381
35;Interactive Spaces;386
35.1;Introduction;386
35.2;Premise;387
35.3;Everyday Activities;388
35.4;The Swisshouse;390
35.5;Interactive Wallpapers;392
35.5.1;Word Map;392
35.5.2;William Morris;393
35.5.3;Digital Tape;394
35.5.4;Digital Shadows;396
35.6;Beyond Surface: Skin Deep;396
35.7;Public Interfaces;397
35.8;Conclusion;399
35.9;References;400
36;From Electric Devices to Electronic Behaviour;401
36.1;Introduction;401
36.1.1;A Short History;401
36.1.2;Electric Devices;402
36.1.3;Electronic Devices;402
36.2;Electronic Behaviour;403
36.2.1;Ubiquitous Computing;403
36.2.2;Ambient Interaction;403
36.2.3;Intelligent Devices;404
36.3;User-Product Relationships;405
36.3.1;The Importance of User-Product Relationships;405
36.3.2;Wearable Products: A Special Case;405
36.4;Wearable Dreams;406
36.4.1;Revealing User-Product Relationships through Stories;406
36.4.2;Gathering Stories;406
36.4.3;Outcome;407
36.5;Conclusion;410
36.6;References;410
37;Scentsory Design®: Scent Whisper and Fashion Fluidics;412
37.1;Introduction;412
37.2;Background;413
37.2.1;Human Olfactory System and the Digital Arts;414
37.2.2;Emotional Fashion;415
37.2.3;Digital Fragrance Technology;415
37.3;Scent Whisper: A User-Worn Scent Dispenser Where the Frequency and Type of Fragrance Delivery Is Flexible and Determined by the User;417
37.4;Fashion Fluidics and Innovative Applications in Clothing;418
37.5;Conclusion and Further Development;422
37.5.1;Colodours and ‘Coded’ Aroma Messages;424
37.6;References;425
38;Advances in Expressive Animation in the Interactive Performance of a Butoh Dance;427
38.1;Introduction;427
38.2;Related work;428
38.3;Artistic Concepts;429
38.3.1;Butoh Dance;429
38.3.2;Artistic Idea of the System or “The Body Is the Instrument”;430
38.3.3;Generating Visual Feedback as a Concept of Composition;430
38.3.4;The Motion Space;430
38.3.5;The Space of Emotions as Our Narrative Structure;431
38.3.6;Mapping Motion to Emotion;432
38.3.7;Artistic Visual Design;433
38.4;The Recognition Engine;433
38.5;System Architecture;435
38.5.1;The Sensor Body Network;435
38.5.2;The Mobile System (Wearable Computer);435
38.5.3;The Stationary System;435
38.6;The Visualization Engine;436
38.7;Artistic Evaluation by Live Performances;438
38.8;Conclusions and Future Work;440
38.9;References;440
39;Anthropocentrism and the Staging of Robots;443
39.1;Introduction;443
39.2;Robots – A History of Lures;445
39.2.1;Artificial Humans – An Early Quest;445
39.2.2;\v{C}apek’s Robots;446
39.2.3;Androids;447
39.2.4;Puppets: Inert Performers;448
39.2.5;Puppets as Actors / Actors as Puppets;449
39.2.6;Robotic Art: An Anti-mimetic Shift?;451
39.3;Staged Robots;451
39.3.1;Sign-Body: Weak Anthropomorphism;451
39.3.2;Sign-Action: Anthropopathy;453
39.3.3;Sign-Design: Mechanomorphism;455
39.4;Ontologies Disorder;456
39.5;References;457
40;Part VI Digital Performance in Urban Spaces;461
41;Imaging Place: Globalization and Immersive Media;462
41.1;Introduction;462
41.2;Imaging S\`{a}o Paulo;464
41.3;Imaging British Columbia: Weyerhaeuser Pulp Mill;468
41.4;Imaging British Columbia: Kamloops Indian Residential School;469
41.5;Imaging the U.S./Mexico Border;472
41.6;Conclusions and Future Work;474
41.7;References;475
42;About... Software, Surveillance, Scariness, Subjectivity (and SVEN);476
42.1;Introduction;476
42.2;Surveillance Is Already Scary;479
42.3;Software Shouldn’t Be Scary;479
42.4;How Is Software Subjective?;480
42.5;On Algorithms and Data; Verbs and Nouns; Parts and Wholes;480
42.6;I’m Not Myself Today…;481
42.7;Technology and the Way It’s Used Aren’t the Same Thing;483
42.8;Coda: Keeping Things in Perspective;483
42.9;References;483
43;The NOVA Display System;485
43.1;Introduction;485
43.2;Background;486
43.3;Related Work;488
43.3.1;MiSPHERE (Barco);488
43.3.2;3D Display Cube, White (James Clar&Associates);489
43.3.3;Pixel Cloud (Jason Bruges Studio);489
43.3.4;Volume at the V&A (United Visual Artists);490
43.4;NOVA System Overview;490
43.4.1;Hardware;490
43.4.2;Content Creation;491
43.4.3;Interaction;493
43.5;Results and Discussion;494
43.6;References;496
44;Four Wheel Drift;497
44.1;Introduction;497
44.2;Four Wheel Drift and the Space of the City;498
44.3;Conceptual Approaches;500
44.3.1;Drift as Metaphor;500
44.3.2;Car Cultures as Hybrid Forms in Motion;501
44.3.3;Collaboration at the Centre of Performance;502
44.3.4;Psychogeography or the Remaking of Representation;504
44.4;{\it VJFleet} [redux] and {\it FWDrift} [remix] Technical Overview and Performance;506
44.4.1;{\it VJFleet} [redux];506
44.4.2;{\it FWDrift} [remix];507
44.5;Works Performed;509
44.6;References;509
45;Author Index;510